Programma excel na total v basketbole full. Download Camille Claudel Subtitles - Subtitles Plus. The life of Camille Claudel, a french scupltor who becomes the apprentice of Auguste Rodin and later his lover.

This is an excellent film and I highly recommend it. The imagery and soundtrack is lush, and the story focuses intensely on Camille's perfectionism and fortitude, all the while depicting her descent into madness, although some claim she wasn't mad, merely a woman ahead of her time, and thus ostracized. Klassnij chas zhiznj bez konfliktov prezentaciya. From what I have read of various biographies of Camille Claudel, I understand that she was a woman ahead of her time; she scorned the bourgeois, just as many artists, writer, and musicians did -- in the same way that modern artists scorn the common, small-minded, and narrow society (read Hermann Hesse's Steppenwolf for a good understanding of the artist's situation in society).

Following the pattern of Vincent van Gogh and Franz Schubert, Camille Claudel was not a great 'promoter' of her works, and, to make things worse, the bourgeois society, just like today, failed to understand her art (again, like the plight of Vincent van Gogh and many others). At her core, Camille Claudel was a true rebel, not because she wanted to be, but because she had to. Camille Claudel was a true artist, in the very deepest sense.

'Madhouses are houses made on purpose to cause sufferingI cannot stand any longer the screams of these creatures.' —Camille Claudel in a letter to her brother Paul Cinema can be one of the most empathetic of arts. When done well, its immediacy, its sense of experiencing another life (fictional or not) can bring about an expansion of understanding, an overwhelming telescoping of consciousness. 'Camille Claudel 1915', the latest by French director, is that kind of cinema. It tells the story of three days in the life of Camille Claudel, gifted sculptor and one-time protege and lover of Auguste Rodin. Claudel was committed to an asylum in 1913 by her brother, poet/diplomat Paul Claudel, following the death of their father (a man who had always been in her corner). Dumont uses only Claudel's medical records and the letters that Claudel and her brother wrote to one another, as the material for his script.

The result is a story pared down to a bone-white gleam, a grim portrait of monotony and silence broken by unrelieved despair, and an almost suffocating sense of claustrophobia and entrapment. It's a harrowing film, made even more so by the raw performance of as Camille Claudel. By the end, you are left with a feeling of helplessness, rage, and a kind of abstracted bafflement. How did this happen? You want to intervene (the key sign of a classic tragedy). All credit to Dumont and Binoche here, who approach their difficult subject without blinking.