God’s Own Country putlocker – Watch God’s Own Country online free

Watch God’s Own Country online freeWhat a wonderful and unusual experience, to see a film without knowing anything about it. Before I knew it I was in Yorkshire. The silence was deafening, emotions unspoken. Then, Josh O’Connor – a miraculous actor – I didn’t know who the actor was and that helped enormously to get sucked into his world – exterior and interior – and to live his experience fully. Alec Secareanu produces the perfect emotional blow. Roughness and tenderness in a stunning, totally believable performance that, I know will live in my mind forever. They changed me somehow. I was forced to look at something in a different way, without preconceptions. Gemma Jones and Ian Hart. complete this masterpiece that I intend to see again tonight with a group of friends who, like me, don’t know the first thing about the film, other that I loved it. Francis Lee I’m joining the chorus with a heartfelt, thank you.

God’s Own Country putlocker – Watch God’s Own Country online free

God’s Own Country review by k_buck4 – A Powerful Must See

After seeing this at the Galway Film Fleadh, I can honestly say that this film is a beautiful standout that deserves more than to be called the “British Brokeback Mountain”. While the comparisons between the two films were inevitable, God’s Own Country offers different things than Ang Lee’s classic. It speaks to more current issues of gay young men in a modern rural area, masterfully incorporating themes of identity issues, immigrant problems, and familial expectations. It’s not a remake of the classic, it’s an advancement of the genre that Brokeback Mountain helped define.

The most dazzling part of this film is the two young leads, Josh and Alec. It has been many, many years since I have seen a film where two individuals had as much chemistry between them, and the work that Josh and Alec put in to their character leaves the audience deeply and emotionally connected to both characters throughout the entirety of the movie. I could feel the lust between the two when they were on stage, and the heartbreak that happens when a fight occurs. The emotional performances by the two leads make the great movie even better.

Props must also be given to Francis Lee– as a first time director, this is not the movie we in the audience were expecting. It was as masterful, as poignant, and as beautiful as any established director could have done. It was an honor to watch this film, and I cannot wait to follow the career of the director– after what he did here, I know much more greatness is on the way.

I have not stopped thinking about this film for 3 days after I saw it. It won’t leave me for a long time, because there is so much to thing about and so much to celebrate. I cannot wait to see it again, and I encourage you to see it as soon as you possibly can- – this is what independent cinema can look like when done masterfully!

God’s Own Country review by TheLittleSongbird – So much more than “The British ‘Brokeback Mountain”

That title is in no way an insult. ‘Brokeback Mountain’ is a masterpiece, one of my favourites. ‘God’s Own Country’ is also, in its own way. A film with an interesting, if potentially not the most accessible subject matter, that ended up being one of my favourite films of the year so far and for me the film that moved me the most.

‘God’s Own Country’ is a film where, providing that the subject matter appeals (personally think it is an important subject and not explored enough on film and treated very judgementally in society) and one goes in knowing what to expect, it wouldn’t make a difference whatsoever as to what gender or sexuality the viewer is. Speaking as a heterosexual female with “gay” friends (among the nicest people personally met too). It took the festival circuit by storm and it’s no wonder.

It’s a beautifully made film, especially in the luminous photography and rich in atmosphere scenery. The music has presence but is never intrusive, even only being used when needed. Minimal dialogue proved to be a good choice and what there is of it was still thought-provoking and flowed well. When not with spoken dialogue, ‘God’s Own Country’ really resonates. Showing the beauty of registering so much and inducing emotions when understated and very quiet in mood, with as little as small gestures, expressive eyes and faces and no words.

Francis Lee does a remarkable job directing, cannot believe that this is his directorial debut. There are not many great first-time-director films, even the very best went on to much better things (for Kubrick’s first film was also his worst), ‘God’s Own Country’ is one of them. Story-wise, the film is deliberate and understated but beautiful and very poignant, with a lot of nuance in how the characters are developed in compellingly real characterisations and not cardboard stereotypes. It is hard to pick the most moving element or part, because it was mainly how the quiet, nuanced atmosphere, writing and acting was executed and the beauty of it all, basically the little things. It is a very different and sensitively handled slant on same-sex/gay relationships, such as in the attitudes towards the relationship, and that was done in a way that felt real and refreshing, not an easy thing to get right when portrayed on film or television but this is one of the better examples.

There are also strands crucial to the character development, like with the father. That added a lot of emotional weight. The characters are interesting and the central relationship beautifully realised and handled with tact and sensitivity, spark was absolutely there. Are there clichés? Perhaps. Whether that’s an issue in film is wholly dependent on how they’re written and incorporated, neither issues here. Maybe there could have been more depth to why the change of attitude, agreed, but this only occurred to me after the film finished rather than bothering me while watching and the realisation hit that it was an insignificant nit-pick that wasn’t enough to bring the film down.

Here in ‘God’s Own Country’, one couldn’t ask for better performances. Not just from the fantastic leading turn of Josh O’Connor, really hope he goes on to great things after this, but also the ever wonderful Gemma Jones, Ian Hart (with some of the best acting he’s ever given) and Alec Secareanu in a role not as meaty but just as movingly portrayed.

Overall, one of my favourite films of 2017 and the most moving one.

God’s Own Country review by Dirrobsavage – The best film I saw at Sundance

One of the most powerful films I’ve seen in years, with fearless and authentic lead performances from Josh O’Connor and Alec Secareanu and beautiful, understated writing and direction from Francis Lee. Lee says more in a wordless scene than many filmmakers do in a whole feature.

Joshua James Richards shoots Yorkshire with a cinematic quality rarely seen in British film and operates his hand-held camera with an empathy and intuitiveness that allows him to capture many astonishingly intimate and truthful moments of performance.

It’s these telling and tender moments which make up the film – small gestures that carry huge emotional weight. It is testament to Lee’s writing and direction, and the performances of his entire cast, that these small moments (a glance, fingertips touching…) carry such a large emotional weight.

God’s Own Country review by lincoln-15 – Earthy, Visceral, Transcendent Love

This review does NOT contain spoilers.

How do you review a film that leaves you speechless? I’ll try my best for this magnificent film recently shown at the Sydney Film Festival to two sellout screenings.

Rarely does a film do such an amazing job at saying so much with so little script. There were probably only 100 lines of dialog but the film conveyed feelings that would be hard to convey in a 500 page book. The cinematography easily filled the gap as the actors executed their craft to perfection. The movie pulled me in and I was totally mesmerized by the story. It was so genuine that you felt as if you were there with them.

Johnny Saxby (played by Josh O’Connor) is stuck in a life of isolation and debilitating loneliness on a Yorkshire sheep farm. His father Martin (Ian Hart) is sick and no longer able to contribute any meaningful labor to help on the farm. The grandmother (Gemma Jones) does everything she can to care for her ailing son Martin while trying to keep her grandson Johnny from going completely off the rails. When lambing season starts Johnny is incapable of handling the workload on his own. To fill the gap the family hire a short term farmhand (Alex Secareanu) to assist Johnny with the work. A visceral “tug of war” starts immediately between the two men in every area of their lives: physical, emotional, psychological, and sexual. It is indescribable and can only be experienced by watching the film. I’ve never seen it done so well. It is amazing to see a production unfold where the screenplay, cinematography, acting, and landscape conspire so perfectly to tell a story. This is a movie for any adult – regardless of personal attributes or orientation – and captures what it means to be human.

This film is storytelling unbridled. Hiding nothing, the audience was treated with intellectual respect, and there was not a pandering moment to be seen. Regardless of who or what you are, this film will stir up emotions you had forgotten you even had. I highly recommend this rare and special film.

God’s Own Country review by JvH48 – Unusual yet very nice setting for a growing romance between a young farmer and a Romanian temporary farmhand

Saw this at the Berlinale 2017, where it was part of the Panorama section. It all happens within an unusual yet very nice setting of a farm miles from anywhere, showing how a romance develops between young farmer Johnny and a Romanian temporary farm hand. I grew up on a farm myself, and thus welcome seeing people on screen who know how to handle animals, together with demonstrating that farming is not so romantic as many think, but in fact is a 24/7 job under often unaccommodating circumstances, like cattle diseases, uncertain weather and a resisting soil.

The dramatic developments are nicely spread over time. I was happy to see that the story was less predictable than one assumes after having read the synopsis. Unlike in other movies, this time it is not the village people that cause trouble by frowning on gay relationships. Even Johnny’s father and grandma don’t make a fuss when finding out what is happening between Johnny and Gheorghe. I like these deviations from the usual downtrodden path, and I applaud that this movie introduces new elements. It allows us to follow the interesting route that this relationship takes, in any case not straight from A to B (I use the word “straight” here with hesitation, no pun intended).

An important plot element is that Johnny cannot cope with all the work before him, next to his ailing father who wants things done the way he always did in past years, issuing commands and criticism to that effect, without even considering to drop some parts of the farm or using new techniques that may help alleviate the workload. It is remarkable that Johnny does not stand up against the status quo. Even when halfway the running time the father falls victim to a second stroke, one that does not bode well for his complete recovery, Johnny insists that he “will manage” despite demonstrating that he cannot.

An external trigger event is definitely needed in making very apparent that there is more work than there is time. His father’s stroke in combination with Gheorghe’s decision to leave due to anticipating problems in his relationship with Johnny, forces a breakthrough. Johnny tells his father that he leaves the farm for a short while (to meet Gheorghe, and to convince him to return), and that he has plans how the farm should be run after his return. He insists that several things must change to start doing things his way, and that he cannot continue at all cost how his father did it in the past.

All the above combined takes care that there are ample developments to keep us awake all the running time. The characters are interesting enough and not made from cardboard, and the turns of events are not caused by the usual interference from the villagers when gay relationships are involved, but come directly from unlucky circumstances and doubtful decisions by the main protagonists.

All in all, next to downplaying the overly popular romantic view on running a farm, this movie also does a good job of introducing a fresh take on gay relationships. Sex is not the main binding element here, nor is resistance from the environment an issue driving them apart. Though not essential for the plot, sightseeing through the landscapes of Yorkshire works as icing on the cake. A minor problem that I have with the plot is that Johnny continues too long on his father’s leash, and is very late with allowing extra help or forcing some other way out of the work overload. Even after his father’s second stroke, when it becomes abundantly clear that he cannot cope, he still insists that he “will manage”. I missed the reasons behind the overdue switch to his new attitude that “things have to change here”. Maybe a nitpick on a well-made movie, that has a lot of other things to offer, making it a worthwhile watch anyway.

God’s Own Country review by CineMuseFilms – a brave honest essay on sexual self-discovery

It has been twelve years since the milestone Brokeback Mountain (2005) demanded that cinema be more honest in depicting the realities of same-sex love. Much has changed since then but most tropes of romance are still linked to heterosexuality. Whatever Brokeback achieved in the Wyoming mountains, God’s Own Country (2017) takes to another level in the Pennine Hills of Northern England. It is a measure of social progress that cinema has moved beyond just portraits of ‘forbidden love’ to a space where it can openly explore rather than confront gay love.

Life on a sheep farm is tough and lonely for Johnny (Josh O’Connor). Since his father’s stroke, he runs the farm by himself but all he gets is scowling disapproval from his ageing parents. He vents his anger and frustration in drunken binges and rough furtive sex with other gay men in a village wary of anyone who is different. A handsome Romanian seasonal worker Gheorghe (Alec Secareanu) is hired to help during the lambing season and Johnny’s rural racism erupts in verbal taunts. Called a gypsy once too often, Gheorghe confronts him with intense physicality and the relationship changes instantly. While tending the sheep, they spend a few nights in an isolated shelter and their first sexual encounter terrifies and confuses Johnny who has never known tenderness and emotional acceptance. Gheorghe’s sensitivity compels Johnny to confront his inner fears and discover his emotional self.

This is a complex film on several levels. The story barely moves forward in this cold, lonely, inhospitable place, with the narrative energy coming entirely from its earthy filming style and intense, authentic characterisation. The camera accentuates the slow pace of life by lingering on empty spaces, small details, and nature’s ways. A close-up of a butterfly, misty morning light, the birth of a lamb, panoramas of harsh beauty in frosty air, all take on meanings beyond what we see. The depth and nuance of acting by O’Connor and Secareanu is the film’s powerhouse. The silences are long and dialogue sparse, and much is communicated through action. Initially there is little to like about Johnny: we cannot get close to someone who is so distant from himself. Gheorghe is the opposite: intuitive, warm, and empathetic. The chemistry between them progresses from turbulence to deep acceptance and each step of the journey is raw and exposed. Intimacy between males is still a frontier in cinema and this film breaks through.

Like Brokeback, this is a genre-defying, coming of age, drama-rich love story. Today’s audiences expect realism in human relationship stories and this film offers a full-frontal exploration of masculine sexuality and emotional self-discovery. This is a love story of universal relevance that transcends the usual clichés of romance. It is brave cinema with cutting-edge honesty.

God’s Own Country review by Martin Bradley – One of the finest British films of the current century.

Waiting a week to review a film or a play can be problematic. Thinking back, surely the film’s faults will rise to the surface, the ones you tended to overlook at the time. Of course, the opposite could be true; mulling over a film in your head might make it grow with hindsight. Walking out of Francis Lee’s “God’s Own Country” I knew I had seen something special; I knew I had seen a film that was a triumph of both LGBT cinema and of British cinema in general. A week later, and taking everything into account, I’m inclined to think that “God’s Own Country” could be the best film of the year.

Like Andrew Haigh’s “45 Years” this is an incredibly simple film about very complex emotions and issues. The setting is a farm in Yorkshire. The farm isn’t successful and in time, it may well go under. It’s run by Martin, (Ian Hart), but he’s incapable of working due to injury and later illness. The work, (looking after the sheep and the cattle), is done by his taciturn son Johnny, (Josh O’Connor). Johnny is gay but he’s practically homophobic; after a quick bout of sex with a guy he’s picked up in a cafe, he just doesn’t want to know and brushes the guy off with the words. “We? No.” Then Gheorghe comes into his life; he’s the Romanian farm-hand they hire, initially for a week, to help with the lambing. At first Johnny treats Gheorghe like dirt, asking him if he’s ‘a Paki’ and calling him ‘Gypo’ and when, finally, they do have sex it’s a rough act of lust borne out of loneliness on both their parts.

It’s here that comparisons with “Brokeback Mountain” are bound to be raised, both in the setting and the way in which the initial attraction happens, (there’s a later, and quite disarmingly beautiful, moment that will remind you of a similar scene in “Brokeback Mountain”), but Francis Lee’s film is a much more honest and a much finer film than Ang Lee’s which aimed for a Hollywood demographic.

“God’s Own Country” is a film that hearkens back to the great British kitchen-sink movies of the sixties and to the kind of films that Ken Loach is still turning out. It feels ‘real’ and down-to-earth; at times it could be a documentary, (there are a lot of scenes showing life on a farm where the most dramatic thing that happens is a sheep or a cow giving birth). The relationship at the centre also feels real if, to some, a little unlikely. Perhaps the biggest, indeed the only, fault I can find with “God’s Own Country” is in Lee’s decision to make Gheorghe the strong, silent hunk who lands on Johnny’s lap. Wish-fulfillment or what? Nevertheless, and without wanting to give too much away, it’s edifying to finally see a gay-themed movie that doesn’t end in tragedy. It’s also superbly played by basically its cast of four. Both Josh O’Connor and Alec Secareanu are excellent as Johnny and Gheorghe, conveying so much with very little in the way of dialogue, while Ian Hart and especially Gemma Jones are wonderful as Johnny’s father and grandmother. Jones is beautifully understated as a woman who accepts everything life throws at her with stoicism and a degree of humour.

Of course, this is a film that won’t appeal to everyone. There are people who will find fault with the pace, with the lack of drama, with its political message and I am sure there will be gay men who will see in Johnny and Gheorghe things they may think don’t ring true or simply dislike, (Johnny is far from sympathetic from the outset), and yet it is these very contradictions, together with Lee’s wonderful sense of place, that marks this out as a great film in my eyes. And yes, it is deeply political without ever stressing that side of things. This may, indeed, be the first great post-Brexit picture to come out of the UK. However you choose to view it, it remains utterly unmissable.

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