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Jeff Jackson
Jeff Jackson

Subtitle Requiem For A Dream

"From the director of [Pi]".The hopes and dreams of four ambitious people are shattered when their drug addictions begin spiraling out of control. A look into addiction and how it overcomes the mind and body.

subtitle Requiem for a Dream

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Adapted from the novel of the same name by Hubert Selby, Jr., who also wrote Last Exit to Brooklyn, the film follows four interrelated people in a spiral of voluntary self-delusion and addiction to dreams of success, which are eventually overwhelmed and defeated by reality.

Unlike most "drug movies", 'Requiem for a Dream' goes beyond basic depictions of narcotic use and delves deeper into questions of where addiction originates. It's made quite clear that the Harry-Tyrone-Marion storyline is about drug addicts. But contrasted with the Sara subplot, the viewer is forced to ponder the origins of addiction in the simple desire for happiness. By way of conversation, the plot reveals three optimistic friends with a plan to escape their lot and live a worry-free lifestyle, while through daydreams, we learn of Sara's aspirations of achieving acceptance and ridding herself of the loneliness which surrounds her.

With the support of Matthew Libatiques's beautiful cinematography and a gripping musical score by Clint Mansell and the Kronos Quartet, 'Requiem for a Dream' is a chilling and distressing nightmare of addiction, whether it be narcotics or unrealistic dreams. In its original theatrical-run, Aronofsky's film garnered serious controversy for its graphic depictions of sex and drug use, earning the doomed NC-17 rating. Detractors argued the images glamorized the use of drugs and bordered on pornographic when Marion performs at a stag party in exchange for heroin. Nonetheless, the film was released to theaters unedited, as the scenes are integral to the storyline, and the film is presented on Blu-ray as an unrated Director's Cut.

Directed by Jean-Luc Godard (U.S. 1960) 90 min. 35 MM. With Jean-Paul Belmondo, Jean Seberg, Daniel BoulangerGodard burst onto the film scene with this jazzy, free-form and sexy homage to the American film genres that inspired him. With its lack of polish, surplus of attitude, anything-goes crime narrative and effervescent young stars, Breathless helped launch the French New Wave and ensured cinema would never be the same. In French with English subtitles.

Directed by Pedro Almodóvar (Spain 2011) 120 min. 35 MM. With Antonio Banderas, Elena Anaya, Jan CornetAlmodóvar fuses his love for American horror and science fiction films and his continuing interest in identity in this tale of a world famous plastic surgeon secretly subjecting an imprisoned young woman to an increasingly bizarre regime of treatments. In Spanish with English subtitles.

Lastly, this interview was originally planned as the first half of a 90-minute documentary. The second half was to chronicle the shooting of Confession at his home in Tbilisi, a project he delayed until June of 1989, and then was not able to complete. We view this interview as complementary material to our 57-minute documentary on Parajanov, to which the subtitle A Requiem was added for the screenings at the Los Angeles and Venice film festivals.

What is film direction for you? Real life? A dream? A mystery? Directing is fundamentally the truth as it's transformed into images: sorrow, hope, love, beauty. Sometimes I tell others the stories in my screenplays, and I ask: "Did I make it up, or is it the truth?" Everyone says: "It's made up." No, it's simply the truth as I perceive it.

You've been planning your new film, Confession, for a long time. I owe Armenia a cinematographic confession, a sort of personal bible. It's about my mother, my father, my childhood, my isolation in prison, my vision of dreams. And the tragedy of a cemetery being torn up to allow for a cultural park in honour of (Sergei) Kirov. The cemetery must give way to honour the Communist Kirov. The Soviet patriot arrives, and the ghosts are cast out. They don't know where to go, so they seek shelter with me, their living heir. But I can't take them in. I'm obliged to report to the local police that they are spending the night with me. I, who have no electricity, who is not an insurance agent. They know no evil. Their generation, back then, was kinder. They only want to stay with me. And I must die before their eyes to prove I love them. 041b061a72


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