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The Guilty

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Une femme, victime d’un kidnapping, contacte les urgences de la police. La ligne est coupée brutalement. Pour la retrouver, le policier qui a reçu l’appel ne peut compter que sur son intuition, son imagination et son téléphone.

Casting : acteurs principaux The Guilty

On connaît suffisamment la vitalité du “polar scandinave”, en littérature du moins, pour faire confiance les yeux fermés à ce petit film conceptuel danois qui nous arrive auréolé de critiques louangeuses et de récompenses. même si l’on imagine mal qu’on aura à faire à la “révélation de l’année” ou à la naissance d’un nouveau réalisateur génial. Et en effet, “génial”, “The Guilty ne l’est pas : on peut même trouver que son concept malin – en gros, remplacer l’image par le son pour. Lire la critique de The Guilty

Thriller où il y a plus à écouter qu’à voir, on peut se poser la question de la légitimité d’une sortie au cinéma pour un tel projet. The Guilty n’a en effet pas grand chose de vraiment cinématographique et se place un peu comme l’antithèse de l’Hollywoodien The Call en délaissant le coté spectaculaire. Si vous cherchez un thriller bourré d’action, mieux vaut passer votre chemin. Le film de Gustav Möller s’adresse principalement aux spectateurs à l’imagination débordante qui aiment faire. Lire l’avis à propos de The Guilty

Posts The Guilty

Critiques : avis d’internautes (69)
  • Tri :
  • recommandées
  • positives
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Iben, mère de 2 enfants est kidnappée par son ex. Elle contacte les urgences de la police. La communication est coupée brutalement. Pour la retrouver, Asger, le policier qui a reçu l’appel ne peut compter que sur son intuition, son imagination et son téléphone. Faux semblants The guilty est un huis clos danois de. Lire l’avis à propos de The Guilty

Hybride Danois entre The Call et Locke, Den Skyldige arrive en France par la petite porte, en plein été moribond et avare de sorties cinés dignes de ce nom. Quelle heureuse surprise ! Preuve de plus, s’il en fallait, qu’en matière de 7e Art le traitement et l’exécution valent mieux que le meilleur des pitches, le film se distingue. Lire la critique de The Guilty

On pourrait jouer avec les mots en déclarant que l’intrigue ne tient littéralement qu’à un fil : on suit pendant 1h25, Asger Holm, policier transféré temporairement au centre d’appels du 112, au téléphone, avec les différents protagonistes de l’enquête, tant les victimes que les agresseurs, que les policiers, qui sont eux, sur le terrain. On peut envisager le film sous deux angles . Lire l’avis à propos de The Guilty

Un petit film tourné avec trois fois rien. Il n’y a que deux pièces dans le film et tout est suggéré. Tout ce qui se passe en dehors de la pièce est en hors champs se qui économise un paquet de prises de vues et donc beaucoup d’agent . Pas d’économie de tensions et de rebondissements en revanche, le force du film est de nous scotcher pendant 1h20 avec notamment des silences en plans fixes sur. Lire la critique de The Guilty

Qu’il est fort ce film ! Qu’il est puissant ! Qu’il est efficace ! Un huis clos qui vous prend aux tripes grâce à un montage son de grande qualité et un acteur magistral qui fait passer des émotions très fortes. On se prend des claques pendant tout le film au fur et à mesure que des éléments supplémentaires viennent nourrir l’intrigue. Le réalisateur laisse notre imagination prendre le pas. Lire la critique de The Guilty

Matthew Sleeth’s ‘Guilty’: a gut-wrenching look at Myuran Sukumaran’s execution

By Garry Maddox

More than two years after the execution of Bali Nine ringleaders Myuran Sukumaran​ and Andrew Chan, artist and filmmaker Matthew Sleeth​ is still furious about what he considers a pointless loss of life in an act of political theatre.

“I’m angry for Myuran,” he said before the world premiere of a film on Sukumaran’s final 72 hours at the Adelaide Film Festival on Sunday. “I’m angry for the political nature of it.

“This was done for political gain in Indonesia and had nothing to do with justice. And I’m angry for what the family is still going through.”

Having joined Ben Quilty​ in teaching art workshops at Bali’s Kerobokan prison for five years, Sleeth struggled to deal with the emotion over the execution of a man he knew as a mate.

Adam McConvell plays Myuran Sukumaran in Guilty.

“Because I lived with it and went through it, it was horrifying,” he said. “It was something that wasn’t going to go away.”

Sleeth has channelled that emotion into Guilty, a gut-wrenching film that chronicles the tense last days before the execution on April 29, 2015.

In recreating scenes in the prison and then on the so-called execution island of Nusakambangan​, the film is full of small, telling details – Sukumaran sketching a guard who has shown interest in his art; the setting-up of the execution site on a soccer field; the laying out of three live bullets among nine blanks so the marksmen never know who fired the fatal shots; an “X” being painted above the heart on the condemned prisoners’ white T-shirts.

With lookalike Adam McConvell​ playing Sukumaran, the film uses news footage and radio commentary to capture the swirling public debate about the execution and show the family’s distress as Indonesian President Joko Widodo​ ignored pleas to spare the two men’s lives.

Myuran Sukumaran in a scene from Guilty.

“This film was a way to try to do something out of a very traumatic situation for everybody involved,” Sleeth said. “After living through it and watching the excruciating slowness of it and the intimacy of it and the effect it has on families and the lawyers and anyone else who really came into contact with it, I was completely convinced – even more than I was before – about how wrong the death penalty is.

“And also how powerful art can be sometimes to have the conversations we find difficult to have.”

Matthew Sleeth hosting an exhibition of Myuran Sukumaran’s paintings in 2014.

Photo: Angela Wylie

Sleeth considered Sukumaran a genuinely talented artist.

“He got to the point he was quicker than anyone I’ve ever seen and was more determined to learn than any student I’ve ever seen,” he said. “And he worked harder than anyone I’ve ever seen.

“Part of the waste of this – and part of the anger at this – is about the art that isn’t going to be made.”

Sleeth also wanted the film to be about the importance of giving a second chance to someone like Sukumaran.

“It’s not something we do well as a culture,” he said. “I was very determined that this wasn’t a film that was just cheap shots at Indonesia, even though I’m clearly very angry with how the Indonesians dealt with this situation. But it’s about a kind of generosity that we might not have as much as we think we do.”

Sleeth insisted the film was not defending the Bali Nine’s crimes.

“This film isn’t an apology for drug-dealing,” he says. “Myuran, his family, his lawyers and myself all accepted that what he did was wrong and should be punished.

“This isn’t really a film about the crime. It’s a film about the punishment.”

Two years on, Sleeth remains disappointed by how many Australians supported the death penalty for the pair at the time of their execution.

“What I hope this film achieves is next time this situation happens – and it will happen again – we think a little more carefully about casually calling for the death penalty,” he said. “And we think a little bit more about what it means for the families, and for the people that are asked to do it, and how much it diminishes us calling for it.”

Sleeth believes Sukumaran was genuinely rehabilitated even before he met him, with painting giving him a voice.

Holding his first workshop at the prison, he was surprised by how quiet and gentle Sukumaran was compared to his public image.

“I’d seen everything in the media like everyone else about how he was the enforcer and he was this and that,” he said. “But he was actually relatively shy.”

Sleeth spoke to lawyers, family members and others on the scene to build up an accurate picture of what took place in Indonesia, then developed the film through the festival’s Hive Lab, which encourages projects that cross artistic boundaries.

“There is an argument for why make a film like this in a country that doesn’t have the death penalty,” Sleeth said. “But the great advantage that Australia has in this conversation is we don’t have the death penalty.

“It’s not about domestic political bickering. It’s a conversation about what a moral absolute killing other people should be.”

The film is expected to get a cinema release next year.

Garry Maddox

Garry Maddox is a Senior Writer for The Sydney Morning Herald.

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‘The Equalizer 2’ Review: Denzel Washington film a guilty pleasure

Published: July 18, 2018

Updated: July 18, 2018 11:52 AM EDT

Filed Under:

RATING: *** out of four
Director: Antoine Fuqua
Cast: Denzel Washington, Pedro Pascal, Bill Pullman, Melissa Leo
Screenplay: Richard Wenk, Michael Sloan & Richard Lindheim (TV series)
Running time: 120 minutes

You won’t usually find Denzel Washington in a movie sequel. He just doesn’t do them. Something about not wanting to repeat himself. So there must be something special indeed for him to break his own rule for The Equalizer 2.

Fans of the first film will instantly know why Washington is drawn to the character of Robert McCall, a quiet middle-aged retired special-ops agent who fiercely believes in justice, likes to help others and dispenses the occasional lethal killing for those deserving.

“We all have to pay for our sins,” he tells a group of very bad guys in the new, highly satisfying edition, before vowing to hunt each one dead. His only regret? He can kill them only once.

The Equalizer 2 reconnects many of the people behind the 2014 debut alongside the always-vital Washington — Antoine Fuqua returns to direct, as does writer Richard Wenk, and actors Bill Pullman and Melissa Leo.

McCall first appeared in the mid-1980s on TV with Edward Woodward playing him as a bit of an English dandy. In the film series, Washington plays McCall as a tad obsessive-compulsive, but not consistently. He’s the kind of guy who brings his own tea bag to a restaurant in a neatly folded napkin and arranges the cutlery just so. But, when prompted, his vision suddenly becomes hyper-clear and he meticulously pre-plans every step in taking down a room of thugs, often without a gun. He’s like Monk crossed with Sherlock Holmes.

In the first film, a hooker with a heart of gold pulls McCall out of retirement when she is badly beaten by her pimp. By the end, McCall has blown up most of Boston’s waterfront, exposed a nest of corrupt local cops and systematically executed every member of a Russian gang, even going to Moscow to finish the job.

The second film takes place sometime later, with McCall now a Lyft driver, selectively helping people he encounters. He’s kind to old people (a Holocaust survivor, for extra depth) and little kids, who adore him. He mentors a troubled teen (Ashton Sanders), hoping to steer him away from drug dealing and toward art school. Few people could pull off this cheesy sainthood like Washington, oozing charisma and self-assured masculinity.

When a group of smarmy, cocky Wall Street types abuse an intern during a coke-fueled party, Washington drives her to the hospital and then returns to wreck vengeance, slicing one dude with his own luxury credit card and then taunting his bleeding victims with “I expect a five-star rating.” It takes him a scant 29 seconds to destroy the room full of rich snobs; he times it, naturally.


The film somewhat confusingly toggles through various initial threads before landing on the main one — someone crucial to McCall’s murky past is murdered in Brussels and that reveals a barrel of bad government apples. The film thus strays far from its roots as a vehicle for McCall to be the avenging angel for a needy stranger. But we get to see McCall solve the crime from his Boston apartment by putting himself in the crime scene like an episode of Crossing Jordan and then avenge the death. Oh, there’s also a hurricane crashing up the East coast, timed for the climax, a little over the top if we’re being honest.

Fuqua is a lyrical director who directed Washington to an Oscar in Training Day. He’s not afraid to spend time in the still darkness with McCall and likes to focus on small moody elements, like rain hitting the gutters. But he can also deliver red meat: A sequence in which McCall fights off a passenger in the back seat of his car is a mini-masterpiece of taut, sinewy direction.

Wenk also has written some juicy dialogue for Washington, including a monologue about individual responsibility he delivers to the young artist in a project stairwell that the actor bites into with obvious relish. (It’s only somewhat marred by the cliche of him putting a gun muzzle to his own temple and goading the younger man to pull the trigger. “Five pounds of pressure is all it takes!” he says.)

The Equalizer is a guilty pleasure for anyone who enjoys that old-school, blue-collar American chivalric hero with a dark past. The one who was in The Quiet Man and behind the mask in Batman. He’s the kind of guy who cauterizes his own wounds, never permits collateral damage when he’s on a killing spree, wears a knit polo to a showdown with four heavily armed tactical fighters, and reads great books of literature to honour his beloved dead wife.

He’s cool, with moral clarity and he’s three moves ahead of everyone. No wonder he’s such a welcome sight in 2018 America and no wonder Washington wanted another go-around.

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The Guilty – Il colpevole

Regia di Anthony Waller. Un film con Bill Pullman, Gabrielle Anwar, Devon Sawa, Angela Featherstone, Joanne Whalley. Cast completo Titolo originale: The guilty. Genere Thriller – USA, 2000, durata 108 minuti.MYmo net ro 2,92 su 10 recensioni tra critica, pubblico e dizionari.

Bill Pullman ГЁ un avvocato alla moda. Ha tutto, prestigio, denaro e fascino. Lo vediamo infatti muoversi nel suo ambiente da perfetto vincente, fino a quando violenta una ragazza.

The Guilty – Il colpevole è disponibile a Noleggio e in Digital Download
su TROVA STREAMING e in DVD su IBS.it. Compralo subito

Bill Pullman ГЁ un avvocato alla moda. Ha tutto, prestigio, denaro e fascino. Lo vediamo infatti muoversi nel suo ambiente da perfetto vincente, rispettato e ammirato da tutti, soprattutto dalle donne. Ma ГЁ chiaro che nella sua personalitГ qualcosa non funziona se a un certo punto abusa della sua segretaria, la quale non ci sta e decide di rovinarlo. L’avvocato cerca di riparare in qualche modo, ma la donna non gli dГ proprio spazio. Al male estremo Bill reagisce col rimedio estremo: l’assassinio. E allo scopo assume un giovane sconosciuto. In realtГ si tratta di un figlio del quale non sapeva l’esistenza. Il discreto cast e il regista, che si era fatto precedentemente notare con l’interessante Un lupo mannaro americano a Parigi, non riescono a far decollare la storia.

Avvocato in carriera, dopo una serata di festeggiamenti, abusa della propria segretaria. Decide poco dopo di lincenziarla e lei lo ricatta, allora l’avvocato, da poco divenuto giudice, decide di risolvere la faccenda con dei limiti poco ortodossi. Rimane inspiegabile pensare come sia possibile che fra tutti i protagonisti di questa storia nessuno e dico nessuno abbia fatto una scelta giusta o comunque [. ] Vai alla recensione »

un ottimo thriller che con il fiato sospeso fino al colpo di scena finale.

Guilty of Romance

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Épouvante-Horreur , thriller et drame

Izumi est mariée à un célèbre romancier romantique mais leur vie semble n’être qu’une simple répétition sans romance. Un jour, elle décide de suivre ses désirs et accepte de poser nue et de mimer une relation sexuelle devant la caméra. Bientôt, elle rencontre un mentor et commence à vendre son. Lire la suite

Casting : acteurs principaux Guilty of Romance

Sono Sion plante le décor dès les premières minutes. Dans les recoins lugubres, pluvieux, et mal éclairés du quartier des Love Hotel de Tokyo, une brigade de police retrouve un assemblage sanglant d’un corps de femme emboîté avec ceux d’un mannequin. Mais alors que cette première séquence particulièrement marquante laissait présager une enquête policière, le réalisateur s’en détache très vite pour laisser place à une critique sociale aride, sèche, sulfureuse s’épanchant sans compromis sur. Lire la critique de Guilty of Romance

Guilty of Romance est le film que l’on regrette détester. Comme si Sono Sion avait bâti les fondations d’un chef-d’oeuvre, avant de, par vanité, allègrement vomir dessus dans la forme. Pourtant, il y a un potentiel de fou dans ce roman visuel aux inspirations multiples, dont un fait réel. Dans cette descente aux enfers d’une femme rangée, il y a de mon roman préféré par Flaubert (Madame Bovary) et, me dit-on, du Belle de jour de Buñuel que j’ai l’ignorance de n’avoir encore vu. Sono Sion nous. Lire l’avis à propos de Guilty of Romance

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Critiques : avis d’internautes (54)
  • Tri :
  • recommandées
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Pas de doutes on a bien affaire ici à du Sion Sono, c’est trash, pervers, poétique et très riche, une déconstruction des valeurs traditionnelles mais aussi de la culture du désir japonais. Pourtant je me demande s’il n’y a pas quelques points que l’on pourrait remettre en cause, notamment le portrait de l’émancipation féminine et le « féminisme » de Sono, s’il y en a un, lui même ne se. Lire la critique de Guilty of Romance

Produit par la Nikkatsu et sorti sur nos écrans en catimini durant l’été 2012, dans une version écourtée d’une bonne demie heure pour le marché international, Guilty of romance est le premier film du prolifique Sono Sion que je parviens à voir. J’avais beau connaître la réputation du bonhomme, je ne savais absolument pas à quoi m’attendre. Et c’est. Lire l’avis à propos de Guilty of Romance

Le film divisé en plusieurs chapitres s’ouvre sur la découverte d’un mannequin en plastique oú plusieurs morceaux sont remplacés par des membres humains, suivi d’un début d’enquête. Là changement de décor: Izumi est la parfaite petite femme au foyer soumise, en apparence comblée ou les seuls rapports avec son mari s’arrêtent à une paire de pantoufles parfaitement rangées au grè des allées et. Lire l’avis à propos de Guilty of Romance

Réalisateur très controversé au Japon, où ses films se retrouvent souvent classés au rayon pornographie des vidéo club, Sion Sono reste relativement méconnu en occident. Une anomalie que devrait combler ce sulfureux Guilty of romance, dernier film de sa trilogie de la haine entamée en 2008 avec Love Exposure et poursuivie par Cold Fish. Largement inspiré par Le Château de Kafka, il a été. Lire la critique de Guilty of Romance

Shion Sono c’est l’enfant mal-aimé du cinéma nippon, n’ayant jamais été distribué en France. Pourtant culte, que ça soit pour son Suicide Club (ainsi que le manga qu’il en a fait), Cold Fish, ou encore Love Exposure, c’est avec une étonnante surprise que son Guilty of Romance est apparu en lice de la Quinzaine des Réalisateurs 2011. Un grand pas en avant pour un réalisateur atypique toujours. Lire la critique de Guilty of Romance

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Guilty Crown saison 1 episode 2

  • Genre Action
  • Durée 23 min
  • Année de production 2012

Après avoir beaucoup souffert par l’épidémie du virus de l’Apocalypse, qui a affaibli les bases du pouvoir, il ya dix ans, le Japon n’est plus valable maintenant que l’aide extérieure de plusieurs pays, maintenu par le régime militaire du quartier général où la valeur de chaque vie est devenue négligeable. C’est dans ce contexte que le jeune étudiant maladroit OMA Shu, Inori dans sa tanière, chanteur groupe Egoist: jeune, blessé, que pour voler un cylindre précieux Sephirah Genomics pour Gay, morts groupe terroriste Croque-chef. Expulsé par les anticorps, le groupe d’intervention sous la direction du GQG et Inori Shu impuissant extrait, cependant que vous choisissez de remplir leur mission. Interrompu par une explosion lors d’une rencontre Gay, Shu va chercher Inori, découvrez deux Endlaves blancs (Mobile Suits) tout en essayant de s’échapper. En apportant protéger leurs tirs, le cylindre contenant le génome de Void puis se brise et donne Shu un étrange pouvoir …

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The Guilty (Den skyldige)

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Critic Reviews for The Guilty (Den skyldige)

This polished, well-calibrated thriller is a best-in-class showcase of the possibilities of cinema even with the most limited of resources.

Möller squeezes every drop of tension out of the concept, and then finds ways to suck the air from your lungs again.

Above all else, The Guilty is an acting showcase for Cedergren, whose has a considerable presence in European film and television but has yet to gain visibility in the English-language world.

A claustrophobic thriller that finds fascinating ways to transcend, spiritually, its confines.

A high-concept, low-budget and skilfully muscle-tensing Danish thriller to which you can imagine more than a couple of eager Tinseltown execs angling for the remake rights.

In his feature debut, filmmaker Gustav Moller masterfully ratchets up tension without the benefit of the usual visual aids, forcing viewers to dust off their imaginations and put them to work with chillingly effective results.

This gripping effort commits to its concept from start to finish, particularly in its claustrophobic visuals and uneasy mood.

The film is an impressive tonal balancing act that gives equal attention to both its rapid, frantic thriller and its intimate, opaque character study.

The Guilty is an exhilarating, minimalist thriller that effectively sinks its hooks in, despite its bland, melodramatic title.

The single-location thriller conceit can often end up playing like a low-budget gimmick rather than a creative choice, but [director Gustav] Möller uses it to create a film that feels taut and claustrophobic.

“The Guilty” unravels a pair of mysteries, slowly peeling back the layers of both Iben’s story and Asger’s. In its tight 85 minutes, the film parcels out answers in each, with many of the revelations earning a gasp.

The Guilty is a simple, but captivating thriller. However, it is difficult to get on board with the lead as a tragic hero due to his murderous actions.

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Vampire Knight

Yuki is torn between the two people she cares for most when Zero is accused of Shizuka Hio’s murder and Kaname refuses to attest to his innocence. Drawn deeper into the world of vampires, Yuki struggles to recall the events of ten years earlier but fails time and again.

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After Shizuka Hio’s death, peace is restored at the academy. As usual, Yuki is busy with her duties as Guardian when Zero, who has been gone for quite some time, comes back.

TV-14 Subtitles and Closed Captions Language: English Runtime: 24 minutes Release date: October 6, 2008

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Yuki has a lot on her mind after almost being kissed by Zero. She asserts that she will not speak to Kaname until he admits to Zero’s innocence. While walking around town with Sayori, she comes across a lost little boy.

TV-14 Subtitles and Closed Captions Language: English Runtime: 24 minutes Release date: October 13, 2008

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The Night Class goes to the Aido family’s vacation home during the long break, but Hanabusa decides to stay at the academy because he suspects Kaname had something to do with Shizuka’s death.

TV-14 Subtitles and Closed Captions Language: English Runtime: 24 minutes Release date: October 20, 2008

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While the Night Class is at the Aido family‘s vacation home, Yuki, driven by her desire to stop hurting Zero, tries to regain her memory of the past and becomes haunted by even more powerful visions.

TV-14 Subtitles and Closed Captions Language: English Runtime: 24 minutes Release date: October 27, 2008

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Yuki is continually haunted by visions of blood. Nevertheless, she is determined to find out about her past from Kaname, but he repeatedly evades her question. Zero sees Yuki looking troubled and goes to the Moon Dormitory by himself.

TV-14 Subtitles and Closed Captions Language: English Runtime: 24 minutes Release date: November 3, 2008

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Kaname asks Yuki to be his lover. The Night Class guards begin accompanying her everywhere, and Yuki cannot hide her embarrassment. Why does Kaname go to such great lengths to protect Yuki?

TV-14 Subtitles and Closed Captions Language: English Runtime: 24 minutes Release date: November 10, 2008

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Senri returns to the Academy, but upon having a confidential talk with Ichiru, he becomes noticeably different from before. The insolent Senri goes to see Ruka who has been locked up in her room since she got word of Kaname’s new girlfriend.

TV-14 Subtitles and Closed Captions Language: English Runtime: 24 minutes Release date: November 17, 2008

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Yuki wakes up a vampire, and her memory of her childhood returns. She now remembers her father, her mother, and her brother. Despite her mixed emotions, Yuki cannot suppress her vampire instincts.

TV-14 Subtitles and Closed Captions Language: English Runtime: 24 minutes Release date: November 24, 2008

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Yuki now understands who she really is. Worried about Zero, she sneaks out of her room to find him. Zero cannot accept Yuki’s new self, and he points the Bloody Rose gun at her.

TV-14 Subtitles and Closed Captions Language: English Runtime: 24 minutes Release date: December 1, 2008

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Absorbing Kaname’s blood finally revives Rido. The vampires all suspect this, and an unsettled mood enshrouds the Academy. The Headmaster calls for an emergency evacuation of the Day Class students, as Rido’s servant vampires begin attacking the students.

TV-14 Subtitles and Closed Captions Language: English Runtime: 24 minutes Release date: December 8, 2008

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In order to protect the academy, the Headmaster confronts the head of the Hunter Society while Rido is still on the rampage. In the meantime, Ichiru pays a visit to Zero and shoots him with the Bloody Rose gun.

TV-14 Subtitles and Closed Captions Language: English Runtime: 24 minutes Release date: December 15, 2008

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Yuki understands the position she has been put in, and remembering Kaname’s words, “Do what you have to do,” Yuki decides that as Guardian, she must protect all the students at the academy and fight Rido.

TV-14 Subtitles and Closed Captions Language: English Runtime: 24 minutes Release date: December 22, 2008

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All of Zero’s strength is not enough to kill Rido, and Rido runs away. However, Kaname finds Rido, and Zero arrives soon after. The two of them attack Rido. After the fight, the sun rises upon the devastated Cross Academy.

TV-14 Subtitles and Closed Captions Language: English Runtime: 24 minutes Release date: December 29, 2008


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