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Lore
Year:
2012
Country:
UK, Germany, Australia
Genre:
Drama, Thriller, War, Romance
IMDB rating:
7.1
Director:
Cate Shortland
Hendrik Arnst as Ox Cart Man
Claudia Geisler-Bading as Ox Cart Woman (as Claudia Geisler)
Ulrike Medgyesy as Junge Frau mit Baby
Mika Seidel as Jürgen Dressler
Saskia Rosendahl as Hannelore Dressler
André Frid as Gunter Dressler
Nick Holaschke as Baby Peter (as Nick Leander Holaschke)
Mike Weidner as Junger deutscher Soldat
Kai-Peter Malina as Thomas (as Kai Malina)
Nele Trebs as Liesel
Katrin Pollitt as Farmer's Wife
Ursina Lardi as Mutti
Philip Wiegratz as Helmut
Storyline: As the Allies sweep across Germany, Lore leads her siblings on a journey that exposes them to the truth of their parents' beliefs. An encounter with a mysterious refugee forces Lore to rely on a person she has always been taught to hate.
Type Resolution File Size Codec Bitrate Format
1080p 1920x1040 px 7831 Mb h264 10045 Kbps mkv Download
HQ DVD-rip 720x390 px 1408 Mb mpeg4 1806 Kbps avi Download
Reviews
A deeply moving and different story
After seeing Atmen ( Breathing )the night before, the viewing of LORE confirmed the high quality of German language films. LORE is a tad different from the usual films about this period. WWII stories mainly depict the Allies side of events. Refugees, prisoners of war,Hitler assassination attempts, Rommel,the resistance movement and so on. LORE gives us the less frequently mentioned, at least publicly, privations and dreadful experiences of the innocent victims of a defeated nation. The story line has been well told elsewhere. I will limit myself to saying how deeply moving this film is at many levels. It is fiction which creates it's own fact. The physical and psychological sufferings of so many innocent people on the losing side, so often ignored,is graphically portrayed in this account of the horrors in the aftermath of WWII.
2013-04-11
Arresting, Great Filmmaking!
I've written close to two hundred IMDb film COMMENTS and this is the first dedicated to my distaste of other comments, herein those of rickcafe419 and kathleen-wedderburn. Both assigned LORE a single star, as they are certainly entitled to do. But read their respective entries. Rick struggles with a blind rage at Germans in general and Nazis in particular. To him, any treatment less than INGLORIOUS BARTARDS appears insufficient to fuel outrage. He is annoyed that LORE was "designed to engender sympathy" (where did this occur?) to unspecified Germans, apparently assigning children the capacity to independently come to conclusions about good and evil. Rather, LORE did a wonderful job of, inter alia, depicting human denial and hypocrisy. These traits outrage Kathleen so she decides to hate the film for arousing her emotions. Kathleen and Rick are as certain that all Germans (kids too) were in on the atrocities as terrorists today believe all Americans participate in warmongering, drone strikes, etc. Likewise they apparently lack the understanding that circumstances painted by an artist, filmmaker, etc., do not necessarily support that person's endorsement of the attitudes, actions, etc., of the characters involved. It upsets me there exist those who, while so vehemently challenging the right to an opinion, so blatantly suggest that their opinion is better informed. In such event I may be accused of being as guilty as rickcafe419 and kathleen-wedderburn for writing this comment. But I will only go so far to say that rickcafe419 and kathleen-wedderburn's comments are better than no ones.
2013-06-12
Victimizers being portrayed as victims
While I would agree that this movie was beautifully filmed and acted with majestic cinematography, it is not a story that needs to be told.

This is a story of, essentially, victimizers being portrayed as victims!

After the war, young, overly privileged Nazi children have to trek across Germany for a short time, relying on a young Jewish man for survival, until they reach grandma's house and continue their over privileged and unscathed lives. There are some hardships along the way, don't get me wrong, like being unable to cross borders, only having fruit and bread to eat, and having to sell family heirlooms. There are some touching moments but, for the most part, these children are entirely oblivious, and this movie downplays, the suffering around them and, conversely, makes their moments of difficulty more pronounced.

This is most visibly seen by the second eldest daughter who, the day following their arrival at grandma's house, is seen dancing happily with the maid; entirely oblivious to the world around her.

The eldest girl, Lore, superficially pieces together the actions of her parents without really understanding the depth and breadth of their doings.

Overall, while beautifully made, I found the story to be ridiculous. I do not sympathize or recognize the suffering of these over privileged children who had to forage through a forest for a short time to ultimately arrive at grandma's house; who seems to be untouched by war.

One might argue that this it's a different perspective on a genre that's been extensively covered. I argue that this is not a relevant one. I found the handling of the subject matter to be done trivially.

Let's do a follow up, children of drug lords suffering because they cannot afford another Maserati and have to drive a Porsche instead; rather than dealing with the violence and devastation their actions have on the people and communities around them.
2014-07-06
A compelling coming of age drama amidst horrors of War
Lore is set in the spring of 1945, as World War II comes to an end, a young woman finds her world turned upside down as everything she believed to be true, turns out to be false. Lore (Saskia Rosendahl) is the teenage daughter of hard-line Nazis whose parents leave to go into hiding as the Allies tighten their net around Germany. Lore is left to look after herself and four younger siblings in a Germany in which their Aryan superiority is now a handicap. As the children set out for the weeks long walk towards their Grandmother's house in Hamburg they are followed by a young man called Thomas (Kai Malina) who occasionally helps them but turns out to be a Jew, recently freed from a camp.

Lore is a compelling coming of age drama and a fresh story set in a micro world around a much farmed era of film making.

Lore is fascinating as the central character, whose age is never stated but we assume to be around sixteen. She has been bought up in a world of a single ideology in which she is only taught one thing – she is superior to all others. Lore has typical Aryan looks and it turns out, a typical Nazi view of the world. Even after she is told of Hitler's death she still believes that the final victory is just around the corner and states that "Before victory, there must be pain", a phrase that could have come straight from the Fuhrer's mouth. Lore slowly begins to realize as she struggles to get food and encounters first American and later Russian soldiers that perhaps the final victory won't be coming but her indoctrinated ideology remains steadfast.

The film could be seen as an allegory for belief in ones or ones country's superiority over others. We look back with shock at Nazi ideology but there are still many countries today, including the most powerful, who teach their children that their country is the best in the world. I found a parallel in Lore's story and that of modern American children. When Lore leaves the comfort of her Nazi upbringing and enters the real world she is shocked and disgusted to discover other races and people living just like her. People who are taught one thing or gain all of their information from one source are much more likely to fear and distrust outsiders much as Lore does.

Overall Lore is an interesting film about a girl who enters the real world for the first time. Her bubble has burst and her dreams have died and with them so has her innocence. The film is about her coming to terms with the lies that she has been fed since birth and it conveys the emotions and state of mind of its central character well. I occasionally thought that the family managed a little too well for middle class children who now have the whole world against them but strong characters, beautiful cinematography and excellent story telling make up for any imperfections.
2013-07-29
Terrible film-making
Simply put: terrible film-making. It seems they were trying to be artsy by using extreme close-up and shaky camera. Even though it's somewhat dizzying, I can handle artsy, but if you can't even tell your story, what's the point? Half the time, you don't know where the kids are and what is happening to them. Then you ask, why is every adult they encounter cruel? And why are all the allies are evil and ready to shoot them? Most of it makes no sense at all, and the parts that do are historically inaccurate. I was ready to shut it down halfway through, but my husband convinced me to hang in there. But for what? A pointless, disappointing ending.
2017-08-06
A journey of survival
The unusual thing about Lore is that, perhaps for the first time, we witness the devastation that Germany itself suffered as a result of World War II. And that was no little thing, something many are not aware or perhaps do not acknowledge.

As for the film, following the end of the war and specially the death of the one many Germans had come to think of as a saviour there is a sense of hopelessness and devastation.

In the family that the focus is placed, the mother has to entrust the safety and wellbeing of her children to her teenage daughter Lore. This mother had to flee for reasons that remained unknown.

What follows is that Lore had to abruptly grow up, without any training or warning and face a battle for survival as she heads to a place of safety. The film therefore is a chronicle of the journey undertaken by 4 children, led by a teenager, from a place of abandonment to a place of safety.

During this journey, they had to face the best and worst of human nature in their encounters with others. Some tried to help, whilst others only cared to take advantage of their predicament. An interesting scene was in the house of a woman who had a framed photo of the Fuhrer and said: Can you believe the lies they said about him? e only wanted to help? The endeavour got even more interesting when their paths crossed with a young Jewish man, who though seemed helpful the young lady in charge had to face a dilemma: In this difficult hour, do we get the help we desperately need from someone willing, or because I was brought up believing he is part of a filthy, inferior people I should just disregard him? The sexual tension between the two is also pivotal for the outcome of this adventure.

Furthermore, it seemed incomprehensible to this young person, how the country of superior people that was meant to lead the world is now occupied and divided into a Russian, American and British zones. He hear somewhere in the film: I am German and this is Germany.

A striking, sensitive film about growing up suddenly, the extreme sides of human nature and where the ultimate battle for survival can lead us to.
2013-02-25
A very complex film about Germany at the end of World War II
I just saw this film at the Camera Cinema Club in San Jose. This is an immensely complicated film about the children of an SS officer and war criminal. The father disappears. The mother gives herself over to the Americans, and the children (aged 15 down to 7 months) are left to fend for themselves and make a 500km trip to their grandmother's in Hamburg. Germany is in ruins. People are starving and sick. They deny the Holocaust and mourn their dead leader who committed suicide in a bunker. Throughout it all, the 15-year-old lead character Lore must somehow get her siblings to grandma's house while slogging through the chaos of the failed Third Reich.

As I said, it's immensely complicated. It feels like a slice of life even if it is fiction. The cinematography is excellent. The lead actress, all of 19 in real life, is obviously very talented. I gave the film a 7 out of 10 because it's a bit too disjointed for my tastes, but perhaps that's an effective way to portray Germany's disarray at the end of the war.
2013-02-10
I connected with the main character
This movie is quite provocative. It is essentially about collective punishment, since a teenager girls (Lore) needs to become surrogate mother to her young siblings, who face starvation in post war Germany. She is immature herself, but slowly learns how to become a role model, and during the movie, we wonder how does it feel to be burdened with a legacy that is not yours.

If his father was a perpetrator of any crimes (the movie doesn't tell a lot if he was just a petty officer or more than that) the children are totally victims of a war they didn't cause. I had sympathy for Lore because she shows how we humans behave in a situation of desperation. There are millions of civilians dispersed, everybody is poor, so no one helps anybody. So essentially the children are on their own.

I enjoyed the movie, even though it is a mostly sad story.
2017-08-30
very intelligent and moving film
Went to this film because almost all German film I saw in the last couple of years were far above the average , did not regret the decision in this case either . when you look at the film as a story with a plot it is an interesting survival story with a complicated plot and not a dull moment .Yet the film has a "hidden" layer that makes it a great film .I find it is as much about the inner journey that Lore goes through as it is about the survival journey she makes in the real world . She is abruptly thrown from a privileged place as a member belonging to the highest class of society with well defined dogmas and certainties on which she was raised all her life to a chaotic reality where you have to steal , lie , kill and even take the help of a person with Jewish papers ( for her something more horrible than the other crimes ) in order to survive . The process of total shattering of her former inner beliefs and convictions as the film progresses is very clearly manifested in the last scene in her grandmother's house .
2013-09-21
Lore on page and screen
A fascinating piece of cinema, and worth every star it is given; a glimpse into an apocalyptic and fertile but all too rarely explored place and time.

Yes, on second viewing, those sometimes camera angles began to grate, but there were more than enough pearls to make up for that.

Of greater significance for me though were the divergences between Shortland's vision, and that of Rachel Seiffert in her book, The Dark Room, from which Lore is taken. (Helmut, the first story, deals with the period up to the end of the war; Lore the immediate aftermath, and Micha, an exploration of the question of war guilt from the perspective of the late 1990s.)

The short story depicts none of the overt sexual tension which ultimately developed between Lore and Thomas on screen (note when they are in the abandoned bomb-making facility), and indeed, Seiffert's Thomas was an emaciated and sparsely-toothed older man, far removed from Malina' s character.

The eeler, the boat and the crossing of the river. This was a critical moment in the movie. A point from which there is no turning back. Lore's cry of "what have we done?", those so few words, is as much a comment on her and Thomas's personal guilt as it is on Germany's collective responsibility. But the scene, an example of the violence this movie so vividly portrays – and for which it is often criticised – was again not contained in the book.

And finally, the depiction of Oma's idyll on the Baltic Coast, Lore's ultimate destination, untouched by war and a refuge; a refuge too for her unreconstructed grandmother. Your parents did nothing wrong. No such idyll in Seiffert's version though, but rather a far more realistic and utterly devastated urban Hamburg. Watch Gerhard Lamprecht's sublime Somewhere in Berlin to get an idea.

These few points of comparison though are not meant to be any criticism of such a magnificent movie, but rather they are examples of how, so often, screen adaptations can go down unforeseen pathways.

A motion picture and a short story of significant merit.
2012-12-29
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