Latest news with #ComeandSee
Time Out
4 days ago
- Entertainment
- Time Out
This hard-to-find war movie classic is streaming on YouTube
The streaming era has made untold thousands of movies available at our fingertips. The problem? The vast majority of those movies were made in only the last two decades or so. If you're a burgeoning cinephile looking to continue your film education, finding films from earlier than the Clinton administration is more difficult than it should be. But it's not impossible: you just need to know where to look. A good place to start? YouTube. The site best known for cat videos, conspiracy theories and DIY home repair tutorials is a semi-secret repository for movies unavailable on other platforms. Many classics of the cult, arthouse and international variety are out there to stream, completely for free. Of course, the drawbacks are dodgy transfers and possible copyright violations. But if you want to watch one of the greatest anti-war films of all-time, well, it's there, it's in 1080p, and it's legal. Be forewarned, though: 1985's Come and See will leave you absolutely shell-shocked. Set in Nazi-occupied Belarus, the final film by Soviet director Elem Klimov follows a young soldier named Florya as he witnesses horrors beyond his comprehension. Time Out – which has not only named the movie one of the best war movies of all-time but one of the greatest overall – put it this way: 'As unsparing as cinema gets, the influence of Elem Klimov's sui generis war movie transcends the genre in a way that not even Steven Spielberg's Saving Private Ryan can match. At its heart it's a coming-of-age story that follows a young Belarusian boy (Aleksei Kravchenko) through unspeakable horror as Nazi death squads visit an apocalypse on his region. Alongside its historical truths, the film's grammar and visual language – there are passages that play like an ultra-violent acid trip – are what truly elevates it. Like an Hieronymus Bosch masterpiece, the images here can never be unseen.' Currently, Come and See is not free to stream anywhere else in the US. It's on YouTube thanks to Mosfilm, the century-old Russian studio that has produced many of the country's most renowned films. Beginning in 2011, the studio began uploading a trove of Russian films to its YouTube channel, in high-def and with English subtitles. In addition to Come and See, the page channel has nearly full filmographies from legendary directors like Sergei Eisenstein and Andrei Tarkovsky – so you'll have a lot more to dig into, once you're done being traumatised.
See - Sada Elbalad
11-05-2025
- Entertainment
- See - Sada Elbalad
Russian, Belarusian Embassies Mark Victory Day in Cairo
Pasant Elzaitony_ Israa Farhat In commemoration of the 80th anniversary of Victory Day, the Russian and Belarusian embassies in Cairo, in collaboration with the Cultural Development Fund, hosted a screening of the iconic Russian film "Come and See", directed by Elem Klimov. The screening took place at the Hanager Cinema in the Opera House complex, marking a poignant moment in the celebration of the historic day. The event was attended by several notable figures, including Russian Ambassador Georgiy Borisienko, Belarusian Ambassador Sergey Terentiev, Russian Embassy Minister-Counselor Yuri Matveev, and Dr. Ibrahim Kamel, President of the Egyptian-Russian Friendship Association. Also present were Ambassador Ezzat Saad, former Egyptian Ambassador to Moscow and Vice President of the Friendship Association, Asya Torchiva, Cultural Counselor at the Russian Embassy, Arseniy Matyushenko, Acting Director of Russian Cultural Centres in Egypt, and Sherif Gad, President of the Egyptian Alumni Association for Russian and Soviet Universities. During the event, Ambassador Borisienko emphasized the significance of the celebrations, stating that the Victory Day commemoration holds even greater meaning when carried out in collaboration with Egyptian friends. He expressed gratitude to the Egyptian Ministry of Culture for hosting the event and highlighted the historical bond between Russia and Egypt, united in their fight against fascism during World War II. Belarusian Ambassador Sergey Terentiev explained that "Come and See", a film produced 40 years ago, was chosen for its unflinching portrayal of the brutalities of fascism and the suffering endured by the Belarusian people. He noted that one in every three Belarusians perished during the war, underlining the intense impact of these events on the nation. Terentiev emphasized the importance of remembering these hardships, as it is essential for current generations to understand the immense pain faced by their ancestors in the pursuit of peace. The event also featured an exhibition of World War II posters, providing a visual glimpse into the harrowing realities of the war and further enhancing the day's reflections. read more 2 Most Inspirational Green Projects in Egypt AEW Dynamite, WWE NXT to Strive over Viewership Tonight Egypt Marks 70th Anniv. of 2011 Revolution, National Police Day In Depth: WWE NXT Halloween Havoc In Depth: AEW Dynamite, WWE NXT Tuesday Viewership Strive Videos & Features WATCH: Egyptians Break Ramadan Fasts in Matariya Videos & Features GrEEk Campus Hosts Jobzella Fifth Career Fair Videos & Features 3 Iconic Ramadan Songs of All Times Videos & Features Top 4 Destinations to Visit in Upper Egypt News Egypt confirms denial of airspace access to US B-52 bombers Lifestyle Pistachio and Raspberry Cheesecake Domes Recipe News Ayat Khaddoura's Final Video Captures Bombardment of Beit Lahia News Australia Fines Telegram $600,000 Over Terrorism, Child Abuse Content Arts & Culture Nicole Kidman and Keith Urban's $4.7M LA Home Burglarized Sports Former Al Zamalek Player Ibrahim Shika Passes away after Long Battle with Cancer Sports Neymar Announced for Brazil's Preliminary List for 2026 FIFA World Cup Qualifiers News Prime Minister Moustafa Madbouly Inaugurates Two Indian Companies Arts & Culture New Archaeological Discovery from 26th Dynasty Uncovered in Karnak Temple Business Fear & Greed Index Plummets to Lowest Level Ever Recorded amid Global Trade War
The Guardian
20-04-2025
- Entertainment
- The Guardian
Warfare review – nerve-shredding real-time Iraq war film drags you into visceral frontline combat
It's up there with the first 23 bruising minutes of Steven Spielberg's Saving Private Ryan or Elem Klimov's harrowing and relentless Come and See. This is film-making that doesn't just show you the horrors of war; it forces you to taste the dust and the choking panic, smell the fear and the cordite and the tinny metallic tang of spilled blood. Warfare, by Alex Garland and Ray Mendoza, is the most forceful and unflinching depiction of combat since Edward Berger's 2023 Oscar-winning All Quiet on the Western Front. It's also one of the boldest and most formally daring. There are certain conventions at play in most war movies. Among them is the unwritten rule that however blisteringly hellish the depiction of combat, there's a mitigating audience sop in the form of a flag-waving message about the nobility of the cause. Or, at the very least, some attempt at sentimental string-pulling to knit an emotional attachment to the characters. But Warfare, a forensic, close to real-time re-enactment of a 2006 battle fought during the Iraq war, rejects all that. Co-written and co-directed by Garland and former US Navy Seal Mendoza, the film's radically stripped-back approach gives us next to no background on the characters, a platoon of Seals, or the operation, a surveillance mission in the Iraqi city of Ramadi. Nor does it take a stance on any moral questions about the Iraq war. Instead, it focuses on evoking, with almost unbearably visceral intensity, the experiences of a group of highly trained professionals who have been hired to do a job. And they are having a really bad day at work. It helps that the cast – a roster of some of the best and brightest rising talents from both sides of the Atlantic – is exceptional. Canadian actor D'Pharaoh Woon-A-Tai is a watchful, weighty presence as the younger Mendoza, on whose memories the film is largely based. Will Poulter is Erik, the commanding officer coming apart before our eyes; Joseph Quinn is the brash, wise-cracking Sam, front and centre in the blast of energy, powered by Eric Prydz's pumping EDM banger Call on Me, which opens the film. Cosmo Jarvis is Elliot, a laconic old hand; Kit Connor is Tommy, the eager newbie with a pink-cheeked flush of schoolboy enthusiasm. And May December breakout star Charles Melton is unflappable, efficient platoon leader Jake. The success of Warfare is less about the individual performances, however, than it is about the way they effortlessly fit together. The bond between these men, whether during the grinding monotony of endless waiting or at the sharp edge of battle, is almost a character in its own right. Perhaps not surprisingly, given the doubts about its legitimacy, the Iraq war on film has traditionally been a tough sell to audiences. Kathryn Bigelow's steely drama The Hurt Locker won six Oscars, including best picture, but it didn't exactly set the box office alight. Clint Eastwood's solid American Sniper was a rare exception – an Iraq war film that was a notable commercial success. Eastwood's free hand when it came to emotional button-pushing, plus Bradley Cooper chewing his way through a damaged hero narrative, certainly didn't hurt the film's prospects. It remains to be seen whether Warfare will suffer from Iraq aversion. Certainly, audiences who balked at the lack of political context in Garland's previous picture, last year's similarly bruising Civil War, may level the same criticisms here. But that would be missing the point: this is a film about the bullet-strafed, boots-on-the-ground realities of war rather than the geopolitical gamesmanship behind it. As such, it feels closer to Tim Hetherington and Sebastian Junger's 2010 documentary Restrepo, about a platoon of soldiers posted in Afghanistan, than it does to more traditional Hollywood war movies. By peeling away the celebratory trappings, the valour and the glory and the duty to God and country, Warfare lays bare an awful lot of questions. The overriding impression, once the adrenaline has drained away, is of futility, waste and pointless destruction. As the Seals make their final, nerve-shredding exit from the house they occupied, now coated in a layer of rubble and blood, one of the Iraqi women whose home the soldiers commandeered approaches an American, pleading to know: 'Why? Why?' He offers no answer, and neither does the film. And that in itself is the point.
