La fille du RER (André Téchiné, 2009) DVDRip Dual SE

[marlowe62]

La Fille du RER
(La chica del tren / The Girl on the Train)
(Francia, 2009) [Color, 105 m.].
Género: Comedia dramática.
IMDb / IMDb

Ficha técnica.
Dirección: André Téchiné.
Argumento: Jean-Marie Besset (teatro, "RER").
Guión: André Téchiné, Odile Barski, Jean-Marie Besset.
Fotografía: Julien Hirsch.
Música: Philippe Sarde.
Producción: Saïd Ben Saïd.
Productora: Union Générale Cinématographique (UGC) / SBS Films / France 2 Cinéma.

Reparto: Emilie Dequenne (Jeanne), Catherine Deneuve (Louise, la mère de Jeanne), Michel Blanc (L'avocat Samuel Bleistein), Ronit Elkabetz (Judith), Mathieu Demy (Alex), Nicolas Duvauchelle (Franck), Jenny Rieu (Une passante), David Barbas (Un policier).

Sinopsis: Jeanne vive en una casa en las afueras junto a su madre Louise. Las dos mujeres se llevan bien. Louise se gana la vida cuidando de niños mientras Jeanne busca trabajo sin mucha convicción. Un día, Louise lee un anuncio en internet que le hará creer que el destino ha llamado finalmente a su puerta. Tiene la esperanza de que la firma de Samuel Bleistein, un conocido abogado que conoció cuando era joven, contrate a su hija. El mundo de Jeanne y el de Bleistein están a años luz, pero una increíble mentira fraguada por Jeanne les hará encontrarse. (Alpacine)
----------------------------------------
"Una inteligente e incisiva mirada a la clase, identidad y disfunción de la sociedad moderna francesa. (...) Puntuación: *** (sobre 5)" (David Parkinson: Empire)
----------------------------------------
"Una lección magistral de cine tan adulto como empeñado en comunicar y estimular reflexiones" (Jordi Costa: Diario El País)
----------------------------------------
"Es un ejemplo de cine bien construido, pues nunca se deja de tener la sensación de que en la siguiente esquina de la trama aguarda la sorpresa. (...) Puntuación: *** (sobre 5)" (E. Rodríguez Marchante: Diario ABC)

JEANNE (Emilie Dequenne) vit dans un pavillon de banlieue avec sa mère LOUISE (Catherine Deneuve). Les deux femmes s'entendent bien. LOUISE gagne sa vie en gardant des enfants. JEANNE, sans trop de conviction, cherche un emploi. Un jour, en lisant une annonce sur le net, LOUISE croit que le destin frappe à sa porte. Elle nourrit l'espoir de faire engager sa fille chez SAMUEL BLEISTEIN (Michel Blanc), un avocat de renom qu'elle a connu dans sa jeunesse. L'univers de JEANNE et celui de BLEISTEIN sont à des années lumières de distance... Pourtant, ils vont se rencontrer à cause d'un mensonge inouï que Jeanne va échaffauder. Le film est l'histoire de ce mensonge qui va devenir le fait divers le plus médiatisé et le plus politisé de ces dernières années. (Cinemotions)

Jeanne is a young woman, striking but otherwise without qualities. Her mother tries to get her a job in the office of a lawyer, Bleistein, her lover years ago. Jeanne fails the interview but falls into a relationship with Franck, a wrestler whose dreams and claims of being in a legitimate business partnership Jeanne is only too happy to believe. When Franck is arrested, he turns on Jeanne for her naivety; she's stung and seeks attention by making up a story of an attack on a train. Is there any way out for her? In a subplot, Bleistein's grandson, Nathan, prepares for his bar mitzvah and, through an encounter with Jeanne, experiences intimations of manhood (IMDb).

AMG Sinopsis In 2004, a grotesque and unseemly incident took the European press by storm: a young French woman came forward and claimed to have been attacked by black and Arab thugs who mistook her for a Jew. But after her story broke, no witnesses came forward to support her, and security cameras at the train station revealed no such attack; the woman later admitted that she had ripped her own clothes, drawn swastikas on her own stomach, and fabricated the entire story. With the drama Fille du RER, acclaimed French writer-director André Téchiné presents a thinly veiled fictionalization of the same events. Émilie Dequenne stars as Jeanne, an unemployed girl who lives with her mother (Catherine Deneuve) in a Parisian suburb and spends the majority of her free time rollerblading. She has little knowledge of -- or interest in -- history or politics, and remains withdrawn, insular, and sullen, keeping the majority of her thoughts and observations to herself. Circumstances change just a bit when Jeanne enters a live-in relationship with a beefy, thuggish wrestler boyfriend, Franck (Nicolas Duvauchelle), living in a dingy warehouse, but violence soon erupts between the two. Jeanne also becomes acquainted with an attorney-cum-ex-boyfriend of her mother's (Michel Blanc), whose involvement in Judaic causes and his politically committed family prompt even greater feelings of alienation and isolation in Jeanne. When Franck's involvement in criminal activities comes to light and the police intervene, Jeanne perversely reasons that she can only become tied to history by inventing a role for herself, and decides to fabricate said story about the train -- little realizing the calamitous consequences that it will engender.

AMG Review:

Spoiler: mostrar

When it occurred in the early summer of 2004, the bizarre fabrication of an anti-Semitic hate crime in France stirred up torrents of confusion and rage. The supposed victim, a young woman in her twenties known only to the public as "Marie L.," described her brutal attack by a gang of black and Arab thugs on the RER Parisian subway trains. She alleged that they mistook her for a Jew, then cut her face and body with a knife, tore her clothes, and drew swastikas on her stomach. When the truth came to light -- the fact that no such attack had occurred, that Marie had evidently assaulted herself with a knife and had drawn the Nazi symbols on her own body -- the young woman experienced extreme social vilification and a brief prison sentence.
Perhaps it shouldn't come as a surprise that this material lends itself to cinematization, but it could easily have fallen prey to sensationalism or oversimplification in inept hands. In his docudrama exploration of this account, writer-director André Téchiné reveals extreme wisdom and intuition by traveling the opposite route. He consciously relegates the said crime to the final 30 minutes of the film, and keeps the initial accusations of the girl (renamed Jeanne here, and played with acute brilliance by established Gallic actress Émilie Dequenne) and the ensuing media blitz offscreen. That shifts the focus of the narrative to an exploration of Jeanne's pre-criminal world -- "The Circumstances" (as Téchiné titles the first of the film's two chapters) that by default make this saga far more interesting than a ripped-from-the-tabloids chronicle. But the film travels one step beyond this, as well, in its refusal to openly interpret the preceding events for the audience. Instead, it lets us put everything together for ourselves.
Throughout, we're given very telling but non-definitive insights into Jeanne's psyche. We witness, for example, Jeanne's shifty, calculating eyes that wouldn't put her above a scheme (captured beautifully in a telling close-up on the subway at the outset of the film, as the actress stares knowingly into the camera), and yet paradoxically, we also sense her innocence on some level -- the naïveté and impressionability that lead her into a self-destructive live-in relationship with a conniving, drug-pushing, tattooed loser, Franck (Nicolas Duvauchelle). Franck could be called many things, but an innocent is not one of them, and if he's nearly sociopathic in the way that he forces himself on Jeanne -- conning a storekeeper out of a set price for some luggage in front of Jeanne, and using this ploy to help buy Jeanne's affections -- she is equally sociopathic in her willingness to accept Franck's control and go along for the ride. ("She would do anything I tell her," Franck admits to the cops at the end.) But Franck neither concocts nor helps Jeanne participate in the crime; that would be too easy, too straightforward and pat.
Instead, he seems to flip a switch in Jeanne, unleashing several theretofore latent aspects of her personality. We witness an erotic energy expressed in a seductive webcam session and lovemaking with Franck, an antisocial angst, and extreme vulnerability, intensified when Franck's drug pushing leads to bloody violence and Jeanne just barely scrapes through, emotionally scarred and shell-shocked. These elements ultimately merge with a number of other factors: for example, her social alienation, especially from her distant mother (Catherine Deneuve); her sense of a lack of purpose; and hints of loneliness. Still, as negative and disturbing as these qualities are, Jeanne doesn't lack the ability to feel compassion for the persecuted as well -- as in a telling sequence when Jeanne and her mother witness anti-Semitism on television and tears stream down Jeanne's face, out of eyeshot from her mother. In other words, we aren't meant to question the basic empathy, but how the girl ultimately channels it. Working in tandem with Téchiné, Dequenne projects all of these emotions on a subtle and nuanced level and gives the film credibility and weight.
One additional element also emerges to impart an intriguing layer to this chronicle. Euro screen vet Michel Blanc lends a fine supporting role in the film, as Samuel Bleistein, a wealthy, famous Jewish attorney in Paris, with a romantic history involving Jeanne's mother. He initially enters the story when his office rejects Jeanne for a secretarial job, and the film digresses with excursions into the Bleistein family. For a time, we question the relevance of these subplots, but Téchiné interpolates a masterful sequence at the end, where he crosscuts between Jeanne, isolated in her dank prison cell, and the warmth and togetherness of the Bleistein family at Samuel's 13-year-old grandson's bar mitzvah. It is doubtful that the director could have conjured up a more telling metaphor for feelings of disenfranchisement in the young woman, for a need to feel a sense of social and cultural belonging by any means possible, no matter how misguided or ham-handed.
The film achieves its greatest success by refusing to streamline the basic scenario, or to compress it into a conventional dramatic framework. Téchiné hands the audience not a single explanation, but a series of loosely knit, penetrating insights into Jeanne's emotional core and the social dysfunction of her world. Ultimately, the writer-director explores innumerable aspects of this deeply confused, alienated young woman, and yet preserves the delicacy and intimacy of her story -- making the film as empathetic as it is emotionally overwhelming.

------------------------------------------------------------------------------------------------------

Versión DVDRip Dual SE 1,50 Gb.
Publicada por triki en proteinicos.

Enlaces:
La.chica.del.tren.(Spanish.French).(Dvd-Rip).(Xvid-Ac3).(Proteinicos.es).(por.Triki).avi
La.chica.del.tren.(Subs.Spanish).(Dvd-Rip).(Xvid-Ac3).(Proteinicos.es).(por.Triki).rar

Subtítulos (descarga directa): castellano.
Corregidos, con reajuste de líneas y tiempos.

Datos técnicos:

Código: Seleccionar todo

Tamaño total: 1,50 Gb
Códec video: Xvid 1.2.1 (doble pasada)
Bitrate video: 1.292 kbt/s Qf: 0.242
Resolucion: 720x296
Idioma: Español y Francés
Audio Español: AC3 5.1 448 kbt/s 48 KHz
Audio Francés: AC3 5.1 448 kbt/s 48 KHz
Subtitulos completos: En español en el rar.
Compatible Reproductores Sobremesa: Sí. 

Capturas:

------------------------------------------------------------------------------------------------------

Enlaces relacionados:
Rendez-vous (André Téchiné, 1985) DVDrip Dual SE
J'embrasse pas (André Téchiné, 1991) DVDRip VOSE
Los Juncos Salvajes (André Téchiné, 1994) DVDRip VOSE
Alice y Martin (André Téchiné, 1998) DVDrip Dual SE
Lejos (André Techiné, 2001) DVDRip Dual SE
Fugitivos (André Téchiné, 2003) DVDRip Dual SE
Les temps qui changent (André Téchiné, 2004) DVDRip VOSE

Filmografía André Techiné (Director)

Saludos.

[evol]

Gracias, marlowe! Llevaba meses en busca de un ripeo decente de esta peli

saludos

[euridoco]

Alguna noticia sobre los subtítulos ?
Gracias !!

[marlowe62]

Añadidos subs en castellano al primer mensaje.

[el_cazador_oculto]

Leí muy buenos comentarios sobre la última de Techiné. Millón de gracias Marlowe.
Saludos.

[sordido]

Me han hablado bien de ella. Muchas gracias de nuevo Marlowe.

[marlowe62]

Añadidos subtítulos corregidos en castellano al mensaje inicial.