Justin Bieber oprášil 10 let starý singl a ukázal nový videoklip - Justin Bieber vydal v roce 2011 vánoční desku pod názvem Under The Mistletoe. Justin Bieber slaví desáté narozeniny svého vánočního alba jehoĪnimovanou verzí - Mnoho interpretů natočí vánoční desku až na sklonku své kariéry, Justin Bieber j. Justin Bieber na Grammy překonal nečekaný rekord - Rekordy mohou být dosaženy v mnoha oblastech. These worlds ultimately merge in a scene of astounding catharsis - a song sung not by Belle, but Suzu - and it’s one of the most intensely beautiful moments you’re likely to see, anywhere.Texty (132) akordy (11) taby (0) preklady (112) Every moment flits between her past and present, reality and virtual reality. Even with all that’s going on, “Belle” is deeply attuned to its protagonist’s hurts, memories and dreams.
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The movie ultimately resides, intimately, with Suzu. Clouds are rendered as mesmerizing as anything in U. But what’s most striking is how Hosoda marries both realities despite their vast differences. On the whole, this is a surprisingly positive view of the capacity of the internet for connection and liberation. That tragic backdrop - how we treat strangers - is also part of the lessons of U, where anonymity breeds good and ill. Music had been part of her bond with her mother.
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Loss and grief have consumed Suzu’s childhood her virtual transformation into Belle is a chance to free herself from some of her everyday struggles. Our first vision of Suzu is as a young girl watching her mother, in an act of brave selflessness, lose her life saving a child from a flood. Taking place in both modern-day Japan and the virtual U, its foot in reality is firmly planted. At times, “Belle” bends and cracks under its grand ambitions.īut the heart of Hosoda’s sincere film never falters. It’s indeed a lot that Hosoda is going for here, and “Beauty and the Beast” doesn’t always seem a useful form for all the ideas floating around. You might be thinking that an anime “Beauty and the Beast” turned into internet parable sounds a tad overelaborate - and about the furthest thing from the sage simplicity of Ozu. In U, Belle finds herself drawn to the metaverse’s notorious villain called the Dragon (or the Beast) who’s hunted by a police-like force that wants peace and free-flowing commerce in U. In the U, Belle’s songs find massive stardom that’s much unlike Suzu’s own life, where one of her only friends is Hiroka (Lilas Ikuta), a computer whiz who helps craft Belle. The 17-year-old Suzu (voiced by Kaho Nakamura in the subtitled version I saw an English dub is also playing) reluctantly joins U as an avatar named Belle, a more exotic beauty than the modest and shy Suzu. It’s an ultra-modern take on “Beauty and the Beast” that transfers the fairy tale to a digital metaverse realm called “U.” There, in a dizzying digital expanse that will satisfy any “Matrix” fan who felt let down by the virtual worlds of “The Matrix Resurrections,“ its 5 billion users can adapt any persona they like. Hosoda’s latest, “Belle,” which opened in theaters Wednesday, is more complicatedly sketched. Other time-traveling encounters follow, and a new understanding and empathy grows in the boy. It centered on a 4-year-old boy who, dealing with the arrival of a new baby sister and confronting new feelings of jealousy, is visited by his sister as a middle-schooler. His last film, the Oscar-nominated “Mirai,” is one of the best movies made in recent years about family. As dazzling as Hosoda’s films may be visually or conceptually, they’re rooted in simple and profound human stories. But the more appropriate touchstone for Hosoda may be Yasujirō Ozu. Anime master Mamoru Hosoda makes movies that, even at their most elaborate, can reach such staggeringly emotional heights that they seem to break free of anything you’re prepared for in an animated movie - or in most kinds of movies, for that matter.Īny talented Japanese filmmaker working in fantastical animation inevitably draws comparisons to the great Hayao Miyazaki.
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