Plot: When their mother dies, Frederick Smith hires Emma Thatcher to be a nanny to his 3 children. The children grow up and Frederick becomes rich and successful. He and Emma marry right before his death, and his will becomes a source of trouble between the children and Emma. Written by Rebecca Fennig
http://nitroflare.com/view/EA5BC86A065C967/Emma_%281932%29_BBM.avi
https://uploadgig.com/file/download/5a8e8cE80d5Beaf3/Emma 1932 BBM.avi
Language(s):English
Subtitles:None Included…WAC
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Synopsis: A girl’s obsession with firemen causes her to start a fire at her own home in order to trap a fireman in her room. The film features the last onscreen performance by Dionys Mascolo (writer, political activist, known for his voiceover in India Song and for his love affair with Marguerite Duras) and one of the earliest appearances of Pascal Greggory.
http://nitroflare.com/view/A4E1B9A507ABD4F/Flammes.mkv
https://uploadgig.com/file/download/5b74b22883709632/Flammes.mkv
Language(s):French
Subtitles:English
Synopsis:
Jennifer, an intelligent but insecure 14-year-old student at a boarding school, seduces her married dormitory counselor, a photographer who has offered to teach her about his art and winds up shooting her in the nude. She is naive, and he manipulates her into an affair that eventually is discovered. Years later, as the photographer is being investigated by the FBI, the adult woman remembers her first love as a case of herself watching the artist who watched her.
Review:
Jennifer Montgomery’s autobiographical Art For Teachers Of Children is creepy and difficult to watch: The film documents the director’s affair, at the age of 14, with a boarding-school dorm counselor, a photography enthusiast who made a habit of taking pictures of his students in the nude. Art For Teachers Of Children is presented in a detached manner that never seems sensationalistic, an effect that can at least partly be attributed to the amateurish performances of its two leads. (It’s difficult to suspend disbelief when there doesn’t seem to be any actual acting going on.) This and the taboo subject matter conspire to make it a tough movie to endure—nothing here can in any way be classified as entertainment—but it’s not tough to appreciate, both for the courage it took to make and for the political issues it addresses. This is particularly true in the film’s final section: It’s here, in which an adult Montgomery is harassed by the FBI following the arrest of her former lover, that Art For Teachers Of Children becomes something more than a confessional piece: Broader issues of censorship and civil liberties come to the fore. Is what has transpired child molestation and child pornography? The film doesn’t present it as such, but it would be difficult to imagine it as anything but had the story been told from any other perspective. Thought-provoking, if nothing else, Art For Teachers Of Children may not be an especially well-made film, but it’s not easily forgotten.
— Keith Phipps (The Onion A.V. Club)
http://nitroflare.com/view/245094A488BAE7B/Art.For.Teachers.Of.Children.1995.VHSRip.x264-HANDJOB.mkv
Language(s):English
Subtitles:(none)
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The true story of Olli Mäki, the famous Finnish boxer who had a shot at the 1962 World Featherweight title. Immensely talented and equally modest, Olli’s small town life is transformed when he is swept into national stardom and suddenly regarded as a symbol of his country. There’s only one problem: Olli has just fallen in love. Inside of the ring, it’s Finland vs. the USA, but outside, boxing and romance become unlikely adversaries vying for Olli’s attention. This charming feature debut from Juho Kuosmanen was awarded the Un Certain Regard Prize at the Cannes Film Festival.
A low-key historical snapshot of a relatively obscure Finnish sporting figure, shot on monochrome 16mm stock, may sound on paper like a non-starter for international distribution. Yet “Olli Mäki’s” warm, crinkled humanity, cockeyed humor and gorgeous, utterly immersive evocation of a less-distant-than-it-looks past exert a surprisingly universal arthouse pull — while its popular, well-deserved triumph in Cannes’ Un Certain Regard competition will further boost its appeal to international buyers.
Kuosmanen’s unassuming yet immaculate command of tone and form here would impress at any stage of his career, but it’s entirely remarkable in a first feature. J-P Passi’s brilliantly supple, tactile lensing and Jussi Rautaniemi’s clean, crisp cutting may speak to conventions of documentary and New Wave fiction filmmaking of the era, but at no point does “The Happiest Day in the Life of Olli Mäki” feel like airless exercise or over-prettified pastiche. That said, design fetishists with a yen for Cold War kitsch should seek the film out for its production and costume design alone. Every advertising billboard, Dinky Toy-style car, stout-shouldered suit and salon-curled hairdo has been researched and recreated on screen in minute, besotted detail, yet nothing looks too new or too museum-plucked. Kuosmanen’s lovely debut has little time for easy nostalgia: It’s a period piece that shares its woebegone protagonist’s eye on better days to come.
http://nitroflare.com/view/F53370741532016/fico-happydays7.mkv
https://uploadgig.com/file/download/a109a697D5AcF920/fico-happydays7.mkv
Language(s):Finish
Subtitles:English
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In the ’50s, Robert Aldrich was a favorite of the French Cahiers du Cinema critics. In the ’60s, though, Aldrich got sloppier as his budgets got bigger. Most of his later movies are at least a half hour too long, and formulaic action films like The Dirty Dozen and Too Late the Hero tarnished his once bright reputation. But movies like World for Ransom, Kiss Me Deadly, and Attack! still hold up as harsh portraits of violence, paranoia, and a new kind of universal dread that began with the A-bomb and ended with the JFK assassination. All of Aldrich’s early work is intriguing, but Autumn Leaves is his secret gem. It’s been passed over as camp because of its star, Joan Crawford, but Aldrich brings all his hard edges to this woman’s picture. The collision of his tough style with the soapy material makes for a film that never loses its queasy tension.
It begins with a decrescendo of violins. Nat King Cole sings the title song under the credits, which play over dark, blotchy leaves that look like clusters of Rorschach tests. The camera slowly zooms into a seedy group of bungalows, and the tentative pacing of the zoom strikes a note of pure desolation. After two exhausted dissolves, we see Millicent Wetherby (Crawford) at work, a middle-aged typist pounding on her typewriter with grim determination. We learn a lot about Millie in just a few moments of screen time. Her landlady, Liz (Ruth Donnelly), pops in through Millie’s squeaking screen door. While the women chat, Aldrich frames Millie’s empty bed behind them. As Millie tries to make jaunty small talk with Liz, Aldrich takes Crawford’s rigid fakeness, apparent in all her later films, and makes it look like a cover for Millie’s quiet desperation, her huge fears, and frantic last hopes. Liz talks about her brother (“Tall and skinny and all muscle,” she muses) as if talking to herself, her forbidden sexual attraction to a sibling foreshadowing Millie’s future.
Perhaps it was a budgetary consideration, but the Los Angeles street sets of Autumn Leaves don’t have many people on them, and this adds to the weight of Millie’s despair. As she leaves a piano recital, Millie’s aloneness is palpable. Determined to enjoy her evening out, she decides to stop at a diner, and young Burt Hanson (Cliff Robertson) asks to sit down with her. After only a few words between them, Burt says, “You know something? You’re lonely.” (In the first scene, Crawford had a dark diagonal shadow running down her chest. When she opens up to Burt, the shadow is further down and much lighter. Such shadows are there to obscure Crawford’s aging neck, of course, but Aldrich, like Douglas Sirk, makes creative use of such necessities.) Millie says he should find a girl his own age, but Burt keeps coming back to her.
This is the point when a rough-edged, somewhat uncomfortable May-December love story becomes a harrowing examination of primal, even infantile urges and conflicts—a kind of Oedipal nightmare.
http://nitroflare.com/view/6160F43A75AA141/Robert_Aldrich_-_%281956%29_Autumn_Leaves.mkv
https://uploadgig.com/file/download/ac5941821090d16A/Robert Aldrich – 1956 Autumn Leaves.mkv
Language(s):English
Subtitles:None
Plot: Touch and Go stars Jack Hawkins as the head of a British family who decides to kick over
the traces and emigrate to Australia. No one in the family, least of all wife Margaret Johnston, is
enthused over this move, but they prepare themselves with dignity. As the technical and legal obstacles
preventing their move begin to mount, even Hawkins has second thoughts about hitching his star Down Under.
Since no one behaves very believably in the film, Touch and Go rises and falls on its individual comic
sequences, some of which are quite good. The title Touch and Go has been used so often that when the
film was released in the US, it was retitled The Light Touch.
http://nitroflare.com/view/F54916A46E2556A/Touch_and_Go_%281955%29_KG.avi
https://uploadgig.com/file/download/C2D9eAEbc8b89063/Touch and Go 1955 KG.avi
Spanaish srt:
http://www.subdivx.com/X6XNDUwNzE5X-touch-and-go-1955.html
Language(s):English
Subtitles:Spanish
The story of Richard and Mildred Loving, an interracial couple, whose challenge of their anti-miscegenation arrest for their marriage in Virginia led to a legal battle that would end at the US Supreme Court.
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Loving is a 2016 American historical drama film which tells the story of Richard and Mildred Loving, the plaintiffs in the 1967 U.S. Supreme Court decision Loving v. Virginia, which invalidated state laws prohibiting interracial marriage. The film was produced by Big Beach and Raindog Films, and distributed by Focus Features. The film takes inspiration from The Loving Story (2011) by Nancy Buirski, a documentary which follows the Lovings and their landmark case.
The film was directed by Jeff Nichols, who also wrote the screenplay. Joel Edgerton stars as Richard Loving, with Ruth Negga co-starring as Mildred Loving. Marton Csokas, Nick Kroll, and Michael Shannon are all featured in supporting roles. Principal photography began in Richmond, Virginia on September 16, 2015 and ended on November 19. The locations used for Loving were mainly based in Richmond, also in King and Queen County, Caroline County, Central Point, and Bowling Green.
Loving began a limited release in the United States on November 4, 2016, before a wide release on November 11, 2016. The film received critical acclaim, and was named one of the best films of 2016 by several media outlets. The film was selected to compete for the Palme d’Or at the 2016 Cannes Film Festival,and has been nominated for numerous awards, including a Golden Globe nomination for Best Actor for Edgerton and Academy Award and Golden Globe nominations for Negga.
http://nitroflare.com/view/EB85963D5F420D5/Loving.2016.576p.BluRay.x264-HANDJOB.mkv
https://uploadgig.com/file/download/bB95294a84628Ad7/Loving.2016.576p.BluRay.x264-HANDJOB.mkv
Language(s):English + Commentary by Writer & Director Jeff Nichols
Subtitles:English Spanish Finnish
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A Girl is attacked by her lover with Acids.
Lantouri is the name of a gang that mugs people in broad daylight on the streets of Tehran and breaks into homes in the city’s rich northern district. The gang also kidnaps children from families who have become wealthy through corruption and embezzlement of state funds.
Read more: link
http://nitroflare.com/view/04CB30188C539E9/Lantouri.2016.DVDRip.x264-HANDJOB.mkv
https://uploadgig.com/file/download/b0507a97fff48e96/Lantouri.2016.DVDRip.x264-HANDJOB.mkv
Language(s):Persian
Subtitles:English
A prize-winning author that wastes his money on gambling struggles to take back control of his existence as his aging mother and ex-wife move on with their lives, until a stormy summer night offers him a chance to bond with his young son once again.
Tara Judah wrote:
From sentiment to scenario and across his characters, places, imagery and impressions, Kore-eda’s films have a melancholic tonality that represents the aching of the human soul.
Familiar themes are revisited here including; broken families, the problem of the patriarch, strained relationships between fathers and sons, coming to terms with grief, as well as the unutterable bond that is created and strengthened through taking time to share a meal together.
Here, Ryota (Hiroshi Abe) returns home after a patriarchal death in the family, hoping to find the strength to take up his own role within the flimsy structure of gendered society. The territory is well trodden as Abe played another son trying to become a symbol of the patriarch after a familial death, also named Ryota, in Kore-eda’s 2008 film, Still Walking.
Divorced, living in a tiny, unkempt apartment and spending more of his private detective income at the race track than on child support, Ryota is struggling to get a handle on life. Desperate for money but, unwittingly, even more desperate for the nourishment of his soul, Ryota must face the incoming typhoon with a strong heart, filled with what he does not have: honesty and resilience. It is not enough to blame “the times, this petty age we live in” for his shortcomings, we are told. Kore-eda wants us all – in the audience as much as his characters onscreen – to reflect upon the responsibilities we assume for both the beauty and harm we enact upon each other.
The film, as with his entire body of work, is peppered with succinct and telling character revelations that knowingly provide us with Kore-eda’s own voice, as a plea to the entirety of human kind; Yoshiko (Kirin Kiki), Ryota’s mother (for the second time, after Still Walking), is the spirited and surviving matriarch, and her comments are Kore-eda’s best, “A stew needs time for the flavours to sink in: so do people, ” and “You can’t find happiness until you’ve let go of something.” Thankfully, Kore-eda’s dialogue, no matter how blatantly or wilfully prophetic, is always self-aware, “I said something deep, didn’t I?” Yoshiko says and laughs, after pondering why she has never “loved someone deeper than the sea.”
But it is not the dialogue that makes the film so moving. Rather, it is that he finds subtle and poetic ways to show us the unfathomable hurt and incomprehensible love humans are capable of. We wound as well as we heal and no matter how painful the melancholy in his films can be, Kore-eda is a filmmaker in whose hands I would happily entrust my emotions every time. Through careful mid-shots and select close-ups, soft but not slow pacing and honest framing that allows the mise-en-scène to speak up without passing judgement; Kore-eda’s exploration of humanity is gentle even if the human behaviour is sometimes unkind.
Bilge Ebiri wrote:
It would be easy to make such material into a tragedy, a judgmental look at a man’s agonizing downfall. But for Kore-eda, this is just a glimpse of ordinary humanity. Shinoda’s setbacks aren’t all that different from the infidelities and failures he documents at his private-eye job. “For better or worse, it’s all part of my life,” says one woman who’s just discovered her husband is cheating on her. That gentle respect for human fallibility shines throughout After the Storm, as Kore-eda patiently charts the process by which Shinoda comes to understand that he will never become the man he wants to be — and learns to reconcile aspiration and acceptance.
Kore-eda’s stories, such as they are, unfold in unlikely ways. He doesn’t play so much with structure, but with focus: He’ll allow a scene to go on and on before slipping in a crucial bit of narrative information that leads to something else. In the hands of a lesser director, that could result in tedium, but Kore-eda’s love for his characters, his ability to imbue an exchange or glance with warmth and humor, keeps us watching. You can lose yourself in his films — wondering what’s around every corner, and what’s going on in the mind of even the most minor of characters.
Justin Chang wrote:
Set during an unusually active typhoon season, the film centers around Ryota (Hiroshi Abe), a divorced dad and onetime novelist who’s now eking out a living as a private investigator — a premise that initially sends out some intriguing noirish vibes. But Ryota’s detective work ultimately draws him back toward the family he’s long neglected, as he tries to bond with his young son (Taiyo Yoshizawa) and halfheartedly rekindle affections with his ex-wife (Yoko Maki). Nudging everyone gently from the sidelines is Ryota’s mother (Kirin Kiki, who previously starred with Abe in Kore-eda’s “Still Walking”).
After this film and his underrated “I Wish” (2011), it’s hard to think of another filmmaker who maps the emotional landscape of divorce-torn families as precisely as Kore-eda, who always steers his characters toward reconciliation and understanding without saccharine. Predicated on the revelatory power of shared meals and small talk, “After the Storm” builds to a scene of three people running around in a heavy downpour — a wistful, funny and indelible vision of a family coming together to chase an impossibly happy dream.
http://nitroflare.com/view/F4DAC04E8F68BF5/After.the.Storm.2016.720p.BluRay.x264-WiKi.mkv
https://uploadgig.com/file/download/a8dd0d4bf30Fb09B/After.the.Storm.2016.720p.BluRay.x264-WiKi.mkv
Language(s):Japanese
Subtitles:English, Chinese simplified, Chinese traditional
Raúl Ruiz is one of the great cinematic self-perpetuators, like Louis Feuillade and Jacques Rivette—a film like this gathers a motion and a rhythm that makes it feel like it could on and on, self-generating new stories and new characters ad infinitum. Based on the novel by Camilo Castelo Branco (whose writing has been the source for Oliveira’s similarly fatalistic romance,Doomed Love), Mysteries of Lisbon is, to paraphrase a line from one of its many characters used to describe a disastrous relationship he had, a game that turns into a bourgeois romantic drama, to which I would add, that turns into a game. It starts—as all stories must?—with an orphaned boy questioning his parentage and falling into a fever, and out of that starting point the film evolves less as a story than a cartography of characters crossing points in space and time. On paper it is indeed all melodrama: identities revealed, lives saved in the past coming back to haunt the saviors, secret connections, loves turns to hatreds. But as traced by Ruiz’ oscillating tracking shots, which arc back and forth across rooms, pleating our view onto itself, folding time and space and people, the 19th century soap opera is transformed into an oneric submergence into ill-wrought fate, stories-within-stories, the nesting of all things, and the mysterious system which, quivering with ironic mirth and melancholy, holds everyone in place. This elegantly languorous, epic film (four and a half hours long), carries with it a paradoxical sense of infinite expansion outward, with each new character, each new place a new story, a new irony, a new connection backwards and a suggestion thrown forwards, yet this expansion seems to exist within a closed system. If this closure is not the film itself, which must end, than it is some other, secret measure of control that binds the interlocking orbits of people and their passions in space and time and does not allow them to escape. Perhaps the Mysteries are both expanding and elastic? Certainly a model for the universe, if that’s the case. As for the bourgeois drama, everyone’s fable-like unsurprise at the strange motions, histories, and identities of those characters around them opens their simple emotions to a greater cosmic plane, as if they have an awareness they have to live both in the elastic, restricted world (of their society, of a normal dramatic film) and one that has mysterious, expanding mind of its own.
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Language(s):Portuguese, French, English
Subtitles:English, French, Spanish, Portuguese
Ishihara Kiyoshi plans to marry the woman he loves, Chiee, a coffee shop girl. After an accident, Chiee loses her memory. A romance movie whose original work by Ayako Sono was made into a melodrama by a combination of Shinoda Masahiro and Terayama Shuji.
http://nitroflare.com/view/9A279F9A183629E/Epitaph_To_My_Love_%28Masahiro_Shinoda%2C_1961%29.mkv
https://uploadgig.com/file/download/c757D61b5f846E61/Epitaph To My Love Masahiro Shinoda 1961.mkv
Language(s):Japanese
Subtitles:None
One dramatic event marked the life of the great German artist in particular. At the beginning of the First World War she was already world famous for her etchings, lithographs, carvings and drawings. To her horror, her youngest son, Peter, volunteered to go to war. Within a few weeks she received the dreadful news Peter fell in Flanders. Käthe Kollwitz, who had always sided with the common people, became a committed pacifist and even a socialist. She lived with her husband, a doctor to the poor, in the Berlin working-class quarter of Prenzlauer Berg, where a central square is now named after her. The bloody end of the November Revolution destroyed her hope for swift improvements in living conditions, but strengthened her convictions. The excellently cast DEFA film shows impressive images from the life of a woman who was later to be a vehement foe of National Socialism and whose work still impresses the world today.
http://nitroflare.com/view/C2FCCD3394C392B/K%C3%A4the_Kollwitz.mkv
https://uploadgig.com/file/download/dd572715Eb9EcdD2/Käthe Kollwitz.mkv
Language(s):German
Subtitles:English hardsubbed
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Elaine, a beautiful young witch, is determined to find a man to love her. In her gothic Victorian apartment she makes spells and potions, and then picks up men and seduces them. However her spells work too well, and she ends up with a string of hapless victims. When she finally meets the man of her dreams, her desperation to be loved will drive her to the brink of insanity and murder. With a visual style that pays tribute to Technicolor thrillers of the 1970s, THE LOVE WITCH explores female fantasy and the repercussions of pathological narcissism.
http://nitroflare.com/view/CC8A68AFF0604AA/The.Love.Witch.2016.1080p.WEB-DL.DD5.1.H264-FGT.mkv
Language(s):English
Subtitles:English
After parodying the idiosyncrasies of community theater devotees in the mock documentary Waiting for Guffman, actor/director Christopher Guest returns with another semi-improvised comedy that casts a satirical gaze on the world of championship dog breeding and training. A television crew is on hand to document the prestigious Mayflower Kennel Club Dog Show, and competition is fierce among the canine devotees vying for top honors. Salesman Gerry Fleck (Eugene Levy), who is cursed with two left feet (literally), and his wife Cookie (Catherine O’Hara) have entered their Norwich terrier “Winky” in competition. Wealthy and neurotic Meg Swan (Parker Posey) and her husband Hamilton (Michael Hitchcock) are on hand with their Weimaraner “Beatrice,” who they fear may have been traumatized by watching them have sex. Scott Donlan (John Michael Higgins) and his life partner Stefan Vanderhoof (Michael McKean) have brought their beloved Shih Tzu, “Miss Agnes.” Trophy wife Sheri Ann Cabot (Jennifer Coolidge) and her close friend and trainer Christy Cummings (Jane Lynch) are hoping for a repeat victory for Sheri’s poodle, “Rhapsody In White.” And Harlan Pepper (Guest), who operates a store specializing in fly-fishing gear, has decided to stack his bloodhound “Hubert” up against the competition. In addition to Guest, Levy, O’Hara, and Posey, several other veterans of the Waiting for Guffman cast also appear in Best in Show, including Fred Willard, Bob Balaban, and Lewis Arquette. — Mark Deming – Allmovie.com
http://nitroflare.com/view/B100A344835A96A/Best_in_Show.avi
https://uploadgig.com/file/download/4f5e47608c99dc6b/Best in Show.avi
Language(s):English
Subtitles:English
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Masculinity turns against itself in Simon Jaquemet’s teen violence debut
Home is where the hate is in At War, in which a teenager’s boot camp punishment becomes a kind of perverted camaraderie. Filmed in the spirit of gritty Euro-miserabilists like the Dardenne Brothers and infused with the same show-all/judge nothing ethos, the film has a drive and intensity that pushes it compellingly through its first half before descending into predictability as it doggedly brings its inner logic full circle. But there’s enough of interest happening in that first section to ensure that there’ll be more to come from director Simon Jaquemet when War has done its time on the festival frontline.
Matteo (Benjamin Lutzke) is a pretty typical post-millennial, green-haired 16 year-old, confused, uncommunicative and seeking an affection that comes distorted from his mother (Livia Reinhard), who somewhat confusingly for the young lad asks him to hold his baby sister to his breast,and which is entirely lacking from his simmeringly angry, father (John Leuppi), unhealthily obsessed with his muscle bulk and by extension with antediluvian ideas of masculinity.
One of the few peaceful scenes in At War comes in its undeniably powerful, authentically unsettling first forty minutes. Matteo removes baby bro from his pram and taking him into the woods, where he wonders “will you by my friend when I grow up?” as a deer looks symbolically on. Given Matteo’s obvious unhappiness, the scene is taut with an ambiguous tension that is later missing from the film. Whatever, such behaviour is unacceptable to his father, who prescribes Matteo a three-month visit to a mountainside farm, which will toughen him up.
Matteo has been delivered from one set of sociopaths into the hands of another. The farm is run as a boot camp — “no Internet, drugs, TV or alcohol” — by alcoholic Henspeter (Ernst C. Sigrist) and his rough and ready sidekick Anton (Ste): the other ‘guests’ are Dion (Sascha Gisler) and Ali (Ella Rumpf). They all set about humiliating their new charge, locking him into a cage and putting a chain around his neck, but after Matteo has braved a death-defying mid-air challenge, best viewed from behind fingers, and has proved that he has indeed toughened up, he becomes one of the gang.
he problem is that between Matteo’s duplication of his father’s wished-for masculinity and the finale, which brings things psychologically full circle, the film is merely an efficient but unspectacular teen gang drama, albeit one set surreally in the Swiss Alps. One lengthy sequence has them driving to town to do as much damage as they can, taking on the society that has made them the bad boys they are (and girl). Previously not a sociopath, Matteo has become one because of his father’s Neanderthal view of education — and once that’s been said, At War doesn’t have much else to offer.
The leading performances are from non-pros, and feel suitably raw: Lutzke, rarely off-screen, is under instructions to play it within his natural range and occasionally allow the inner turmoil to flash out. But viewers looking for character redemption will search in vain — Jaquemet is not interested in sweetening the pill. Matteo and his new gang may be normal, and perhaps they’re even representative, but they’re not nice, or even particularly interesting, with the script happy to show them at work collectively rather than making any distinctions between them which would have nuanced the film.
Lorenz Merz’s photography is largely hand-held, with insistence on the use of natural light at times plunging things into virtual darkness. But it also allows the chilly majesty of the Alpine locations to come through powerfully unfiltered, as the violence which the city has nurtured inside these confused teens flourishes in the clean mountain air.
http://nitroflare.com/view/A3FC9E8CF8BD479/Simon_Jaquemet_-_%282014%29_War.mkv
https://uploadgig.com/file/download/94dcEB7a082bdd7f/Simon Jaquemet – 2014 War.mkv
Language(s):German
Subtitles:English, German, French, Italian
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Auspiciously set in the nebulous and indeterminate milieu of “Switzerland, in the near future”, Raoul Ruiz’s eccentric, surreal fable opens to the shot of an abstracted and dotty young woman named Livia (Elsa Zylberstein) sitting on a park bench overlooking a fog obscured dirt road that is curiously located near the entrance of the San Michelle mental health institution. While jotting down a series of random, fleeting thoughts into her journal, she meets a cyclist who is abruptly thrown from his bicycle and, convinced that he is an angel (since, as her idiosyncratic theory goes, all angels on earth have fallen), proceeds to explain that tomorrow is destined to be the best day of her life, or rather – as she corrects herself – the most important day, which she comes to realize is not the same thing. Soon after the encounter, Livia is whisked away by her faithful and devoted servant Treffle (Jean-François Balmer) and brought home to the family’s country estate where a crowd of snide and unscrupulously calculating relatives amass near the front steps awaiting her father, Harald’s (Michel Piccoli) return home to celebrate his birthday.The morning of Livia’s fateful day, December 28, arrives with the ominous news that a psychopathic killer, Pointpoirot (Bernard Giraudeau), has escaped from San Michelle (aided in part by a nefarious, enigmatic character named Warff (Féodor Atkine) who has a dubious task in mind for him). Detouring briefly from his assignment by visiting a pharmacy in order to pick up a digital blood glucose test monitor, the seemingly fastidious Pointpoirot arrives at the secluded estate, followed in dawdling, lukewarm pursuit by a pair of under-motivated police officers, Raufer (Jean-Luc Bideau) and Ritter (Christian Vadim), who decide to bide their time at a nearby café instead (whose owner, Morelli (Jacques Denis), acquiesces to Harald’s fickle whim to ban a ubiquitous bottled seasoning called Salsox from the restaurant). Left to her own devises after Harald schemes with her brother to send the protective Treffle away for the day, the naïve Livia observes Pointpoirot calmly shaving through his reflection on a glass paneled door and soon invites the complete stranger inside the home, unwittingly setting off a grimly bizarre chain of events in Harald’s opulent but forbiddingly desolate chateau.
Unfolding with the atmospheric and drolly sinister tone of a seemingly conventional murder mystery, Ce jour-là is a mischievously imaginative, deliriously hypnotic, and whimsical exposition on compulsion, personal will, greed, and destiny. Shot primarily from the idiosyncratic perspective of Livia and Pointpoirot – protagonists whose outward geniality and personal eccentricities also reveal a tenuous grasp of reality – Ruiz nevertheless retains the film’s overarching structure of off-balanced surreality within an absurdist narrative structure through isolating (almost hermetic), but inconstant and vacillating points-of-view and elegant camerawork: the resplendently fluid, levitating tracking shot as the camera shifts focus from Livia to the San Michelle patients’ bicycle ride; Pointpoirot’s literally warped and hallucinatory vision as he suffers from an episode of hypoglycemia; exaggerated and deceptively shifting camera depth within the Harald estate (particularly hallways) that obscures referential position and reinforces visual (and individual) subjectivity. Deceptively framing the conundrumic moral fairytale within the familiar and accessible structure of a noir whodunit, Ruiz boldly illustrates his indelibly sophisticated and iconoclastic cinema of malleable logic, puckish wordplay, wry humor, and elaborate conspiracy.
http://nitroflare.com/view/EB82F8B4EAD6AB3/Raoul_Ruiz_-_%282003%29_That_Day.mkv
http://nitroflare.com/view/9F303672D6D3BEA/Ce_jour-l%C3%83__english_sub.srt
https://uploadgig.com/file/download/e7301fa3d337317E/Ce jour-là english sub.srt
https://uploadgig.com/file/download/b0caB8709e3d067B/Raoul Ruiz – 2003 That Day.mkv
Language(s):French
Subtitles:English
“This cult favorite from one of cinema’s richest eras, directed by Academy Award-winning director Joseph Strick, stars Barry Bostwick (The Rocky Horror Picture Show) and Robert Drivas (Cool Hand Luke) delivering bravura performances as a pair of brutish truck drivers who pick up a prostitute on a trip across America. Regina Baff (The Paper Chase) tears at the heart as the beaten and furious hooker who exchanges her body for a ride to New York, only to be further abused. Rejected and scorned, she becomes determined to seek revenge.” – DVD packaging copy
Story
When a couple of thuggish truck drivers are making the fast run across the United States, they pick up a damaged prostitute as a diversion. When she offers her body in exchange for the journey to New York, the abused hooker begins to experience even more of the degradation she was trying to escape. Soon, however, her feelings of self-pity evolve into plans of revenge.
IMDB Reviews
“Gritty seventies flick has all the hallmarks of the era that make it so great when compared to today’s franchised McMovies; excellent performances, gritty characterisation and overall gritty downbeat feel. I found this film to be constantly engaging and intriguing with it’s meandering plot taking the viewer on a journey not dissimilar to the film’s protaganists. ROAD MOVIE is in a micro genre all by itself and is a fascinating glimpse into the darkside of the truckies’ world. The perfs by all three leads are excellent,with Regina Baff a standout as the unstable and unpredictable hooker with a heart of molten lead. The script is solid and the characterisations are full of ambiguity and subtlety. How refreshing to see a flick where the characters aren’t cliched cutouts. Cinematography is gritty and portrays the ever changing American landscape as a post apocalyptic wasteland. At times I felt as if I were watching a low key science fiction movie. ROAD MOVIE is an excellent antidote to anyone burnt out by the soulless franchised marketing -driven fx reels that pass for cinema in the current climate.” – Author: geoffh from Auckland, New Zealand
“The drive-in’s redneck trucker genre gets the art house treatment in this intense, grungy 70’s obscurity. Two novice independent truck drivers pick up the wrong passenger. Surreal, somewhat supernatural and soaking in sexual politics that are definitely up for heated debate. There’s a lot going on here, especially with it’s subtle depiction of independent business vs. corporate giants and unions. This is independent film as it was and should be. Essential.” – Author: blackxmas from georgia
http://nitroflare.com/view/192F073EE1B2528/Road.Movie.1974.DVDRip.x264-HANDJOB.mkv
https://uploadgig.com/file/download/36d223525806Bbd8/Road.Movie.1974.DVDRip.x264-HANDJOB.mkv
Language(s):English
Subtitles:None
Synopsis wrote:
One of the last great German Expressionist films of the silent era, Joe May’s Asphalt is a love story set in the traffic-strewn Berlin of the late 1920s. Starring the delectable Betty Amann in her most famous leading role, Asphalt is a luxuriously produced Ufa classic where tragic liaisons and fatal encounters are shaped alongside the constant roar of traffic.
thespinningimage.co.uk wrote:
In Berlin, a policeman called Holk is summoned to a jeweller’s shop, where a beautiful young woman has tried to steal a diamond. En route to the police station, the woman takes Holk back to her apartment on the pretext of collecting some papers and ends up seducing him. Soon he finds himself caught between his duty and the woman he is falling in love with.
Asphalt was one of the last films of the silent German Expressionist era – like Fritz Lang, director Joe May soon made the move to Hollywood, although failed to find the success there that Lang did. In Asphalt, May sets a simplistic morality tale against the backdrop of modern, bustling city – there are none of the political overtones of other films of the time, but the picture remains both a technical triumph and a touching story of doomed love.
May opens the film with a bravura display of the cinematic techniques that were being pioneered at the time, capturing the industrial fury of modern Berlin. The director overlays frames of traffic as cars thunder through the city and performs some dramatic crane shots over the crowds and across the streets, all part of a massive set at the renowned UFA studios. Eventually, he comes to focus on just four characters – dedicated, hardworking cop Holk, his loving parents with whom he lives, and Mutter, the sultry would-be jewel thief who steals his heart.
In terms of events, very little actually happens in Asphalt – in a modern picture, the entire 90 minute running time would probably just be compressed into the first act. So it’s a testament to the skill of both the actors and the director that the film is quite as watchable as it is. Else Heller, playing Mutter, is by turns cunning, sultry and fragile – her ambiguous performance is played largely with her eyes, and we are never sure if we are watching the ‘real’ Mutter, or just an act. Albert Steinrück is a more straight-forward, stoic hero, but the haunted, terrified look on his face after he returns home after committing a terrible act towards the end makes for one of the film’s most striking moments.
May’s direction remains impressive throughout, although the more dramatic technical trickery is largely kept for the opening sequences. Nevertheless, the lighting, editing and camerawork help create an atmosphere charged with a sense of doomed inevitability, and the scenes between Heller and Steinrück carry an undeniable erotic charge. For all its innovation, Asphalt is obvious a film of its era – the only dialogue is supplied by occasional inter-titles, and a melodramatic, sometime rather inappropriate score provides the soundtrack. Within two years, Fritz Lang’s groundbreaking masterpiece M would make the likes of Asphalt seem positively quaint by comparison, but this remains a little known but important part of cinema history. .
http://nitroflare.com/view/746D21965662677/Asphalt_%281929%29.mkv
https://uploadgig.com/file/download/D8C07453A1f63Dd6/Asphalt 1929.mkv
Language(s):German
Subtitles:English
When an opera singer loses her voice, her husband embarks on an odyssey through Miami’s dark underworld to recover it through supernatural means.
http://nitroflare.com/view/E2771BA88E45044/The_Voice_Thief_720p.mkv
https://uploadgig.com/file/download/0527ea6Cf0564644/The Voice Thief 720p.mkv
Language(s):English
Subtitles:French (hardcoded)
An experimental documentary comprised of regional vignettes about faith, force, technology and exodus. Eleven parables relay histories of settlement, removal, technological breakthrough, violence, messianism and resistance, all occurring somewhere in the state of Illinois. But the state is a structural ruse, and its histories are allegories that ask what belief might teach us about nationhood. In our desire to understand the inscrutable, whom do we end up blaming or endorsing?
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Shooting on 16mm, Stratman has produced one of the most quietly radiant movies of recent memory, working in the Midwestern palette of gray, green, and brown, relieved by the occasional snowfall. From these sections, which breathe in the aura at scenes of historical import in a manner that recalls the Straubs of From the Clouds to the Resistance or Itinéraire de Jean Bricard, Stratman moves on to other diverse techniques, incorporating archival footage and audio collage to revisit the devastation of the Tri-State Tornado, undertaking a reenactment of a reenactment of the death of Black Panther Fred Hampton at the hands of the FBI and Chicago police, and even seeming to sprout wings to view landscape sculptures by Michael Heizer from on high.
Nick Pinkerton for Film Comment
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Accrue mythic histories of violence, martyrdom, atomic breakthrough, failed utopias, vigilante justice, telekinesis, expulsion. Let them comprise a suite of Midwestern parables.
http://nitroflare.com/view/9583D0399DA7159/Stratman%2C_Deborah_-_The_Illinois_Parables.mkv
https://uploadgig.com/file/download/957b04752e2c8958/Stratman Deborah – The Illinois Parables.mkv
Language(s):English
Subtitles:None
