Yahoo Search Busca da Web

Resultado da Busca

  1. en.wikipedia.org › wiki › OrdetOrdet - Wikipedia

    Ordet (Danish pronunciation: [ˈoˀɐ̯ð̩], meaning "The Word" and originally released as The Word in English), is a 1955 Danish drama film, directed by Carl Theodor Dreyer. It is based on a play by Kaj Munk, a Danish Lutheran priest, first performed in 1932.

  2. www.imdb.com › title › tt0048452Ordet (1955) - IMDb

    Ordet: Directed by Carl Theodor Dreyer. With Hanne Aagesen, Kirsten Andreasen, Sylvia Eckhausen, Birgitte Federspiel. Follows the lives of the Borgen family, as they deal with inner conflict, as well as religious conflict with each other, and the rest of the town.

    • (17K)
    • Drama
    • Carl Theodor Dreyer
    • 1955-01-10
  3. 3 de set. de 2023 · Ordet (A Palavra) é um filme dinamarquês lançado no ano de 1955, dirigido por Carl Thedor Dreyer. não achava em lugar nenhum, então decidi upar aqui no YouTube.

    • 126 min
    • 8,8K
    • Иисус
  4. Ordet ( bra / prt: A Palavra[ 1][ 2]) é um filme dinamarquês lançado no ano de 1955, dirigido por Carl Thedor Dreyer. [ 3] Considerado por alguns críticos a obra-máxima do mestre Dreyer. [carece de fontes] O filme foi premiado com o Leão de Ouro no Festival de Veneza de 1955. [ 4] Sinopse.

  5. The three sons of devout Danish farmer Morten (Henrik Malberg) have widely disparate religious beliefs. Youngest son Anders (Cay Kristiansen) shares his father's religion, but eldest son Mikkel ...

    • (28)
    • Henrik Malberg
    • Carl Theodor Dreyer
    • Palladium Film
  6. Synopsis. The three sons of devout Danish farmer Morten have widely disparate religious beliefs. Youngest son Anders shares his father’s religion, but eldest son Mikkel has lost his faith, while middle child Johannes has become delusional and proclaims that he is Jesus Christ himself.

  7. Putting the lie to the term “organized religion,” Ordet (The Word) is a challenge to simple facts and dogmatic orthodoxy. Layering multiple stories of faith and rebellion, Dreyer’s adaptation of Kaj Munk’s play quietly builds towards a shattering, miraculous climax.