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The Woman in the Fifth (2011) 720p YIFY Movie

The Woman in the Fifth (2011)

A college lecturer flees to Paris after a scandal costs him his job. In the City of Light, he meets a widow who might be involved in a series of murders.

IMDB: 5.32 Likes

  • Genre: Drama | Mystery
  • Quality: 720p
  • Size: 1.01G
  • Resolution: 1280x688 / 24.000 FPSfps
  • Language: English
  • Run Time: 85
  • IMDB Rating: 5.3/10 
  • MPR: Normal
  • Peers/Seeds: 0 / 3

The Synopsis for The Woman in the Fifth (2011) 720p

American writer Tom Ricks comes to Paris desperate to put his life together again and win back the love of his estranged wife and daughter. When things don't go according to plan, he ends up in a shady hotel in the suburbs, having to work as a night guard to make ends meet. Then Margit, a beautiful, mysterious stranger walks into his life and things start looking up. Their passionate and intense relationship triggers a string of inexplicable events... as if an obscure power was taking control of his life.

The Director and Players for The Woman in the Fifth (2011) 720p

[Director]Pawel Pawlikowski
[Role:]Kristin Scott Thomas
[Role:]Ethan Hawke
[Role:]Joanna Kulig

The Reviews for The Woman in the Fifth (2011) 720p

Reviewed bynapierslogsVote: 5/10/10

"The Woman in the Fifth" throws us into the middle of the story.Seemingly a perfect way to start, a back-story is implied begging to betold, and future events destined to unfold to eventually come togetherin an interesting climax and dénouement. But the back-story never wasrevealed and the plot elements are indiscernible to the average eye.

Tom (Ethan Hawke) is an American writer moving to Paris. His firstnovel was a moderate success and he is most likely suffering fromvarious creative blocks, probably not helped by the fact that hisex-wife has a restraining order against him, prohibiting him fromseeing his daughter.

At this point, we are driven into a world of crime – not surprising fora thriller, but we don't know what crimes yet. Broke and alone, Tommakes a deal with a shady "businessman", develops an affair with amysterious worldly woman (Kristin Scott Thomas) and then develops anaffair with a sweetly mysterious waitress (Joanna Kulig).

For the few crimes that we do know were committed, it's awfully hard tounderstand why or by whom. The reality of the film and the imagination(or fantasy) element of the film are most likely impossible toseparate. Almost all viewers have come up with different explanations,if they came up with any.

It can be interesting watching a jarring film and deduce whateverexplanation you like. It can also be disappointing if you don't come upwith any explanation that you like. I'm afraid I fall into the lattergroup.

That being said, it's nice seeing Ethan Hawke in a lead role in anindie. And speaking French no less (not perfectly, but it fits therole)! The imagery and cinematography chosen for this film wereinteresting and walked the thin line between thriller and horror,helped along with a slightly off-beat score. "The Woman in the Fifth"is off- beat, if it's anything at all.

Reviewed byjohnklemVote: 7/10/10

A phenomenally ambitious, mostly successful film that (almost) atonesfor the cardinal sin that was Woody Allen's Midnight in Paris. It saysso much about cinema audiences that Midnight in Paris was so popular.Here's a film that is startlingly beautiful, utterly intriguing andperfectly cast, and with a drop dead gorgeous soundtrack. The result? Alot of very angry people because... it didn't make sense. No-onementions that the "Midnight" script had holes you could drive a truckthrough, because they had a good time. Wake up, people! You're gettingthe cinema you deserve and it ain't pretty. Or maybe it is. How aboutMark Wahlberg and a teddy bear? There you go. That works. Don't blameHollywood (where I live and work). You're voting with your wallets.Films like The Woman in the Fifth that need intellectual and emotionalinput from its audience are being stoned to death. The world's becominga Disney theme park and you're all accessories after the fact. If youthink that the word "consumer" is an insult, there's still hope. Take amoment. Watch this film. It isn't perfect. The balance between physicaland metaphysical is off and therein lies the confusion. Kieslowski(another obvious comparison) would have handled it better but he wasn'thampered by a literary source when he made La Double Vie. But... it'sfKKKing gorgeous. Difficult, challenging, flawed? Yes, but I'll take itover the processed pap that is the American mainstream anytime.

Reviewed byjamesmartin1995Vote: /10

To say that Tom is down on his luck is an understatement. He has losthis job as a university lecturer on literature and flown to Paris insearch of his young daughter, Chloe, and his wife, who has had arestraining order issued against him. His bag is stolen on the bus; hehas no money, and is forced to rent a grotty room in a down-and-outParisian café, owned by a domineering, criminal character called Sezer.

Tom has also written a novel. He has no faith in it, but it clearlyshows potential. His passion for literature seems to have beenextinguished by the time we meet him; yet he hopes that writing asecond novel will bring him some income. In the meantime, Sezer setshim up with a scary night shift in an underground bunker, where he mustwatch a screen for six hours each night and only allow people to enterif they know the correct 'password'.

It is at a literary gathering that Tom meets Margit. From the firstmoment she appears, we get goosebumps. The effect she has on Tom iselectric – it might not be love at first sight, but there is somethingcool, mysterious and effortlessly sensual about Margit that immediatelycaptivates him. From a simple glance through a doorway, he is compelledto follow her onto the balcony. The conversation they have there istinged with sadness and sinister undertones; she recognises somethingin Tom and hands him her card, telling him to call 'any time afterfour', before slipping away. Who is this woman? Why does she unsettleus so much?

Ethan Hawke plays Tom. Critics have complained about his dodgy Frenchaccent, but try and put this into perspective. He is playing anoutsider, a foreigner who is able to get by in conversation. Surely theAmerican accent adds to the authenticity of the role, and emphasiseshis isolation. Give him a break – it's a fine performance.

Even more impressive, though, is Kristin Scott Thomas as the etherealMargit. It is not the details of her life or the tragedy in her pastthat fascinates us – these are eventually revealed, but they won't bewhat you remember most. It is the constant performance – the cold,removed beauty of this character that startles us. Intelligent, demureand sinister, there is a potent dread and sorrow that pervades thescenes she is in, and permeates throughout the rest of the film inripples that seem to emanate from her presence.

Consider the first time Tom visits her apartment. He is awkward, andtries to make small talk. He asks about her husband, a Hungarianwriter. She indulges him for a short time, but they have no delusions.Both know very well why he is there. The shot that follows is perhapsthe finest in the entire film; finally, we have found someone whounderstands how to film sex. It is sad to think that so many directorsbelieve that the more you show, the more erotic the scene is. Thetension in that apartment is almost unbearable, and sex does notdiffuse it. Watch closely as Tom tries to kiss Margit, at what pointshe stops him and undoes his trousers. No detail is shown, and even thesounds of rustling material are muted. The camera focuses on theirfaces, in one steady, unmoving shot: Tom recoils in shock, closes hiseyes, murmurs, almost disintegrating from the overwhelming emotion andphysical pleasure of this act. Margit only watches, silently, smilingknowingly as if she were gazing at a small child trying to learn thealphabet. She is in complete control, and knows it.

I am not sure how to describe 'The Woman In The Fifth'; the word'strange' doesn't even scratch the surface. It is a classy movie – theaesthetics and cinematography are top notch (notice the deep reds andblacks that cling to Margit, for example), and the influence of Polishcinema is patent. Paris is an alien world – behind a romantic façadelie the gray skies, the lonely train tracks, the tragic aura of mysteryand always the looming sense of danger and death. This is a movie thatdefies rational judgement, as the plot swings from one bizarre event tothe next. The twist about two thirds of the way through had many cynicsin the audience scoffing – I have to admit, I wasn't completelyconvinced. But we are in the hands of a director who has completeconfidence in his medium, and by the end, I had a deep respect for hisefforts. This movie isn't perfect, but it is nevertheless beguiling andutterly compelling. It takes some skill to blend the genres seen hereso effortlessly – from domestic drama to romance to crime thriller andfinally entering the realms of the supernatural, this shouldn't reallywork. Yet the threads between these genres and the themes on displayare as tangible as those woven by spiders and serving to captureinsects in the brief interludes within the film, often showingsnapshots of nature in its deformed, frightening beauty, focusing inparticular on a faraway woodland. Where is it? What do these imagesmean?

It only really struck me as I left the cinema just how desperately sadthis movie is. Whatever else 'The Woman In The Fifth' explores, it isprimarily about suffering and loss, and our need for love and humancompanionship. It may not be a masterpiece – I would argue its flawsare quite substantial - but it is never pretentious. Pawel Pawlikowskiis a director who has a story to tell, and does so with flair andimagination, without ever alienating his audience. Surprisingly deep,concisely expressed and including within its short running timeglimpses of cinematic genius, 'The Woman In The Fifth' is an unassuminglittle gem. I highly recommend it.

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