Sergiu Nicolaescu Филм ÑÐ​ ¿Ð¸ÑÑ​ ŠÐº (ФилмографиÑ)​

Total Page:16

File Type:pdf, Size:1020Kb

Sergiu Nicolaescu Филм ÑÐ​ ¿Ð¸ÑÑ​ ŠÐº (ФилмографиÑ)​ Sergiu Nicolaescu Филм ÑÐ​ ¿Ð¸ÑÑ​ ŠÐº (ФилмографиÑ)​ Then I Sentenced Them All to https://bg.listvote.com/lists/film/movies/then-i-sentenced-them-all-to-death-7781322/actors Death Cu mâinile curate https://bg.listvote.com/lists/film/movies/cu-m%C3%A2inile-curate-4516588/actors A Police Superintendent Accuses https://bg.listvote.com/lists/film/movies/a-police-superintendent-accuses-4229600/actors Accident https://bg.listvote.com/lists/film/movies/accident-4672550/actors https://bg.listvote.com/lists/film/movies/cry-of-redemption-%E2%80%93-punkt-null- Cry of Redemption – Punkt Null 18547125/actors The Ring https://bg.listvote.com/lists/film/movies/the-ring-4846244/actors Felix È™i Otilia https://bg.listvote.com/lists/film/movies/felix-%C8%99i-otilia-12728191/actors The Survior https://bg.listvote.com/lists/film/movies/the-survior-4338458/actors Orient Express https://bg.listvote.com/lists/film/movies/orient-express-7102292/actors Capcana mercenarilor https://bg.listvote.com/lists/film/movies/capcana-mercenarilor-4213041/actors The Crown of Fire https://bg.listvote.com/lists/film/movies/the-crown-of-fire-12725769/actors Revenge https://bg.listvote.com/lists/film/movies/revenge-4391637/actors https://bg.listvote.com/lists/film/movies/12742798/actors The Doom https://bg.listvote.com/lists/film/movies/the-doom-621357/actors The Last Assault https://bg.listvote.com/lists/film/movies/the-last-assault-12736858/actors The Seawolf https://bg.listvote.com/lists/film/movies/the-seawolf-1196859/actors Nemuritorii https://bg.listvote.com/lists/film/movies/nemuritorii-4085822/actors Michael the Brave https://bg.listvote.com/lists/film/movies/michael-the-brave-2348435/actors Mircea https://bg.listvote.com/lists/film/movies/mircea-9122771/actors Carol I https://bg.listvote.com/lists/film/movies/carol-i-5044388/actors Dacii https://bg.listvote.com/lists/film/movies/dacii-1963051/actors Mihail, câine de circ https://bg.listvote.com/lists/film/movies/mihail%2C-c%C3%A2ine-de-circ-6845127/actors For Motherland https://bg.listvote.com/lists/film/movies/for-motherland-12737769/actors Ultimul cartuÅŸ https://bg.listvote.com/lists/film/movies/ultimul-cartu%C5%9F-4373819/actors https://bg.listvote.com/lists/film/movies/3120500/actors.
Recommended publications
  • STUDIA UNIVERSITATIS MOLDAVIAE, 2017, Nr.4(104) Seria “{Tiin\E Umanistice” ISSN 1811-2668 ISSN Online 2345-1009 P.135-144
    STUDIA UNIVERSITATIS MOLDAVIAE, 2017, nr.4(104) Seria “{tiin\e umanistice” ISSN 1811-2668 ISSN online 2345-1009 p.135-144 CZU: 94:070 (498) DERAPÂND PRIN ISTORIE. DISCURS IDENTITAR, CINEMA ŞI IDEOLOGIE ÎN ROMÂNIA COMUNISTĂ Gabriel MOISA Universitatea din Oradea (România) Dezvoltarea cinematografiei şi a televiziunii într-un moment în care întraga viaţa socială era extrem de controlată transformă inclusiv filmul istoric într-o sursă documentară, chiar dacă deseori discutabilă în ceea ce privește prezentarea adevărului. Propaganda totalitară a generat o distorsionare extremă a acestui tip de sursă istorică. În peisajul cinemato- grafic românesc, cu foarte puține excepții, producțiile de film și de televiziune au distorsionat în diferite grade realitățile prezentate. În România, ca şi în alte state totalitare, atât producţiile de ficţiune, cât şi cele documentare pot fi folosite ca sursă istorică pentru reconstituirea trecutului, dar numai în anumite condiții. De fapt, urmârind filmul istoric produs în România în anii regimului communist, putem constata cele mai fine accente ale cenzurii existente în România vremii. Studiul urmăreşte câteva accente ideologice surprinse în evoluţia filmului istoric românesc în timpul regimului co- munist, o perioadă extrem de interesantă şi adesea favorabilă pentru această categorie de filme. Ceea ce se poate constata este existenţa unui teribil control politic şi ideologic în contextul în care rezultatul trebuia să reflecte punctul de vedere oficial asupra trecutului. Noile realități românești favorizate de evenimentele din 23 august 1944 au avut consecințe negative asupra cinematografiei românești. Împreună cu alte zone din viața românească, cinematografia a suferit mai multe transformări pentru a se con- forma noii fizionomii a României.
    [Show full text]
  • Political Antisemitism in Romania? Hard Data and Its Soft Underbelly Shafir, Michael
    www.ssoar.info Political antisemitism in Romania? Hard data and its soft underbelly Shafir, Michael Veröffentlichungsversion / Published Version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Shafir, M. (2012). Political antisemitism in Romania? Hard data and its soft underbelly. Studia Politica: Romanian Political Science Review, 12(4), 557-603. https://nbn-resolving.org/urn:nbn:de:0168-ssoar-445667 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY-NC-ND Lizenz This document is made available under a CC BY-NC-ND Licence (Namensnennung-Nicht-kommerziell-Keine Bearbeitung) zur (Attribution-Non Comercial-NoDerivatives). For more Information Verfügung gestellt. Nähere Auskünfte zu den CC-Lizenzen finden see: Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0 https://creativecommons.org/licenses/by-nc-nd/4.0/deed.de Political Antisemitism in Romania? 557 Political Antisemitism in Romania? Hard Data and its Soft Underbelly MICHAEL SHAFIR As in many other former communist countries of East Central Europe1, antisemitism in Romania resurged almost concomitantly with the demise of the former regime2. Empirical research on antisemitism, however, emerged only considerably later and did not take off as a main focus until the establishment of the National Institute for the Study of the Holocaust in Romania ”Elie Wiesel” (INSHREW) in 2005. This does not imply that the subject of Jews, attitudes to Jews measured by instruments such as stereotypic perceptions and/or ”social distance”, or attitudes toward controversial Romanian historical figures linked to the country’s antisemitic past was not tangentially or even directly tackled on occasion. What lacked until 2005, however, was an effort to systematically (among other instruments, employing a standard questionnaire capable of rendering comparative results) place under focus the phenomenon in its synchronic and diachronic unfolding.
    [Show full text]
  • Nuevas Perspectivas En La Recepción Cinematográfica De La Historia Antigua: El Ejemplo De Dacii / Les Guerriers (Sergiu Nicolaescu, Rumania / Francia 1966)
    NUEVAS PERSPECTIVAS EN LA RECEPCIÓN CINEMATOGRÁFICA DE LA HISTORIA ANTIGUA: EL EJEMPLO DE DACII / LES GUERRIERS (SERGIU NICOLAESCU, RUMANIA / FRANCIA 1966) New perspectives in film reception of Ancient History: the example of «Dacii / Les guerriers» (Sergiu Nicolaescu, Romania / France 1966) Óscar LAPEÑA MARCHENA Universidad de Cádiz Fecha de recepción: 27-X-2010; aceptación definitiva: 2-XI-2010 RESUMEN: El presente trabajo analiza una película que se ocupa de un episodio de la historia del Imperio Romano prácticamente ignorado por el cine: las campañas militares emprendidas por el emperador Domiciano en la provincia de la Dacia. Palabras clave: Recepción, Cine, Historia Antigua. ABSTRACT: This paper analyzes a film that deals with an episode in the history of the Roman Empire practicaly ignored by the cinema: the military campaigns undertaken by the emperor Domitian in the province of Dacia. Keywords: Reception, Cinema, Ancient History. © Ediciones Universidad de Salamanca Stud. hist., H.ª antig., 28, 2010, pp. 155-178 156 ÓSCAR LAPEÑA MARCHENA NUEVAS PERSPECTIVAS EN LA RECEPCIÓN CINEMATOGRÁFICA DE LA HISTORIA ANTIGUA: EL EJEMPLO DE DACII / LES GUERRIERS I. INTRODUCCIÓN El presente trabajo pretende realizar un análisis histórico de la pelí- cula Dacii / Les Guerriers (Sergiu Nicolaescu, Rumanía / Francia 1967), que traslada a las imágenes cinematográficas las campañas militares lleva- das a cabo a finales del siglo I d. C. en la región de Dacia, que se corres- ponde aproximadamente con los territorios de la actual Rumanía, y que fueron comandadas por Domiciano, el último representante imperial de la dinastía Flavia (69-96 d. C.) Además, estas páginas se circunscriben en una serie de estudios que tienen como objeto la recepción de la Historia Antigua en la cultura de masas, en particular en el cine y en el género concreto denominado péplum.
    [Show full text]
  • Centrul National Al Cinematografiei Tab. 3 Nr. Crt. Specificatie Specta
    CENTRUL NATIONAL AL CINEMATOGRAFIEI TAB. 3 PRAGURILE DE REFERINTA, TARIF MEDIU ,TARIF MEDIU PONDERAT SI NUMAR DE SPECTACOLE - PREMIERE SI TITLURI - 2000 TARIF PONDERE MEDIU / SPECTACOLE/FILM TARIF PRAG NR. SPECTA - SPECTA- FILM IN TOTAL PONDERAT REFERINTA CRT. SPECIFICATIE COLE TORI INCASARI -RON- SPECTACOLE -RON- -SPECTATORI- TOTAL AN 2000 5,183 161,092 118,098.94 0.733 X X X TOTAL PREMIERE DIN CARE: *NU AU FOST FILME IN PREMIERA 0 0 0.00 X X X X TOTAL REST FILME DIN CARE: 5,183 161,092 118,098.94 0.733 X 0.716 1,046 1 E PERICOLOSO SPORGERSI 1 6 5.49 0.915 0.000 0.000 X 2 PREA TARZIU 1 2 2.35 1.175 0.000 0.000 X 3 CRAII DE CURTEA VECHE 6 269 171.57 0.638 0.001 0.001 X 4 EU SUNT ADAM 5 119 80.79 0.679 0.001 0.001 X 5 HOTEL DE LUX 20 488 206.97 0.424 0.004 0.002 X 6 PEPE SI FIFI 4 53 49.80 0.940 0.001 0.001 X 7 TERENTE, REGELE BALTILOR 20 164 149.80 0.913 0.004 0.004 X 8 LICEENII IN ALERTA 59 899 513.73 0.571 0.011 0.007 X 9 OGLINDA - INCEPUTUL ADEVARULUI 1 28 21.96 0.784 0.000 0.000 X 10 PATUL CONJUGAL 24 147 104.12 0.708 0.005 0.003 X 11 SENATORUL MELCILOR 1 28 27.06 0.966 0.000 0.000 X 12 CRUCEA DE PIATRA - ULTIMUL BORDEL 69 526 529.41 1.006 0.013 0.013 X 13 DESTINUL MARESALULUI 28 703 348.24 0.495 0.005 0.003 X 14 TERMINUS PARADIS 23 378 245.69 0.650 0.004 0.003 X Page 1 of 6 TARIF PONDERE MEDIU / SPECTACOLE/FILM TARIF PRAG NR.
    [Show full text]
  • CAZUL SERGIU NICOLAESCU Ana Iulia Soviany Şcoala Doctorală În
    PUBLIC VS. PRIVAT ÎN MORłILE CELEBRITĂłILOR – CAZUL SERGIU NICOLAESCU Ana Iulia Soviany Şcoala Doctorală în ŞtiinŃele Comunicării, Universitatea din Bucureşti Abstract. After living their lives in the public eye, do famous people regain their “privacy” after death or, on the contrary, could death mean their final transformation into a sort of public “commodity”? In order to get a better understanding of this public-private dichotomy (in relation to death), this paper will investigate the way the Romanian media covered the death of the famous movie director Sergiu Nicolaescu. To this end, I studied (using content analysis) over 80 articles, which were published in three Romanian newspapers („Libertatea”, „Jurnalul NaŃional” and „Evenimentul Zilei”), between the 4th and the 11th of January 2013. The paper focuses on the role that the deceased’s family had in managing his posthumous “relationship” with the public. I will also argue that Nicolaescu’s widow came to represent a “scapegoat”. A widow dressed in an unlikely white, a public vocally questioning the way the Nicoleascu family had handled the director’s death, and a vivid debate over the rightness of cremation set the scene for one of the most intriguing news events of 2013 in Romania. Keywords: death, media, media event, celebrity. I. REPERE TEORETICE: MOARTEA ŞI CELEBRITATEA ÎN SECOLUL XXI I.1. De la moartea-tabu la moartea ca pornografie Temele mortuare sunt omniprezente în societatea umană, ascunzându-se „în fanteziile şi visele noastre, în limbaj şi în metafore, în glume şi ştiri, sport şi muzică.” (Kearl, 1989, p. 6). Aproape paradoxal, societatea modernă este una care încearcă să nege mortea , o societate marcată de death denial.
    [Show full text]
  • History in the Backstage of Romanian Television Archives
    Journal of European History and Culture | Vol. 1, 1, 2012 History In The Backstage Of Romanian Television Archives Dana Mustata University of Groningen | Oude Kijk in ‘t Jatstraat 26 9712 EK Groningen | The Netherlands | [email protected] Abstract: The historical value of audiovisual archives lies as much in the documented collection they have to offer as in the losses that history has imprinted on them. Controversial material that has been confiscated by the secret police in communist Romania or records of programmes that have been destroyed due to economizing practices of ‘taking the silver out of the pellicle’ are important facts in the history of Romanian television. Equally important for history is the ‘leftover’ material filmed during the Romanian revolution, which now lives in the shadow of the screened footage. Pursuing the life story of an archival institution and understanding its relations with his- tory forms an important preliminary step for the historian in assessing the documented history within the archive. Keywords: Romania, television archives, Arhiva Multimedia, Romanian Revolution, Ceausescu, Securitate, communism. Readers around Europe may rightly associate Romanian television with its live screening of the revolution in De- cember 1989. However, the story told by the Romanian television archives goes far beyond the screened event. This is an article about Romanian television history built on the loss, contradictions, conflicts and challenges that have been brought to the surface through the story of its archives. It is
    [Show full text]
  • Rex Dacie / Regina Dacie. Contribuţii La Studiul Ideologiei Monarhice Daneze La Finele Evului Mediu Raport Preliminar De Cercet
    Dan Ioan Mureşan Rex Dacie / regina Dacie. Contribuţii la studiul ideologiei monarhice daneze la finele Evului Mediu Raport preliminar de cercetare Forma finală a textului, depusă editorilor în decembrie 2019, apare în preprint-ul din 7 ianuarie 2020, care nu a mai fost publicat Rex Dacie / regina Dacie. Contribuţii la studiul ideologiei monarhice daneze la finele Evului Mediu, în : Macarie Motogna, Mihai Hasan, Victor Vizauer (éds.), Cel care a trecut făcând bine – Nicolae Edroiu, Editura Şcoala Ardeleană, Cluj-Napoca, 2019, p. 65-163. Parte a proiectului “Migrating Dacia” © Toate drepturile rezervate – Dan Ioan Mureşan 2019 Orice reproducere, în întregime sau parţială, sub orice formă, este interzisă fără autorizaţia prealabilă a autorului. CEL CARE A TRECUT FĂCÂND BINE NICOLAE EDROIU Volum îngrijit de Arhim. dr. Macarie MOTOGNA Dr. Mihai Florin HASAN Dr. Victor VIZAUER Colecția Școala Ardeleană de Istorie Editura Şcoala Ardeleană, 2019 Cluj-Napoca, str. Mecanicilor nr. 48 Redacţia: tel. 0364-117.252; 0728.084.801 e-mail: [email protected], [email protected] Difuzare: tel./fax 0364-117 246; 0728.084.803 e-mail: [email protected], [email protected] www.scoalaardeleanacluj.ro Descrierea CIP a Bibliotecii Naţionale a României ISBN 978-606-797-476-8 Imagine coperta I: Nicolae Edroiu – Portret 2014, pictor Liliana Marin; Imagine coperta IV: Mitropolitul Bartolomeu Anania al Clujului, Albei, Crișanei și Maramureșului și academicianul Nicolae Edroiu în anul 2008, în Catedrala din Cluj-Napoca. Editor: Vasile George Dâncu Corectură: Mihai Florin Hasan, Victor Vizauer Tehnoredactare și copertă: Larisa Crăciunaș CEL CARE A TRECUT FĂCÂND BINE NICOLAE EDROIU Volum îngrijit de Arhim. dr. Macarie MOTOGNA Dr.
    [Show full text]
  • Cinema Studies
    12 Doru POP Cinema studies Doru POP FEMINISM, FEMININE DISCOURSE AND THE REPRESENTATION OF WOMEN IN THE NEW ROMANIAN CINEMA Abstract: The main research question of this paper 2006); movies about rape 4 luni, 3 săptămâni şi 2 zile is centered around the the possible connections between (4 Months, 3 Weeks and 2 Days, 2007), Katalin Varga the new Romanian cinema and the contemporary feminist (2009); and narratives concerned with power issues like theories. Are there any traces of a «women’s cinema» in Cea mai fericită fată din lume (The Happiest Girl in the the «Romanian new wave», is there any ideological link World, 2009), La source des femmes (The Source, 2011) between the changes of narratives and the return of the and Loverboy (2011). female protagonists in the contemporary moviemaking Key words: Women’s cinema, Representation of and the “first” and “second” waves of feminism? The female identity, Male gaze, Violence against women, paper follows three main aspects of this line of thought: Feminist theories, Rape in movies. the first one is discussing the problems stemming out of the transformations from a patriarchal society, dominated Feminist criticism by a “Father-Leader”, towards a society missing a well- and the new Romanian cinema-making established center; the second has to do with the changes of narratives and the troubled relationship between the There is a long tradition of women viewer and the subject; while the third questioning comes moviemakers in the European cinema, from the issues of «the look and the gaze», as generating many of them rewarded with public power relations.
    [Show full text]
  • Rechemat Pentru Consultări S-A Întâmplat La Kx- 4
    JURNALUL ZILEI La un an de la începerea lucră­ CPADM Mihail Kogălniceanu (jud. la cel de-al V-lea Congres al Uniu­ rilor pentru amenajarea unui nou Constanța), publicat în ziarul Do- nii Socialiste a Forțelor Populare lac bucureștean (Văcărești), pe brogea nouă, dezvăluia puține din Maroc. La nivelul secretarilor platoul dinspre Șoseaua Olteniței, „realizări în muncă" pe anul 1988. generali s-au schimbat și mesaje. proiectanții de la Șantierul Națio­ Nicolae Ceaușescu i-a trimis omo­ nal al Tineretului - Antrepriza 1 Salutări logului său, Aly Yata, liderul Par­ JURNALUL ROMÂNIEI 1 9 8 9 - ACUM DOUĂZECI DE ANI IACERD, „dădeau raportul". Vre­ tidului Progresului și Socialismu­ me frumoasă, numai bună pen­ luiAly Yata lui, „urări de sănătate, pentru a tru muzeele bucureștene de a în virtutea bunelor relații cu conduce partidul și poporul". „culturaliza masele" prin verni­ Marocul, Ion Stoian, ministrul de Numărul 82 Sâmbătă, 4 aprilie 2009 - Marți, 4 aprilie 1 989 DISTRIBUIT ÎMPREUNĂ CU JURNALUL NAȚIONAL saje și dezbateri. Un bilanț al Externe român, onorase invitația (Continuare în pag a Iha) j AMINTIRILE LUI CORNELIU MĂNESCU România fusese prima țară socialistă cu ambasadă la Bonn Când Guvernul Republicii Federale Un popor pe amândouă perioada imediat următoare înche­ a Germaniei a anunțat retragerea ierii războiului. Conferința de la ambasadorului său de la București, baricade ale Potsdam a trasat noile granițe ale fostul ministru de Externe care sem­ Germaniei și a fixat condițiile cre­ nase la 31 ianuarie 19 67 acordul de sta­ „războiului rece44 zute necesare pentru a pune pacea bilire a relațiilor diplomatice la nivel Referitor la antamarea relațiilor cu (...) Totul părea să fie bine până la de ambasadă între cele două țări, se Germania Federală, cum vă apare declanșarea neînțelegerilor|între afla deja în „domiciliu obligatoriu".
    [Show full text]
  • FULLTEXT01.Pdf
    http://www.diva-portal.org This is the published version of a paper published in Baltic Worlds. Citation for the original published paper (version of record): Zavatti, F. (2013) "Historiography has been a minefield": A conversation with Vladimir Tismaneanu. Baltic Worlds, 1(1): 10-13 Access to the published version may require subscription. N.B. When citing this work, cite the original published paper. Permanent link to this version: http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-19740 interview by Francesco Zavatti “ Historiography has been a minefield” A conversation with Vladimir Tismaneanu omanian cultural policy is a landscape that changes constantly according Romanian history, and it was intended to offer a new and revised historic view of to political decisions. The fortune or misfortune of scholarly research on Romanian communism. sensitive topics such as the history of national communism is primarily While from a scholarly point of view this commission’s resources and visibility due to the possible outcomes that politicians foresee — and the conse- represented a great opportunity, from the political point of view, the desired effect, Rquences affect the whole cultural field, including cultural projects, institutions and and the actual result, was a partial discrediting of political adversaries — most of all Ion the lives of those who work in them. There is a clear tension between the freedom Iliescu. The Commission revealed the links that leftist and extreme rightist politicians of scholarly research and the allocation of resources by political power. This ten- had with the communist nomenklatura, enhancing the image of President Ba˘sescu in sion became evident in Romania during the past decade, and was often highlighted public opinion as a man who endorses transparency and is unafraid of examining the by mainstream media, which contributed to making contemporary history, and the past, being “new” in politics — a characteristic that his adversaries could not claim.
    [Show full text]
  • Boicu, Filip Sebastian (2014) Cultural Discourses in Ceauşist Romania
    CULTURAL DISCOURSES IN CEAUŞIST ROMANIA: THE HERO-MIRROR MECHANISM FILIP SEBASTIAN BOICU, BA. MA. Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy July 2014 363 364 ABSTRACT Cultural discourses in Ceauşist Romania: The Hero-Mirror Mechanism This thesis is concerned with main cultural discourses of the second phase of Communism in Romania (1964-1989), period largely identical with that of Ceauşescu’s rule. A secondary aim of the thesis is to look at the post-1989 continuations of these publicly influential discourses with the aim of understanding how the educational system (HE, in particular) is positioned in relation to the cultural domain. With regard to the Communist period, the main assertion of the thesis is that analysis of these discourses reveals an underlying cultural mechanism equivalent with a central mode of governance employed by the Communist party. According to this assertion, the mission of this cultural mechanism, with origins in Lenin’s drastic distinction between the party and the proletariat and in the idea that the party must bestow consciousness on the proletariat, is to create and regulate positive avatars (heroes imbued with the best of humanity) for each social category so as to fulfill and safeguard the aims of the Party. For this reason, this device has been entitled the hero-mirror mechanism. The device has also been linked with religion and theology. This perspective has found that the mirror-mechanism corresponds to the notion of “imago Dei,” and its axes to the notions of “kenosis” and “imitatio Dei.” The assessment of these cultural discourses via the mirror-mechanism results in three dimensions of research, each with its own universes of investigation, and each with its own findings.
    [Show full text]
  • Producatori Straini Identificati T Iv 2019
    REP 45/03.04.2020 PRODUCATORI STRAINI IDENTIFICATI T IV 2019 Difuzari Production Country t Production Year t Channel t Title t Description t Grand Total AFRICA'S SUPER SEVEN 1 Animal Planet 2006 AFRICA'S SUPER SEVEN Total 1 Animal Planet Total 1 2006 Total 1 AFRICA DE SUD BLOOD RIVALS: LION VS BUFFALO 11 National Geographic Wild 2014 BLOOD RIVALS: LION VS BUFFALO Total 11 National Geographic Wild Total 11 2014 Total 11 AFRICA DE SUD Total 12 MAD MAX II/MAD MAX 2 MAD MAX II/MAD MAX 2 4 Film Cafe 1981 MAD MAX II/MAD MAX 2 Total 4 Film Cafe Total 4 1981 Total 4 MAD MAX: CUPOLA TUNETULUI/MAD MAX:MAD BEYOND MAX: CUPOLA THUNDERDOME TUNETULU... 2 AMC MAD MAX: CUPOLA TUNETULUI/MAD MAX: BEYOND THUNDERDOME Total 2 AMC Total 2 1985 MAD MAX: CUPOLA TUNETULUI/MAD MAX:MAD BEYOND MAX: CUPOLA THUNDERDOME TUNETULU... 4 Film Cafe MAD MAX: CUPOLA TUNETULUI/MAD MAX: BEYOND THUNDERDOME Total 4 Film Cafe Total 4 1985 Total 6 CAMELOT CAMELOT 3 Minimax 1998 CAMELOT Total 3 Minimax Total 3 1998 Total 3 TRASEUL MORTII/WOLF CREEK TRASEUL MORTII/WOLF CREEK 2 Film Cafe 2005 TRASEUL MORTII/WOLF CREEK Total 2 Film Cafe Total 2 2005 Total 2 2 <Prefilter is Empty> 1 Of 174 REP 45/03.04.2020 PRODUCATORI STRAINI IDENTIFICATI T IV 2019 GABRIEL/GABRIEL GABRIEL/GABRIEL 2 AMC 2007 GABRIEL/GABRIEL Total 2 AMC Total 2 2007 Total 2 MARY SI MAX/MARY AND MAX MARY SI MAX/MARY AND MAX 2 AUSTRALIA Paramount 2009 MARY SI MAX/MARY AND MAX Total 2 Paramount Total 2 2009 Total 2 POVESTEA LUI BLUE/RED DOG: TRUE BLUEPOVESTEA LUI BLUE/RED DOG: ..
    [Show full text]