Watch12 Years a Slave Streaming Online | Hulu (Free Trial) Based on the true story of a man sold into slavery. more Starring: Michael Fassbender Director: Steve McQueen You May Also Like The Hate U Give PG-13 • Drama, Black Stories • Movie (2018) Tesla PG-13 • Drama, Biography • Movie (2020) Romeo & Juliet PG-13 • Drama, Romance • Movie (1996) HDFILM Afreen ((2018)) Regarder Streaming VF Gratuit Complet. Télécharger Afreen Film Complet Youtube. Meilleurs films action de lannée 2018 AlloCiné ~ Quels sont les meilleurs films action de 2018 Découvrez le classement des meilleurs films action de lannée 2018 sur AlloCiné . 2017 films à regarder Liste de 39 films SensCritique ~ LEGO Batman, le film 2017 Aperçuedans 12 Years a Slave, The Big Short, Galveston ou Pariah, la talentueuse Oduye s'ajoute donc à la distribution de la série Disney+ en 12Years a Slave, un film de Steve McQueen, Steve McQueen | Synopsis : Les États-Unis, quelques années avant la guerre de Sécession. Solomon Northup, jeune homme noir originaire de l’État de Regarderfilm 12 Years a Slave Streaming vf 12 Years a Slave VOSTFR Si ceci est votre première visite, n'oubliez pas de consulter la FAQ en cliquant sur le lien au dessus. Vous devez être inscrit avant de pouvoir crée un message: Vay Tiền Nhanh Chỉ Cần Cmnd. 12 Years a Slave’ Holds Nothing Back in Show of Suffering. “12 Years a Slave” isn’t the first movie about slavery in the United States — but it may be the one that finally makes it impossible for American cinema to continue to sell the ugly lies it’s been hawking for more than a century. Written by John Ridley and directed by Steve McQueen, it tells the true story of Solomon Northup, an African-American freeman who, in 1841, was snatched off the streets of Washington, and sold. It’s at once a familiar, utterly strange and deeply American story in which the period trappings long beloved by Hollywood — the paternalistic gentry with their pretty plantations, their genteel manners and all the fiddle-dee-dee rest — are the backdrop for an outrage. The story opens with Solomon Chiwetel Ejiofor already enslaved and cutting sugar cane on a plantation. A series of flashbacks shifts the story to an earlier time, when Solomon, living in New York with his wife and children, accepts a job from a pair of white men to play violin in a circus. Soon the three are enjoying a civilized night out in Washington, sealing their camaraderie with heaping plates of food, flowing wine and the unstated conviction — if only on Solomon’s part — of a shared humanity, a fiction that evaporates when he wakes the next morning shackled and discovers that he’s been sold. Thereafter, he is passed from master to master. It’s a desperate path and a story that seizes you almost immediately with a visceral force. But Mr. McQueen keeps everything moving so fluidly and efficiently that you’re too busy worrying about Solomon, following him as he travels from auction house to plantation, to linger long in the emotions and ideas that the movie churns up. Part of this is pragmatic — Mr. McQueen wants to keep you in your seat, not force you out of the theater, sobbing — but there’s something else at work here. This is, he insists, a story about Solomon, who may represent an entire subjugated people and, by extension, the peculiar institution, as well as the American past and present. Yet this is also, emphatically, the story of one individual. Unlike most of the enslaved people whose fate he shared for a dozen years, the real Northup was born into freedom. His memoir’s telegraphing subtitle is “Narrative of Solomon Northup, a Citizen of New-York, Kidnapped in Washington City in 1841, and Rescued in 1853, From a Cotton Plantation Near the Red River, in Louisiana.” That made him an exceptional historical witness, because even while he was inside slavery — physically, psychologically, emotionally — part of him remained intellectually and culturally at a remove, which gives his book a powerful double perspective. In the North, he experienced some of the privileges of whiteness, and while he couldn’t vote, he could enjoy an outing with his family. Even so, he was still a black man in antebellum America. Mr. McQueen is a British visual artist who made a rough transition to movie directing with his first two features, “Hunger” and “Shame,” both of which were embalmed in self-promoting visuals. “Hunger” is the sort of art film that makes a show of just how perfectly its protagonist, the Irish dissident Bobby Sands Michael Fassbender, smears his excrement on a prison wall. “Shame,” about a sex addict Mr. Fassbender again, was little more than glossy surfaces, canned misery and preening directorial virtuosity. For “12 Years a Slave,” by contrast, Mr. McQueen has largely dispensed with the conventions of art cinema to make something close to a classical narrative; in this movie, the emphasis isn’t on visual style but on Solomon and his unmistakable desire for freedom. There’s nothing ambivalent about Solomon. Mr. Ejiofor has a round, softly inviting face, and he initially plays the character with the stunned bewilderment of a man who, even chained, can’t believe what is happening to him. Not long after he’s kidnapped, Solomon sits huddled with two other prisoners on a slaver’s boat headed south. One man insists that they should fight their crew. A second disagrees, saying, “Survival’s not about certain death, it’s about keeping your head down.” Seated between them, Solomon shakes his head no. Days earlier he was home. “Now,” he says, “you tell me all is lost?” For him, mere survival cannot be enough. “I want to live.” The genius of “12 Years a Slave” is its insistence on banal evil, and on terror, that seeped into souls, bound bodies and reaped an enduring, terrible price. Whether 12 Years a Slave, Steve McQueen's deservedly praised film about slavery in 19th century America, will be as gilded with film awards this year as it has already been with critical plaudits is by no means as certain as some have suggested. In July, an African-American woman, Cheryl Boone Isaacs, was elected president of the Academy of Motion Pictures Arts and Sciences, which votes for the Oscar winners, but, as the LA Times revealed last year, the academy itself is "mostly" white, and by "mostly" they mean an almost laughable 94%. Just in case anyone out there thought they'd slipped through some kind of time/space continuum, yes, you are in a person does not have to be black to appreciate 12 Years a Slave "enjoy" is the wrong verb for such a harrowing film, but this inequality of the Academy does go, shall we say, some way to explaining why films about black and African-American experiences tend to be so under-represented in film awards, and it will be interesting to see how the various films out this year about those very subjects The Butler, Mandela Long Walk to Freedom, Fruitvale Station, 12 Years do over the next few months on Los Angeles's various red carpets, or whether 12 Years a Slave follows a similar path through the Oscars to the one trod by The Color Purple, Steven Spielberg's 1984 adaptation of Alice Walker's novel. That film was granted 11 nominations – and zero is much that can and undoubtedly will be said about this film when it finally opens in the UK this month, from Michael Fassbender's remarkable performance as a sadistic slave owner torn between hate and lust, to the arguably problematic suggestion that the main character, Solomon Northup, played beautifully by Chiwetel Ejiofor, was a stoical saint who was different from, even "above", the other "typical" slaves. But what struck me most was McQueen's brave depiction of the relationship between black women and white slaveholding women in a movie, documentary or otherwise, is made about a terrible historical atrocity – the Holocaust, genocide, slavery – the easiest approach for the filmmaker is to shock the audience while simultaneously making them feel good about themselves for being so different from those brutes from another era – validating all of their beliefs about the past bad and themselves good. But 12 Years a Slave is too brutal a film, and McQueen too clear-eyed a filmmaker, to do stories and histories about the slave era in America's South stories and histories written by white people, that is the southern white men are generally depicted as KKK-hood-wearing, slave-beating goons, while their wives are generally sweet-natured southern belles, often nurturing personal, if imperious, relationships with the female slaves – the recently re-released Gone with the Wind is an obvious illustration of this set-up. As scholar Thavolia Glymph writes in Out of the House of Bondage, her study of women and slavery in America, the insinuation has long been that planter women "suffered under the weight of the same patriarchal authority to which slaves were subjected". In 12 Years a Slave, however, this reassuring cliche is overthrown, and the relationship between Mistress Epps Sarah Paulson and Patsey Lupita Nyong'o makes a mockery of the one between Scarlett O'Hara Vivien Leigh and Prissy Butterfly McQueen. Mistress Epps is humiliated by her husband's sexual obsession with Patsey, and, unable to punish her husband, she brutalises the young woman with a savagery that made me jump out of my seat. According to Glymph, "physical punishment seems to have occurred much more frequently between mistresses and slaves than between masters and slaves" and stories about American slavery written by African-Americans tend to tell a similar story. Tellingly, 12 Years a Slave is based on the autobiography of the film's African-American protagonist, Solomon Northup, and other contemporary books, such as Frederick Douglass's autobiography, Narrative of the Life of Frederick Douglass, an American Slave, also reflect this. Yes, white women and black men and women in America's slave era were all victims of white patriarchal authority, but only white women had the freedom to vent their fury, albeit on the only people to whom they were to popular romanticised notions, different subjugated groups rarely stand together against oppressors, for the obvious and often justified reason that they fear being dragged down by one another. Instead, too often, they turn on one another. White American women and African-Americans have long had a complicated relationship on this score, epitomised by the bitter fallout between the 19th-century women's rights pioneer Elizabeth Cady Stanton and Frederick Douglass, when the two former allies split over whether black men should get the vote before white women. Feminism has long been accused of focusing too much on the concerns of white middle-class women and ignoring the needs, in particular, of women of colour, and this criticism has only got louder in recent years, building bitter resentments and sad misunderstandings on both sides. As easy as it is to make fun of modern feminist terms such as intersectionality and "check your privilege", they merely reflect this ongoing difficulty in reconciling the different needs of two groups, both subjugated, but in different, painful Years a Slave deserves to be seen, and awarded, but the racial imbalance on the academy emphasises that the legacies of the past aren't entirely behind us. Meanwhile, the relationship between Mistress Epps and Patsey draws attention to the unacknowledged bitterness that still poisons attempts at progress. "12 Years a Slave" After "Django Unchained" and Lee Daniels' "The Butler," both informed by the shameful legacy of slavery and institutionalized injustice in America, you might think you have satisfied your quota of viewing incidents of racial hatred, sexual abuse and ugly brutality in the past year. You would be wrong. While both of those box-office and critical successes offered compensation for their heavy subject matter with outbreaks of humor and a hip attitude, "12 Years a Slave" is a somber, meditative, almost poetic film that delivers the horrors of bondage stripped down and head-on. For once, history is presented as personal and immediate, not a saga relying on scholarly works and court records à la "Amistad." The source is a rare first-hand account based on the best-selling 19th-century memoir written by Solomon Northup, a free black man from upstate New York who suddenly had his liberty torn away after being kidnapped and sold for slave labor in "Django" and "The Butler" were slaps in the face of inequality, this is a punch to the gut. Don't let those pastoral passages of Southern skies framed by gnarled tree limbs adorned in lacy Spanish moss fool you they seem to exist merely as a placeholder, so that viewers can catch their breath from what they've just witnessed. Even Mel Gibson, whose unbearable 5-minute whipping scene in "The Passion of the Christ" set the standard for such graphic cinematic punishment, would be aghast if not envious of how British director Steve McQueen ensures that the audience palpably feels the flesh-ripping agony of every lashing and beating on screen. Underscoring the cruelty—so commonplace that, in one disturbing scene, workers go about their daily routine as our hero struggles for hours dangling on his tippy-toes while trying not to succumb to the noose around his neck—is the aptly unsettling and sometimes discordant soundtrack by Hans Zimmer, reminiscent of his own strong work on "Inception" but to much different effect. As in "Precious," where the miraculous Gabourey Sidibe kept us watching what we didn't want to see, so, too, the solemnly powerful Chiwetel Eijofor provides us with a reason for not averting our eyes. The British stage veteran born to Nigerian parents first caught the public's attention in 2002's "Dirty Pretty Things" and has been quietly simmering in primarily supporting roles until now. One can't imagine "12 Years a Slave" without him in the lead. His expressions as his character is forced to sublimate his very nature in order to survive say more than whole script's worth of dialogue. With three features under his belt, McQueen has established his auteurship as a unflinching tackler of difficult subjects with a humanistic edge discomfort cinema, if you will. His debut, "Hunger," plunged into the depths of dedication and despair among IRA prisoners engaged in the 1981 Irish hunger strike. "Shame" exposed the corrosive outer limits of sex addiction. For the even more challenging "12 Years a Slave," McQueen follows Northup—whose papers are stolen and name changed to Platt, making it all the more difficult to ever confirm his free status—as he is passed among plantation owners whose personas range from benevolent to monstrous. Nudity is clearly McQueen's calling card. For him, naked flesh is an artistic medium, like modeling clay in the hands of a socially aware sculptor. His goal is not to titillate but to make us feel uneasy, like unwitting voyeurs forced to observe humankind at its most debased and objectified. It doesn't take long before unclothed bodies show up onscreen in "12 Years a Slave," as male and female cane-field laborers must wash together outside in a yard while the world passes by. Later, as they sleep en masse in tight quarters, a sexual act occurs, but it is committed more out of desperation for human contact than desire. Like Lee Daniels in "The Butler," McQueen capitalizes on his growing rep to stack the casting deck with recognizable faces, many plucked from the indie universe. Paul Giamatti lends a grubby gruffness to his all-business slave trader. Benedict Cumberbatch is Northup's first master, the comparatively kindly William Ford, who treats Solomon and his skills as a violinist and craftsman with respect while wrestling with the contradictions that their relationship presents. Paul Dano performs his nasty plantation overseer John Tibeats, who considers Northup's every move a personal affront, with all the hysteria he afforded his preacher in "There Will Be Blood," plus a sadistic streak. "Mad Men" costar Bryan Batt invests his Judge Turner with effeminate affectations, while Alfre Woodard's fancy lady slyly sips her tea at her leisure as an ex-slave who uses marriage as a passage to freedom. There is even room for "Beasts of the Southern Wild"'s Dwight Henry as a slave and Quvenzhané Wallis as Northup's daughter. But this supporting crew all take a back seat the complicated tango played out by Northup's most malicious master, Edwin Epps—who is given more than a few shades of gray beyond villainous black by McQueen's favorite collaborator, Michael Fassbender—and his abused slave mistress, Patsey, brought to life with heart-wrenching honesty by newcomer Lupita Nyong'o. You wouldn't know it from all the film festival raves for "12 Years a Slave," but there are a few missteps. As Epps' shrewish wife, Sarah Paulson's Mary might as well be called Maleficent, given her evil character's lack of nuance. Also, a tonal misstep occurs quite early on as Northup, a devoted family man who is initially a bit of a dandy and full of pride, is tricked by a pair of con artists into believing he is joining a traveling circus. After a night of heavy drinking, he awakens to find himself in a dark dungeon, shackled and alone. It's Edgar Allan Poe by way of Walt Disney's Pinocchio, the boy puppet coerced by hucksters into going to Pleasure Island. Nothing wrong with such fairy tale allusions, but its handling jars. But by the time that Brad Pitt, one of the film's producers, arrives late in the tale with a highly disruptive cameo as a Canadian carpenter who provides hope to Northup that the end to his decade-plus nightmare is nigh, most viewers will be too overwhelmed and stunned to much care. And as they wipe their tears and gather the strength to leave their seats, their minds will be filled with one thought That they have actually witnessed American slavery in all its appalling horror for the very first time. Susan Wloszczyna Susan Wloszczyna spent much of her nearly thirty years at USA TODAY as a senior entertainment reporter. Now unchained from the grind of daily journalism, she is ready to view the world of movies with fresh eyes. Now playing Film Credits 12 Years a Slave 2013 Rated R 133 minutes Latest blog posts about 1 hour ago 1 day ago 1 day ago 4 days ago Comments Drama 2013 2 hr 14 min iTunes Available on Cinemax, iTunes, HBO Max, Hulu 12 YEARS A SLAVE is based on an incredible true story of one man's fight for survival and freedom. In the pre-Civil War United States, Solomon Northup Chiwetel Ejiofor, a free black man from upstate New York, is abducted and sold into slavery. Facing cruelty personified by a malevolent slave owner, portrayed by Michael Fassbender as well as unexpected kindnesses, Solomon struggles not only to stay alive, but to retain his dignity. In the twelfth year of his unforgettable odyssey, Solomon’s chance meeting with a Canadian abolitionist Brad Pitt forever alters his life. 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