(30-01-2024, 18:53)Snappik napisał(a):

(30-01-2024, 18:44)Bucho napisał(a): A grozila taka?! Pytam, bo przeciez Naziole to czolowka ulubionych lobuzow kina...

W filmach pewnie prędzej czy później będzie. Za to cenzura w grach już jest, nawet Hitlerowi wąsy usuwają bo wiadomo że wąs = zło :) 
https://edition.cnn.com/2018/08/10/europe/germany-video-games-nazi-symbols-intl/index.html

(30-01-2024, 18:03)Krismeister napisał(a): Mi się podoba, no i widać, że Henry miał nie lada ubaw na planie. Chyba po raz pierwszy zagra szaloną rolę.

marsgrey21 napisał(a):A Black Christmas i Halloween to co?

Cytat:Writer-director Chris Nash seems to take inspiration from Michael Myers’ slow but deliberate stalking in the Halloween movies. Long stretches of In a Violent Nature are still, quiet, gorgeous shots of nature — sometimes with a killer lumbering through them, sometimes not.

This beautiful photography is a huge bonus to the movie, considering that most of the run time is devoted to Johnny walking from one place to another, lumbering in determined pursuit of his victims. Following a slasher-movie villain — part Jason Voorhees, part Michael Myers — mostly means watching him walking around, which seems perfectly intuitive when you see it on screen. In a Violent Nature makes these traveling scenes feel vibrant, purposeful, and intense, rather than like the drag they could have easily been.

(...)

It’s hard to describe this movie better than its press release does: It’s been labeled as an “ambient slasher.” It’s a slow, methodical movie, with sparse dialogue and not much character development. But that still doesn’t really describe what In a Violent Nature is going for. It feels more like a nature documentary approach to horror, with a slasher villain as a true animal kingdom predator, stalking through a beautiful forest and watching his prey from the foliage.

(01-02-2024, 01:12)slepy51 napisał(a): Jajco. Tutaj cała historia ma być pokazana TYLKO z perspektywy mordercy,.

Cytat:In a Violent Nature is a low-budget slasher, and uses its limited resources to maximum effect. Most of the film is composed of jump cuts between medium shots trailing Johnny walking through the woods, and if you’ve played the killer in an asymmetrical multiplayer horror game like Death by Daylight or Friday the 13th, you know the shot. But it’s refreshing to see Nash and cinematographer Pierce Derks add to this template by using the camera to drip-feed the audience different angles of Johnny’s disfigured appearance. The reveals of Johnny are slow and deliberately paced, but that’s a good thing because there’s not much else in In a Violent Nature that can hold the audience’s attention between kills.

Once Johnny acquires a mask – it’s inspired by 19th-century firefighting gear, but looks like a a cross between an old-timey deep sea diver’s helmet and a gas mask from World War I – Nash and Derks pivot to a more free-roaming camera that’s employed to capture kills from a variety of creative vantage points. A budget as small as In a Violent Nature’s doesn’t allow for a ton of camera setups, and Nash and Derks turn this potential constraint into a strength. The resulting shots are long, and their “can’t look away” nature is put to truly haunting effect.

Cytat:When not filmed in the third person, In A Violent Nature often uses static wide shots — of a lake, a solo cliffside yoga session, the back porch of a dimly lit cabin — to build dread that often explodes into violence. By making the audience see the events through Johnny's eyes, we feel unmoored from any grounding force that slashers so often give us. There are no characters to grow attached to, no environment to become familiar with. Jonny is constantly on the hunt, looking for the locket and murdering anyone in his way.

Sitting with an evil like this makes for an uncomfortable experience, especially as Nash's camera pans over gorgeous landscapes. At one point, Johnny walks into a blazing red sunset, and it's a gorgeous shot, but the blood-red sky merely serves as a reminder of the hellfire he's about to rain down on more unsuspecting victims. The third-person and wide-angle shots create a feeling of detachment from the violence, serving as an indictment of the genre and as a way to process the horrors we are witnessing.