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genre: Drama
Duration: 122 M
ratings: 7,9 of 10
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
countries: USA
Kelly Reichardt

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First cow cloned. First coweta bank newnan ga. First carolina bank. Walking along in the woods—perhaps alone, perhaps with a friend, human or canine—you spot a tiny flash of color that doesn’t belong. The precipitate silvery brightness of a lost spoon. The too-vivid red or orange of a plastic toy, abandoned. Maybe the friend, if they’re of the canine variety, spots or sniffs something out of place and begins to worry at it, shaking off the leaves and soil and years that have built up around it since it was dropped or set down. Through one lens, such things are garbage, destined for the nearest bin. Through another, they’re a piece of some unknown story, playing out in some other time. Someone makes such a discovery in the earliest moments of Kelly Reichardt ’s transfixing “First Cow”—and yes, a good dog is involved—but the nature of the discovery makes it impossible to deny that second lens. The story cries out from the soil, the echoes of the past reverberating forth from the pristine whiteness of bone. Two skeletons lie in the earth, curled together as if still seeking warmth. There’s a story there, alright. Advertisement “First Cow, ” adapted by Reichardt with frequent collaborator Jonathan Raymond from the latter’s novel The Half Life, is many things. A simultaneously gentle and unsparing dissection of the formative flaws of capitalism, and thus of the “American dream”; a frontier story which captures the harsh realities and simple pleasures of a life built painstakingly from rock, wood, and soil; a heist movie; an argument for the power of baked goods. It is somehow both brutal and pastoral, peaceful and laced through with the inevitability of disaster and death. (Nothing fragile can hold forever—not a tree branch, not a ruse, not luck, and not peace, no matter what William Tyler ’s beautiful, serene score might trick you into believing. ) But above all else, it is a story of friendship, treated here as a haven and basic human need, as essential as water or bread. The film begins with a quote from William Blake’s “Proverbs of Hell”: The bird a nest, the spider a web, man friendship. And those bones are, for the viewer as well as the woman ( Alia Shawkat) who finds them, both an invitation and a door into that friendship. When Cookie Figowitz ( John Magaro, “ The Big Short ”) first encounters King Lu ( Orion Lee, “ A Brilliant Young Mind ”), it’s in a moment that would, in most films, lead to a chase, gunshots, disaster. The bullied, forlorn cook for a group of rowdy prospectors making a slow journey west, Cookie is searching the woods for anything edible, anything at all. He finds mushrooms, but he also finds a man, naked and shivering, who calmly and quietly asks if the cook is about. The cook is about, and he does not scream, or pull a gun, or alert his brutish traveling companions. Instead, he offers food, warmth, shelter, and if he can manage it, safe passage. How it’s managed and what happens in those hours is mostly left to the imagination, and that’s true of much of “First Cow”; like the traveler in the woods who stumbles upon a story, you’re asked to fill in some blanks yourself. One of those blanks exists between that first meeting and their second, when the fortunes of both men are somewhat reversed. The circumstances are very different, but the offer is the same: food, warmth, shelter, and this time, companionship. Cookie and King Lu begin to build a life side by side, rather than alone, fishing and building and working in affable silence. Reichardt shows us what both men want through the small choices they make: Cookie arrives at King Lu’s small, fragile cabin and immediately sets to work sweeping, tidying, gathering wildflowers to place in a small bottle on a smaller shelf. His friend encourages him, gently, to sit down, rest, and feel at home, but never tells him to stop in the way you might tell a guest to simply leave the dishes. Both seem to know that from that moment forward they are a pair, and through Lee and Magaro’s simple, quiet performances, we watch them build and cherish their new status quo. But the name of the film is not “Frontier Friendship, ” and the arrival of the titular cow eventually shifts Cookie and King Lu out of their peaceful haven. The first cow is also the lone cow, as her mate and calves died in transit to the wilds of Oregon, and Reichardt and cinematographer Christopher Blauvelt film her, particularly in that first shot, as though she were a unicorn or a dragon, practically glowing with some sort of internal magic or riches. Which, of course, is accurate—the cow’s arrival at the home of the Chief Factor ( Toby Jones, quietly excellent) awakens in Cookie dreams of biscuits and cakes only possible with milk. And that’s when Reichardt begins to make “First Cow” the most tranquil and soft-spoken heist movie in the history of the genre. (It’s also where “First Cow” begins to seem like an ideal companion film for “ Parasite ”; programmers, get on that pairing ASAP. ) The cow alone doesn’t spur Cookie and King Lu into action. She may be the flint and steel, but it’s the promise of wealth, prosperity, success, and independence that’s the kindling. As stated above, this is a deceptively simple film, slowly and quietly moving through the Oregon forest and along the riverbanks while carefully juggling ideas and themes in its quick hands. Chief among these ideas is the notion that to really, truly secure a brighter future, you must wring every last drop (here literally) from the opportunities that present themselves, even if it means risking all you already have. Like many Americans before them, in life and in the voting booth, Cookie and King Lu act in the interest of a wealthy, secure future they don’t yet and probably never will have, protecting their future rich selves rather than their present, vulnerable existence. The second half of the film is powered by the dangerous, Icarian words “just one more, ” and while Reichardt, a master of the tranquil, keeps us cocooned in the rough but beautiful natural world, she also slowly swells the tension by showing us, again and again, how these two gentle friends succumb to the power of those words. The cabin slowly grows. In those gaps Reichardt leaves for us, it is filled with the tiny artifacts that make a place a home. But those aren’t the only gaps. We meet, briefly but repeatedly, characters played by a bevy of great character actors, including Gary Farmer, Lily Gladstone (also of Reichardt’s “ Certain Women ”), Dylan Smith, Scott Shepherd, Ewen Bremner, and the late René Auberjonois. We learn precious little about them, but there’s no need. Reichardt gives us just enough to begin imagining their stories: how the old man got a crow for a pet; the wry amusement of a wife translating for her vain husband; the tiny collection of possessions hoarded by a lonely guard; the fraying patience of a big man who just wants to sit with his tiny child. She is, in her way, showing us the gentle curve of those skeletons, giving us the ingredients we need to imagine the lives of these people, the dreams they might entertain, and what ultimately becomes of them. By the time the film arrives at its ending—either open-ended or quietly but ruthlessly definitive, depending on your interpretation—she has trained us to see details as gateways to stories, connection as seed for friendship. Like the first cow, she supplies the vital ingredients. What we choose to do with them is up to us.

Movie Online Watch First Cow full movie watch Watch 2018 `line HDQ'… {First Cow} Here "First" For Online Full HD. First congregational. First cowboys. Bandes-annonces Casting Critiques spectateurs Critiques presse Photos VOD Blu-Ray, DVD noter: 0. 5 1 1. 5 2 2. 5 3 3. 5 4 4. 5 5 Envie de voir Rédiger ma critique Synopsis et détails 1820. La vie de Cookie Figowitz, un cuisinier est engagé pour travailler sur une chasse dans le territoire de l'Oregon. Il se lie d'amitié avec King-Lu, un Indien. Distributeur - Voir les infos techniques Bande-annonce 1:46 Acteurs et actrices Casting complet et équipe technique 11 Photos Si vous aimez ce film, vous pourriez aimer... Voir plus de films similaires Pour découvrir d'autres films: Les meilleurs films de l'année 2019, Les meilleurs films Western, Meilleurs films Western en 2019. Commentaires.

Free Stream First Cow Watch' Online'Streaming'Full {FIRST&COW& 2018) english&full&movie&stream&online}…. First cow rating. First cowcotland clubic. First row sp. Critics Consensus First Cow finds director Kelly Reichardt revisiting territory and themes that will be familiar to fans of her previous work -- with typically rewarding results. 92% TOMATOMETER Total Count: 51 Coming soon Release date: Mar 6, 2020 Audience Score Ratings: Not yet available First Cow Ratings & Reviews Explanation Tickets & Showtimes The movie doesn't seem to be playing near you. Go back Enter your location to see showtimes near you. First Cow Videos Movie Info Kelly Reichardt once again trains her perceptive and patient eye on the Pacific Northwest, this time evoking an authentically hardscrabble early nineteenth century way of life. A taciturn loner and skilled cook (John Magaro) has traveled west and joined a group of fur trappers in Oregon Territory, though he only finds true connection with a Chinese immigrant (Orion Lee) also seeking his fortune; soon the two collaborate on a successful business, although its longevity is reliant upon the clandestine participation of a nearby wealthy landowner's prized milking cow. From this simple premise Reichardt constructs an interrogation of foundational Americana that recalls her earlier triumph Old Joy in its sensitive depiction of male friendship, yet is driven by a mounting suspense all its own. Reichardt again shows her distinct talent for depicting the peculiar rhythms of daily living and ability to capture the immense, unsettling quietude of rural America. Rating: PG-13 (for brief strong language) Genre: Directed By: Written By: In Theaters: Mar 6, 2020 limited Runtime: 122 minutes Studio: A24 Cast News & Interviews for First Cow Critic Reviews for First Cow Audience Reviews for First Cow First Cow Quotes Movie & TV guides.

First castle credit union la. 5 / 5 stars 5 out of 5 stars. The Meek’s Cutoff director returns with a distinctive story about a pair of drifters trying to make money by stealing milk from a newly-arrived cow John Magaro in First Cow. Photograph: Allyson Riggs/A24 Films K elly Reichardt gives us a terrifically tough and sinewy tale of the old west, shaped by the brutally implacable market forces of capitalism. She and her regular screenwriting collaborator Jonathan Raymond have adapted Raymond’s own 2004 novel The Half-Life, evidently pruning some of the epic adventures in the original and bringing it down to a tensely immediate situation. She and Raymond tell their story with force and skill and the movie is shot with beautiful simplicity. There’s a muscular authority in its plainness and its calm, unshowy evocation of the American landscape. A prelude in the present day shows a young woman discovering two human skeletons shallowly buried in Oregon woodland. What is the story here? Reichardt takes us back to the 1820s where “Cookie” Figowitz (John Magaro) is a slippery adventurer who has been hired as a cook in a trapping party but has proved utterly incompetent – at least as far as his aggressive and hungry fellow trappers are concerned. So he splits from them and finds himself befriending an itinerant Chinese worker called King Lu (Orion Lee), and for a while, the pair seem no more than a couple of hobos, finding common cause in their own loneliness. They dream of getting rich as entrepreneurs - and they are not stupid or lazy. But of course any new business needs capital. And how to get it? Why, with that certain special something that is the invisible foundation stone of all great fortunes: a crime. Lu points out that a cow has arrived in the territory: the first cow, and as such the object of exotic fascination. It belongs to the chief factor, an effete and absurd Englishman (Toby Jones), and the pair hatch a bold plan: to creep into the factor’s meadow at the dead of night, milk this cow and use the precious liquid to make “oily cakes”. These are rich and delicious buttermilk scones that instantly become a huge and lucrative success at the local market, especially with the idiotic factor himself who greedily buys and gobbles these treats and can’t believe something so tasty exists outside London. (As Lu shrewdly says: “Some people can’t imagine themselves being stolen from. ”) But then the factor invites the pair to provide a super-special cake for a tea-party he is hosting for a visiting army officer (Scott Shepherd). It is a tale of danger and hubris, but without hubris, no great fortune can be made. The ruling class from whose naivety the pair hope to scavenge their riches are arrogant and high-handed with both the immigrant labour and the native Americans with whom the factor has a supercilious conversation about hunting beavers. Like Lu and Figowitz, this man is concerned with market forces. When the officer tells him he has had to give a beating of 20 strokes of the belt to a mutineer, the factor says that is too lenient, and when the officer says that more strokes would render him unfit for work, the factor counters that this would be offset by the increased work rate from the other (terrified) men. (In a similar spirit, Lu and Figowitz finely calculate their prices for their cakes. ) But they are always liable to be robbed or informed upon or arrested and our two heroes must also calculate the moment at which they will cut and run. It is a tremendously engaging story which does something that very few movies do: mention money. Something very palpable is at stake, the jeopardy is real and it’s a question of survival.

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Writer: Dallas King

Bio: Film critic & writer. Author of @extnewyorkcity. Co-host of Filibuster & The A24 Project on @JoinNerdParty. Freelance 35mm Projectionist at @belmontfh

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