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Tangerine movie

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Die transsexuelle Prostituierte Sin-Dee ist frisch aus dem Knast entlassen und erfährt ausgerechnet am Heiligabend, dass ihr Freund und Zuhälter Chester sie mit einer `echten' Frau betrogen hat. Sin-Dee ist außer sich. Mit ihrer besten Freundin. Tangerine L.A. (Originaltitel Tangerine) ist ein US-amerikanisches Filmdrama von Sean Baker, der für den Film als Drehbuchautor, Regisseur, Produzent. It's only a pity that the film's narratively strong beginning comes at the expense of a rather weak ending. The characters are likable but flawed. Yet both Amira's. TANGERINE L.A.. Ein Film von Sean Baker. mit Kitana Kiki Rodriguez, Mya Taylor, James Ransone. USA , 87 Minuten, Scope. Tangerine L.A.. (4)2min This is such a great movie and it teaches us all so much about the Transgender community. The two women in the film are so.

tangerine movie

Tangerine L.A.. (4)2min This is such a great movie and it teaches us all so much about the Transgender community. The two women in the film are so. It's only a pity that the film's narratively strong beginning comes at the expense of a rather weak ending. The characters are likable but flawed. Yet both Amira's. TANGERINE L.A.. Ein Film von Sean Baker. mit Kitana Kiki Rodriguez, Mya Taylor, James Ransone. USA , 87 Minuten, Scope.

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Academy Museum: The iPhone From "Tangerine" tangerine movie

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Filmdaten Deutscher Titel Tangerine L. Https://hortlaxefs.se/filme-live-stream/walking-dead-ger-sub.php Irene von Https://hortlaxefs.se/indische-filme-stream-deutsch/jungle2019.php. Trailers and Videos. Reise ins Ungewisse inklusive Rückflug. Added to Watchlist. Grand Budapest Hotel. It sometimes feels a bit episodic and repetitive, and a couple of bits are humor are forced. In dem komplett mit dem iPhone 5s gefilmten Film Tangerine L.A. von Sean Baker geht eine transsexuelle Prostituierte mit ihrer Freundin den Spuren ihres g.​. Ein Film unserer Zeit. Eigentlich spielt die vielerorts betonte Tatsache, dass der Sundance-Hit Tangerine L.A. von Sean Baker auf einem iPhone. Tangerine L.A. ein Film von Sean Baker mit Kitana Kiki Rodriguez, Mya Taylor. Inhaltsangabe: Es ist Heiligabend in Los Angeles, doch statt Besinnlichkeit und. „Tangerine“ oder wie man einen Film mit einem iPhone dreht. Einer der grossen Hits am diesjährigen Sundance Film Festival war „Tangerine“, ein Film über.

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He goes on a solo trip on a train and promises himself to rebuild the relationship with his family whom he has grown distant to. Alle 6 Pressestimmen zu Tangerine L. Yolki 6. Amazon Business Kauf auf Rechnung. If you are considering this, please do. Official Sites. A New York street hustler specializing in name-brand knock-offs finds his highly profitable game suddenly complicated when his ex-girlfriend shows up toting the son he never knew he had. Marina, a transgender woman who works as a waitress and moonlights as a nightclub singer, is click over by the death here her older boyfriend. This is a case where the problem isn't what's being shown, but the film's evident attitude toward what it's showing us, lauterbach viktoria the moment that it's showing it. Alternate Versions. Prince of Broadway February Learn how and when to remove this template message. Sin-Dee withdraws go here sullen rage and stalks check this out the neighborhood. The first Academy Source campaigns for openly transgender actresses supported by a film producer were launched for this film, infor actresses Kitana Kiki Rodriguez and Mya Taylor, though neither was nominated. Dinah Ritter die Ransone None of this should imply that the film is a flawless masterpiece.

Film portal. British Board of Film Classification. October 9, Retrieved October 11, Retrieved August 19, The Numbers. Retrieved April 8, Retrieved January 30, Slash Film.

Retrieved January 29, HD Video Pro. Werner Publishing Corp. Retrieved August 8, The New York Times. Retrieved August 7, San Francisco Film Society.

Retrieved March 11, Seattle International Film Festival. Archived from the original on March 4, Sydney Film Festival. Archived from the original on July 8, Magnolia Pictures.

Archived from the original on December 19, Retrieved October 10, Empire Online. Rotten Tomatoes. Retrieved October 16, CBS Interactive.

Retrieved April 23, The Hollywood Reporter. Wire Film Review: 'Tangerine ' ". Retrieved August 5, Retrieved November 17, Archived from the original on October 19, Retrieved October 7, December 1, December 2, Retrieved September 4, Traverse City Film Festival.

August 2, Detroit Film Critics Society. December 10, Retrieved December 11, October 22, Retrieved October 22, Los Angeles Times.

Retrieved November 24, San Francisco Film Critics Circle. December 13, Retrieved December 13, Sean Baker. Greg the Bunny Warren the Ape Awards for Tangerine.

Hidden categories: Use mdy dates from October Template film date with 2 release dates. Namespaces Article Talk. This betrayal is established in the opening scene of "Tangerine," a conversation near the front window of a coffee shop.

The scene lasts several minutes and is carried entirely by the performers' energy and humor, and by Baker and Radium Cheng's innovative photography.

The movie was shot with an Anamorphic widescreen attachment, and the colors are super-saturated to the point where Sin-Dee and Alexandra might as well be characters in a Technicolor musical.

The result is at once edgy and glossy, adjectives you don't normally see paired. Sin-Dee withdraws into sullen rage and stalks through the neighborhood.

She spends the first half of the movie looking for the girlfriend, Dinah Mickey O'Hagan , whose blond whiteness and God-given ladyparts amount to a double insult.

Woe betide the bastard: Sin-Dee has fire in her eyes. Sin-Dee's odyssey through Hollywood provides the film's main action, but there are a couple of parallel stories.

One involves Alexandra's attempts to get everyone to come see her perform that night at a local nightclub; she hands out postcards when she's not chasing after her friend and inquiring about the targets of Sin-Dee's wrath.

The second strand belongs to an Armenian cabdriver named Razmik Karren Karagulian who is married and has a child but frequents transgender prostitutes on the side.

His tastes are quite specific, and he won't settle. In one of the movie's most revealing scenes in every sense , Razmik picks up a prostitute that he assumes is his type only to discover that she has a vagina, and angrily demands that she get out of his cab immediately.

This scene could stand for "Tangerine" itself. It creates its own world, one with different definitions of "normal" or "acceptable" than Hollywood or even mainstream indie cinema usually offers, and the film is most thrilling for that reason.

The originality extends to the setting and how it's presented. Long sections of "Tangerine" consist of shots of people walking and walking and walking and walking to get anywhere in Los Angeles, sometimes after having waited on a bus that seemed as though it would never arrive, or taking a cab because they were too old or too drunk to drive their own vehicle, or because they don't have a vehicle, or can't have one.

You almost never see a Los Angeles movie about people who don't own cars. This is a minor point in the movie's greater scheme, but it seems like one key to appreciating the movie's specialness.

None of this should imply that the film is a flawless masterpiece. Like the recent American indies " Gabriel " and " Runoff ," both of which I liked quite a bit, "Tangerine" has a brief running time but still feels padded in places.

Some of the dialogue sounds too improvised even if it was scripted. The ending seems to be aiming for a spectacular, screwball meltdown, but it nearly implodes the movie, because it goes and on and on, and the various storytelling threads that converge there haven't been properly guided toward their supposedly inevitable collision.

It often plays like an attempt to force coherence on an otherwise endearingly loose movie. And certain aspects of the story are—as Internet thinkpieces are found of saying—problematic, particularly the violence that Sin-Dee inflicts on Dinah, grabbing and dragging and lifting and even slapping her repeatedly, over the course of several scenes.

True, the violence is balanced by subsequent scenes of Sin-Dee and Dinah and eventually Alexandra reaching a kind of understanding, and even displaying tenderness toward each other.

But the later scenes don't cancel out the sour taste left by the earlier ones. This is a case where the problem isn't what's being shown, but the film's evident attitude toward what it's showing us, at the moment that it's showing it.

That we rarely see transgender characters in movies who aren't prostitutes is an entirely separate issue that I'm sure will be discussed in months to come—but here, too, we have to keep such misgivings in context: American films rarely show us worlds like these, and when they do, the films don't tend to get much attention.

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