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UK, Germany, Australia
Drama, Thriller, War, Romance
IMDB rating:
Cate Shortland


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Hendrik Arnst as Ox Cart Man
Claudia Geisler-Bading as Ox Cart Woman (as Claudia Geisler)
Ulrike Medgyesy as Junge Frau mit Baby
Mika Seidel as Jürgen Dressler
Saskia Rosendahl as Hannelore Dressler
André Frid as Gunter Dressler
Nick Holaschke as Baby Peter (as Nick Leander Holaschke)
Mike Weidner as Junger deutscher Soldat
Kai-Peter Malina as Thomas (as Kai Malina)
Nele Trebs as Liesel
Katrin Pollitt as Farmer's Wife
Ursina Lardi as Mutti
Philip Wiegratz as Helmut
Lore Storyline: As the Allies sweep across Germany, Lore leads her siblings on a journey that exposes them to the truth of their parents' beliefs. An encounter with a mysterious refugee forces Lore to rely on a person she has always been taught to hate.
Type Resolution File Size Codec Bitrate Format
1080p 1920x1040 px 7831 Mb h264 10045 Kbps mkv Download
HQ DVD-rip 720x390 px 1408 Mb mpeg4 1806 Kbps avi Download
Not even well hidden Nazi propaganda
Excellent photography with beautiful German landscapes against razed to the ground houses and desperate hungry countrymen, blond lovely kids that suffer the cruelty of Americans that kill all the children and Russians that shoot children, a Jew ( he has a number tattooed ) who brutally kills an innocent German in cold blood with a rock, the same Jew who says lies while Lore does it only to give courage to her siblings, her coward not-so-German looking father who, according to her mother's words, wasn't so brave to do something else (what ?) instead of trying to save them, Hitler etc in pictures as images needed to be buried possibly for future use, conversations in a train about concentration camp photos that were probably fake and many more, are simple misdemeanors. If ".... your parents didn't do anything wrong.... " was not said by that obese lovely austere lady during the final minutes of this movie, I would say that naivety might have dominated the movie's creators' minds. But with this final phrase, the movie looks like a not even well hidden Nazi propaganda.
I just wanted to add a bit after reading some of the negative reviews.

The transformation of Hannalore during this film was expressed excellently. From the ashes falling on them in the woods to her dependence on a Jew during her travels to her rebellion at the end.. Without a word spoken, the director was able to show the audience the subtle steps of her new awareness. I think that is what this movie was about. The story jumped from scene to scene without smooth transitions, but Hannalore's changing world view was very easy to grasp and understand. Each scene was developed to tell that story. I don't usually appreciate a director's use of camera angles, lighting, catching the right facial expressions, musical scores, and color tones. I think the director did a masterful job of depicting Hannalore's situation onto the audience without a lot of verbal exchange using those techniques.
The road to anywhere
* Contains spoilers * Lore is a film that, along the way of the journeys that we see made, shares beliefs current at the time of the fall of The Third Reich. In the case of Lore's family, neither parent is an ordinary German citizen, because he is a high-ranking SS officer and she appears implicated in unethical medical experimentation, and Lore is in the Hitlerjugend: occasional near-religious fervency for Hitler, and a disbelief in the American reports and evidence of atrocity, are the stuff of utterance in these times, when the idea that Holocaust denial could be legislated against seems impossible.

The film is not those beliefs or utterances, but they are an integral part of the travel that is encompassed from the Schwarzwald, in the far south-west, to the Baltic north of Hamburg to an island akin to, but not, Föhr, where we leave Lore. (Not before, as elsewhere, a tactile quality in the rich mud has been experienced, and the otherness of crossing by causeway to this island has vividly been shown.) Lore, as the eldest of five, has been put in charge of getting her brothers and sisters up to the North because her mother, having denounced her husband to him as a Feigling (coward) proudly strides off to deliver herself to the forces of occupation - one of the first striking moments for Lore is when, having raced after her mother and caught her up, she finds her mother already so resigned to what she is doing that she appears to have nothing to spare for Lore and the family after those parting instructions.

What follows is the journey, the confrontation with death, brutality and violence, and it is almost all the time just the passage of the five siblings, plus Thomas when he joins their number and (and as long as) makes himself useful. Director / co-screenwriter Cate Shortland and Saskia Rosendahl as Lore brilliantly show her teetering at the edge of whether she should associate with Thomas, as an assumed Jew, or feel sexually excited by him and his touch, just as, in her fascination for the various corpses, she challenges upbringing that she should not have curiosity, and should not harm others or steal.

This fractured sense of belonging in and relating to a world that is no longer the same Germany, but even split into three zones that they have to negotiate, is there in the cinematography of the characters, with part of a face here, maybe not in focus, a focus that varies through the shot to lead to a disjunction, or a conflict between the scene and the figure in it. By contrast, the sensual, even visceral, quality of nature is fed into every frame in which it alone features, in panorama and in close detail, touches reminiscent of great masters such as Tarkovsky, but with more of a sense of urgency, though none less of integration into the narrative.

The film shows a quest, and we have to decide - as does Lore - why, for what, and what matters, because all that she knew before and trusted now seems unreliable. What does happen next matters less than that Lore has made this journey and unlearnt much in the process. Getting to where we must leave her, having been allowed to be part of that transformation (although we always knew that we stood outside it), we leave her as herself, as Lore.
Score and Saskia Rosendahl
German composer Max Richter who also scored Waltz with Bashir (2008) and Shutter Island (2010) scores a beautiful and haunting musical landscape that matches the contemplative directing from Australian writer/director Cate Shortland. It never failed to captivate me at every scene and with every note. Similarly the sound is amazing in every detail and add layers to the sometimes sparse dialog.

Saskia Rosendahl is stellar as breakthrough difficult and subtle role to portray. The directing is very good and allows glimpses of human feelings, frailty, fear and frugality in the midst of madness.

A slow, steady and apt examination of difficult situations, death and horror, seen by an unprepared, misinformed youth. Aren't we all also unprepared and misinformed in many ways?
Arresting, Great Filmmaking!
I've written close to two hundred IMDb film COMMENTS and this is the first dedicated to my distaste of other comments, herein those of rickcafe419 and kathleen-wedderburn. Both assigned LORE a single star, as they are certainly entitled to do. But read their respective entries. Rick struggles with a blind rage at Germans in general and Nazis in particular. To him, any treatment less than INGLORIOUS BARTARDS appears insufficient to fuel outrage. He is annoyed that LORE was "designed to engender sympathy" (where did this occur?) to unspecified Germans, apparently assigning children the capacity to independently come to conclusions about good and evil. Rather, LORE did a wonderful job of, inter alia, depicting human denial and hypocrisy. These traits outrage Kathleen so she decides to hate the film for arousing her emotions. Kathleen and Rick are as certain that all Germans (kids too) were in on the atrocities as terrorists today believe all Americans participate in warmongering, drone strikes, etc. Likewise they apparently lack the understanding that circumstances painted by an artist, filmmaker, etc., do not necessarily support that person's endorsement of the attitudes, actions, etc., of the characters involved. It upsets me there exist those who, while so vehemently challenging the right to an opinion, so blatantly suggest that their opinion is better informed. In such event I may be accused of being as guilty as rickcafe419 and kathleen-wedderburn for writing this comment. But I will only go so far to say that rickcafe419 and kathleen-wedderburn's comments are better than no ones.
Don't let unintelligent biased reviewers
keep you from seeing this movie. As a first generation American of German descent, I have heard stories from my "Oma" that mirror the one told in this movie. Many Germans were caught up in something they didn't fully understand or have influence over. Nice to see a story about how complicated the situation really was for the youth of this period.

Some of the "opinions" stated in other reviews disgust me. In my opinion some of you are a bunch of idiots that don't know what you are talking about and don't have clue. You only know one side of the story and that's the story that was spoon fed to you. Pathetic!
"Psychological, mysterious, cinematographic and accomplished..."
Australian screenwriter and director Cate Shortland's second feature film which she co-wrote with British screenwriter Robin Mukherjee, is an adaptation of one out of three stories in a novel called "The Dark Room" from 2001 by English author Rachel Seiffert. It premiered at the 59th Sydney Film Festival in 2012, was screened in the Special Presentations section the 37th Toronto International Film Festival in 2012 and is a UK-Germany-Australia co-production which was shot on five locations in Germany and produced by producers Benny Drechel, Liz Watts, Paul Welsh and Karsten Stöter. It tells the story about a fourteen-year-old girl named Hannelore Dressler and her four younger siblings who lives in Germany during the mid-1940s with their mother Mutti and their father Vati who are Nazi sympathizers. After hearing an announcement on the radio about the death of Adolf Hitler, Vati and Mutti decides to turn themselves in to the allied forces and Mutti tells her eldest daughter that she has to escape with her siblings and find a way to get to Hamburg.

Distinctly and subtly directed by Australian filmmaker Cate Shortland who made her directorial debut "Somersault" (2004) eight years ago, this finely paced fictional tale which is narrated from multiple viewpoints though mostly from the protagonist's point of view, draws an incisive and instantly intriguing portrayal of a refugee's long journey with her sister and three brothers through a country stricken by poverty and chaos after the collapse of it's fascist regime and her relationship with a young man named Thomas whom is also on the run. While notable for its naturalistic and poignantly atmospheric milieu depictions, masterful cinematography by cinematographer Adam Arkapaw, sterling production design by production designers Jochen Dehn and Silke Fischer, fine costume design by costume designer Stefanie Bieker and use of colors, this character-driven and narrative-driven voyage depicts an in-depth study of character and contains a great score by German-born British composer Max Richter.

This historic, humane, tangible and non-judgmental coming-of-age drama which was chosen as Australia's official submission to the Academy Award for Best Foreign Language Film at the 85th Academy Awards in 2013 and where adulthood sneaks up on an adolescent girl and has her confronted with her inherent believes, examines themes like family relations, quilt, war, survival, national crises, sexual awakening and loss of innocence, is set in Germany during the end of the Second World War and impelled and reinforced by its cogent narrative structure, substantial character development, esoteric characters, cinematic poetry and visual grace, fine editing by film editor Veronika Jenet and the memorable and prominent acting performances by German actress Saskia Rosendahl in her debut feature film role and German actor Kai Malina. A psychological, mysterious, cinematographic and accomplished narrative feature where a period in time is credibly reinvented and historical events are placed into a context that envisages new perspectives.
Who to trust when you're at war
Lore isn't a bad movie. If it was not for the ending that I didn't really like I would have scored it a bit more. But the story, the filming and the actors were all good. It's a nice example that your kids will grew up like the parents learn them to behave. Just like dogs, you don't have mean dogs in the beginning, you have mean dogs because of their education. In this case Lore, the eldest of a whole bunch of kids, learns from her Nazi parents to hate Jews. And the rest of the story is the long journey across Germany after the defeat of the Nazis, where she has to rely on a Jew, the human being she's supposed to hate. It's a lesson for everybody, that the nationality, religion, or color of your skin don't matter. There's good and evil in any race or religion. Just don't assume everybody is bad because that makes you the bad one. Lore shows the cruel times people had to endure in wartime and even after the war. Not a bad movie at all.
In response to the 1 out of 10 from an earlier reviewer...
I've just finished watching 'Lore', and found it to be a deeply moving story, beautifully shot on film (which is becoming a rarity), with a breathtaking performance by the lead, Saskia Rosendahl.

I wasn't planning on coming on here to write a review, but after reading other people's views and comments, I was quite stunned to see one reviewer giving it only one star out of ten, claiming it to be 'Holocaust Denial: Trash!'. Having read this reviewers comments, it seemed to me that the reviewer had missed a crucial element in the film, and her reaction seems to concentrate on a revelation from the final third of the film which, if the earlier reveal isn't taken into account, could have caused her reaction.

The following comments contain a good few spoilers, so please don't read on if you have not already seen the film.

In the aforementioned reviewer's comments, she mentioned the scene where it is revealed that the papers carried by the character Thomas were not his own, but those of a Jewish man named Thomas Weil. It is mentioned by one of the children that Thomas had told him that was not Jewish, but carried the papers because "Americans like Jews". If basing the theme of the film on this scene alone, I can almost see why this reviewer came to her conclusions, as she appears to have assumed that Thomas was NOT Jewish all along.

However, earlier in the film, we see Thomas notice Lore looking at the numbers tattooed on his wrist, which he then covers with his sleeve. Thomas is a survivor in every way. He has survived the camps, and has adapted to continue his survival. Although it is never explicitly explained, using another persons papers may have been easier than not having any papers at all, and the revelation to the younger children may have been because Thomas knew the young boy would not follow him to safety if he had thought Thomas was Jewish.

For Lore, it is evident from the moment she sees the tattoo that she knows Thomas is Jewish. Even after the revelation that the documents are not his, she still knows. This explains her actions in the final few scenes, a reaction against her earlier beliefs and strict upbringing. This is what makes it all the more powerful.

The reviewer also references one other scene, of other passengers on a train discussing the photographs of holocaust victims, and one of these passengers claiming that they are faked circulated by the Americans. Is the inclusion of this scene intended as 'Holocaust Denial'? I think not. When Lore overhears this discussion, she is already fully aware that the photographs are real, and we know this because earlier in the film we see her tearing away a piece of a photo, which is later revealed to contain the image of her father in full uniform, witnessing the atrocities. At this point, she is unable to deny either the events or her fathers involvement.

The reviewer I have mentioned stated that she was hoping for a classic example of the 'Bildungsroman', or coming-of-age story, and personally I feel this is exactly what director Cate Shortland has given us. A tale of a young girl who has to come to terms with the end of adolescence, the end of a brutal war, and the gradual realisation that all she has been led to believe may not be true.
A Neo-Nazi racist garbage
Oh, Germany suffered so much in the war!!! Poor blond German Nazi children, running in the woods without food... The movie shows the "suffering" of the poor Germans who, after killing 11 million if innocent men, women, and children and after having seen the photos of the extermination camps still loved Nazism and hold their hatred towards Jews. Pathetic.

The character of the protagonist made me almost puke. A Nazi teenager. Racist and so ugly inside. Despicable.

I don't know how this movie got even released. The director should be trial for Holocaust denial. The last words of the Nazi grandmother say it all: "Your parents didn't do anything wrong". Right: nobody in Germany did anything wrong but the chimenees of Auschwitz worked without stopping.

A garbage film. Despicable. Never forget the victims and never forget who committed the crimes. Peace.
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