Quote:
There are places in Europe that have remained as painful memories of the past – factories where humans were turned into ash. These places are now memorial sites that are open to the public and receive thousands of tourists every year. The film’s title refers to the eponymous novel written by W.G. Sebald, dedicated to the memory of Holocaust. This film is an observation of the visitors to a memorial site that has been founded on the territory of a former concentration camp. Why do they go there? What are they looking for?

Quote:
But more than this, Loznitsa shows us individuals and collectives (students, church groups, etc.) asked to confront the “concentration camp,” a distant artifact that resembles an austere Epcot attraction. What are they to do? They pose under the Arbeit Macht Frei gate. They gaze out from the gas chambers. They giggle nervously. On occasion, there is a break in the traffic and someone can steal a private moment of contemplation. But Austerlitz is about the disconnection between the greatest horror of the 20th century and our inability to adequately convey it to the 21st. Loznitsa captures this tragedy in the form of a young dude bopping through the gates of Sachsenhausen, his t-shirt emblazoned with last year’s meme: “COOL STORY BRO.”

Michael Sicinski for Cinema Scope

Quote:
Austerlitz is a film about what happens when solemnity becomes near-impossible to access, for reasons of chronological distance and the fact that any such site is visited under conditions which are the exact opposite of how it functioned — and, if that’s sad, and if it’s definitely stupid to pose smiling under a gate reading “ARBEIT MACHT FREI,” it points to a dilemma of historical imagination rather than a moral problem per se. It helps that the film is immaculate crafted and perversely non-commercial: with its long, long shots and sparse dialogue, this is a film that can’t be easily flipped and sold for a tidy profit in the vein of numerous putatively “powerful” Holocaust docs that do all the moral calculus for audiences via talking heads and archival footage. Austerlitz‘s people-watching pleasures are complicated but don’t resolve in any one direction.

Vadim Rizov for Filmmaker Magazine

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https://uploadgig.com/file/download/5DA084E15a31fe30/AUSTERLITZ_21_04_16_ENG_SUBS 720p.mkv

Language(s):German, English, Spanish
Subtitles:English (hardcoded)

Synopsis wrote:
A young flapper tricks her childhood sweetheart into marrying her. He really loves another woman, but didn’t marry her for fear the marriage would end in divorce, like his parents’. Complications ensue.

aclassicmovieblog wrote:
To contemplate Clara Bow and Gary Cooper together onscreen is to fear these irresistibly watchable stars will cancel each other out. After all, what else could happen when two performers who consistently steal scenes in other films appear with each other? In the 1927 silent Children of Divorce, nothing quite that dramatic happens, it’s pure pleasure to see them together. Now the film is available in its DVD/Blu-ray world premiere, in what is also the 50th release for the always meticulous Flicker Alley.

Bow, Cooper and Ralston are Kitty, Ted and Jean, childhood friends who have all suffered because their parents divorced and then essentially abandoned them, both physically and emotionally. They grow up fragile, but determined to avoid the mistakes of their progenitors. Instead, they make entirely different, more complicated missteps.

Kitty is in love with Ludovic (Einar Hanson), but he hasn’t got enough money to keep her the way she pleases. Ted has money, but he and Jean are in love. Disregarding her friend’s happiness, Kitty tricks a drunken Ted into marriage, and while he is disgusted by her actions, she eventually has the child that the more maternally yearning Jean desires. Of course there are consequences for her actions.

It’s a lousy plot, but you don’t realize it until the film is over. This is mostly due to the mesmerizing presence of its stars. With Cooper, you can’t look away because you always wonder what thoughts are fluttering beneath those bashful giraffe eyelashes. When it comes to Bow, the opposite is true; every flicker across her face tells you exactly how she is feeling. Sometimes it is enchanting; occasionally it makes you feel like you’ve been socked in the gut.

This is not to short-change Ralston either. While she clearly doesn’t have the charisma of her costars, she is charismatic. Her reassuringly thoughtful presence perfectly suits her role as a woman who yearns for a peaceful, maternal life.

The film is visually in tune with the emotions of its core trio, primarily due to a switch in vision. Credited director Frank Lloyd (Cavalcade [1930]) started with the production, but didn’t draw compelling performances from his leads. The uncredited Josef von Sternberg was enlisted to film a sort of remake after hours, and was particularly effective in getting a heart wrenching performance from Bow, leading the director to speculate on how well she could do if Paramount Studios gave her better material. But that was not to be.

Children of Divorce has been restored by the Library of Congress from an original nitrate negative and a 1969 fine grain master in its holdings. While there was too much deterioration for a pristine restoration, it’s impressive how sharp and clear the image generally is. For a brief moment in one scene the damage to the film was too severe to be repaired, and you are reminded of how fragile film is and how fortunate film fans are to have access to it at all, let alone an often quite beautiful print.

http://nitroflare.com/view/B7A307D61D344D0/Children_of_Divorce_%281927%29.mkv

https://uploadgig.com/file/download/8dE5f0C8a111F821/Children of Divorce 1927.mkv

Language(s):English
Subtitles:English

“French companies never seemed to learn that Godard would never make anything like a traditional advertisement, so when the Darty appliance chain commissioned a pub from the mischievous director, they were in for trouble: a daring deconstruction of consumerism, rejected by its funders.”

http://nitroflare.com/view/1CCCF708958F931/Le_Rapport_Darty_%281%29.mkv

https://uploadgig.com/file/download/685bbe69918867A8/Le Rapport Darty 1.mkv

Language(s):French
Subtitles:English

Plot:
In this adaptation of Graham Greene’s prophetic novel about U.S. foreign policy failure in pre-war Indochina, Audie Murphy plays an innocent Young American opposite the older, cynical Brit Michael Redgrave. They play out their widely different views on the prospects stuggle for the hearts and minds of the Vietnamese people in their competition over a young woman. Murphy wants to reform her and make her a typical middle class American housewife; Redgrave accepts her inability to formulate or retain a political ideal and while promising her no real future, he objects to Murphy’s attempts to change her. It’s not clear whether Murphy is just what he appears – a bungling Yankee do-gooder – or a deliberate agent of U.S. covert operations, but he ends up an expendable pawn in the end.

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https://uploadgig.com/file/download/75F8a0f8ccb07B56/The Quiet American 1958 MGM DVDRip BBM Spanish.srt

Language(s):English
Subtitles:English, French & Spanish Included

Quote:
sometimes you have to cross the line to know where the line is. just ask any two-year-old.

maybe this is what happens when you spend too much time with a movie: you start thinking about it when it’s not around, and then you start wanting to touch it. i’ve been watching 2001: A SPACE ODYSSEY regularly for four decades, but it wasn’t until a few years ago i started thinking about touching it, and then over the holidays i decided to make my move. why now? I don’t know. maybe i wasn’t old enough to touch it until now. maybe i was too scared to touch it until now, because not only does the film not need my—or anyone else’s—help, but if it’s not THE most impressively imagined and sustained piece of visual art created in the 20th century, then it’s tied for first. meaning IF i was finally going to touch it, i’d better have a bigger idea than just trimming or re-scoring.

plus, it’s TECHNOLOGY’S FAULT. without technology, i wouldn’t have been able to spend so much intimate—and, ultimately, inappropriate—time with the film. by the way, i’ve seen every conceivable kind of film print of 2001, from 16mm flat to 35mm internegative to a cherry camera negative 70mm in the screening room at warner bros, and i’m telling you, none of them look as good as a bluray played on an pioneer elite plasma kuro monitor. and while you’re cleaning up your spit take over that sentence, let me also say i believe SK would have embraced the current crop of digital cameras, because from a visual standpoint, he was obsessed with two things: absolute fidelity to reality-based light sources, and image stabilization. regarding the former, the increased sensitivity without resolution loss allows us to really capture the world as it is, and regarding the latter, post-2001 SK generally shot matte perf film (normally reserved for effects shots, because of its added steadiness) all day, every day, something which digital capture makes moot. pile on things like never being distracted by weaving, splices, dirt, scratches, bad lab matches during changeovers, changeovers themselves, bad framing and focus exacerbated by projector vibration, and you can see why i think he might dig digital.

MY ONE GIGANTIC ISSUE WITH THIS TRANSFER

is that you can see, in the dawn of man sequence, the cross-hatched patterns of the front projection screen in several shots. this is INEXCUSABLE. i never saw these patterns in any film prints—this would never have gotten past the polaroid-happy SK—and ANY transfer in which these patterns are visible no matter how your monitor/TV is set up is TECHNICALLY FUCKED AND COMPLETELY WRONG. i hate saying that about my good friends at WB, especially since the WB remaster of CITIZEN KANE is literally a revelation, BUT on the other hand the ALL THE PRESIDENT’S MEN bluray is a disappointment, BUT on the OTHER other hand they did remaster and release a beautiful END OF THE ROAD disc, so….

http://nitroflare.com/view/E1C60AE1EE349AA/The_Return_of_W_de_Rijk_%282001_Soderbergh_edit%2C_2014%29.mkv

https://uploadgig.com/file/download/Bf2a9a47743ef6cd/The Return of W de Rijk 2001 Soderbergh edit 2014.mkv

Language(s):English
Subtitles:None

Plot synopsis:
Cencio, a Roman pilferer, is periodically in prison. He’s a genius at scams. He loves his childhood sweetheart Cesira, who, in order to get herself out of the slum’s life, soon becomes his partner in crime. With Cesira’s help, Cencio is successful in several swindles. In the meantime, Cesira finds her true love. Cencio then tries the big hit in a jewelery. But his lucky break is over…

http://nitroflare.com/view/E76FC38FCF77726/Ladro_lui%2C_ladra_lei_%281958%29.mkv

https://uploadgig.com/file/download/c3eD0ee4fB1fa6b1/Ladro lui ladra lei 1958.mkv

Language(s):Italian
Subtitles:None

Plot:
Francisco Goya (1746-1828), deaf and ill, lives the last years of his life in voluntary exile in Bordeaux, a Liberal protesting the oppressive rule of Ferdinand VII. He’s living with his much younger wife Leocadia and their daughter Rosario. He continues to paint at night, and in flashbacks stirred by conversations with his daughter, by awful headaches, and by the befuddlement of age, he relives key times in his life, particularly his relationship with the Duchess of Alba, his discovery of how he wanted to paint (insight provided by Velázquez’s work), and his lifelong celebration of the imagination. Throughout, his reveries become tableaux of his paintings.

Review:
Bordeaux, 1828: exiled from his native Spain, Francisco de Goya (Rabal), now aged 82, spends his final days in a house shared with his lover Leocadia (Ramón). He recounts the events of his life to their young daughter Rosarito (Fernández), cueing flashbacks to his time as court painter to King Charles IV, and his passionate affair with the intoxicating Duchess of Alba, who still haunts his thoughts. He describes the torment at going deaf at 46, and his anguish over the destruction of Spain during years of political turmoil, reflected in the tone of his later paintings. This is Saura’s dream project and his dedication to it is evident in the detailed exposition. At once colourful, opulent and dark, it captures the delights and demons of genius. Singular, intriguing, mesmerising, there are rich rewards here for lovers of painting, history and spectacle.

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Language(s):Spanish, French
Subtitles:English, Spanish, French, Russian (idx, sub)

Silent movies require a unique visual storytelling grammar, a rhythm of clear, economical medium shots, punctuated by close-ups of pertinent objects and human faces reacting. Veit Helmer’s debut feature Tuvalu isn’t strictly a silent movie—it features sound effects and the odd exclamation—but the film is virtually dialogue-free, and heavily influenced by the grammar of the silents and the fanciful retro-futurist decay of Terry Gilliam and Jean-Pierre Jeunet. But Helmer has neither the clarity nor the rococo flourish of his predecessors, and his over-reliance on color filters and crammed, busy takes inhibits Tuvalu’s ability to charm and enchant. The film stars Denis Lavant (the craggy but acrobatic center of the contemporary French cinema classics Les Amants Du Pont-Neuf and Beau Travail) as the manager of a swimming pool in a crumbling, depressed metropolis. Lavant spends his days tricking his blind father into believing that the business is doing well, while fending off his older brother, who’s in charge of demolishing condemned buildings and replacing them with new, computerized wonders. The title Tuvalu refers to an island paradise far from the industrial wasteland depicted in the movie; Lavant hopes to sail there, preferably on the tugboat of lovely local swimmer Chulpan Khamatova, but accidents conspire to keep him at work, with Khamatova at arm’s length. Tuvalu might well appeal to fans of Jeunet’s Amelie, or Baz Luhrmann’s Moulin Rouge, or the Fritz Lang retrospective that’s been touring America. It has an aggressively fantastic tone, laced with thwarted romance and the simple conflict of good and evil, and it’s loaded with eye-catching style, even if that style obscures more than it reveals. But it’s all more than a little arch, and too much of an exercise. Both the comedic and the dramatic set pieces are mired in theory: It’s what might be funny or heart-tugging, buffered by layers of emotional remove. Even the anti-modernization plot, and the attendant “steampunk” art direction, displays some phoniness. Tuvalu is set in a world of cool-looking, old-timey mechanisms, yet the audience is supposed to join the hero in resenting the encroachment of new technology. In the end, it’s just a matter of preference for one kind of contraption over another.
Onion AV Club

Finding the right words to describe Tuvalu is difficult for reasons that only begin with the fact that this aurally rich movie is nearly wordless. Imagine, if you will, a beloved bastard child of Charlie Chaplin and Sergei Eisenstein, or of Jean Vigo and Chuck Jones — Delicatessen by way of Metropolis and Ubu Roi. Tuvalu is such a melting pot of influences and inspirations that its tangled genetic code reads like a ticker tape strip processed in Braille. First-time feature director Veit Helmer of Germany (with a surname that perhaps sealed in his destiny at birth) has concocted a unique burlesque goulash that feeds the soul and intoxicates the senses. Although few words are uttered in the course of the movie, Tuvalu is anything but silent, relying on sounds, exclamations, and music to advance the story. Tuvalu also tells its story though the arresting power of its imagery. Filmed in black-and-white and then tinted (the indoor color is a mustardy sepia tone; outdoors, where it’s always raining, has a bluish tint), the cinematography by Emil Hristow is essential to the success of this movie. Helmer’s compositional dynamics are just as integral to Tuvalu as the intrinsic weirdness of the images: a woman swimming naked with a goldfish in a bowl, a hairdryer that spits out coins, a blind lifeguard aurally tricked into believing his pool is brimming with activity, floating police chalk lines outlining a corpse found in a pool of water — nearly every sequence has some moment that leaves us scratching our heads over its defiance of the common laws of logic and physics. Grounding Tuvalu’s cartoon-like plasticity is a solid knowledge of the visual grammar of silent movies, and Helmer’s mad delight in using everything but dialogue to tell this story. The narrative goes something like this: A decrepit old swimming pool in a crumbling Beaux Arts bathhouse (Helmer found just the right location sets in Sofia, Bulgaria) is staffed by Anton (Lavant, who is best known for his lead roles in Lovers on the Bridge and Beau Travail) and his mother, who works the admission kiosk where customers pay with buttons instead of cash. The scant number of patrons allows Anton to ingeniously devote himself to convincing his blind father that the pool is a beehive of activity. His brother wants the old man to sell the property for bundles of cash. Then, into Anton’s life, floats Eva (Khamatova), her goldfish, and her father. The gregarious expressions of the actors also generously assist in the film’s narrative exposition and overall humor. Some viewers are bound to think that Tuvalu looks and feels too much like a sterile student exercise in film grammar and technique. Yet, if anything, Tuvalu is a study in overstimulation: ideas, gambits, jokes, and surreal jumbles pulse from every frame of the movie’s succinct 86 minutes. Tuvalu amply repays the viewer for the attentiveness it requires. Personally, I’ve just caught up with Tuvalu after missing some opportunities to see it at a couple of American film festivals I’ve attended in recent years. Don’t make the same mistake I did in regard to this limited one-week Austin run. This is one-of-a-kind filmmaking. Even if its grand experiment doesn’t appeal to all tastes, Tuvalu is nevertheless recommended for its singular vision — a concept executed with bravura style, intelligent curiosity, and playful wit. Set sail for Tuvalu today.
AustinChronicle.com

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Language(s):None
Subtitles:not needed

Quote:
Through Alejandro Jodorowsky’s autobiographical lens, Endless Poetry narrates the years of the Chilean artist’s youth during which he liberated himself from all of his former limitations, from his family, and was introduced into the foremost bohemian artistic circle of 1940s Chile where he met Enrique Lihn, Stella Díaz Varín, Nicanor Parra… at the time promising young but unknown artists who would later become the titans of twentieth-century Hispanic literature. He grew inspired by the beauty of existence alongside these beings, exploring life together, authentically and freely. A tribute to Chile’s artistic heritage, Endless Poetry is also an ode to the quest for beauty and inner truth, as a universal force capable of changing one’s life forever, written by a man who has dedicated his life and career to creating spiritual and artistic awareness across the globe.

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https://uploadgig.com/file/download/5c0b5738816e602d/Endless.Poetry.2016.1080p.WEB-DL.DD5.1.H.264.mkv

Language(s):Spanish
Subtitles:French

Quote:
Esen Isik, who already won the prestigious “Quartz” in 2012 for Du&Ich, presented her debut feature film, Köpek, a glimpse at an Istanbul held prisoner by its own contradictions, at this year’s Zurich Film Festival. By portraying the everyday lives of three ‘marginal’ characters who fight to find love (or simply a glimmer of humanity) in a city that rejects them, Esen Isik paints us a portrait of an entire society that wants to be modern in spite of the preconceptions that risk choking it.

Köpek condenses three people’s destinies into just one day: there’s Cemo, a ten-year-old boy who sells tissues on the streets of the capital to help his family, Hayat, who’s married to an overly possessive man she feels no passion for, and Ebru, a Junoesque transsexual prostitute who is desired by all but abandoned by the only man she loves. Three ‘atypical’ characters who seem to roam across the surface of a hostile city that is impervious to diversity, unruffled by those weaknesses that make us human. What these three people have in common is their inability to fight their adverse, cruel destinies, built on deprivation and obligation. But in their hearts burns a need for love and recognition that they can hold back no longer.

In a day that seems like any other, Cemo, Hayat and Ebru decide to rebel, with little consideration of the consequences, against a society that has rendered them invisible. With Köpek,Esen Isik turns the spotlight onto an uncomfortable reality, cast into the shadows so often that it has become one. Hers is a subtle yet brutal film that captures the small but significant steps of its three protagonists towards a utopian freedom. Köpek throws a different perspective over Istanbul, one which is sincere and cruel. It teaches us to recognise the small, almost invisible signs of necessary change. If society cannot protect a ten-year-old boy, it is he who will rescue an orphan puppy. If no one dares to fight for true love, a transsexual will. If only men are given the freedom to love, a woman will lay claim to it at the cost of her life.

A strong debut film that faces up, without embellishment, to the injustices of a complex and paradoxical society.

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https://uploadgig.com/file/download/c145a06bd3a66258/Esen Isik – 2015 Koepek.mkv

Language(s):Turkish
Subtitles:English

A cinematic poem based on the Mongolian belief that when dogs die, they are reborn as humans. At least, that’s what humans say. What do dogs think? The film introduces us to Baasar, a stray dog, before and after his death… Documentary or fiction? The pictures and sound are derived from reality, so surely it must be a documentary, but a particularly philosophical and poetic one. Not only does this film offer a lively, inspired commentary on the issue of stray animals in the urban environment, it invites us to contemplate the mystery of life and the complexity of reality. A universal parable on destiny, illustrated by Mongolian folklore.
Basaar was a dog. Now he is dead. He was shot in the backstreets of Ulan Bator. Basaar loved and trusted man. Now that trust is gone. In Mongolia, people know that when a dog dies he will be reborn as a man. But Basaar is reluctant to return as a man. In order to accept his fate, Basaar sets out on a journey through his memory.He remembers his life as a sheep dog in the Mongolian countryside. He remembers the pain and sorrow when he was abandoned by his master. And he remembers the struggle to survive as a stray in the city.When Basaar is coming to terms with his destiny the mythical dragon Rah is about to swallow the sun to create total chaos and destruction. Now, Basaar’s rebirth depends on man’s power to scare away Rah…State of Dogs tells the story of a Mongolian dog who didn’t want to be a man.

Awards:
• “Grand Prix” at Vision du Réel-Festival International du Cinéma Documentaire de Nyon, (CH) – 1998
• “European Lianas for Best Documentary” at New European Talent of the European Film & TV Market, Barcelona – 1998
• “Centaur for Best Feature Documentary” at the Message to Man International Film Festival, St. Petersburg – 1998
• “Best Feature Film” at the International Environmental Film Festival of Gava (E) – 1998
• “Campanula de Oro” and “Grande Prémio de Ambiente” at Cine ‘Eco-Seia international Film & Video Festival (P) – 1998
• “Critics Award” at the Sao Paulo International Film Festival (Brazil) – 1998
• “Grand Prix” at the Maremma International Documentary Film Festival of Firenze (I) – 1998
• “Mention Spéciale du Jury” at Semaine du Documentaire de Création Européen de Strasbourg (F) – 1998
• “Best Script Award” at the MediaWave International Festival for Visual Arts, Györ (Hungary) – 1999

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Language(s):Mongolian
Subtitles:English srt

SYNOPSIS:
1889.
German philosopher Friedrich Nietzsche witnessed the whipping of a horse while travelling in Turin, Italy. He tossed his arms around the horse’s neck to protect it then collapsed to the ground. In less than one month, Nietzsche would be diagnosed with a serious mental illness that would make him bed-ridden and speechless for the next eleven years until his death. But whatever did happen to the horse? This film, which is Tarr’s last, follows up this question in a fictionalized story of what occurred. The man who whipped the horse is a rural farmer who makes his living taking on carting jobs into the city with his horse-drawn cart. The horse is old and in very poor health, but does its best to obey its master’s commands. The farmer and his daughter must come to the understanding that it will be unable to go on sustaining their livelihoods. The dying of the horse is the foundation of this tragic tale.

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Language(s):Hungarian Magyar
Subtitles:English

Japanese director Seijun Suzuki solidified his growing cult following with this offbeat adaptation of Haruhiko Ooyabu’s crime novel. Jo Shishido stars as Det. Tajima, a smug investigator who nabs a pair of criminal gangs with flamboyant aplomb while the police remain baffled. Suzuki treats the rather hoary plotline as an excuse for dark-humored camp, and young audiences were delighted with his irreverent approach, which made him one of the few distinctive names in the ’60s assembly-line of Nikkatsu Studios. ~ (Robert Firsching, All Movie Guide)

Suzuki’s calculated B-movie renditions of yakuza thrillers put him in the company of Samuel Fuller, the one Western director most often invoked upon mention of Suzuki’s name. But Suzuki, as a stylist of Japano-trash, could also be compared to Mario Bava, the great stylist of Eurotrash. Indeed, Suzuki may be compared with any of the great mavericks who subvert the studio system by personally reinventing or restructuring popular conventions of cinema, and mostly getting away with it (think of Welles, think of Corman, think of Melville). The works of such directors knock the idea of classical perfection in grand fashion, exuding exuberance almost as an end in itself. (…)
The Suzuki style is now touted as legendary, almost like something out of the blue. To a receptive audience (and in his time, Suzuki had a keen following among students), there’s more than a touch of spontaneous experimentation in his films – the deliberate nature of cutting the sequential flow of his narratives and an imperative style that demands symbolic use of colours or high-contrast monochrome, hyperbolical sets and lighting, and stylized acting. The formalized nature of Suzuki’s filmmaking means that he could not have come from nowhere. I would contend that Suzuki was a master of design and that he could not have accomplished what he did without some foreknowledge of what he wanted to do. After all, he claimed to have patterned his films after traditional Kabuki and its three points of departure: the love scene, the murder scene and the battle scene. “Translated into film, those are the three basic ingredients of entertainment,” says Suzuki himself.
And there is the rub of Suzuki criticism. Despite his credentials as a radical artist, Suzuki is essentially an entertainer. He invests his pictures with the qualities of pop-art illusion and, in true sleight-of-hand style, views himself as a “prophet” rather than as an artist. Perhaps that is why Suzuki is something of a paradox. The director’s first name, Seijun, is made up of the kanji (Chinese characters) meaning “clear” and “flowing”, and, despite the patent non-linearity, his narratives do resolve themselves clearly and flowingly (so much so in fact that if one were to approach Suzuki’s films with certain preconceptions about his inaccessibility, one would be left at the end of his pictures with the sense of wondering what the fuss was all about). On a micro level, Suzuki invites his audience to view his movies in apparently unstructured blocks or collages, but on a macro level, his pictures are fulfilments, epiphanies, and yes, prophecies of a kind.

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https://uploadgig.com/file/download/28aa507C5bb523e7/Detective.Bureau.2.3.Seijun.Suzuki.1963.ENG.srt

Language(s):Japanese
Subtitles:English, French .srt

Plot:
It is the fifth anniversary of the death of Adolphe Noblet who died in a train wreck. His servant and friends still worship him but don’t care much for his wife Sylvaine’s second husband Gustave with whom she has recently had a child. Sylvaine’s friends recommend that she use a new hairdresser, Leopold Trebel. However, when this womanizing coiffeur arrives, he turns out to be Adolphe suffering from amnesia. A doctor restores his memory using hypnosis but in the process wipes out everything that has happened to him over the last five years.

http://nitroflare.com/view/CDB03C17450B784/The_Matrimonial_Bed_%281930%29_WAC_DVDRip_BBM__CG_.avi

https://uploadgig.com/file/download/F0fb620a9211f60C/The Matrimonial Bed 1930 WAC DVDRip BBM CG.avi

Language(s):English
Subtitles:None Included

Quote:
Upon first glance, Perfumed Nightmare looks amateurish and raw. It is, too, I suppose, but this works to the film’s advantage. This is the semiautobiographical story of a young Filipino man (played by writer/director Kidlat Tahimik) who worships everything about America. He is especially caught up in the space program: he wants to visit Cape Canaveral, and he is the president and founder of his small (300 people) village’s Werner Von Braun fan club. This might just be the only fan club in the world that worships the Bavarian expatriate who is regarded as the father of rocketry. He and his club members have ice cream sales to fund their activities, which include sponsoring the Miss Philippenes pageant.

Kidlat thinks his village is backwards; an opening monologue expresses his wry sadness over the size of his village, and he gently mocks his childhood friend, who is among the last experts in the village on the building of bamboo huts that can withstand the yearly typhoon season. Kidlat wants more–he wants buildings of brick and stone, he wants internationalism, he wants vehicles other than the hand-me-down “Jeepneys” which started life long ago as American military vehicles during the Occupation after the end of the Second World War. There are hints that he isn’t completely convinced, though: we learn that his father, who helped the Americans fight off the Japanese, was killed for trespassing on what he thought was his country’s land by American guards.

Kidlat gets his big chance when an American entrepreneur (he has a string of candy machines in the most unlikely places) invites him to Paris to serve as his driver. Paris overwhelms Kidlat, who gets a first taste of the dark side of growth for growth’s sake when one of his few friends, an elderly pushcart vendor, dies after being put out of business by a supermall. Kidlat starts to question why the world needs supermalls in the first place, when the pushcarts he grew up with serve their purpose. In a striking act of rebellion against internationalism, he throws stones through the windows of the supermall, an event that was as strong a statment of rage as Spike Lee’s throwing a garbage can through Danny Aiello’s pizzeria in “Do the Right Thing.”

My comments: An absolute classic of low-budget auteur cinema, Perfumed Nightmare is less the story of a Jeepney driver with dreams of bigger things than a compendium of things Filipino and an allegory of modernity and Filipino history. It is also one of the most charming films you’ll ever see. Director Kidlat Tahimik brings a laid-back village attitude to the task of representing life in the Philippines and that country’s place in the larger world. A fictionalized version of himself travels to Paris to work for an unscrupulous gum magnate; his observations reveal some important truths about the power of small people and their ability to endure.

Distributor website:
Produced and directed by Kidlat Tahimik, this brilliant semi-autobiographical fable tells the story of a young Filipino born in 1942 (during the Occupation), his awakening to, and reaction against, American cultural colonialism. In his small village, Kidlat dreams of Cape Canaveral and listens to the Voice of America; he’s even the president of his village’s Werner Von Braun fan club. Winner of the Berlin Film Festival International Critics Award and a Blue Ribbon at the American Film Festival.

http://nitroflare.com/view/00A1D292A07FB47/Perfumed_Nightmare.avi

https://uploadgig.com/file/download/29668430e6da552b/Perfumed Nightmare.avi

Language(s):English
Subtitles:none

Nesrin, an urban upper-middle class woman, goes back to her parents’ old village in Anatolia to finish a novel and live out her dream of being a writer. When her conservative mother turns up uninvited and refuses to leave, Nesrin’s writing stalls and her fantasies of village life turn bitter. The two woman are forced to confront the darker corners of each other’s inner worlds.
– Written by Adam Isenberg

http://nitroflare.com/view/46BF6F4EFFF9B67/Ana.Yurdu.%28aka.Motherland%29.%282015%29.DVDRip.DD5.1.x264-MandR.mkv

https://uploadgig.com/file/download/daff66AbF2257485/Ana.Yurdu.aka.Motherland.2015.DVDRip.DD5.1.x264-MandR.mkv

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

Quote:
When the film Son nom de Venise dans Calcutta désert was initially shown in 1976, many viewers found it hauntingly beautiful but deeply perplexing. Some, seeing it as a sign of Duras’ inability to separate herself from the making of India Song, even ascribed the film to a kind of postpartum depression. Since that time, the film has been placed in perspective as an inseparable component of the India cycle as a whole, although little has been written, with certain notable exceptions, on its specific relation to the other works. Son nom de Venise dans Calcutta désert is a purely metanarrative epilogue that culminates the progressive decomposition of spectacle as well as the dismantling of the neocolonial subject conceived as specular identity that was initiated by previous works in the India cycle. The film confirms the paradoxical character of the mimetic illusion, whose mirror functions as an ontological abyss for the desiring subject. Its seductive ideal of absolute identity and mastery in fact results in passivity and impotence. Conceived as a means of guaranteeing individuals the illusion of a form of immortality, it actually removes them from the arena of real action, enslaving them to a sterile fantasy.

Quote:
Son nom de Venise dans Calcutta désert seems at moments to be an elegiac ode to a distant era of elegance and privilege. In fact, however, the film rewrites the story of colonial empire, revealing its authority to be the creation of a culture obsessed by fears of death and impotence. The film negates the pretense to origins, exposing the sinister consequences of the culture’s denial of its source in, and dependence on, the Other. Duras’ film plays out the revolution in consciousness whereby the indentured subject, condemned through false illusions of transgression to live a shadow existence at the edges of an imperial culture, begins to cast its own shadow across the colonial empire. Like the shadow of the beggar woman on the embassy steps at the end of India Song, the shadow’s lengthening form falls across the boundaries demarcating imperial discourse, blocking the light emanating from the culture’s rationalizing gaze.

Quote:
The eye of the camera in this film belongs to a different mode of consciousness, its “writing” to a different use of the sign. It expresses an imagination cut loose from the constraints of presence, free to explore the vestigial remains of intersecting voices and lives. Abandoning the fantasy that history can ever be told or re-presented in unified dramatic form, the camera roams over a deserted mansion littered with the debris of dreams. The decaying Rothschild mansion, the setting for most of India Song, stands now for any structure that once served as the public image of authoritarian rule. The hall of the embassy reception we witnessed as guests in the earlier film we now observe as strangers; we now see the colonial enclave’s fissures, its vulnerability to history and time. The dilapidated condition of the mansion even suggests wanton destruction, leaving us to imagine acts of gratuitous violence committed by passersby. The effect is that of a body violated. Duras is suggesting a complex of associations in which the notion of rape also implies castration, and it finally operates at a metaphorical level as an inverted image of colonial exploitation. What is most important here is that she is not simply portraying the return of violence against its perpetrators but turning the figure around once again to suggest that victimization itself is predicated on a fantasy that exacts the victim’s tacital though unwitting collaboration for its efficacy.

description taken from “Art and politics in Duras’ India cycle” by Lucy Stone McNeece, pg. 151-152.

http://nitroflare.com/view/BB871257C52A062/VeniseCalcutta.avi
http://nitroflare.com/view/7EE313E8F1A6180/VeniseCalcutta.srt

https://uploadgig.com/file/download/77a11B8Cccbd2406/VeniseCalcutta.avi
https://uploadgig.com/file/download/9642ef6D8652b518/VeniseCalcutta.srt

Language(s):French
Subtitles:English .srt subtitles

AN INJURY TO ONE provides a corrective—and absolutely compelling—glimpse of a particularly volatile moment in early 20th century American labor history: the rise and fall of Butte, Montana. Specifically, it chronicles the mysterious death of Wobbly organizer Frank Little, a story whose grisly details have taken on a legendary status in the state. Much of the extant evidence is inscribed upon the landscape of Butte and its surroundings. Thus, a connection is drawn between the unsolved murder of Little, and the attempted murder of the town itself.

Butte’s history was entirely shaped by its exploitation by the Anaconda Mining Company, which, at the height of WWI, produced ten percent of the world’s copper from the town’s depths. War profiteering and the company’s extreme indifference to the safety of its employees (mortality rates in the mines were higher than in the trenches of Europe) led to Little’s arrival. “The agitator” found in the desperate, agonized miners overwhelming support for his ideas, which included the abolishment of the wage system and the establishment of a socialist commonwealth.

In August 1917, Little was abducted by still-unknown assailants who hung him from a railroad bridge. Pinned to his chest was a note that read 3′-7′-77″, dimensions of a Montana grave. Eight thousand people attended his funeral, the largest in Butte’s history.

The murder provides AN INJURY TO ONE with a taut, suspenseful narrative, but it isn’t the only story. Butte’s history is bound with the entire history of the American left, the rise of McCarthyism, the destruction of the environment, and even the birth of the detective novel. Former Pinkerton detective Dashiell Hammett was rumored to have been involved in the murder, and later depicted it in Red Harvest.

Archival footage mixes with deftly deployed intertitles, while the lyrics to traditional mining songs are accompanied by music from William Oldham, Jim O’Rourke, and the band Low, producing an appropriately moody, effulgent, and strangely out-of-time soundtrack. The result is a unique film/video hybrid that combines painterly images, incisive writing, and a bold graphic sensibility to produce an articulate example of the aesthetic and political possibilities offered by filmmaking in the digital age.

http://nitroflare.com/view/487A2FB185AA1BE/An_Injury_to_One.mkv

https://uploadgig.com/file/download/390f4fae0f69B19b/An Injury to One.mkv

Language(s):English
Subtitles:None

Review (Geraldine Bloustien, ‘Jane Campion: memory, motif and music’. Continuum)
Peel explores the dynamics of family relationships and the way patterns of power can be
learnt and repeated. It also says a great deal about our need for daydreams and fantasies.
The film opens with a juxtaposed, almost cacophonous mixture of sounds and visual images –
the noise of the radio being switched from station to station, the flash of cars on the
roadway, the white lines on the road and the thump of what we discover is an orange
being thrown against the front windscreen of the car, like a ball. In contrast to this
nerve-jangling montage, the graphics after the large and forceful title – PEEL – present
us with a diagram connecting the words ‘sister’, ‘brother’ and ‘son’ in a triangle and
we are informed, again through the written text, that the film explores ‘an exercise in
discipline’ and that this is a ‘real story’ of ‘a real family’. In other words, it would
seem at first sight that we are being asked to regard this film as a scientific study, a
documentary exploring anthropological patterns of kinship, perhaps. However, the
contrast between the opening montage of subjective images with the more formal graphics
already alerts us to the tension in the car and that all may not be as it seems.

The framing echoes the tension: the child’s body in the earlier car shots is crammed into
the frame so that it forms a triangular shape; the characters are usually positioned
off-centre, emphasising the emotional distance between the family members. When more
than one character appears in the frame at the same time the screen is divided by the use
of a door or window frame or the placing of one character in the extreme foreground and
the other in the background. Thus the film is not an ‘exercise in discipline’ but a study of
the way the individual members of the family react to having their own needs and desires
thwarted by the others. The battle over the peel is basically a battle to have one’s own
needs recognised by the others and a need to gain power and control in a situation where
one feels powerless.

The film turns a neat circle as the father and son are reconciled when finally the son
retrieves the orange peel. The two return united to the car only to find that the sister
has now decided to drop some orange peel as her expression of defiance. The child has
learnt his lesson well it seems and tells his aunt to “pick it up!” She, however, refuses
to be bullied even though she knows that the further delay will mean that she will miss
the whole of Countdown. The film ends with a number of extreme close-ups of the faces
of all three family members and as each face is superimposed on the other we are led
inevitably to consider the similar implacability of the three. The non-diegetic electronic
music played at that point underscores the connection and the insight – that all three are
making a play for power, the two adults probably more childishly than the child! The film
leaves us with a distanced shot as we see the car and its inhabitants as a passing car
would view them – the father rocking the rear bumper bar and the boy jumping on the roof
of the car; the final sound is a similar thump of frustration to that heard at the very
beginning.

http://nitroflare.com/view/2D0E748594BD59F/An_Exercise_in_Discipline_-_Peel_%281982%29.avi

https://uploadgig.com/file/download/6E380962febc4fdf/An Exercise in Discipline – Peel 1982.avi

Language(s):English
Subtitles:N/A

When her husband Cemal is arrested in Romania, Emine is left alone with their child who needs immediate surgery. She takes a job as a needle worker at a garment workshop where she comes across Ziya, her husband’s former boss. He can’t stay indifferent when he learns what the woman he once fancied is going through. When Cemal returns months later, he finds Emine working at the garment workshop and their son healthy. A hospital bill he accidentally sees reveals that Ziya has paid for the surgery and Emine hid this fact. Will Cemal, who already blames Ziya for what he went through and is extremely jealous of Emine, be able to confront this situation or choose to ignore it?

http://nitroflare.com/view/DDEAC92E08F4D98/Kor.%28aka.Ember%29.%282016%29.DVDRip.DD5.1.x264-MandR.mkv

https://uploadgig.com/file/download/2163b3a4483C3A26/Kor.aka.Ember.2016.DVDRip.DD5.1.x264-MandR.mkv

Language(s):Turkish
Subtitles:English