Download Film The Mirror Never Lies Full Movie
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The Mirror Never Lies (also known by the Indonesian name Laut Bercermin, meaning The Ocean Reflects) is a 2011 Indonesian film directed by Kamila Andini and co-produced by Andini's father, Garin Nugroho, and former Puteri Indonesia Nadine Chandrawinata. Starring Gita Novalista, Atiqah Hasiholan, and Reza Rahadian, it follows a young Bajau girl named Pakis who has lost her father at sea and uses mirrors to unsuccessfully search for him. It has several interpretations, including as a coming-of-age story and as an environmentalist piece.
Pakis (Gita Novalista) is a young girl from a fishing community of the Bajau people in Wakatobi, Sulawesi, part of the Coral Triangle. She lives with her mother, Tayung (Atiqah Hasiholan). As Pakis' father has been lost at sea, Tayung works hard to support her daughter. Pakis, however, is determined to search for her father, a quest which brings the two into conflict. Pakis regularly visits a local shaman, who conducts a ritual allowing Pakis to search for her father in a mirror's surface. The ritual never shows Pakis his location but she remains determined to keep trying. Meanwhile, Tudo (Reza Rahadian) has broken up with his fiancée. Struggling to cope with the loss, he takes a new job in Wakatobi studying dolphins. There he becomes involved with the Bajau community, staying at Tayung's home. Eventually Pakis is able to realise that her father is dead and continues with her life.
Triwik Kurniasari, writing for The Jakarta Post, considered the film a criticism of "destructive fishing practices and climate change" in Wakatobi; she believed that this is shown through the director's "respect for the environment" in the film.[2] Writing for Kompas, Teguh Prayoga Sudarmanto noted that such a theme is representative of realities faced by Bajau fishermen, who must travel ever further as the fish supplies diminish. He further suggested that the film depicts the sea as capable of both friendliness and hostility, a force with which the Bajau must deal every day.[9] The critic Lisabona Rahman, writing for the Indonesian film database filmindonesia.or.id, contrasted The Mirror Never Lies with the plot of "tourist" ("turis") films: unlike in such films, where a city-dweller changes the traditional lifestyle in a village, Tudo is able to adjust himself to village life and follow their ways.[8]
Benny Benke, writing for the Semarang-based Suara Merdeka, drew a parallel between The Mirror Never Lies and Samuel Beckett's play Waiting for Godot. He suggests that they both have the same message: that awaiting somebody who never comes is ultimately futile.[18] Benke further suggests that the film is centred around the conflict between the "utopian" Pakis and her "realistic" mother.[18] Meanwhile, Maggie Lee, reviewing in The Hollywood Reporter, considered the film more of a coming-of-age story, with Pakis "discovering her womanhood just when the most significant man in her life is gone".[14] Lee also noted Pakis' burgeoning sensuality and "nascent physical stirrings" for her friend Tudo.[14] Ultimately, Lee suggested that Andini was expressing her desire to "break away from her father' [sic] artistic influence and swim alone" through the film.[14]
Twelve-year-old Pakis' father, a Bajo fisherman, is missing at sea. While most presume he is dead, Pakis (Gita Novalista) is hopeful that he will return home. She carries a mirror wherever she goes, hoping that it will reveal a reflection of her father very much alive. Her behaviour upsets her mother Tayung (Atiqah Hasiholan), who is grieving the loss of her husband and is struggling to support herself and her daughter. Pakis cannot forget her father's stories of the sea. Unable to sleep, she lies awake at night, waiting for her father to return.
"Le miroir ne ment jamais" (English: "The mirror never lies") is a song from the 1997 television series Donkey Kong. It is the first song of the episode titled "Amnésie" (English: "Amnesia").
Are you familiar with the saying 'a picture tells a thousand words'? Well, it's true! A photo captures a moment in time and when you look at it, it brings back the memories, feelings and emotions of that moment. It's also an accurate record of that moment which is why some people say 'the camera never lies'.
Explanation of some of the useful phrases from this blog:
A picture tells a thousand words - one photo can tell a story.
Taking a snap - taking a quick and casual photograph with your camera.
Point and press camera - a simple, sometimes cheap, unsophisticated camera.
The camera never lies - the camera takes an accurate image of what you see.
@M Lenson I went from Olympus to Fujifilm, after coming up with film in the '80s. I have several X-H1s and it took me about a day to learn to apply its primary settings. Exposure triangle to hand, right on top of the camera. Yes, the exposure comp button is fiddly, but I never use that (because I've got an ISO dial to my left) and can also short step the shutter or change aperture slightly.
@elkarrde You and I appear to be birds of a feather. I have never been a fan of AF but seeing as how I was a busy editorial/PJ shooter, I finally did the deed and added two N90s (x) to my kit. Big mistake. . . Both cameras would scratch the film, probably due to the miserable automatic film loading mechanism, which I did not need in the first place.
The Western, yet again, lies dormant. The revival that began in the late eighties with the greatest of adventures on the Great Plains, Lonesome Dove, and peaked some years later with Clint Eastwood's Unforgiven (followed closely by George Cosmatos's Tombstone), announced that the gente had reclaimed its luminous moral core, even if it would henceforth cast its light in chiaroscuros of regret and remorse. Released in late 1990, Kevin Costner's Dances with Wolves revitalized the Indian Western, though in doing so it also revived the rancid myth of the Vanishing American. Whatever else may be said about it, Costner's film validated other important Indian Westerns-Geronimo: An American Legend, The Last of the Mohicans, and Ted Turner's Geronimo.
Framed by a solid introduction and, at the back end of it, an excellent filmography and a first-rate bibliography, Hollywood's West: The American Frontier in Film, Television, and History offers both canonical and revisionist insights into the Western. The editors plunge into their introduction with all the vigor of a Sooner land rush, attending to Western history, art, and scholarship at breakneck speed. What they choose to see along the way, however, does not always accord with one's view of "The West, Westerns, and American Character," as they title their introduction. In the review of scholarship, for example, they give Henry Nash Smith (Virgin Land) his widely acknowledged due as trailblazer, but the pursuers of trails as adventurous as Smith's own do not fare so well here. It is disappointing to find Patricia Limerick credited with an idea-la frontera- first put forth by the late Gloria Anzaldua (does contributor Kimberly Sultze know this?). The editors cannot do better for John Cawelti's genius for concision and classification than to reduce it to "enthusiasm and ingenuousness." Moreover, they briefly discuss-and all too soon dismiss-Richard Slotkin's magisterial work as "wrongheaded," though Slotkin is likely the most cited author in the collection. In truth, these editors want their Westerns good and simple-if not downright nostalgic. And this is, perhaps, why an important movie like Little Big Man gets short shrift, or why Soldier Blue and Ulzana's Raid receive no mention at all-as if the Vietnam War had never touched the Western.
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