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Flanders 2006 123movies

Flanders 2006 123movies

Aug. 30, 200691 Min.
Your rating: 0
9 1 vote


#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Bruno Dumont follows up the controversial Twentynine Palms with this tale of a group of young soldiers who go off to war and experience some life-changing events. Flandres won the Grand Prix Prize at the 2006 Cannes Film Festival.
Plot: André Demester secretly and painfully loves Barbe, his childhood friend, accepting from her the little that she gives him. He leaves home to be a soldier in a war in a far off land. Barbarity, camaraderie and fear turn him into a warrior. As the seasons go by, Barbe, alone and wasting away, waits for the soldiers to return. Will Demester’s boundless love for Barbe save him?
Smart Tags: #castration #shot_in_the_head #death #north_of_france #2000s #guerrilla_warfare #child_warrior #farmer #farm_work #killing_a_horse #army_patrol #fictional_war #french_soldier #place_name_in_title #casual_sex #pulling_down_one’s_pants #sexual_intercourse #loveless_sex #character_says_i_love_you #ends_with_i_love_you #country_life

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Flanders 2006 123movies 1 Flanders 2006 123movies 26.5/10 Votes: 3,000
Flanders 2006 123movies 3 Flanders 2006 123movies 266%
Flanders 2006 123movies 5 Flanders 2006 123movies 267/100
Flanders 2006 123movies 7 Flanders 2006 123movies 26.2 Votes: 50 Popularity: 3.715


Genuinely challenging, let down by a slight lack of coherence
It’s clear from other reviews that more or less everybody is agreed about the director’s rather tricksy film-making and the lack of conventional narrative drive. It’s just a question of whether you think these things make for a good film or a bad film.

For me, the good outweighs the bad: the deliberately non-emotional characterization, slow pace, and powerful use of landscape push viewers out of their comfort zone, and force us to confront some pretty basic realities about life and war.

It’s the parallels – not the contrasts – between home life and the war that are most interesting. On many occasions, the film seems to have a deliberately timeless, ahistorical feel, so that the characters feel tremendously elemental (the word medieval springs to mind too) in their behaviours and concerns. Despite a slight lack of coherence (not necessarily in the plot, more in the overall conception), we do genuinely somehow care for the characters – quite an achievement given the overall tone of the movie.

The use of Flanders as the setting and title reinforces this sense of historical continuity, of war recurring down through the ages – not for nothing is the region known as “the cockpit of Europe”. And by the way, a big chunk of historical Flanders is now in France (the French-plated cars, with “59” indicating the North department which includes most of French Flanders, are a giveaway). French Flanders is by definition not in Belgium, as one reviewer has suggested. However, one of the female characters (Barbe’s friend) appears to have a strong Flemish (i.e. Dutch-speaking) accent – a nice touch, and not entirely implausible in this border region, where a few people still speak Flemish on the French side of the border (visit Hondschoote, and you’ll see what I mean).

This film should make everybody rethink their approach to war, and the impact of sending young men (and women, although not in this film) from more or less every generation off to fight and die (remember that Flanders was scarred by war twice in a lifetime in the 20th century). Not necessarily a particularly easy watch on the face of it, but a powerful and worthwhile one.

Review By: paperbackboy Rating: 7 Date: 2013-10-10
Stark and unflinching drama covering unglamorous living; the horrors of war and the gradual nullifying of the human spirit.
Flandres is a depiction of what happens when simple people are placed into complicated situations; it is a quite shocking, although stirring, war-set drama which is more about the tragedy of how human beings can slump to the depths we’re able than it is about the tragedy of war itself. The folk in the film are unassuming, uncreative and with little to say nor do during their days in an undetermined, mostly rural, French speaking nation; the sorts of scenarios they eventually come to find themselves in are very much the opposite – the film playing out like a perverse circus of what happens when a test gerbil is placed in an environment it has little-to-no-hope of conquering, and all for our viewing displeasure as we sit back and witness the experiment.

People in Flandres make love without emotion; they live life without empathy; and find it difficult to react to levels of deplorable violence. It is to this extent that Bruno Dumont’s film is more a burning, nihilistic drama than a war film per se; a film that weeps for mankind, a film depicting a desensitisation that the species has for love; violence; fellow man and attitudes towards life. The film follows a young man named André (Boidin), an ugly man; a simple man, a farmer in the wooded plains of what could be France; what might be Belgium or what might even be somewhere as seemingly disassociated and arbitrary as Luxembourg. Farm life is routine: it snows in the winter and a lot of walking is generally required in a zone cut off from urbanised living. These people, other farmers and the young females living in close proximity, rarely speak with whatever communication required between them done so via glances and meagre actions. Since there is nary an awful lot that needs getting done in the first place, it is all that these people need to amass in their communication in order to get things done. So rarely do things happen in the lives of these people that a crude, seemingly random, sexual relationship between André and young Barbe (Leroux) strikes us as almost illegitimate.

It is on one of these days that one of André’s few friends relays to him that he will be going off to war in the near future. In their leaning up against a barn wall, while appearing to systematically stare off into the distance beyond a nearby gate at what’s beyond, we sense that this might very well be a jump for this character greater than it might be for others: nary do these people treads beyond into the wider unknown and what has just been spoken of would be a drastic change. Sure enough, Dumont’s cut from the ice cold European territory to the flat, arid deserts of this unspecified place engulfed in a war between Europeans and Arabs is the sort of jump in composition that can only emphasise this.

André has clambered aboard in the drafting process, the idea that where they’re headed is the unknown and the ambiguity surrounding what the war is for, as well as you might say the specific name of the country, is supposed to encapsulate most of what’s going on in the Middle East, as Caucasians from most nations vie with locals in a place of which they’ve probably not previously heard for surface means of which they think they’re aware. Trying to work out where exactly the warzone is acts as a pleasing distraction once all the war-set nastiness kicks off; where the clear inflection is Iraq or Afghanistan, Dumont appears to tie in the jungles of somewhere like North Korea to add to the idea this foreign war might just as well be anywhere. The wartime sequences are as harrowing as any from most war films, while the film itself is often constructed as if not even a war film in the first place but some sort of survival horror piece wherein folk have wondered into a Hellish bloodbath where one can only (how did Mr. Blonde put it in Reservoir Dogs?) “Pray for a quick death you aren’t going to get”.

Dumont doffs his cap to the likes of Full Metal Jacket with a sequence involving a sniper, a confrontation which eventually leads onto the encountering of a child soldier and the nastiness which comes with that. His greatest achievement, however, is how he constructs this idea of life on the homestead and life at war being more intrinsically linked than one might think – principally, the merciless disregard for young life in the executing of these child soldiers as well as the domestic termination of an unborn as well as the desire to instigate casual sexual intercourse with the women of where one happens to find one’s self. This whole idea of white Western men, few of whom are bright in the first place, arriving on the shores of what is otherwise a stark change in climate and way of life in the form of a foreign country, before instigating their attitudes and ways of life upon what’s around them, also feels apparent if not the primary focus. With a steady eye for agonised detail, Flandres is the painful piece of cinema I wasn’t expecting heading in – its topical nature combined with its grizzled aesthetic demonstrates a real talent at work while the experience as a whole stays with you for some considerable time, all of which adds up to something worth tracking down.

Review By: johnnyboyz Rating: 7 Date: 2013-04-28

Other Information:

Original Title Flandres
Release Date 2006-08-30
Release Year 2006

Original Language fr
Runtime 1 hr 31 min (91 min)
Budget 0
Revenue 0
Status Released
Rated Not Rated
Genre Drama, Romance, War
Director Bruno Dumont
Writer Bruno Dumont
Actors Adélaïde Leroux, Samuel Boidin, Henri Cretel
Country France
Awards 3 wins & 3 nominations
Production Company N/A
Website N/A

Technical Information:

Sound Mix Dolby Digital
Aspect Ratio 2.35 : 1
Camera Arricam LT, Hawk V-Series Lenses, Arriflex 16 SR3, Zeiss Ultra Prime Lenses
Laboratory Laboratoires GTC, Paris, France
Film Length N/A
Negative Format 16 mm (Kodak Vision2 250D 7205, Vision2 100T 7212), 35 mm (Kodak Vision2 250D 5205, Vision 250D 5246)
Cinematographic Process Digital Intermediate (2K) (master format), Hawk Scope (anamorphic) (source format), Super 16 (source format) (some scenes)
Printed Film Format 35 mm (partial blow-up)

Flanders 2006 123movies
Original title Flandres
TMDb Rating 6.2 50 votes


Bruno Dumont


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