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Phoenix (2014) 1080p YIFY Movie

Phoenix (2014) 1080p

Phoenix is a movie starring Nina Hoss, Ronald Zehrfeld, and Nina Kunzendorf. A disfigured Holocaust survivor sets out to determine if the man she loved betrayed her trust.

IMDB: 7.31 Likes

  • Genre: Drama | History
  • Quality: 1080p
  • Size: 1.58G
  • Resolution: 1920*1080 / 23.976 fpsfps
  • Language: English
  • Run Time: 98
  • IMDB Rating: 7.3/10 
  • MPR: Normal
  • Peers/Seeds: 8 / 60

The Synopsis for Phoenix (2014) 1080p

In the aftermath of WWII, Nelly, a Jewish survivor of the Auschwitz concentration camp, horribly disfigured from a bullet wound in her face, undergoes a series of facial reconstruction surgeries and decides to find her husband Johnny who works at the Phoenix club in Berlin. Undoubtedly, Nelly is stunning, yet, her new self is beyond recognition, so Johnny, the man who may have betrayed her to the Nazis, will never imagine that the woman in front of him who bears an uncomfortable and unsettling resemblance to his late wife, is indeed her. Without delay, and with the intention to collect the deceased's inheritance, Nelly will go along with Johnny's plot and she will impersonate the dead woman, giving the performance of a lifetime before friends and relatives in a complex game of deceit, duplicity, and ultimately, seduction. In the end, during this masquerade, as the fragile and broken Nelly tries to find out whether Johnny betrayed her or not, she will have to dig deep into her wounded ...


The Director and Players for Phoenix (2014) 1080p

[Director]Christian Petzold
[Role:]Trystan Pütter
[Role:]Nina Hoss
[Role:]Nina Kunzendorf
[Role:]Ronald Zehrfeld


The Reviews for Phoenix (2014) 1080p


Idiotic premiseReviewed bymovieollaVote: 2/10

The plot rests on the impossible premise that a friend would not fully disclose one's husband's betrayal. This makes absolutely no sense. I don't want to see you be hurt further by chasing after a lying scumbag of a husband, so I tell you that he betrayed you. I also tell you that he is after your family's money. It seems to me that this is the most difficult reveal, causing pain of course, but necessary pain. Why in the world wouldn't I ALSO show you the proof that he divorced you?

The movie inches tediously ahead for hours dependent on this ridiculous plot. One moment of unintentional comic relief: Nelly walks like a depressed Frankenstein for the first half of the movie - one assumes she sustained an injury in the camps that explains her flat footed gait. But, tada! All it takes is one comment from her husband and suddenly she's cured!

Even the title is irritating - nothing is redemptive in this movie - what waste of acting talent here.

The plot is thin, goes nowhere, and depends on one man's stupidity far too muchReviewed bysecondtakeVote: 5/10

Phoenix (2015)

What a huge bore. Much of the time.

I mean, so so beautifully filmed in a restrained, slightly nostalgic palette, yes. And the basic idea is ominous and creepy enough to start a good plot. It also starts with some great (anachronistic) Miles Davis inspired minimal jazz and a chilling army checkpoint confrontation. But from there it goes slowly.

First there is a man who thinks he can cash in on his wife's inheritance. He thinks she's dead, but finds a new woman in town who looks just like her and so he's going to pretend it's his wife. Oh, but wait, it really is his wife! But he doesn't recognize her because of severe war injuries.

This all unfolds pretty quickly—it's not a spoiler—but what happens next is, well, not much, in terms of plot! That is, there is a plodding progression as the two go through with the plan. The woman (played very well by Nina Hoss) understands all (she knows it's him) and the man is such a blind fool you can't buy it. I couldn't, my wife couldn't. I heard some people in the audience gasp at the end so I guess they went along with the ruse.

There are some other elements that start to charge the movie with politics. The woman, was in a concentration camp, which is where she was disfigured. And another woman helping her is setting up a new life for her in Palestine (this is right before the founding of Israel). Oh, but wait, the leading woman turns out to not be Jewish after all--or that is her claim, and we are not sure of the truth of it.

And so some bigger issues lurk--the various ways Germans and Jews dealt with being German, and the horrors of the war, and now what? Ignore? Leave? Demand justice? Try to accept the complacence of others? Become complacent.

This movie really does not quite go these places. It successfully pulls off only the one thing, the grand trick of two people pretending, sort of, to be a couple for the inheritance. The other stuff is what matters, and it's given superficial treatment.

You can see the movie for Hoss's performance, which takes a couple of turns. Or for the period set design, which is great. In all it's a constrained movie physically, with a small cast and interior sets in most cases. And so the psychology and the suspense are meant to be sufficient, which they are not. Another (very different) end-of-WWII movie that works with similar restraint is last year's much more compelling "Diplomatie."

Director/writer Christian Petzold has a following, and is a significant contemporary force on the German scene. But for a starting point with him, I'd skip this one. Try "Barbara." Or any of his others, which can be magical.

A short film masquerading as a featureReviewed byjjustinjaegerVote: 6/10

While it can be a tense and involving watch, Phoenix is, beneath the craft, a short film expanded into ninety-plus minutes. That is, at thirty minutes we'd have the effect as we have at ninety.

The film first establishes its premise, which is intriguing and deep: a woman, coming out of a Nazi concentration camp, has a face transplant due to injury. She is unrecognizable to her husband, but similar enough that, when the two reunite, he asks her to imitate his old wife (actually the protagonist) in order to inherit her property. Her motivation in not telling him who she really is is not always clear, but is justified enough by her apparent want to be identified without having to explain herself. The allegorical connection to history this plot establishes the viewer can fairly easily deduce.

What follows is, save for the provocative last scene, repetition and insistence on drawling out this plot without deepening it or taking it to new heights. So, for example, there is a sequence of events where she attempts to prove her identity to her husband by first imitating her signature and then wearing her old shoes, which fit perfectly. Each of these events, which at the film's slow pace stretch about five minutes each, say the same thing. Each deems the other unnecessary since both are to the same effect. This goes on and on, where the viewer is invested solely for the moment when he may finally recognize her.

Repetitive also are the glances and gazes between the the protagonist and her husband. The acting in combination with the editing leads to brilliant minimal drama at times, but when we're seeing the same silent facial acting towards the end of the film that we also saw in the beginning attempting to create the same effect, well, it makes you question the film's integrity.

I think the film's integrity is this: It plays it safe. It establishes an interesting metaphor, and doesn't roll with it as much as it could have. It shrinks the surrounding historical events into the evocative faces of its two leads. Artful sure, but compelling only for a while. And the bottom line is that it didn't move me. The film wanted to be devastating but I wasn't devastated. The film wanted to be subtly heart-wrenching but my heart wasn't wrenched. I felt at the end, "Alright, that was it. There it was." In other words I didn't feel much besides the mild and consistent tension throughout. There's only so much you can accomplish in a film with these parameters. This review is not primarily negative because the film was bad but because the critic consensus is overwhelmingly positive. An excellent short film, but only a good film.

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