Phoenix (2014) 720p YIFY Movie

Phoenix (2014)

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: 720p
  • Size: 840.82M
  • Resolution: 1280*800 / 23.976 fpsfps
  • Language: English
  • Run Time: 98
  • IMDB Rating: 7.3/10 
  • MPR: Normal
  • Peers/Seeds: 2 / 43

The Synopsis for Phoenix (2014) 720p

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) 720p

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


The Reviews for Phoenix (2014) 720p


Despite reservations with its choices of open resolutions, Phoenix is a stellar and quietly affecting film.Reviewed bySergeant_TibbsVote: 8/10

Adapted from Hubert Monteilhet's novel 'Return from the Ashes,' director Christian Petzold's Phoenix has the air of a revisionist war film with a science-fiction twist. Granted, it has some liberties in the supposed advancement of medical science for the 1940s, featuring a surgery that's not even really possible today, but with its stark approach to its pulpy atmosphere, it's easy to buy into anything it wants to do because of its compelling narrative.

The film follows Nelly, played by Nina Hoss, a Jewish concentration camp survivor and former nightclub singer who's suffered severe disfigurement. She undergoes facial reconstruction, nearly looking like her old self, and tries to find peace with her lost previous identity. She heads to post-war Berlin to locate her estranged husband and partner in their former activism, played by Ronald Zehrfeld, but upon doing so he recruits her to help him on a scam to claim his wife's inheritance. As she looks almost alike, he moulds her to act like his wife did and have her 'return' and scoop up the money.

There's another liberty you have to buy in order to go along with Phoenix. That being, despite all the hints, at no point does her husband Johnny recognize Nelly until the inevitable moment. This redressing of a former lover plot line is quite reminiscent of Hitchcock's Vertigo, but with Johnny's indifference and greed it's a different spin, and we observe Nelly's submissive re- judgment of him. It thrives on the dramatic irony of when Johnny thinks that she isn't acting enough like his wife. It's fascinating to watch her rediscover herself, and a delight when she impresses him with how accurate she can be at times. All these minor contrivances work thematically to build a picture of a search for identity and heartbreaking betrayal. It's a refreshing perspective on a revision of a past life and then healing from it.

Christian Petzold and Nina Hoss' collaborations have been steadily building momentum as Phoenix, their 4th film together, gains buzz on the festival circuit. Clearly it is a beneficial partnership. Through her glassy eyed look nearly in tears and her anxious movements, Hoss faultlessly marries fragility with a burning motivation to disquiet her soul. She may be easily manipulated due to her weakened psychological and physical state, but she always has intentions that she's slowly building up to. Before taking board with her husband, she's assisted by Lene, played by Nina Kunzendorf, a fellow Jewish activist. Her performance is steely and enigmatic, and I can't help but want to know more about her and her motivations so it's a shame the film doesn't quite deliver in that regard.

Often times the film holds back on payoff, although it's often executed in thoughtful manners. Most strikingly is in the film's conclusion. In a way, it almost feels as though it's missing an entire third act. Perhaps the director felt it did not need an epilogue, but I was left hungry to explore the consequences. Hoss does admit that they didn't know how to end it. However, it is a remarkable display of restraint to leave it as open as it did and frankly it works with the slight nature of the film beforehand. But on the other hand it feels like Petzold simply ran out of ideas and is idly leaving the viewer to fill in the rest. The film constantly feels like it's building to something, and the ending changes everything in hindsight, but perhaps it works in the film's favour, to draw a comparison to The Sopranos' infamous final moment as it leaves you cold.

Despite the film's small scale, with most of it taking place in Johnny's small apartment, it does show off lush production design. Postwar rubble has never felt quite a mess like this since Saving Private Ryan. The film does try to take on a grander scale, implying that the formation of Israel is like Nelly and reborn from the ashes, but it works best when it's focused on the core relationship. The saturated but vivid cinematography contributes to its beguiling pulp tone and it holds a lot of tension in the air, complimenting the weight of the performances. It's a fascinating concept and well-executed script, and my only reservations with Phoenix come with its choice of the resolutions for its various plot threads. But these are up for debate, and they're ones worth engaging in for such an otherwise stellar and quietly affecting film.

8/10

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excellent movieReviewed bydadabayevaVote: 10/10

I watched this movie at the TIFF premier just last Friday and absolutely loved it. The movie digs deep into personal connections and portrays love beautifully. This movie had everything i wanted: suspense, romance, drama, dark humour and irony. Cinematography was fantastic - the flow of scened was perfect and the pauses did not bore me but had their significance in all the right places. Huge applause to Christian Petzold! Acting was incredible too, i was very touched. Nina Hoss captured the character's transformation well, I couldn't believe she was the same person in the movie. I highly recommend watching this movie!

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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