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Rocinante: Directed by Ann Guedes, Eduardo Guedes. With John Hurt, Maureen Douglass, Ian Dury, Jimmy Jewel. England, mid 1980s: Bill (John Hurt) embarks on a dream-like odyssey around rural England, breaking into country houses, taking photos of anything that interests him, until he meets a mysterious woman in a van, who seems to be on the run ...
- (39)
- Drama
- Ann Guedes, Eduardo Guedes
- 1986-11
Rocinante ( Spanish pronunciation: [roθiˈnante]) is Don Quixote's horse in the two-part 1605/1615 novel Don Quixote by Miguel de Cervantes. In many ways, Rocinante is not only Don Quixote's horse, but also his double; like Don Quixote, he is awkward, past his prime, and engaged in a task beyond his capacities. [1] [2]
- Male
- Miguel de Cervantes
- Horse
Synopsis. England, mid-1980s: Bill embarks on a dream-like odyssey around rural England, breaking into country houses, taking photos of anything that interests him, until he meets a mysterious woman in a van, who seems to be on the run from the authorities. Cast. Crew.
- Ann Guedes, Eduardo Guedes
- Film4 Productions
Overview. England, mid-1980s: Bill embarks on a dream-like odyssey around rural England, breaking into country houses, taking photos of anything that interests him, until he meets a mysterious woman in a van, who seems to be on the run from the authorities. Ann Guedes. Director. Eduardo Guedes. Director. Full Cast & Crew. Social. Reviews 0.
Synopsis. England, mid-1980s: Bill embarks on a dream-like odyssey around rural England, breaking into country houses, taking photos of anything that interests him, until he meets a mysterious woman in a van, who seems to be on the run from the authorities.
Rocinante. ( 1986 ) Drama. England, mid 1980s: Bill (John Hurt) embarks on a dream-like odyssey around rural England, breaking into country houses, taking photos of anything that interests him, until he meets a mysterious woman in a van, who seems to be on the run from the authorities. Сast and Crew. Stars. John Hurt. Maureen Douglass. Ian Dury.
10 set 2012 · Despite the film's good intentions, it is, quite simply, appalling. Such bourgeois conventions as plausible, pacy narrative, realist characterisation, and the potential for an audience's emotional ...
