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29 Palms

Título original: Twentynine Palms
  • 2003
  • Unrated
  • 1 h 59 min
AVALIAÇÃO DA IMDb
5,1/10
5,3 mil
SUA AVALIAÇÃO
Yekaterina Golubeva and David Wissak in 29 Palms (2003)
Home Video Trailer from Wellspring
Reproduzir trailer1:16
1 vídeo
20 fotos
Drama psicológicoDramaHorror

David, um fotógrafo americano, e sua namorada russa Katia estão procurando locais para uma sessão de fotos. Durante o dia, eles dirigem por algumas das paisagens desérticas mais selvagens e ... Ler tudoDavid, um fotógrafo americano, e sua namorada russa Katia estão procurando locais para uma sessão de fotos. Durante o dia, eles dirigem por algumas das paisagens desérticas mais selvagens e bizarras, mas sua sorte começa a se esgotar.David, um fotógrafo americano, e sua namorada russa Katia estão procurando locais para uma sessão de fotos. Durante o dia, eles dirigem por algumas das paisagens desérticas mais selvagens e bizarras, mas sua sorte começa a se esgotar.

  • Direção
    • Bruno Dumont
  • Roteirista
    • Bruno Dumont
  • Artistas
    • Yekaterina Golubeva
    • David Wissak
  • Veja as informações de produção no IMDbPro
  • AVALIAÇÃO DA IMDb
    5,1/10
    5,3 mil
    SUA AVALIAÇÃO
    • Direção
      • Bruno Dumont
    • Roteirista
      • Bruno Dumont
    • Artistas
      • Yekaterina Golubeva
      • David Wissak
    • 114Avaliações de usuários
    • 102Avaliações da crítica
    • 43Metascore
  • Veja as informações de produção no IMDbPro
    • Prêmios
      • 1 vitória e 2 indicações no total

    Vídeos1

    TwentyNiNE Palms
    Trailer 1:16
    TwentyNiNE Palms

    Fotos20

    Ver pôster
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    + 14
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    Elenco principal2

    Editar
    Yekaterina Golubeva
    Yekaterina Golubeva
    • Katia
    • (as Katia Golubeva)
    David Wissak
    • David
    • Direção
      • Bruno Dumont
    • Roteirista
      • Bruno Dumont
    • Elenco e equipe completos
    • Produção, bilheteria e muito mais no IMDbPro

    Avaliações de usuários114

    5,15.3K
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    Avaliações em destaque

    howard.schumann

    Shock and horror

    A three-legged dog, a dead body lying naked in the middle of the desert, a cop on his walkie-talkie calling for backup and a road block miles from the nearest inhabitant. These and other bizarre things show up in Twentynine Palms, the latest film by Bruno Dumont (La Vie de Jesus, L'Humanite). It is essentially a horror film that might easily be called "Scream 4". The opening scenes are beautiful and serene. David (David Wassik), an independent photographer from Los Angeles, and Katia (Katia Golubeva), a young woman without work, travel in a red 4X4 Hummer toward the vast California desert preparing to do a photo shoot for a magazine near the Joshua Tree National Park. The road leads to a motel in the city of 29 Palms, a desert oasis that in the film consists of one gas station, one hotel, and a swimming pool. Dumont says that he filmed in the U.S. rather than his native France because he "… felt the need to change space, ingredients, colors... and it is while filming in California that I had a true shock". The shock extends to the viewer as well.

    There is little dialogue or action in the conventional sense. The communication between the couple is complicated by the absence of a common language: he speaks English, she only speaks French. What conversation exists is trapped in a level of superficial banality. The lovers explore the desert in their 4X4 and are focused entirely upon their own pleasure, seemingly defined by their sexuality. They swim in the motel pool, watch game shows on television, eat, make love in the middle of the desert, eat some more, argue and make up, then make love some more, all shown in explicit detail. Everything is familiar, a slice of typical Americana, yet nothing is as it seems.

    Little by little the milieu becomes oppressive; a quiet and incoherent fear begins to settle in, an abstract fear because as Dumont says, "there is no reason to be afraid." At the end, nothing can fill the emptiness but destruction. The contrast between the poetry of nature and the constricted range of the human experience is clear. In this world without a spiritual core, the screams of pain and screams of delight are indistinguishable and anguish has the same meaning as pleasure. According to Dumont, "There is at the same time the bliss of pure happiness and absolute horror, the capacity to generate the two extremes: the hyper violence and the hyper pleasure. This is a couple that lives for pure pleasure and that will be led into abomination."

    One cannot be neutral about a Bruno Dumont film (many people walked out during the Vancouver showing). His audiences are polarized between those who love and those that detest his films and the director seems disinterested in reconciling the two. I found this film extremely difficult to watch and even harder to be emotionally engaged with the characters. Dumont tests our endurance with scenes of brutal violence, making no concession to our sensibilities. In bringing us face to face with our worst nightmare, however, he forces us out of our state of emotional detachment and compels us to react, not with our minds or even our hearts, but viscerally with the totality of our being. Far removed from the pre-digested package cinema of Hollywood, Dumont has made an important statement about American values. The question must be asked however -- with films like Twentynine Palms that are so off-putting, will there be anyone who notices?
    7Quag7

    Mixed bag....worth a watch, I think.

    Well this one definitely isn't for everyone, as you can tell by the comments. For awhile, I liked this movie. I kind of liked these two driving around in the desert. The movie had that sort of dreamlike Zabriskie Point thing going on. In fact, along those lines, I'd mention that the film did feel like something from the 1960s (in a good way).

    Katia Golubeva is a pretty enough girl, and we see a lot of her.

    I know from regular trips to Death Valley that Europeans have a special respect for American deserts. At Badwater Junction in Death Valley, you can walk out onto the salty flats and despite the fact that you're in a giant valley, they know enough to whisper, or remain silent altogether. It's a pensive respect for the desert I wish more Americans had.

    Here, you get a lot of California desert; always a good thing (to me). I liked these two characters when they were getting along - there was a weird and charming sort of innocence in their sex life and affection for each other.

    Didn't fully get why they were constantly sniping at one another or why they kept having falling outs with each other. And that seems to be important to the overall point of the film, and I'm still thinking about it. I wanted to slap them - especially David - when he was being a jerk.

    Because you should *never* take a sexually liberated French girl naked in the desert for granted that way (Am I right?).

    The end is jarring, and a metaphor for something but I'm not sure what, exactly. Something, I suspect, about the fact that the two characters should have been a little more tender and appreciated each other more (especially on the dude's part), what with all the meanness and cruelty in the world (and so on).

    This is not for everyone. It is slow moving, beautiful to look at, with characters who occasionally charm and occasionally irritate. The end sequence is disturbing and unpleasant.

    If you're a fan of mainstream Hollywood, you might find this excruciatingly boring. The pervasive quiet of the movie makes the end all the more startling.

    This film was not an unqualified success, but there's a fair amount to like here, I think. For certain people, anyway.
    chaos-rampant

    At the brink of the existential void

    This is one of those films where "nothing happens", where the frame stands as a window into the world of tedium. It's contrasted against this humming nothingness, mirrored in the film in the empty stretches of desert, that the small gestures can reverberate outwards to the eternal, to give us a portrait of life as we might know it by our own existence, elsewhere, in some other time.

    These fleeting human moments, painful or exhilarating in their small profundity, largely make the film for me. A man stealing a glance at a passing girl in a diner, glance which may or may not be casual or mean something else, and which makes the woman sulk in jealous consternation. The woman trying to penetrate the hard, unyielding, demeanor of the man, asking him as he drives what is he thinking, the man saying nothing. The irritable tantrum of the man when their car won't go any further in a dirt road, that reveals the male child inside, petulant and impotent at the sight of failure.

    Elsewhere Dumont fails to cut as incisively. The contrast he gives us in the first pool scene, "do you love me?", "do you like my penis?", is simpleminded at best.

    The film works despite all that, first as a tangible reminder of the meaninglessnes of craving, here in the form of carnal animal sex that needs to be consumated, almost exorcised, the moment it builds. The nothingness of Dumont's desert world is not the shunyata of the Buddhists though, a realization of the world in true form. Rather it's a limbo where souls in disconnect aimlessly drag their feet yearning for a sense of direction or purpose when the only sense possible is a sense of still time. This shines for me in the latenight scene where David finds Katia sitting by herself at the side of the macadam, they seem like they're washed ashore in some other plain of existence. A pall of simmering, unspeakable, violence hangs over this like the shifting rents of dust in a dirt road, so that at least a breaking point can be surmised to be waiting at the other end.

    Then it works for me as a painful vehicle that brings us at the brink of the existential void. I'm not very enamored of the act of random cruelty that makes this possible, the randomness makes sense yet at the same time it's so easy as to be schematic, but the monster that emerges on the other end is a shocking sight to me because I have the memory of the flawed human being that used to be.

    The dysfunction of the protagonists then, foremostly human, also foreshadows doom. That malaise we see but small traces of in their behavior must exist out there too, in the rest of the world that is largely kept from our eyes.

    Dumont doesn't dare go any further than this, that is if we accept there is somewhere to go, but as an agnostic lament it goes far enough.
    prosthetk

    one good review...

    i can easily understand why this film has been so hated, but i must say that it is at times one of the most beautiful, and at others, one of the most disturbing films i've ever seen. after seeing humanite, i walked in to the theatre with very low expectations (i'm not a dumont fan in the least), but something in the stark beauty of the photography sucked me in, i found the numb vacant space of the characters, and hook, line and sinker, fell right into dumont's trap. i doubt i would recommend this film to anyone but my closest (and most tolerant) friends, but have to say that i loved it, and thing it may also be found rewarding by other patient and adventurous viewers.
    10ik-12

    Great, unusual experience - very strong, raw, primordial...

    This seems to be a serious film, although it's easy to misunderstand it or to be appalled by it. Scenes of "animalistic" sex with almost no conversation or foreplay, scenes of horrific violence, hardly any plot -- all that might be a total turn-off for many.

    I was lucky to attend a Q&A session with the director, where he answered a lot of questions. The idea for this film was born when Dumont was in California desert, and, as he puts it, "I was afraid". It seems the time and space and the silence and the power of it all influenced him very much. Among other things, he addressed the audience before the film started, with "if you become afraid when you watch this film, just cover your face with hands".

    He also stated later that the film is an experiemnt at expressing his feelings, and has no intent, or narrative, or message. The director is free to express himself, and the spectator is free to see whatever (s)he may in the film and take that away. The characters are stripped of anything that would make them likeable or dislikeable, and generally of anything but the very primitive in order to make the experience pure.

    The characters are not the focus of the film; sound and background are. "Untreated" location sound was used throughout the film and is very important for the director to convey the sense of the place and time. In one scene one could even hear the sound of lighting generator behind the camera, which Dumont refused to edit out during the argument with the sound crew. Camerawork is also original and important in this experience.

    The serenity of transcendent scenes remind me of Zabriskie Point. Using explicit sex and violence remind me of Irreversible and I Stand Alone. Yet, this is certainly not a "following", this is a highly personal expression, which is designed to generate a highly personal experience for any viewer.

    Altogether NOT recommended if one is looking for "normal" filmgoing experience.

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    Enredo

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    Você sabia?

    Editar
    • Curiosidades
      Casting Director Elisabeth Jereski originally planned to cast Marine Corporal Joshua James in the lead, but was rebuffed by his local Squadron Commander, Lt. Col. F.J. Usry, as the graphic sex scenes and violence would portray the Marine Corps, with which James was actively serving in 29 Palms, in a "less than positive light in the community."
    • Conexões
      Featured in Kinomagazin: Das Schöne ist mein Dämon - Der Filmemacher Bruno Dumont (2007)
    • Trilhas sonoras
      Akata Sun Dunchi
      Performed by Takashi Hirayasu and Bob Brozman

      Written by Takashi Hirayasu

      Instrumental arrangements by Takashi Hirayasu and Bob Brozman

      Published worldwide by Riverboat (UK) Music

      Under license from World Music Network

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    Perguntas frequentes17

    • How long is Twentynine Palms?Fornecido pela Alexa

    Detalhes

    Editar
    • Data de lançamento
      • 17 de setembro de 2003 (França)
    • Países de origem
      • França
      • Alemanha
    • Centrais de atendimento oficiais
      • 3B Productions (France)
      • 3B Productions (France)
    • Idiomas
      • Francês
      • Inglês
      • Russo
    • Também conhecido como
      • 29 palmas - Pasiones salvajes
    • Locações de filme
      • Joshua Tree, Califórnia, EUA
    • Empresas de produção
      • 3B Productions
      • Thoke Moebius Film Company
    • Consulte mais créditos da empresa na IMDbPro

    Bilheteria

    Editar
    • Faturamento bruto nos EUA e Canadá
      • US$ 54.523
    • Fim de semana de estreia nos EUA e Canadá
      • US$ 12.870
      • 11 de abr. de 2004
    • Faturamento bruto mundial
      • US$ 167.999
    Veja informações detalhadas da bilheteria no IMDbPro

    Especificações técnicas

    Editar
    • Tempo de duração
      • 1 h 59 min(119 min)
    • Cor
      • Color
    • Mixagem de som
      • Dolby
    • Proporção
      • 2.35 : 1

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