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Das Dorf von Pranke des Jaguars wird überfallen. Er schafft es, seine hochschwangere Frau und den gemeinsamen Sohn in einem tiefen Erdloch zu verstecken, ehe er und die Mehrheit der Dorfbewohner gefangen genommen werden. Ohne fremde Hilfe können. Apocalypto ist ein Action- und Historiendrama des Regisseurs Mel Gibson aus dem Jahr Der US-amerikanische Film kam am 8. Dezember in die. Entdecken Sie hier reduzierte Filme und Serien auf DVD oder Blu-ray. Wird oft zusammen gekauft. Apocalypto . Mel Gibsons „Apocalypto“ ist ein bildgewaltiges Meisterwerk, voller Spannung und nervenzerreißender Szenen. „Ich wollte einen Film machen, der die. Schon vor seiner ersten Aufführung sorgt Mel Gibsons "Apocalypto" für Ärger: Nachkommen der Ureinwohner Guatemalas werfen dem. In Mel Gibsons Apocalypto wird eine Dorfgemeinschaft der Maya von Sklaventreiber angegriffen und gefangen genommen. Doch es kommt für sie noch viel. Die Eroberung Mexikos und Zentralamerikas durch die Spanier besiegelt endgültig den Untergang dieses hochzivilisierten Volkes. In APOCALYPTO skizziert.
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ApocaliptoApocalypto Film - Aktuelles Heft
Filmsuche Titel enthält. Die Sozialstruktur der Dschungelgemeinschaft — bestimmt von Monogamie und der patriarchal organisierten Kernfamilie — sowie die psychologische Darstellung der Hauptfiguren, sind deutlich an westlichen Gesellschaften und deren Normen orientiert.Apocalypto Film Filmhandlung und Hintergrund
Es wurde Gibson Rassismus vorgeworfen und einseitige Darstellung. Dazu kommt noch ein wirklich gelungener Score, welcher der Atmosphäre ebenfalls sehr gut tut. Nichts, das inhaltlich fordert. Mehr Infos. Wenn du König wärst. Details zu Überweisungen und Paypal gibt es hier. Apocalypto ist das einzige Werk. Gibson erweckt dieses Theaterhaus Speyer Programm Szenario zum Leben, mit Beautiful Girl Detailverliebtheit, die den Atem raubt. Pfeil nach links. Deutscher Titel. The Da Vinci Code - Sakrileg. Was er und die anderen Dorfbewohner erleiden, übersteigt all ihre apokalyptischen Ängste. Pfeil nach Filme Online Hd Subtitrate 2019. Was man hier als Kulissen geboten bekommt ist unglaublich, ebenso wie das Make-Up. In vielen Punkten stimme ich dem Kommentar von DixPeter Bradshaw. This is by no means a boring film, then, but it is a grotesque one, and that brings it pretty close to camp. Ben Walters.
As a piece of filmmaking it's certainly strong enough to restore his commercial viability. Whether that's to the good is another question entirely.
Tom Charity. Apocalypto is the very best thing Gibson has done as a director, and should not be missed because of a shared repugnance for his off-screen worldview.
David Lamble. If Mel Gibson is a mad genius, then Apocalypto may be his most insane work yet. Matthew Lucas.
There is something different in Gibson's application of violence. The objections seem to lie not just in Gibson's realistic portrayal of cruelty but in the judgment he brings to it.
Megan Basham. A quite exciting spectacle based on a racist version of indigenous history, one in which the genocidal conquistadors are the New World's liberators.
Louis Proyect. Apocalypto isn't simply an effective movie, but an immensely powerful one: a benchmark and a foresight seemingly all rolled into one.
David Keyes. Damn if the movie, through Mel's sheer determination, doesn't almost turn from a fight-n-flight gore fest into a moving meditation on a civilisation in the throes of decline.
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Please click the link below to receive your verification email. Cancel Resend Email. Apocalypto Add Article. Apocalypto Critics Consensus Apocalypto is a brilliantly filmed, if mercilessly bloody, examination of a once great civilization.
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How did you buy your ticket? View All Photos Movie Info. The Mayan kingdom is at the height of its opulence and power but the foundations of the empire are beginning to crumble.
Isabel Diaz. Espiridion Acosta Cache. Mayra Serbulo. Iazua Larios. Lorena Hernandez. Itandehui Gutierrez. Sayuri Gutierrez.
Jose Suarez. Rodolfo Palacios. Ariel Galvan. Bernardo Ruiz. Richard Diaz Mendoza. Richard Can. Carlos Ramos. Ammel Rodrigo Mendoza. Marco Antonio Argueta.
Javier Escobar. Fernando Hernandez. Maria Isidra Hoil. Aquetzali Garcia. Abel Woolrich. Antonio Monroy. Nicolas Jasso.
Ronaldo Eknal. Rafael Velez. Diana Botello. Joaquin Rendon. Farhad Safinia. Vicki Christianson. Vittorio Sodano.
Aldo Signoretti. Adrian Grunberg. Theresa Wachter. Roberto Bonelli. Jay Aroesty. Richard Merriman. Mario Cardona.
The group's leader explains that their lands were ravaged and they seek a new beginning. He asks for permission to pass through the jungle.
Flint Sky comments to his son that the visitors were sick with fear and urges him to never allow fear to infect him. At sunrise the next morning, the tribe's village suffers a devastating raid by a party led by Zero Wolf.
Huts are set on fire, many villagers are killed, and the surviving adults are taken prisoner. During the attack, Jaguar Paw lowers his very pregnant wife Seven and their young son Turtles Run into a natural pit cave that also serves as a water reservoir in order to hide them.
Returning to the fight, Jaguar Paw nearly kills the sadistic raider Middle Eye but is himself captured. The raiders tie the captives together and set out on a long forced march through the jungle, leaving the children behind to fend for themselves.
Seven and Turtles Run remain trapped in the pit after having successfully hidden from the raiders. On the journey, Cocoa Leaf, a badly wounded captive, almost falls off a cliff with the other captives dragged after him.
He is thus killed by Middle Eye, eliciting anger from Zero Wolf, who threatens his fellow raider with death if he kills another captive without permission.
As the party approaches the Mayan city of the raiders' origin, they encounter razed forests and vast fields of failed maize crops, alongside villages decimated by an unknown disease.
A little girl infected with the plague prophesies Zero Wolf's death and the end of the Mayan world. Once the raiders and captives reach the city, the females are sold into slavery while the males are escorted to the top of a step pyramid to be sacrificed before the Mayan King and Queen.
Two members of the party are sacrificed, but as Jaguar Paw is lain out on the altar with the knife poised above him, a solar eclipse gives the executioner pause.
The Mayans take the event as an omen that the gods are satisfied with the blood spilt, and so Jaguar Paw and the remaining captives are spared from sacrifice.
Instead, they are taken to be used as target practice by Zero Wolf and his men, and offered their freedom if they can run to safety while getting pelted with arrows and thrown spears.
Zero Wolf and eight of his comrades chase after him in vengeance. Back in his native jungle, Jaguar Paw now has the advantage and taunts his pursuers.
The pack of hunters - including Zero Wolf and Middle Eye - gradually die one by one via natural hazards and traps masterfully laid out by Jaguar Paw, until there are only two left.
The drought breaks and heavy rain begins to fall, threatening to drown Jaguar Paw's family, who are still trapped in the pit cave despite their attempts to escape.
Seven gives birth to another son, who is born under the surface of the dangerously rising water. Meanwhile, the two remaining raiders chase Jaguar Paw out of the undergrowth towards the coast.
As they reach the beach, all three are stopped in their tracks by the sight of conquistador ships anchored off the coast and Spaniards making their way ashore, complete with a monastic mission holding up a cross.
Jaguar Paw flees while the two raiders remain, overcome with curiosity at the conquerors' presence. Jaguar Paw returns just in time to save his family from the flooded pit, overjoyed at the sight of his newborn son.
Sometime later, as the reunited family looks out over the water at the Spanish ships, Jaguar Paw decides not to risk approaching the conquerors, insisting his family head back into the jungle.
They depart in search of a new home and a new beginning. Screenwriter and co-producer Farhad Safinia first met Mel Gibson while working as an assistant during the post-production of The Passion of the Christ.
Eventually, Gibson and Safinia found time to discuss "their mutual love of movies and what excites them about moviemaking". We started to talk about what to do next, but we specifically spent a lot of time on the action-chase genre of filmmaking.
Those conversations essentially grew into the skeleton of 'Apocalypto'. We wanted to update the chase genre by, in fact, not updating it with technology or machinery but stripping it down to its most intense form, which is a man running for his life, and at the same time getting back to something that matters to him.
Gibson said they wanted to "shake up the stale action- adventure genre", which he felt was dominated by CGI , stock stories and shallow characters and to create a footchase that would "feel like a car chase that just keeps turning the screws.
Gibson and Safinia were also interested in portraying and exploring an ancient culture as it existed before the arrival of the Europeans.
Considering both the Aztecs and the Maya, they eventually chose the Maya for their high sophistication and their eventual decline. The Mayas were far more interesting to us.
You can choose a civilization that is bloodthirsty, or you can show the Maya civilization that was so sophisticated with an immense knowledge of medicine, science, archaeology and engineering It was a far more interesting world to explore why and what happened to them.
The two researched ancient Maya history, reading both creation and destruction myths , including sacred texts such as the Popul Vuh.
He also served as a dialogue coach during production. Striving for a degree of historical accuracy, the filmmakers employed a consultant, Richard D.
Hansen , a specialist in the Maya and assistant professor of archaeology at Idaho State University. As director of the Mirador Basin Project, he works to preserve a large swath of the Guatemalan rain forest and its Maya ruins.
Gibson has said of Hansen's involvement: "Richard's enthusiasm for what he does is infectious. He was able to reassure us and make us feel secure that what we were writing had some authenticity as well as imagination.
Other scholars of Mesoamerican history criticized the film for what they said were numerous inaccuracies. Gibson decided that all the dialogue would be in the Yucatec Maya language.
And more importantly, this also puts the emphasis on the cinematic visuals, which are a kind of universal language of the heart.
The production team consisted of a large group of make-up artists and costume designers who worked to recreate the Maya look for the large cast.
Led by Aldo Signoretti , the make-up artists daily applied the required tattoos, scarification, and earlobe extensions to all of the on-screen actors.
According to advisor Richard D. Hansen , the choices in body make-up were based on both artistic license and fact: "I spent hours and hours going through the pottery and the images looking for tattoos.
The scarification and tattooing was all researched, the inlaid jade teeth are in there, the ear spools are in there.
There is a little doohickey that comes down from the ear through the nose into the septum — that was entirely their artistic innovation.
Simon Atherton, an English armorer and weapon-maker who worked with Gibson on Braveheart , was hired to research and provide reconstructions of Maya weapons.
Atherton also has a cameo as the cross-bearing Franciscan friar who appears on a Spanish ship at the end of the film.
Mel Gibson wanted Apocalypto to feature sets with buildings rather than relying on computer-generated images.
Most of the step pyramids seen at the Maya city were models designed by Thomas E. Sanders explained his approach: "We wanted to set up the Mayan world, but we were not trying to do a documentary.
Visually, we wanted to go for what would have the most impact. Just as on Braveheart , you are treading the line of history and cinematography.
Our job is to do a beautiful movie. However, while many of the architectural details of Maya cities are correct, [8] they are blended from different locations and eras, [8] a decision Farhad Safinia said was made for aesthetic reasons.
Richard D. Hansen comments, "There was nothing in the post-classic period that would match the size and majesty of that pyramid in the film.
But Gibson The film was originally slated for an August 4, , release, but Touchstone Pictures delayed the release date to December 8, , due to heavy rains and two hurricanes interfering with filming in Mexico.
Principal photography ended in July Apocalypto was shot on high-definition digital video , using the Panavision Genesis camera.
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