Synopsis:
Polly Parrish, a clerk at Merlin’s Department Store, is mistakenly presumed to be the mother of a foundling. Outraged at Polly’s unmotherly conduct, David Merlin becomes determined to keep the single woman and “her” baby together.

Review:
Rogers is superb as the brassy lady from the Bronx in this comedy of mistaken identity and parenthood, in which a young shopgirl is forced by her employers (Coburn as the department store owner, Niven as his urbanely flustered, eligible son) into becoming foster-mother to an abandoned child. It’s a hilarious, snappy, loose-jointed comedy in the best Hollywood tradition, but the script and direction by Kanin have an intelligence and sense of irony which raise provocative question after provocative question – about the role of women as workers, mothers, and mistresses; about male hypocrisy. A salutary reminder that Sirk wasn’t the only ‘subversive’ to burrow his way into the woodwork of tinsel city.
— Timeout.

http://nitroflare.com/view/8D7CBE79E4F5819/Bachelor_Mother_%281939%29_–_Garson_Kanin.mkv

http://uploadgig.com/file/download/3A3b09d97d3d3fe5/Bachelor Mother 1939 — Garson Kanin.mkv

http://rapidgator.net/file/6c133276c799c73a09015b6b3cd07c5e/Bachelor_Mother.avi.html

Language(s):English
Subtitles:(none)

Quote:
There is no director alive more connected to the hearts, minds and mysteries of women than Spain’s Pedro Almodovar. With a string of masterworks stretching from Women on the Verge of a Nervous Breakdown to All About My Mother and Talk to Her, Almodovar is a filmmaker worth following anywhere. In Volver (“return”), a movie that leaps off the screen to take its place in your dreams, the writer-director tells a ghost story that manages to include lust, incest, rape and murder. You’ll laugh, too — wildly, helplessly — because to Almodovar, laughter is life.

The opening scene is set in La Mancha (Almodovar’s birthplace), at a cemetery where Raimunda (Penelope Cruz) and her sister Sole (Lola Duenas) fight the wind to clean the gravestones of their parents, who died in bed in a fire. Or did they? Almodovar keeps his movie as intimate as a whisper that makes us lean in to uncover its dark secrets. For starters, the sisters have an aunt (Chus Lampreave) who claims their mom, Irene (the miraculous Carmen Maura reunited with Almodovar after seventeen years), has returned from the dead to take care of her. No one doubts it, especially Sole, who passes off Irene as a Russian and puts her to work in the illegal beauty salon she runs in her apartment.

When Raimunda is around, ghost mom hides under a bed, coming out to help only when Raimunda’s teen daughter Paula (Yohana Cobo) claims to have stabbed Raimunda’s husband, Paco (Antonio de la Torre), when he tried to rape her. That’s when Raimunda hides the body in a freezer in a restaurant, where she serves food to a visiting film crew. Throw in neighbor Augustina (Blanca Portillo), who’s dying of cancer but not before she adds a new twist.

Got that? No matter. Plot is merely Almodovar’s way into the souls of his women. With the help of six extraordinary actresses, who shared the acting prize at Cannes, Almodovar crafts one of the year’s best films. Cruz, never more voluptuous (think Sophia Loren in Two Women) or vulnerable, is a force of nature fully deserving her Oscar buzz. She’s that good. Volver is Almodovar’s passionate tribute to the community of women — living and dead — who nurtured him. Through the transformative power of his art — carried on the wings of Alberto Iglesias’ exhilarating score — we feel their presence. You do not want to miss this one. by Peter Travers

http://nitroflare.com/view/46F60983BFAE6D7/Pedro_Almodovar_-_%282006%29_Volver.mkv

http://uploadgig.com/file/download/bA116D2b48C24946/Pedro Almodovar – 2006 Volver.mkv

Language(s):Spanish
Subtitles:English

Synopsis:
Set in 221 BC, The Emperor and the Assassin tells of Ying Zheng (Li Xuejian) and his obsession to unite seven Chinese kingdoms and become the first Emperor of China. The film mixes spectacular battle scenes with court intrigue, counterpointed by the King’s complex relationship with the only woman he has truly loved, the Lady Zhao (Gong Li). From protocol-ridden palaces to wide open grasslands, this is a visually striking film, both beautiful and at the same time burdened with the horrors of the period.

Though this was the most expensive film ever made in China, director Chen Kaige (Farewell My Concubine) nevertheless retains a tight reign on character and psychology, recalling Kurosawa’s Ran (1985) and Kagemusha (1980). The cast, particularly the two leads, are magnificent and both production design and score are first rate. While the unfolding story has similar appeal to Gladiator and Crouching Tiger, Hidden Dragon, it can be as confusing and jarringly edited as the original (pre-director’s cut) version of The Last Emperor (1987), and for the same reason–despite its 154 minutes–the film was cut by approximately 30 minutes prior to release. The full version may eventually reveal a masterpiece, though in its present form it is still an exceptionally powerful and compelling drama.
— from amazon.co.uk

Review:

As Hollywood, and increasingly Britain, specialises more and more in the utterly obvious, it is a blessed relief to enter not only a quite different world but one which is filmed quite differently as well. The grand historical epics which engage us (or not) normally include battles which, for maximum impact (the director believes), have to last an age and have blood spilling everywhere. In “The Emperor and the Assassin”, battles are briefer and far less bloody, yet the severe violence of this, to us, unknown era is still captured by director Chen Kaige who also made “Farewell My Concubine”. Chen achieves surprise by shifting from one scene to another in ways you just can’t predict, but this originality never once threatens the coherence of the film.

The director’s one mistake is his fondness for pretty pictures which are either harnessed to powerful, surging drama (often communicating the instability of China in the third century BC) or to moments of inertia which mean Chen should have moved much more quickly on to the next scene.

A tragedy of Shakespearean dimensions, “The Emperor and the Assassin” centres on the antics of King Ying Zheng whose decency soon gives way to violence as he tries to subjugate the other Chinese states, even going so far as to plan – with his concubine – a phoney assassination attempt on his own life so as to give himself a raison d’être. Becoming known for the fairly trivial fact that it is the priciest picture ever made in Asia, “The Emperor and the Assassin” in fact gives us striking insights into an unfamiliar period of history, thus reminding us just how little of the world most films cover.
— Michael Thomson (BBCi – Films)

http://nitroflare.com/view/0A7E020F2DF54F9/The_Emperor_and_the_Assassin_%281998%29_–_Chen_Kaige.mkv
http://nitroflare.com/view/3CA833BC701448A/The_Emperor_and_the_Assassin_%281998%29_–_Chen_Kaige.srt

http://uploadgig.com/file/download/a419431BFa2e8327/The Emperor and the Assassin 1998 — Chen Kaige.mkv
http://uploadgig.com/file/download/e3d7cfff75031b98/The Emperor and the Assassin 1998 — Chen Kaige.srt

Extra Director’s commentary track in English is included

Language(s):Mandarin
Subtitles:English (muxed,srt)

Quote:
What would you do if the world’s most fearsome military presence threatened to invade where you live? How does one even begin to prepare for that kind of assault? In “Homeland (Iraq Year Zero),” Baghdad-situated filmmaker Abbas Fahdel offers world audiences an extraordinary opportunity to identify with the “enemy” in the Iraq War — conveniently faceless in most Western coverage, but humanized here by members of Fahdel’s own family. Clocking in at nearly six hours and presented in what may feel like raw homevideo form, this transformative verite glimpse into the lives of everyday Iraqis demands both patience and empathy to sit through, but the reward is worth every second, as an extremely limited number of courageous programmers and curious audiences can attest.

Stylistically speaking, Fahdel’s approach flies in the face of what we’ve come to think of as “war movies,” whether scripted or otherwise. Nothing here seems polished, manufactured or even remotely sensationalized. Recorded over the course of 17 months, beginning in Feb. 2002, the film opens with a shot of a cat, for crying out loud, and features scenes of its subjects singing, shopping and watching cartoons, as well as celebrating family weddings and religious feasts. The idea here is to immerse audiences in a world that, while superficially different from their own, resonates as familiar on the most fundamental levels — namely, that desire to be left alone and allowed to survive.

In this respect, Fahdel (who visited his relatives, but assembled the film in France, where he has spent the majority of his life) makes the curious, yet undeniably haunting choice of informing us via sober onscreen text which of his family members will die before the film ends — not so much a spoiler as a bit of foreboding that underscores the senselessness of their fates, while excusing the fact that it was never his intention to make a snuff film. Their deaths will remain undepicted. Thus, it is perhaps an hour into the film when we learn that Fahdel’s 12-year-old nephew Haidar will be killed after the U.S. invasion.

While the film’s attention has a tendency to drift at times, Haidar serves as a sort of mascot throughout, kidding around with his relatives, explaining basic principles for the camera’s benefit and trying his best to experience a normal childhood under these exceptional circumstances. Given what we already know of his fate, Haidar becomes a kind of walking ghost, helplessly naive about the actual dangers of the imminent American attack. As far as he and the family are concerned, they have been through this before: In one scene, Haidar and his cousins joke about how a diaper can serve as a gas mask, while in another, he re-applies tape to keep the living-room windows from shattering, covering traces that remain from the last war.

Divided into two parts, subtitled “Before the Fall” and “After the Battle,” the film concludes its largely 2002-set first half with a visit by Haidar to the Al-Amiriyah shelter, now a memorial to the 400 civilians killed when Americans bombed the facility in 1991. To quote one of President George W. Bush’s family members (who clearly fared better than Fahdel’s), “Stuff happens,” though “Homeland” goes a long way to recover the sense of human tragedy in what others may view as cold inevitability. In the meantime, it’s thoroughly unnerving to see Bush (and by extension ourselves) referred to in the way many of us saw Saddam Hussein depicted at the time. Here, Hussein is celebrated as Iraq’s “beloved master” by local TV, who present the U.S. as a bully nation that crossed an ocean to start a fight — though no one seems to miss him terribly once he’s gone.

The longer and less immediately engaging second half picks up three weeks after the 2003 invasion and finds both Fahdel’s family and the nation completely transformed by the experience. It’s now commonplace to see American armored vehicles in the streets, where those who might not be so candid with a foreign crew reveal how beefs with Hussein’s corrupt system have now shifted to complaints about the ineffectual new system in place. It almost goes without saying that people would be unhappy with the war, and the inconveniences captured feel relatively minor compared to those which have been thoroughly reported via more professional journalists.

Clearly determined to film everything he can from ground level, Fahdel tours the city to find many prominent buildings reduced to rubble, including both the country’s leading radio station and the Baghdad Cinema Studios’ film archive. The helmer spends much of his time in the car, guided by relatives who supply much-needed context for what we’re seeing. This unofficial driving tour has become almost hypnotic by the point the film ends — with the sort of chilling impact to which faux docs such as “Blair Witch Project” and “Cloverfield” (where the cameraman doesn’t necessarily survive the experience) have perhaps desensitized us. Here, there’s no thrill to the horror, just the heavy weight of having witnessed the true toll of xenophobia, coupled with the gift of being offered the one thing that could prevent its ever happening again: empathy.

http://nitroflare.com/view/3AC20CB84603B98/Abbas_Fahdel_-_%282015%29_Homeland_%28Iraq_Year_Zero%29_1.mkv
http://nitroflare.com/view/4924C6DA9788B5B/Abbas_Fahdel_-_%282015%29_Homeland_%28Iraq_Year_Zero%29_2.mkv
http://nitroflare.com/view/78A98D34503318B/Abbas_Fahdel_-_%282015%29_Homeland_%28Iraq_Year_Zero%29.7z

http://uploadgig.com/file/download/F54fef0Fc1C86485/Abbas Fahdel – 2015 Homeland Iraq Year Zero 1.mkv
http://uploadgig.com/file/download/2e60cbb96bb72b89/Abbas Fahdel – 2015 Homeland Iraq Year Zero 2.mkv
http://uploadgig.com/file/download/00d8Fd8Ce0A30e7b/Abbas Fahdel – 2015 Homeland Iraq Year Zero.7z

english srt:
https://www.opensubtitles.org/en/subtitles/6862017/homeland-iraq-year-zero-en

Language(s):Arabic
Subtitles:English,French

Actress Kate Lyn Sheil prepares to portray the role of Christine Chubbuck, a real-life news reporter who took her own life on national television in 1974.

rogerebert.com wrote:
Movie publicity is filled with buzzwords about acting, “transformation” in particular, but it’s sad how little practical information we viewers get about that process. It’s often wrapped up in mysticism or ignored entirely; we hear in the abstract that an actor trained as a boxer to play a boxer, or studied someone’s accent in order to play a character of a different nationality or ethnicity, but there are precious few examples of what it actually means to enter another person’s consciousness and become them for purposes of telling a story. “Kate Plays Christine,” about an actress preparing to play a newscaster who committed suicide in 1974, is a rare and welcome exception. But for all of its practical details about what the process of acting is actually about, it’s more than a mere record of things done and said. It blurs the line between fact and fiction, to the point where it seems less of an account of real world events than a fact-fiction blur. The actress repeatedly tells us she is getting ready to play a role in the story of her character’s life but we never see the finished film, because it’s the film that you’re watching. The process of transformation is the story, and the story truly belongs to the artist.

“Kate Plays Christine” is conceived and directed by Robert Greene, a film editor (mainly with director Alex Ross Perry) who is also an accomplished documentary filmmaker; his works all have an aspect of deliberate genre blurring, in particular “Actress,” about a performer putting her career on hold to take care of her family, and “Fake it So Real,” about small-time professional wrestlers in North Carolina. “Kate” focuses on Kate Lyn Sheil (“House of Cards,” “Sun Don’t Shine”), who has been hired to play Christine Chubbuck, a Florida news reporter who is considered to be the first instance in the United States of a person killing herself live on the air: she shot herself in the back of the head during a broadcast and was taken to an emergency room, where she died.

This is a grim assignment, and Sheil treats it with all the gravity it deserves. As she (and we) study the details of Christine Chubbuck’s short life, the movie gives us a sense of the wider context surrounding TV news in the 1970s, and the sexism that affected her professional and personal life. There is something both ghoulish and inspiring about the process of identification depicted here. We learn that Christine had an ovary removed a year before the suicide, and that she was in love with a coworker, a man who read stock market reports on the air, but was rejected by him. We also get a sense of Christine as an isolated and deeply depressed person whose symptoms went largely unrecognized; colleagues who talk about her in the present tense tend to frame her life in terms of the impact that her bloody death had on them, and describe her as simply a serious or “dark” person, rarely giving any indication that she was understood, much less than she had any kind of serious support network.

Kate (it seems wrong to call her by her last name, because the movie is so intimate) begins the process of identification immediately, reading about the case, expressing both relief and dismay that no video exists of the suicide, and trying to study Christine’s vocal mannerisms and posture and get her look right. An early highlight of the process finds Kate sitting with an elderly wigmaker, a widow, who tries to fit her with an approximation of Christine’s long, dark locks. Although Kate doesn’t really look much like Christine in the face—and notice how the wigmaker compliments her on being so much prettier than the dead woman she’s portraying—as she puts on the wig something almost alchemical seems to happen. Greene’s camera frames her alongside an image of Christine, and she seems to be turning into her, like the two women in Ingmar Bergman’s “Persona.”

When actors talk about the adverse emotional effects of playing a dark character for any length of time, there’s a tendency to roll our eyes at them, mainly because of the perception that acting (like filmmaking or writing or music) somehow isn’t “real” work that exacts a different kind of emotional or physical toll. This film puts the lie to that belief. You see Kate becoming Christine, as the title promises, with all the downsides that transformation entails, and it’s not always easy to look at. Much of the time it’s genuinely disturbing. The film sometimes errs on the side of the same kind of mysticism that Kate’s practical approach makes a point of rejecting—there are perhaps too many ominous scenes of the actress being observed from middle distance while a synthesized score drones ominously—but whenever the leading lady is talking to us and to herself, contemplating the work and what it means, the movie is riveting and unique.

http://nitroflare.com/view/5A9501DC829C696/Kate.Plays.Christine.2016.DVDRip.x264-HANDJOB.mkv

http://uploadgig.com/file/download/79377f5baaDafc30/Kate.Plays.Christine.2016.DVDRip.x264-HANDJOB.mkv

Language(s):English
Subtitles:none

Tunis, summer 2010, a few months before the Revolution: Farah, 18 years-old, has just graduated and her family already sees her as a future doctor. But she doesn’t think the same way. She sings in a political rock band. She has a passion for life, gets drunk, discovers love and her city by night against the will of her mother Hayet, who knows Tunisia and its dangers too well.

http://nitroflare.com/view/AF1C1ACD550A1B5/As_I_Open_My_Eyes.mkv

http://uploadgig.com/file/download/53E403744f2D1407/As I Open My Eyes.mkv

Language(s)Arabic, French
Subtitles:English

Lotte is impulsive, rough around the edges and leads a colourful life on the streets of Berlin, stumbling from man to man and flat to flat. One night in her local bar she bumps into Marcel, an almost forgotten acquaintance. Just after he recognises her Lotte takes flight, finding refuge in the flat of her friend Sabine. The following day, the events of the previous evening still grate on Lotte and she cannot seem to shake them off, even during her work at the hospital. A young girl, Greta, is brought in, Lotte takes care of her and a gentle affection develops between them. But this happiness is short-lived because, a little later, Lotte witnesses an encounter between Greta and Marcel. The three catch sight of each other and Lotte realises she will not be able to run away this time.

http://nitroflare.com/view/C16F27A9B76D9A2/Lotte.2016.DVDRip.x264-HANDJOB.mkv

http://uploadgig.com/file/download/B1fD86bd63C8b9A1/Lotte.2016.DVDRip.x264-HANDJOB.mkv

Language(s):German
Subtitles:English

History, Theory, Criticism
Edited by Jonathan Kahana and Foreword by Charles Musser

Provides the most comprehensive overview of documentary film assembled to date, with over 100 articles on myriad topics
Features a substantial main introduction and section introductions throughout to establish key contexts and important critical issues
Ranges widely across continents, filmmakers, and subgenres, addressing early documentary, avant-garde, propaganda, the essay film, and more
Proposes a fresh canon of films and texts as a starting point for further exploration into the world of nonfiction cinema
Includes foreword from the renowned film historian and filmmaker Charles Musser

1. Jonathan Kahana, Introduction To Section I / Jonathan Kahana
2. Rick Altman, “From Lecturer’s Prop To Industrial Product: The Early History Of Travel Films” (2006) / Jonathan Kahana
3. Anonymous, “Burton Holmes Pleases A Large Audience At The Columbia” (1905) / Jonathan Kahana
4. Kristen Whissel, “Placing The Spectator On The Scene Of History: Modern Warfare And The Battle Reenactment At The Turn Of The Century” (2008) / Jonathan Kahana
5. Dai Vaughan, “Let There Be Lumière” (1999) / Jonathan Kahana
6. Boleslas Matuszewski, “A New Source Of History” (1898) / Jonathan Kahana
7. Tom Gunning, “Before Documentary: Early Nonfiction Films And The ‘view’ Aesthetic” (1997) / Jonathan Kahana
8. Edward S. Curtis Et Al., “The Continental Film Company” (1912) / Jonathan Kahana
9. W. Stephen Bush, Review Of In The Land Of The Head Hunters (194) / Jonathan Kahana
10. Catherine Russell, “Playing Primitive” (1999) / Jonathan Kahana
11. Anonymous, “Movies Of Eskimo Life Win Much Appreciation” (1915) / Jonathan Kahana
12. Anonymous, Review Of Nanook Of The North (1922) / Jonathan Kahana
13. John Grierson, “Flaherty’s Poetic Moana” (1926) / Jonathan Kahana
14. John Grierson, “Flaherty” (1931-32) / Jonathan Kahana
15. Hamid Naficy, “Lured By The East: Ethnographic And Expedition Films About Nomadic Tribes; The Case Of Grass” (2006) / Jonathan Kahana
16. Béla Balázs, “Compulsive Cameramen” (1925) / Jonathan Kahana
17. Anonymous, “New Films Make War Seem More Personal” (1916) / Jonathan Kahana
18. Nicholas Reeves, “Cinema, Spectatorship, And Propaganda: Battle Of The Somme (1916) And Its Contemporary Audience” (1997) / Jonathan Kahana
19. Jonathan Kahana, Introduction To Section II / Jonathan Kahana
20. Robert Allerton Parker, “The Art Of The Camera: An Experimental “Movie”” (1921) / Jonathan Kahana
21. Siegfried Kracauer, “Montage” (1947) / Jonathan Kahana
22. Annette Michelson, “The Man With The Movie Camera: From Magician To Epistemologist” (1972) / Jonathan Kahana
23. Seth Feldman, “Cinema Weekly And Cinema Truth: Dziga Vertov And The Leninist Proportion” (1973) / Jonathan Kahana
24. Dziga Vertov, “We: Variant Of A Manifesto” (1922) / Jonathan Kahana
25. Jay Leyda, “Bridge” (1964) / Jonathan Kahana
26. Mikhail Iampolsky, “Reality At Second Hand” (1991) / Jonathan Kahana
27. Joris Ivens, “The Making Of Rain” (1969) / Jonathan Kahana
28. Joris Ivens, “Reflections On The Avant-Garde Documentary” (1931) / Jonathan Kahana
29. Tom Conley, “Documentary Surrealism: On Land Without Bread” (1986) / Jonathan Kahana
30. John Grierson, “The Documentary Producer” (1933) / Jonathan Kahana
31. John Grierson, “First Principles Of Documentary” (1932-34) / Jonathan Kahana
32. Otis Ferguson, “Home Truths From Abroad” (1937) / Jonathan Kahana
33. Charles Wolfe, “Straight Shots And Crooked Plots: Social Documentary And The Avant-Garde In The 1930s” (1995) / Jonathan Kahana
34. Samuel Brody, “The Revolutionary Film: Problem Of Form” (1934) / Jonathan Kahana
35. Leo T. Hurwitz, “The Revolutionary Film: Next Step” (1934) / Jonathan Kahana
36. Ralph Steiner And Leo T. Hurwitz, “A New Approach To Film Making” (1935) / Jonathan Kahana
37. Willard Van Dyke, Letter From Knoxville (1936) / Jonathan Kahana
38. Ralph Steiner, Letter To Jay Leyda (1935) / Jonathan Kahana
39. John T. Mcmanus, “Down To Earth In Spain” (1937) / Jonathan Kahana
40. Charles Wolfe, “Historicizing The “Voice Of God”: The Place Of Voice-Over Commentary In Classical Documentary” (1997) / Jonathan Kahana
41. Steve Neale, “Triumph Of The Will: Notes On Documentary And Spectacle” (1979) / Jonathan Kahana
42. Richard Griffith, “Films At The Fair” (1939) / Jonathan Kahana
43. Jonathan Kahana, Introduction To Section III / Jonathan Kahana
44. James Agee, Review Of Iwo Jima Newsreels (1945) / Jonathan Kahana
45. James Agee, Review Of San Pietro (1945) / Jonathan Kahana
46. Thomas Cripps And David Culbert, “The Negro Soldier (1944): Film Propaganda In Black And White” (1979) / Jonathan Kahana
47. André Bazin, “On Why We Fight: History, Documentation, And The Newsreel” (1946) / Jonathan Kahana
48. Jim Leach, “The Poetics Of Propaganda: Humphrey Jennings And Listen To Britain” (1998) / Jonathan Kahana
49. George C. Stoney, “Documentary In The United States In The Immediate Post-World War II Years” (1989) / Jonathan Kahana
50. Zoe Druick, “Documenting Citizenship: Reexamining The 1950’s National Film Board Films About Citizenship” (2000) / Jonathan Kahana
51. Srirupa Roy, “Moving Pictures: The Films Division Of India And The Visual Practices Of The Nation-State” (2007) / Jonathan Kahana
52. Jennifer Horne, “Experiments In Propaganda: Reintroducing James Blue’s Colombian Trilogy” (2009) / Jonathan Kahana
53. Peter Watkins With James Blue And Michael Gill, “Peter Watkins Discusses His Suppressed Nuclear Film The War Game” (1965) / Jonathan Kahana
54. Jonathan Kahana, Introduction To Section IV / Jonathan Kahana
55. Jean Painlevè, “The Castration Of Documentary” (1953) / Jonathan Kahana
56. Jean Cocteau, “On Blood Of The Beasts” (1963) / Jonathan Kahana
57. Lindsay Anderson, “Free Cinema” (1957) / Jonathan Kahana
58. Tom Whiteside, “The One-Ton Pencil” (1962) / Jonathan Kahana
59. Edgar Morin, “Chronicle Of A Film” (1962) / Jonathan Kahana
60. Jonathan Rosenbaum, “Radical Humanism And The Coexistence Of Film And Poetry In The House Is Black” (2003) / Jonathan Kahana
61. Jean Rouch With Dan Georgakas, Udayan Gupta, And Judy Janda, “The Politics Of Visual Anthropology” (1977) / Jonathan Kahana
62. Ricky Leacock, “For An Uncontrolled Cinema” (1961) / Jonathan Kahana
63. Bruce Elder, “On The Candid-Eye Movement” (1977) / Jonathan Kahana
64. Jonas Mekas, “To Mayor Lindsay / On Film Journalism And Newsreels” (1966) / Jonathan Kahana
65. Jeanne Hall, “Realism As A Style In Cinema Verite: A Critical Analysis Of Primary” (1991) / Jonathan Kahana
66. Margaret Mead, “As Significant As The Invention Of Drama Or The Novel” (1973) / Jonathan Kahana
67. Jonathan Kahana, Introduction To Section V / Jonathan Kahana
68. Robert Stam, “Hour Of The Furnaces And The Two Avant Gardes” (1981) / Jonathan Kahana
69. Juan Carlos Espinosa, Jorge Fraga, Estrella Pantin, “Toward A Definition Of The Didactic Documentary: A Paper Presented To The First National Congress Of Education And Culture” (1978) / Jonathan Kahana
70. Norm Fruchter, Marilyn Buck, Karen Ross, And Robert Kramer, “Newsreel” (1969) / Jonathan Kahana
71. Frederick Wiseman With Alan Westin, “”You Start Off With A Bromide”: Conversation With Film Maker Frederick Wiseman” (1974) / Jonathan Kahana
72. David Macdougall, “Beyond Observational Cinema” (1975) / Jonathan Kahana
73. Pauline Kael, “Beyond Pirandello” (1970) / Jonathan Kahana
74. Pearl Bowser, “Pioneers Of Black Documentary Film” (1999) / Jonathan Kahana
75. Michael Chanan, “Rediscovering Documentary: Cultural Context And Intentionality” (1990) / Jonathan Kahana
76. Santiago Alvarez With The Editors Of Cineaste, [—]5 Frames Are 5 Frames, Not 6, But 5″: An Interview With Santiago Alvarez” (1975) / Jonathan Kahana
77. Abé Mark Nornes, “The Postwar Documentary Trace: Groping In The Dark” (2002) / Jonathan Kahana
78. Emile De Antonio With Tanya Neufeld, “An Interview With Emile De Antonio” (1973) / Jonathan Kahana
Annette Michelson, Reply To De Antonio / Jonathan Kahana
79. Bill Nichols, “The Voice Of Documentary” (1983) / Jonathan Kahana
80. James Roy Macbean, “Two Laws From Australia, One White, One Black: The Recent Past And The Challenging Future Of Ethnographic Film” (1983) / Jonathan Kahana
81. Lee Atwell, Review Of Word Is Out (1979) / Jonathan Kahana
82. Julia Lesage, “The Political Aesthetics Of The Feminist Documentary Film” (1978) / Jonathan Kahana
83. E. Ann Kaplan, “Theories And Strategies Of The Feminist Documentary” (1983) / Jonathan Kahana
84. Jill Godmilow, “Paying Dues: A Personal Experience With Theatrical Distribution” (1977) / Jonathan Kahana
85. Coco Fusco, “A Black Avant-Garde? Notes On Black Audio Film Collective And Sankofa” (1988) / Jonathan Kahana
86. John Greyson, “Strategic Compromises: Aids And Alternative Video Practices” (1990) / Jonathan Kahana
87. Jonathan Kahana, Introduction To Section VI / Jonathan Kahana
88. Robert Sklar, “Documentary: Artifice In The Service Of Truth” (1975) / Jonathan Kahana
89. Chick Strand, “Notes On Ethnographic Film By A Film Artist” (1978) / Jonathan Kahana
90. Jonas Mekas, “The Diary Film: A Lecture On Reminiscences Of A Journey To Lithuania” (1972) / Jonathan Kahana
91. Michael Renov, “Toward A Poetics Of Documentary” (1993) / Jonathan Kahana
92. Trinh T. Minh-Ha, “Mechanical Eye, Electronic Ear And The Lure Of Authenticity” (1984) / Jonathan Kahana
93. Brian Winston, “The Tradition Of The Victim In Griersonian Documentary” (1988) / Jonathan Kahana
94. J. Hoberman, “Shoah: The Being Of Nothingness” (1985-86) / Jonathan Kahana
95. Claude Lanzmann With Marc Chevrie And Hervt Le Roux, “Site And Speech: An Interview With Claude Lanzmann About Shoah” (1985) / Jonathan Kahana
96. Linda Williams, “Mirrors Without Memories: Truth, History, And The New Documentary” (1993) / Jonathan Kahana
97. Errol Morris With Peter Bates, “Truth Not Guaranteed: An Interview With Errol Morris” (1989) / Jonathan Kahana —
Contents note continued: 98. Michael Moore With Harlan Jacobson, “Michael & Me” (1989) / Jonathan Kahana
99. Thomas Waugh, “”Acting To Play Oneself”: Notes On Performance In Documentary” (199O) / Jonathan Kahana
100. Phillip Brian Harper, “Marlon Riggs: The Subjective Position Of Documentary Video” (1995) / Jonathan Kahana
101. Paula Rabinowitz, “Melodrama/male Drama: The Sentimental Contract Of American Labor Films” (2002) / Jonathan Kahana
102. Marsha Orgeron And Devin Orgeron, “Familial Pursuits, Editorial Acts: Documentaries After The Age Of Home Video” (2007) / Jonathan Kahana
103. Vivian Sobchack, “Inscribing Ethical Space:10 Propositions On Death, Representation, And Documentary” (1984) / Jonathan Kahana
104. Paul Arthur, “Jargons Of Authenticity (Three American Moments)” (1993) / Jonathan Kahana
105. Jonathan Kahana, Introduction to Section VII / Jonathan Kahana
106. Harun Farocki And Jill Godmilow With Jennifer Horne And Jonathan Kahana, “A Perfect Replica: An Interview with Harun Farocki and Jill Godmilow” (1998) / Jonathan Kahana
107. Rachel Gabara, “Mixing Impossible Genres: David Achkar and African Autobiographical Documentary” (2003) / Jonathan Kahana
108. Jean-Marie Tend, “Writing on Walls: The Future of African Documentary Cinema” (2010) / Jonathan Kahana
109. Chris Berry, “Getting Real: Chinese Documentary, Chinese Postsocialism” (2007) / Jonathan Kahana
110. Wu Wenguang, “DV: Individual Filmmaking” (2006) / Jonathan Kahana
111. Richard Porton, “Weapon of Mass Instruction: Michael Moore’s Fahrenheit 9/11” (2004) / Jonathan Kahana
112. Scan Macdonald, “Up Close and Political: Three Short Ruminations on Ideology in the Nature Film” (2006) / Jonathan Kahana
113. Amy Villarejo, “Bus 174 and the Living Present” (2006) / Jonathan Kahana
114. Barbara Klinger, “Cave of Forgotten Dreams: Meditations on 3D” (2012) / Jonathan Kahana.

http://nitroflare.com/view/C0386CC63CE324A/The_Documentary_Film_Reader__History%2C_Theory%2C_Criticism_%282016%29_Jonathan_Kahana.pdf

http://uploadgig.com/file/download/a7efb1434344bc39/The Documentary Film Reader_ History Theory Criticism 2016 Jonathan Kahana.pdf

no pass

Quote:
In an invisible territory at the margins of society, at the border between anarchy and illegality, lives a wounded community that is trying to respond to a threat: of being forgotten by society’s institutions and having their rights as citizens trampled. Disarmed veterans, taciturn adolescents, drug addicts trying to escape addiction through love, ex-special forces soldiers still at war with the world, floundering young women and future mothers, and old men and women who have not lost their desire to live. In this hidden pocket of humanity opens the abyss of today’s America.

This follows Minervini’s Texas Trilogy, comprised of The Passage, Low Tide and Stop the Pounding Heart.

http://nitroflare.com/view/D746BE02AA889C2/The.Other.Side.2015.720p.Fandor.WEB-DL.AAC2.0.H264-Cinefeel.mkv

http://uploadgig.com/file/download/DbCdd2A04c7bE026/The.Other.Side.2015.720p.Fandor.WEB-DL.AAC2.0.H264-Cinefeel.mkv

Language(s):English
Subtitles:None

Quote:
Love doesn’t unfold like a story. Only the first and the last chapter are known. Love starts from Love and ends in letting go. In between there is tenderness and cruelty, waiting and fulfilment, ecstasy and disappointment. If love is a discourse, these are her figures of speech. An adolescent love between two girls. Childish cruelty is mixed with full blown sensuality. Dreams and life reflect and complete each other. The end is known, the story will be told after the love is gone.

http://nitroflare.com/view/BCC689DAC3BCB58/Urszula_Antoniak_-_%282014%29_Nude_Area.mkv

https://uploadgig.com/file/download/3252c334eF2c4868/Urszula Antoniak – 2014 Nude Area.mkv

Language(s):None
Subtitles:None

Synopsis:
At breakfast, Jane announces that she and Ralph are getting married the next week. All Jane and Ralph want is a small wedding with the immediate family and no reception. This is because Janes parents are poor and Jane and Ralph can borrow a car for their honeymoon. However, at dinner that night all Ralph’s parents talk about are the big weddings they gave their daughters and everything escalates. All of a sudden, it is a big wedding breakfast with hundreds of guests. The problem is that for 12 years, Tom has been saving money to buy his own cab and license, but now that he can, all of his money is going towards a wedding neither he, or Jane or Ralph really want.

http://nitroflare.com/view/0227347EFC24298/The_Catered_Affair_%281956%29_–_Richard_Brooks.mkv

https://uploadgig.com/file/download/48CA42bCd934e5b7/The Catered Affair 1956 — Richard Brooks.mkv

Language(s):English
Subtitles:(none)

Gabrielle, an ambitious but innocent would-be young chorine, trumps a music hall publicity stunt to become the new Parisian nightclub Cinderella. But this lighter-than-champagne-bubbles story is only a pretext for LA REVUE DES REVUES’s white-hot, non-stop procession of outrageously and scantily attired exotic dancers, showgirls, and acrobats including the Tiller’s Follies Girls, Ruth Zackey and the Hoffmann Girls, and danseuse russe Lila Nikolska. But it’s Josephine Baker, “the high priestess of primitivism”, who triumphs in two show stopping numbers in which “her clownish backfield-in-motion Charleston shimmy is unlike anything else in the movie and perhaps unlike anything anyone ever did”.
– – – – – – – – – – –

Grâce au soutien de l’acteur Georges Barsac, Gabrielle, petite main auprès d’un grand couturier, va devenir une star de music-hall sous le nom de scène de Gaby Dery. A la fin, elle connaîtra non seulement un succès phénoménal, mais également le grand amour.

Un film qui donne également à voir des grandes pointures du du music-hall comme Joséphine Baker, Lila Nikolska, Stanisłava Velska ou les Tiller Girls.

http://nitroflare.com/view/302658A28F941C6/La_revue_des_revues.1927.720p.WEB-DL.AAC.mkv

https://uploadgig.com/file/download/3f953aA18e026802/La revue des revues.1927.720p.WEB-DL.AAC.mkv

Language(s):Silent – Musical track
Subtitles:English – German

Quote:
Film in four segments: “Colagem”, “Balanço”, “Bandeira Zero” and “Sexta-Feira da Paixão, Sábado de Aleluia”, having in common a strongly allegorical and gross protest tone in the approach of its subjects.

Quote:
Acreditava-se àquela epoca que aliberação política deveria vir juntocom a liberação sexual. “Esporrarjatos de napalm”, a frase de PrataPalomares (André Faria Jr.)posteriormente repetida emCrônica de um industrial (LuizRosemberg Filho) simbolizavamais do que uma metáfora: oinstinto sexual vinha junto com opolítico, e a angústia surgia porque o gozo social era mais difícil do que o individual. No título do filme América” e “sexo”; e sua tentativa é justamente a de exorcizar sexualmente aquilo que não pode ser resolvido no Brasil de 1969, menos de seis meses depois da promulgação do AI-5, ou seja, a política.

http://nitroflare.com/view/6DE12B70C85F540/Am%C3%A9rica_do_Sexo_%281969%29_FMC.LH.LRF.RM.TVRip.lucmor.MKO.mkv

https://uploadgig.com/file/download/c4F1037247aa9eDf/América do Sexo 1969 FMC.LH.LRF.RM.TVRip.lucmor.MKO.mkv

Language(s):Portuguese
Subtitles:None

Quote:
François (Philippe Merlaud) loves Anne (Marie Rivière), but he has doubts whether she loves him in return. His job, working nights at the post office, means he can’t see her as often as he’d like. One day, Anne is visited by her ex, airline pilot Christian (Matthieu Carrière), who tells her he is returning to his wife. Seeing Anne and Christian leave her apartment together, François becomes jealous and thinks that Anne is cheating on him. Then he sees Christian with a blonde woman and he begins to follow them…

The 1970s were Eric Rohmer’s least productive decade. He completed his Six Moral Tales in 1972 with Love in the Afternoon. In the rest of the decade, he made two films, The Marquise of O (1976) and Perceval (1978). In both of these, Rohmer experimented, departing from his usual subject matter and techniques by making two historical-set literary adaptations. The former was made in German rather than French; in the latter, Rohmer and his regular DP Nestor Almendros introduced considerable, and uncharacteristic, visual stylisation. Then, with a new decade, Rohmer returned to basics and his New Wave roots. The Aviator’s Wife (La femme de l’aviateur) was the first of a series of six Comedies and Proverbs, a witty comedy of errors shot quickly and cheaply, using a lightweight camera, direct sound, minimal crew and real Parisian locations. (I haven’t been able to confirm that it was shot in 16mm by DP Bernard Lutic, but it certainly looks that way.) The proverb the film illustrates is “On ne saurait penser à rien” (You can’t think of nothing). Incidentally, Mary Stephen, who would become Rohmer’s regular editor from A Winter’s Tale, plays one of the Canadian tourists.

The Comedies and Proverbs differ from the Moral Tales in having young women, rather than somewhat older men, at their centre. However, for much of The Aviator’s Wife we are with François. The film is tightly structured in three acts of roughly equal length, and in the second Anne is nowhere in sight as we watch François track Christian and the mysterious blonde woman, with the help of a teenage girl, Lucie (Anne-Laure Meury), who takes the opportunity to play detective. However, it is Anne who is really at the centre of this story, as the song at the end of the film (sung by Arielle Dombasle) indicates. Rohmer’s characteristic irony is most unsparing when it comes to his male characters, and François is no exception: he’s unperceptive to a fault, choosing on at least two occasions to disregard the truth when it’s told to him. As he slowly realises, Anne is fond of him and feels partly responsible for him, but love him she does not.

With a Rohmer film, the emphasis is not on what happens (though quite a lot does) but on what the characters say and do and feel while it happens. Few directors have such an ear for dialogue, which is often witty and always revealing of character, helped by pitch-perfect acting. This was my third viewing of The Aviator’s Wife, and my first for nearly eighteen years, and I find that it’s a film I see more in each time I watch it. With this film, Rohmer kicked off a second phase in his career, proving himself at the age of sixty one of the finest makers of films about young people on the planet.

Gary Couzens

http://nitroflare.com/view/549D7C83E1A6435/La.Femme.de.l%27Aviateur.1981.720p.BluRay.AVC-mfcorrea.mkv

https://uploadgig.com/file/download/b2b590e763cE25Cf/La.Femme.de.lAviateur.1981.720p.BluRay.AVC-mfcorrea.mkv

Language(s):French, English, German
Subtitles:English (sup and srt)

Plot summary
A movie actress taking up temporary residence in Washington D.C. has her troubles. The script for the movie she’s filming seems inadequate. Her ex, who is also the father of her adolescent daughter, Regan, neglects to call the girl on her birthday. And the attic has rats. Meanwhile, Father Karras, a priest and a psychiatrist, is losing his faith; and he’s dealing with a sick mother who needs medical care he hasn’t the money to provide. Another priest, the old and ailing Father Merrin, has just returned from Iraq with forebodings of evil. These three persons meet when the sweet and cheerful Regan turns foul-mouthed and violent. But her sickness is beyond the reach of a medical doctor or a psychiatrist. What Regan needs is an exorcist

http://nitroflare.com/view/B69EA8F34AD4908/The.Exorcist.1973.DC.720p.BluRay.x264-SiNNERS.mkv

https://uploadgig.com/file/download/87efcf8ba2D70785/The.Exorcist.1973.DC.720p.BluRay.x264-SiNNERS.mkv

Language(s):English, Latin, Greek, French, German, Arabic
Subtitles:English

Quote:
As the lights dimmed a hand-drawn Totoro flashed up on screen. The friendly furry beast adorns Studio Ghibli’s familiar logo. Normally it has a sky-blue wash behind it. But in honour of Dutch animator Michael Dudok de Wit’s The Red Turtle, the studio’s first non-Japanese production, here it was bathed in red.

“If one day Studio Ghibli decides to produce an animator from outside the studio, it will be him,” was Miyazaki’s pronouncement after watching Dudok de Wit’s Oscar-winning animated short Father and Daughter. The eight-minute film has a lot of Ghibli-isms: it’s about loss; it tackles its melancholy subject with deceptively simple drawings; above all, it pays close attention to nature. Miyazaki, the lover of clouds, no doubt saw the many different and luminous ways Dudok de Wit sketched the sky using just sepia tones and recognised a kindred spirit.

Sixteen years after Father and Daughter, Studio Ghibli and Dudok de Wit’s collaboration has come into being. Dudok de Wit initially turned down the offer to make a feature, believing it to be too complicated, until he heard who was producing it. And even then he thought it was a cruel joke. The Red Turtle was made in France, with Ghibli co-founder Takahata Isao acting as artistic producer, and a script co-written by French director Pascale Ferran.

Cinephile heresy it may have been, but while I was watching The Red Turtle I wanted to whip my phone out and take away some of the images that had been so painstakingly drawn and painted by Dudok de Wit, and breathed into digital motion by a legion of French animators. (I resisted.)

It begins in the middle of a storm. Grey waves and raindrops engulf the screen. In the corner, a tiny head surfaces and then sinks. The nameless man is washed up on a beach with bits of his broken boat. A crab crawls up his leg. When he goes to explore, the view pulls right back so all we see is a remote island while his cries ring out. His only company is a cast of crabs (such an apt collective noun!). Several times he tries to escape with a makeshift bamboo raft, but each time a mysterious force in the water breaks up his boat. Eventually he discovers his secretive aggressor: the titular red turtle.

I’ll leave it there with the plot, because you don’t really want to know much more about a mythical fantasy like this one before you see it. The film is 80 minutes long and is completely wordless.

It has dream sequences and weighty allegories about life that seem to have put the odd Cannes viewer off – but don’t worry, they’re not too neat!

Pictures are the film’s currency and they are, without exaggeration, sublime. There aren’t really too many facial close-ups – actually, about as many of the man as there are of spiders and caterpillars, crabs and leaves. The motif from Romantic painting of a lone person subsumed by a nature is a recurring one: what changes is the island. The attention to detail shown to the sky (its magic-hour glow tinging the whole island), water (grey and angry one moment, an azure palimpsest the next), even the sand (at times you can see the grains in what looks like a smudge of charcoal) is quite extraordinary. The film is a masterclass in chiaroscuro: shadows are just as intricately sketched as the life forms that cause them. Even from a distance, a bottle washed up on the beach has a lighter shadow than a human’s.

A lot of digital animation, with its blocks of colour, can feel flat. But the depth and texture on show here – conjured from a surge of pencil marks and watercolour washes – is remarkable. The film is a must for the big screen. “I am a big softie. I’m a Romantic. I like to cry,” said Michael Dudok de Wit in an interview last year. You have been warned: pack tissues.

http://nitroflare.com/view/AE3A7230F0CB131/Michael_Dudok_de_Wit_-_%282016%29_The_Red_Turtle.mkv

https://uploadgig.com/file/download/0d876418A348dcAc/Michael Dudok de Wit – 2016 The Red Turtle.mkv

Language(s):None
Subtitles:None

Quote:
Louis (Gaspard Ulliel) is a successful writer returning home after an absence of twelve years. The purpose of his visit is to announce his imminent death, though this being context-light we’re not granted much insight into the nature of the illness, why Louis left home, why elder brother Antoine (Vincent Cassel) is perpetually angry or anything much that would have helped us care about these people one way or another. Instead, we have Suzanne (Lea Seydoux ), his stoner sister, Antoine’s mousy and inarticulate, slightly spaced-out wife Catherine (Marion Cotillard) and Louis’ mother (Nathalie Baye), with blue eye shadow and a smoker’s laugh.

http://nitroflare.com/view/8C5EC74647CCE1A/It%27s.Only.the.End.of.the.World.2016.1080p.WEB-DL.DD5.1.H.264.mkv

https://uploadgig.com/file/download/7c0eF90d41c4E87c/Its.Only.the.End.of.the.World.2016.1080p.WEB-DL.DD5.1.H.264.mkv

Language(s):French
Subtitles:English, French

Synopsis:
An outsider with libertarian ideas invades and corrupts a bourgeois family.

http://nitroflare.com/view/B5AA90A4ADA657C/Gift.1966.DVDRip.x264.AC3.mkv
http://nitroflare.com/view/2A64B7E17A6A335/Gift.1966.DVDRip.x264.AC3.idx
http://nitroflare.com/view/9720D1D0B753CC7/Gift.1966.DVDRip.x264.AC3.sub

https://uploadgig.com/file/download/cd5b190395b15909/Gift.1966.DVDRip.x264.AC3.mkv
https://uploadgig.com/file/download/16986364016F2614/Gift.1966.DVDRip.x264.AC3.idx
https://uploadgig.com/file/download/9a9d672b5eeac941/Gift.1966.DVDRip.x264.AC3.sub

Language(s):Danish
Subtitles:Danish (idx/sub)

Quote:
In 1925 Romania, young Marie-Therese Von Debretsy refuses the flirtatious advances of her husband’s commanding officer. As a result, the cosmopolitan family is reassigned to a brutally bleak and dangerous outpost on the Bulgarian/Romanian frontier whereboth their relationship and humanity are severely tested.

http://nitroflare.com/view/E629BFA75AB0626/Lucian_Pintilie_-_%281994%29_An_Unforgettable_Summer.mkv

https://uploadgig.com/file/download/40bDBeafABb06ac9/Lucian Pintilie – 1994 An Unforgettable Summer.mkv

Language(s):Romanian, English
Subtitles:Romanian, English

Quote:
A sadly neglected gem of British Cinema, this stunningly inventive film takes in German Expressionism, the pop promo, the docudrama and film noir. And that’s just for starters. The story of a mysterious man who creates chaos and anarchy in his wake, this has buckets of sly humour and a pleasingly dark edge. With brilliant performances from Thomas Fisher and Ian McNeice, this is an astounding reminder that UK cinema is much more than gangsters and girls in corsets.

Shot largely in black-and-white, The Nine Lives of Thomas Katz tells the story of a mysterious man (Thomas Fisher) who climbs out of a hole and hails a cab to London, where he takes on the identities of various people he encounters over the course of the day. A total eclipse of the sun is due to take place later in the day, and as the stranger assumes various identities, chaos overtakes the capital. It’s all observed literally with a blind eye by a fat police chief (Ian McNeice) who harbors a connection with the Astral Plane.

http://nitroflare.com/view/0A43DC3C1531795/Ben_Hopkins_-_%282000%29_The_Nine_Lives_of_Tomas_Katz.mkv

https://uploadgig.com/file/download/6e0494f8adb68bb6/Ben Hopkins – 2000 The Nine Lives of Tomas Katz.mkv

Language(s):English, French
Subtitles:English, French