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Country=USA
John Magaro, Rene Auberjonois
Kelly Reichardt
A loner and cook (John Magaro) has traveled west and joined a group of fur trappers in Oregon Territory, though he only finds connection with a Chinese immigrant (Orion Lee). The men collaborate on a business, although its longevity is reliant upon the participation of a wealthy landowner's prized milking cow
User Ratings=7,7 of 10
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Free Download First com www. 8 रेटिंग्स संयुक्त राज्य अमरीका, 2019 नाटक The story of Cookie Figowitz and King-Lu’s burgeoning friendship in the ever-changing Northwest landscape–and a get-rich-quick scheme involving the first cow in the territory. यह फिल्म अभी MUBI पर नहीं चल रही है, लेकिन 30 अन्य महान फिल्में चल रही हैं। देखें क्या दिखाया जा रहा है अब दिखाया जा रहा है. I know that it's another rom-com but why the hell did I get an add for tall girl. Free Download First cowboy. Reichardt's tender story of 19th century friendship consolidates the themes of her previous movies to hypnotic effect. Few filmmakers wrestle with what it means to be American the way Kelly Reichardt has injected that question into all of her movies. In a meticulous fashion typical of her spellbinding approach, “ First Cow ” consolidates the potent themes of everything leading up to it: It returns her to the nascent America of the 19th century frontier at the center of “Meek’s Cutoff, ” touches on the environmental frustrations of “Night Moves, ” revels in the glorious isolation of the countryside in “Certain Women, ” and the somber travails of vagrancy at the center of “Wendy and Lucy. ” Mostly, though, “First Cow” unfolds like “Old Joy” in the Oregon Territory. Once again, Reichardt has crafted a wondrous little story about two friends roaming the natural splendors of the Pacific Northwest, searching for their place in the world. The appeal of this hypnotic, unpredictable movie comes from how they find that place through mutual failure, and the nature of that outcome in the context of an early, untamed America has rich implications that gradually seep into the frame. Reichardt excels at communing with natural beauty and humankind’s complex relationship to it, but “First Cow” pushes that motif into timeless resonance. Though the bulk of “First Cow” unfolds in 1820, it begins with a modern-day prologue in the same woodsy location, where a young woman (Alia Shawkat in a fleeting cameo) uncovers two skeletons lying side by side in the woods. That tantalizing image follows a quote from William Blake — “the bird a nest, the spider a web, man friendship” — establishing the instinctive bond that follows. From there, the movie flashes back to the distant past, telling the origin story of those skeletons as an unsuspecting buddy movie. It begins with the plight of Cookie (John Magaro), a shy pushover roaming through the forest and serving as the cook for a group of virile fur trappers. Foraging one night after dark, he comes across a wandering Chinese man named King-Lu (Orion Lee), who left his native land long ago and claims to be on the lam from Russians. It’s never quite clear just how much King-Lu’s story has been invented by the mysterious traveler, but when the pair reconnect at the barren Royal West Pacific Trading Post, they immediately bond over mutual alienation. And then, a sneaky business opportunity: When they spot a nearby property owner bringing the first cow to the region, they come up with a plot to steal its milk so they can sell biscuits and oil cakes to the weary travelers passing through the region. With time, this plot becomes an origin story of greed, desperation, and the American dream, rooting it in a sincere desire to find success in an unforgiving world. Cookie and King-Lu may be reckless, but they’re a lovable pair, compelled by a quest to succeed that transcends the specificity of its setting. There’s a fundamental metaphorical dimension to this unusual plot — the very nature of Eastern and Western characters, hesitant to join forces as they map out an unrealistic plan to conquer the world, invites many interpretations — but Reichardt doesn’t overplay it. Instead, “First Cow” lingers in the scenery, with cinematographer Christopher Blauvelt drawing out the storybook wonders of a landscape dominated by hulking trees and unforgiving rivers. “History hasn’t gotten here yet, ” King-Lu tells his new pal, and it’s unclear if their presence represents an opportunity or a threat. “First Cow” has been adapted from “The Half-Life, ” a novel by Reichardt’s longtime collaborator John Raymond, who co-wrote the screenplay with her. Raymond’s novel, however, contrasted the frontier setting with a modern-day tale of friendship; by dropping that storyline, Reichardt allows the period backdrop to take on an inquisitive quality that interrogates the present without confronting it directly. William Tyler’s ebullient score draws out the gradual sense of possibility percolating through the empty scenery, and gives the story a sweeter quality than the melancholy dominating much of her work. It hovers in the ambition of its characters, setting up the emotional process they undergo when the reality of their scheme comes crashing into the pictures. Eventually, the pair run into problems with a wealthy British trade mogul (Toby Jones, relishing the part of an avaricious colonist) who hires them to bring some of their tasty biscuits over, not realizing they’ve been stealing ingredients from his backyard to make them. This encounter sets the scene for a mesmerizing chase across the messy scenery, and a hypnotic encounter with indigenous peoples that serves as Reichardt’s latest trenchant reminder that someone else had this land first. But even here, Reichardt doesn’t indict her wayward characters for falling prey to proto-capitalist impulses; instead, they’re victims of a universal struggle to find success and stability, and in the process they find each other. With a few more telling glances, “First Cow” might have turned the ballad of King-Lu and Cookie into the material for a homoerotic Western, but Reichardt doesn’t force that context onto material with broader intentions for its characters. Magaro buries himself in the role of a lonely introvert a world apart from his more conventional turns on “Orange is the New Black” and in “Carol, ” crafting a tender figure whose understated nature makes it all too easy for others to impose their agenda onto him. Lee, meanwhile, inhabits a mysterious figure at odds with his foreign identity, with a sneaky grin that hides big plans that never quite come to fruition. King-Lu and Cookie need each other not only to survive but to bond over that very same need, and “First Cow” commiserates with their journey in a kind-hearted fashion that allows the movie to resonate with more warmth than it initially lets on. As with all of her work, Reichardt communes with the notion that even reckless people simply want to find meaning in their small corners of existence, and the last three words of the story — “I’ve got you” — have a cathartic power that suggests no victory can be greater than companionship itself. Grade: A- “First Cow” premiered at the 2019 Telluride Film Festival and next plays NYFF. A24 will release it in 2020. Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
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Free Download First cowcotland. Plainly speaking, First Cow is the story of two best friends who want nothing more than to make a living selling buttermilk biscuits. Because they have no milk, the men—industrious but penniless both—must extract it in secret from the only cow in the area, owned by a rich landowner uninterested in sharing his dairy. It’s a premise so simple and sweet and down-to-earth, it could have been pulled from the pages of a picture book. But Kelly Reichardt, the film’s writer and director, is a specialist in finding the big stories planted in the soil of the small ones. Her latest drama of struggle and communion on the Oregon fringe is set in 1820, several decades before the territory became a state. As such, it begins to look unmistakably like a national creation myth, tracing the roots of our ballyhooed entrepreneurial spirit—and the harsh reality of how it often collides with established wealth—back to a very modest American dream. Or, to get more granular still, to the udders on which it depends. First Cow begins with an excavation. Wandering the woods of Oregon, a modern woman (Alia Shawkat, in a wordless cameo) discovers two skeletons lying side by side, perfectly preserved in the dirt. Right from the jump, we know we’re watching an origin story. But this prologue, coupled with a William Blake epigraph, also hints at a timeless and rather literally bare-bones portrait of friendship. Are these the remains of our heroes, two 19th-century men more sensitive and compassionate than the age they were born into? We know, too, that “Cookie” Figowitz ( Carol ’s John Magaro) is a gentle soul from the moment, early on, that he comes across a lizard helplessly turned on its back and flips it over—one of those sharp little details of behavior that marks this as a new movie from the director of Certain Women and Wendy And Lucy. Cookie, a cook from Maryland, has come to the area along the lower reaches of the Columbia River with a party of loutish fur trappers; he’s almost comically out of place in the group, like a model of enlightenment among barbarians. But he finds a kindred spirit in King-Lu (Orion Lee), a cosmopolitan Chinese immigrant he stumbles upon in the foliage. The stranger is hiding from men even more hostile and dangerous, perhaps, than the aforementioned fur trappers. And so Cookie, in an act of kindness, feeds and shelters him. Photo: A24 The two meet again at The Royal West Pacific Trading Post, a rickety but bustling encampment that recalls—in its scrappy proto-town culture of intersecting personalities—the mining community of Robert Altman’s McCabe & Mrs. Miller. Reichardt envisions the place as a microcosm for the whole American experiment: a miniature land of opportunity within the larger one, drawing immigrants from all over, each chasing some kind of economic prosperity. It’s here that Cookie and King-Lu, who end up sharing a shack in the woods, devise a business plan. By night, they’ll sneak out, under cover of darkness, to milk the only cow in the Oregon Territory, left roped up and unattended on the outskirts of a massive estate. By day, they’ll supply culinary comfort to an underserved market—including the very man they’re stealing from, a British aristocrat (Toby Jones) who “tastes London” in their honey-glazed pastries. (And why wouldn’t he? They’re made from the milk of his prized ungulate! ) There isn’t much more to the plot, which comes together gradually, even leisurely over the two-hour running time. It’s based on The Half-Life, a novel by Reichardt’s regular cowriter, Jonathan Raymond. Together, the two have stripped his story down to its skeletal essence, combining characters, condensing the geographic scope (a trip to China has been excised entirely), and all but losing a parallel thread set over a century later. The results play more like one of Reichardt’s short-story adaptations, vivid and precise. Shooting close to the ground, she attunes us to a quiet and less hurried way of life. The first thing we see in First Cow is a steamboat crossing the frame, from left to right, in real time. It sets the pace—that meditative crawl that can make her movies something of an acquired taste. But this long shot also suggests, visually, the passage of lives across the stream of history. Photo: A24 First Cow returns Reichardt to the time, place, and claustrophobic aspect ratio of her masterpiece, Meek’s Cutoff, a tense and hypnotic Western based on the true story of a caravan that strayed disastrously off the Oregon Trail. But though there’s an element of danger here too (and plenty of echoes of the genre past, including a brawl outside a saloon and a whiz of bullets through the woods), this is a much more relaxed frontier story. At center, it’s almost a minimalist buddy comedy, built on the rapport between the soft-spoken baker and his quixotic partner. Much of the film’s laidback charm comes courtesy of its stars: Magaro lends Cookie a touching tenderness (especially during nocturnal conversations with his rather literal cash cow), while Lee gives gently amused voice to King-Lu’s curiosity, an irrepressible appreciation for the wonders of a place only half-conquered by man. (One of the film’s paradoxes is that it respects the character’s awe without quite sharing or inflating it. ) Just don’t mistake the lightness of step for a softness of philosophy. There’s a political dimension to all of Reichardt’s films, which almost invariably follow characters muscled to the margins of society. Looked at one way, First Cow is about the birth of American enterprise: a recipe calling for equal parts hard work, ambition, and a willingness to break the rules when necessary. Whether even that’s enough to claim a piece of the proverbial pie is a question that hangs over the film’s low-key vision of personal and professional partnership; the answer does arrive, before fossilizing into a warning and a legacy for every Wendy, Lucy, and hard-luck case in Reichardt’s growing ensemble of outsiders. You can connect them all to this significant chapter in history, tracing back their arcs of hardship and misfortune like tributaries on a map.
Just a thought use the feed thrown around and under the equipment tires for traction. Im so glad no one was hurt, Prayers and blessings sent for you and all involved. That does my heart good to see how happy the cows are. Free Download First com. “Godspeed” by Frank Ocean has been my morning alarm tone since it came out 3 years ago. Thought my alarm was going off while watching this trailer! Great song that worked so well for this trailer. Looks great. Kelly Reichardt’s newest film, “First Cow, ” calls to mind the work of 19th century landscape artists like Albert Bierstadt or Frederic Edwin Church, whose tactile depiction of each leaf and shard of sunlight is so engrossing that it’s a jolt when you finally notice a couple of tiny figures somewhere in the background, dwarfed by the sheer spectacle of nature. Most of us have to visit major museums for this experience. But Reichardt paints her own breathtaking landscape and then zooms in on the miniscule humans just trying to survive amidst the greater workings of the world. She is among the select few modern filmmakers who’ve earned the term “auteur, ” and fans will find her personal signatures throughout the film. It’s the fifth of her seven features set in the Pacific Northwest, opens with a scene that brings to mind “Wendy and Lucy, ” evokes “Old Joy” in its close look at male friendship and, like “Meek’s Cutoff, ” examines the dark edge of America’s Manifest Destiny. But while it fits perfectly into a larger framework, it also stands alone in rare, iconoclastic beauty. Also Read: 'First Cow' Director Kelly Reichardt Wins $50, 000 Spirit Awards Filmmaker Grant After a brief, contemporary prologue that haunts every frame to follow, we find ourselves in the Oregon Territory around 1820. The sensitive Cookie Figowitz (John Magaro, “Orange Is the New Black”) is a soft-spoken Northeasterner working for fur trappers who regularly mistreat him, while King-Lu (Orion Lee, “Informer”), a Chinese immigrant, is greeted with suspicion by nearly everyone he meets. When Cookie helps King-Lu out of hiding — he’s being chased by Russian trappers — they form an instant link as fellow outsiders. Together, they find a home in a broken-down shack on the outskirts of a rough trading post. Everyone there is looking for the 19th-century version of a lottery ticket: Gold is the goal, but a pile of beaver pelts or even a steady job would be nice. King-Lu and Cookie find their luck changing when a pompous landowner (Toby Jones), brings in the region’s first cow. Every night he and his staff, made up primarily of Native Americans, shut down his big house and go to bed. And then Cookie and King-Lu sneak out of their shack onto his property to milk his cow. Watch Video: Kristen Stewart Explains Why 'Certain Women' Is So Hard to Explain Cookie uses the milk to make biscuits and fry cakes that King-Lu sells with speed and finesse. And for a while, their plan goes beautifully. They even earn enough to anticipate the next step up the capitalist ladder: a move to San Francisco. But they can’t live off another man’s property forever, and soon the shaky lower rung on which our heroes are standing threatens to give way altogether. Reichardt and Jonathan Raymond have loosely adapted Raymond’s novel “The Half-Life” here, and they are so in sync it’s no surprise that they also co-wrote the screenplays for “Old Joy, ” “Wendy and Lucy, ” “Night Moves, ” and “Meek’s Cutoff. ” All of those films share a similar sense of humane melancholy, expressed within a natural world that is alternately vulnerable or impervious to the beauty and pain of interpersonal connections. Indeed, it’s hard to decide which is more moving: the bond between the men or their as-yet-untamed surroundings. Magaro and Lee, who have more often been cast in supporting parts, carry the weight of their lead roles with lived-in confidence, while Alia Shawkat, Ewen Bremner, Scott Shepherd, Gary Farmer and Lily Gladstone are memorable in smaller roles. Also Read: John Magaro, Nikolaj Coster-Waldau, Lola Kirke to Star in FX Pilot 'Gone Hollywood' Reichardt relies on an equally solid crew for the production elements. Costume designer April Napier (“Booksmart”) and production designer Anthony Gasparro (“Certain Women”) studied texts from the era to build in authenticity, and William Tyler mixes his own soulful compositions with on-screen music (a scratchy violin here or a mouth harp there) to enhance the period feel. But the most striking work is that of exceptional cinematographer Christopher Blauvelt (who also has “Emma. ” in theaters right now): He shoots the forest and surrounding land with such poetic deference that it becomes the third central character, just as expressive and exposed as Cookie and King-Lu. Where Blauvelt and Reichardt used the plains of “Meek’s Cutoff” to indicate the potential oppression of expansive space, here they shoot in the same 4:3 ratio but much lower to the ground, so we can nearly smell the dirt as well as we can hear the comforting sweep of a handmade broom or the ominous crack of every dry branch. What gives the movie its ultimate power, though, is not the tension that comes from wondering what might happen in the forest, but from what we already know will unfurl beyond it. Reichardt and her outstanding team ensure that we are fully invested in her striving heroes and equally anxious for their promising young country, as well. 10 Highest-Grossing Movies Directed by Women, From 'What Women Want' to 'Captain Marvel' (Photos) Will Elizabeth Banks’ “Charlie’s Angels” reboot soon join this list of films with female directors (or co-directors)? Take a look at which films directed or co-directed by women are on this list, unadjusted for inflation. Credit: Comscore.
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First Cow Rated 8.4 / 10 based on 583 reviews.
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