The dead inside - das böse vergisst nie!. Doch dann verändert sich alles um sie herum und auch ihr Leben, denn eine Zombie-Apokalypse bricht über die Kleinstadt herein. Über das laufende Fernsehprogramm erfahren sie, was los ist und wo es Hilfe zu finden gibt: Eine nahe gelegene Schule soll als Sammelort für die Überlebenden dienen. Josh kann dem Angriff der Infizierten nicht entkommen, während die anderen schnellstens nach Hause fliehen. Die einst ruhigen Straßen werden von gefräßigen Untoten überrannt.
Dünya galası 2014 yılı Şubat ayında 64. Berlin Film Festivali'nde yapılan Melisa Önel'in ilk uzun metraj sinema filmi Kumun Tadı'nın fragmanının kurgusu İpek Kent ve Evren Luş, müziği Erdem Helvacıoğlu tarafından gerçekleştirildi. 21 Kasım 2014'de Başka Sinema kapsamında vizyona giren filmin başrollerini Mira Furlan, Timuçin Esen ve Ahmet Rıfat Şungar paylaşıyorlar. Yönetmen: Melisa Onel Senaryo: Feride Cicekoglu, Melisa Onel Oyuncular: Mira Furlan (Denise), Timucin Esen (Hamit), Ahmet Rifat Sungar (Mehmet) Müzik: Erdem Helvacıoğlu Kurgu: Özcan Vardar Görüntü Yönetmenleri: Julian Atanassov, Meryem Yavuz Sanat Yönetmeni: Ismail Durmaz Yapımcılar: Yamac Okur, Asli Erdem, Melisa Onel Ortak Yapımcı: M. Cagatay Tosun Yapım Şirketleri: Bulut Film, Yedi Film and Melisa Fatma Onel Tecimen 2014 / 89' / Türkiye / Türkçe, İngilizce.
KUMUN TADI 2014, 89 dk, Türkiye, Türkçe-İngilizce, 1:1.85, Renkli, DCP Yönetmen/Director: Melisa Önel Senaryo/Script: Feride Çiçekoğlu, Melisa Önel. Midway.
The Grand Budapest Hotel (Wes Anderson, 2014) Wes Anderson’s The Grand Budapest Hotel is like a lovely film from the silent era, superbly crafted with today’s technology. Not that the film lacks a wonderful musical score or witty dialogue (there is plenty of both), but its narrative logic is reminiscent of classics from the pre-sound period.
Apr 20, 2015 - Tickets für 26. Türkische Filmtage - Kumun Tadi - Sea Burners in Gasteig, Carl-Amery-Saal, München am Montag, um 18:00 Uhr bei München Ticket.
Erdem Helvacioğlu
Melisa Önel
That is to say, some characters are distinctive figures with strong physical presence (they can be thought of as cartoon characters in the best sense of the word) even if they are not fully developed individuals, and the fast-paced story is told in a highly visual manner. Anderson is well-known for the exquisite (and sometimes exhausting) design of his films and The Grand Budapest Hotel is no exception; all the memorable scenes are skillfully choreographed, with impressive attention spent on even the most minute details. While thematic concerns seem secondary, it is easy to note that Anderson is very fond of the graceful old times. The story is framed by multiple narrators, each going further back in time to tell us the (mis)adventures that occur more than eighty years ago. The sadness caused by the passing of time and a desire to return to the beloved past are also conveyed through a series of cinematic references, with the ones to Ernst Lubitsch being chief among them.