Quote:
A beautiful tissue-paper piece of art that falls to shreds should you so much as blow upon it, Dorris Dörrie’s Cherry Blossoms is the kind of film that dares you to laugh at it. There are heartfelt declarations of love and elaborate avant-garde dance routines, not to mention a major plot point about a mountain appearing from behind a veil of mist. Cynics: Don’t venture within one hundred meters. Romantics: Run, don’t walk, to the theater. Everybody else: Approach with caution.

Cherry Blossoms is a sentimental work about Rudi, a stick-in-the-mud German civil servant whose life is upended upon the sudden death of his wife, Trudi, whom he realizes too late he never quite knew. Yes, tears will be shed. But since this is a German film, much of which is set in Japan, the crying will be rather circumspect, and horribly embarrassed.

Rudi (Elmar Wepper) is the definition of the company man insistent upon working hard to avoid any variance in his day. Trudi (Hannelore Elsner) waits upon him quietly, their children long moved away. A not-so-closeted Japanophile, she takes dance classes (alone) and pines for travel and adventure. Receiving a terminal diagnosis from her doctor, Trudi talks Rudi into visiting their children in Berlin and going to the beach. But going to Tokyo, even to see their doted-on son Karl (Maximillian Brueckner), is just too much for him. So when Trudi dies, Rudi is left knowing that he kept her from the one adventure she truly wanted.

Even though primarily just setup for the life-shifting journey that Rudi takes, the early sections of Cherry Blossoms — showing just see how awful and neglectful the old couple’s self-obsessed children are — are by far its most effective. Dörrie keeps the emotions tightly cramped in these uncomfortable scenes where the parents and children barely even try to connect with each other. The scraping-nails tension is backlit by the momento mori of Trudi’s diagnosis, which infuses each loving glance at an oblivious Rudi. Dörrie masters the small gesture, bringing a potent emotionality even to such a simple shot as where Trudi reaches out from her bed and bats Rudi’s arm just so he’ll take her hand as they sleep. (Elsner’s evocative and slightly Asiatic elegance, contrasted with Wepper’s stolidity, bring an extra frisson to these scenes.)

This level of directorial precision — where the couple’s love is continually signaled by repeated shots of pairs, whether shoes, birds, or children — leads the film astray once Rudi alights in Tokyo. Ostensibly there to visit Karl (as inconsiderate of his parents as the others, only with highly uncomfortable mother), Rudi is actually there on a mission to show the departed Trudi the Japan she always dreamed of but never saw in person. His guilt over the latent discovery of Trudi’s desires (“We kept her locked up”) push Rudi into a grey, lost area. Unfortunately, this is also where the film becomes a little lost.

Though certainly romantic, the film’s earlier stretches are nevertheless grounded in the reality of family and married life. Once in Tokyo, Dörrie lets the film become as unhinged as Rudi. While this leads to some heartstopping moments of aesthetic delight (there is one shot of Mt. Fuji that could well make your heart skip a beat), there are also many others of hard-to-swallow artifice. The latter is particularly pronounced in Rudi’s blooming friendship with a homeless young girl who dances in the park, using an expressionistic style called butoh that Trudi just so happened to be obsessed with.

There are many final, grand, tearjerking gestures in Cherry Blossoms that would seem utterly ridiculous were the film never to have left Germany. But being in Japan seems to liberate Dörrie just as it does Rudi, not always to the betterment of the film. There’s a reason people fall in love when abroad; and are sometimes irritating when they come home and talk about it.
Chris Barsanti@filmcritic.com

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Language(s):German
Subtitles:English srt

Synopsis
Jacques Tati’s award-winning feature début – a dazzling blend of satire and slapstick is early evidence of his unique talent. Acclaimed by international critics as an innovative comic masterpiece, Jour de fête is an hilarious exposé of the modern obsession with speed and efficiency, set amidst the rural surroundings of a tiny French village. Tati plays an appealingly self-deluded buffoon a postman who, impressed by the bristling efficiency of the American postal system, makes a wholly misguided attempt to introduce modern methods in the depths of rural France.

Quote:
Tati’s re-edit of his original black and white version, featuring a new character and hand-painted details and English voice-over.

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https://uploadgig.com/file/download/A19fba3F65279c44/Jour.de.fête.1949.1964.Re-edited.version.720p.BluRay.x264.mkv

Language(s):French & English voice-over
Subtitles:None

Quote:
With A Simple Event Sohrab Shahid-Saless emerged on the Iranian film scene as a filmmaker with a distinctive style. Adopting an almost documentary style, Shahid-Saless records uneventful moments in the lives of ordinary people. He has said, “A Simple Event has no plot. It is only a report on the daily life of a boy”. Working with a cast of non-professional local players, Shahid-Saless constructed his film with realistic images that almost corresponded with the temporal flow of rural life. The film is so simple and unadorned that it creates the illusion of having been made with no prepared overall design.

For all its lyrical charm, A Simple Event must be considered as a prelude or a preparation for Shahid-Saless’s acclaimed film Still Life which was awarded the Silver Bear for best direction and the critics’ prize at the 24th Berlin International Film Festival in 1974.

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Language(s):Persian
Subtitles:English

Quote:
At the end of the nineteenth century, the young peasant Amerigo falls in love with Bianca, whom he met in a brothel in Florence, and in order to keep meeting her, steals from his uncle. Wounded with a knife, tries in vain to see her again.
From “L’eredità” (1889) by Mario Pratesi – thanks to a well-balanced screenplay (Pratolini, Festa Campanile and Franciosa) – a Bolognini in great shape has drawn a beautiful film, almost like “Casque d’or”, were it not for a surplus of crepuscular preciosity.
Superb photography by L. Barboni and a dazzling Cardinale.
2 Silver Ribbon 1962: Flavio Mogherini (scenes) and Piero Tosi (costumes).
Morandini

Quote:
I do not know Mario Pratesi’s novel but it reminds me of Emile Zola’s work,particularly “La Terre ” and “Nana”.
Shot in perfect black and white, with very beautiful pictures, it depicts the fall of a young man (Jean-Paul Belmondo) and the sundown of peasant world (the last sequence is one of the saddest and most overwhelming in the Italian cinema).
Evil seems to dwell in town even if the prostitute (well portrayed by Claudia Cardinale) is not exactly wicked, she makes love but she cannot feel or give it.
Several scenes predate some other works by Bolognini, notably “La corruzione” (a seminarian seduced by his father’s mistress) or “L’eredità Ferramonti” (the long time lover eager for her partner’s dough).
A black melodrama.
dbdumonteil@IMDb

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Language(s):Italian
Subtitles:French Hardcoded, English (custom)

“Harry Lund, 19 years old, works at a stock-room for glass and porcelain. In the vicinity works 17 year old Monika at a stock-room for vegetables. Monika is a cheerful and happy young woman and when she sees Harry at a cafe she starts to talk with him. They fall in love with each other. Because of their age, they are both harassed at their respective places of work. Monika has an argument with her father and leaves her home, Harry has an argument with his boss and quits. Since they have nothing that ties them to the city, they take Harry’s small boat to the archipelago to be alone for a few weeks.”

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Language(s):Swedish
Subtitles:English

A 1980 psychological thriller film directed by William Friedkin and starring Al Pacino. The film is loosely based on the novel of the same name, by New York Times reporter Gerald Walker, about a serial killer targeting gay men, in particular those associated with the S&M scene.
Poorly reviewed by critics, Cruising was a modest financial success, though the filming and promotion were dogged by gay rights protesters. The title is a play on words with a dual meaning, as “cruising” can describe police officers on patrol and also cruising for sex.

Throughout the summer of 1979, members of New York’s gay community protested the production of the film. Gay people were urged to disrupt filming, and gay-owned businesses to bar the filmmakers from their premises. People attempted to interfere with shooting by pointing mirrors from rooftops to ruin lighting for scenes, blasting whistles and air horns near locations, and playing loud music. One thousand protesters marched through the East Village demanding the city withdraw support for the film.
Al Pacino said that he understood the protests but insisted that upon reading the screenplay he never at any point felt that the film was anti-gay. He said that the leather bars were “just a fragment of the gay community, the same way the Mafia is a fragment of Italian-American life,” referring to The Godfather, and that he would “never want to do anything to harm the gay community”.
– WIKIPEDIA

Upon the film’s release, critical reaction was highly negative and gay activists had public protests against the film. However, critical opinion of it has warmed somewhat over the years as the film has been reassessed. As of August 2010, the film holds a 59% “rotten” rating at Rotten Tomatoes based on 27 reviews. Upon its original release, Roger Ebert gave Cruising two-and-a-half out of four stars, describing it as well-filmed and suspenseful yet it “seems to make a conscious decision not to declare itself on its central subject.” The “central subject” being the true feelings of Pacino’s character about the S&M subculture, which are never explored to Ebert’s satisfaction.

In 2013, filmmakers James Franco and Travis Mathews released Interior. Leather Bar., a film in which they appear as filmmakers working on a film which reimagines and attempts to recreate the 40 minutes of deleted footage from Cruising. The film is not actually a recreation of the footage, however; instead, it uses a docufiction format to explore the creative and ethical issues arising from the process of trying to film such a project.
– WIKIPEDIA

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https://uploadgig.com/file/download/dAbF47098cc4eA07/Cruising 1980 720p WEB-DL AAC2 0 H 264-CtrlHD.mkv

Language(s):English
Subtitles:English

Quote:
WHITE ASH is an immersive walk through the edges of consciousness. While firmly grounded in recognizable images and sounds captured from reality, WHITE ASH is designed to scrape through the patina of normal day to day perception, leading to an embodied associational state, something ‘to the side’ of our familiar narratives and perceptions. Pierce meticulously eaves the warp and weft of image and sound to gently lead the viewer into this very conscious yet meditative state. Beginning with the shooting and then the animation of thousands of moving camera, hand held, long exposure digital still photographs into abstractions actual space and events, Pierce then re-articulates and re-contextualizes the video by applying the lever of his judiciously and intentionally composed concrete-music soundtrack.

http://nitroflare.com/view/2C0392BA5A958F8/White.Ash.2014.720p.WEB-DL.AAC2.0.x264.mkv

https://uploadgig.com/file/download/5a3d4991b678D23f/White.Ash.2014.720p.WEB-DL.AAC2.0.x264.mkv

Language(s):None
Subtitles:None

Through a hidden path a lone rider reaches a little town high up in the Alpes. Nobody knows where the stranger comes from, nor what he wants there. But everyone knows that they don’t want him to stay.

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https://uploadgig.com/file/download/1940e39F96bEee22/The Dark Valley.mkv

Language(s):German
Subtitles:English

A woman slowly drinks herself to death as she is physically and emotionally used by one man after another.

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https://uploadgig.com/file/download/19f693aF9c301878/The Stars Heavenly Home.mkv

Language(s):Korean, Korean (Commentary)
Subtitles:English

Quote:
“No water, no sex.” Whereas the women in Aristophanes’ classic Greek comedy Lysistrata withheld sex from their men to end a war, the women in the village of Absurdistan concoct a similar plan out of necessity in order to get their community’s water pipe fixed. However, unlike the women of Lysistrata, the results of their decision don’t end a war but rather begin one of epic proportions between the sexes complete with the usual devices of espionage, sabotage and tested loyalties.

Quote:
…Though not strictly a silent movie, Veit Helmer’s latest is a delightful fable sans dialogue, like his well-traveled debut “Tuvalu.” Titular mountain village is so isolated that it’s been virtually forgotten, claimed by no country since perestroika. An underground water delivery system constructed generations ago now provides barely a trickle, and local men are too lazy to fix it. Fed up, their industrious wives strike at the one thing these virility-proud husbands can’t do without: Not only do they withhold sex, they create an “iron curtain'” separating the genders, and perform armed guerrilla maneuvers. Meanwhile, young Temelko (Maximilian Mauff) frantically tries to repair the pipe by himself, having been told his long-awaited deflowering of Aya (Kristyna Malerova) must take place during a current, short-term celestial alignment. Physical comedy, charmingly primitive f/x, robust perfs and imaginative design contribs make “Absurdistan” a treat for the eyes and funny bone.
Dennis Harvey, Variety

Helmer’s gift for finding great faces is impressive indeed, and there’s a grand, lumpy eloquence in his schlubby men and strong-willed women that suggests he isn’t exaggerating when he says he visited 28 countries looking for the perfect townspeople for his village — a lot of work must have gone into finding the right faces to tell this tale, and it pays off. Helmer demonstrates a tremendous knack for visual storytelling, embracing a style that’s fluid and imaginative without calling attention to itself, and his compositional feel suggests an inspired fusion of Buster Keaton, Federico Fellini, and Stanley Kubrick; Helmer may have made a film that’s (almost) without dialogue, but the final product feels timeless rather than rooted in the pre-Vitaphone era.

Quote:
…Shot with a scratchy, faux-vintage look, as if the film was found packed away in a trunk, “Absurdistan” has a timelessness to it; though we see a few cars and stereo headphones, this does seem to be a place that modern culture forgot. In this village, no rooster crows before 10 o’clock, and the various businesses — a baker, a barber — operate in dusty low-tech fashion. Initially everything is very pretty, with soft, watery colors, but as the plumbing crisis continues, the village grows dun- colored and desperate. Even a goldfish gasps from his barely thumb-deep allotment of water. Things sort themselves out, as fairy-tale problems have a way of doing; water soon gushes back into the village, and the lines drawn in its sand are erased. “Absurdistan” has more than a little bit of magic at its heart; it’s a tale of love and perseverance, gently winking at its happy viewers.

http://nitroflare.com/view/0108BFA07005944/Absurdistan.mkv

https://uploadgig.com/file/download/763692EaE6f9aca0/Absurdistan.mkv

Language(s):Russian
Subtitles:English & Greek sub/idx muxed

The landlord of a boarding house in 1923 Tokyo, is keen on spying on the bizarre close encounters taking place beneath his roof. One day he sees a prostitute killing a customer, and decides he’s found his soulmate.

Watcher in the attic is based on Edogawa Rampo’s novel. This film, like several others that year, was made to celebrate Rampo’s 100th birthday. Noboru Tanaka has made a roman porno based on the same novel in 1976 was credited with being one of the first films to break down the barriers with regards to the showing of full frontal nudity in Japanese cinema.

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Language(s):Japanese
Subtitles:English (muxed)

In the mountains of Germany stands a grim and secluded castle – the haunted legacy of the beautiful medieval vampire Baroness Varga. Put to death for her ravenous hunger for female blood, the Baroness uttered a curse that she would one day return to forever satisfy her unnatural lust and that day has finally come. Four women have gathered at the castle unaware that its darkly seductive housekeeper is a satanic high priestess presiding over a coven of delectable servants who each night perform sensual rituals and profane acts to keep the Baroness’ spirit alive. As the women are drawn deeper into the ultra erotic nightmare, it will be the most uninhibited among them who shall serve as the vessel into which the Baroness passes to continue her unholy reign of terror.

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Language(s):English
Subtitles:None

Plot:
Janko Bugarski “Džimi Barka” is a small time wallet snatcher, and an aspiring singer, who wants to make it big with as little effort as he can, traveling through industrial areas and looking for affairs with local women and easy money. On one of his travels he meets a young girl he takes to Belgrade to accompany him on an amateur singing contest, where he fails miserably, since he can’t follow a tune, and abandoning her, teams up with his former girlfriend, also a pickpocket, which takes him to his final journey.

Review:
When I Am Dead and Gone is one of the best movies made by great Serbian/Yugoslav director Zivojin Pavlovic, one of the best European directors in second half of the 1960s. His mighty naturalistic approach in films like Povratak, Neprijatelj, Budjenje pacova and Zaseda here achieves a peak through episodic, picaresque story of young would to be singer Dzimi Barka, anarchic individual without specific goal, except not to work (and likes to have sex with any woman whom meet on his ramblings, if she’s barely attractive). Film also contains irony approach to Yugoslav partisan mythology, JNA (Yugoslav National Army), work class – all the holy objects, untouchable sacred things of Yugoslav socialistic society. Artisticly and politicly very brave movie, When I Am Dead and Gone is terrific blend of comedy, drama and, finally, absurd tragedy.

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Language(s):Serbo-Croatian
Subtitles:English (srt)

Storyline: In 1876, an old man finds gold in the Sioux lands, provoking a gold and land rush from immigrants to Dakota. On the way to Custer, the lonely cowboy Dan O’Malley helps to fix the wheel of Mr. Carlton’s wagon and flirts with his daughter Lee Carlton. Later, Lee and her father are attacked by horse thieves and Mr. Carlton is murdered; however, the outlaws “Bull” Stanley, Mike Costigan and “Spade” Allen save her from the criminals and head with her to the camp where the pioneers are waiting for President Grant proclamation to explore the lands. In the site, the corrupt Sheriff Layne Hunter rules with his henchmen with horror and injustice. The trio of outlaws decides that Lee needs to get married and select Dan to be her husband. When Bull’s sister Millie Stanley is murdered by Hunter’s right arm Nat Lucas, “Bull” organizes the men to chase Hunter. But it is 1877 and the gold and land race of wagons is ready to start.

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https://uploadgig.com/file/download/111eb6AEafF2d353/3.Bad.Men.1926.720p.BluRay.x264-Sweet.mkv

Language(s):Silent
Subtitles:English intertitles

Quote:
Following his pair of despairing urban studies, A Zed and Two Noughts and The Belly of an Architect, director Peter Greenaway turned to the sardonic countryside of The Draughtsman’s Contract for another tongue-in-cheek murder yarn, Drowning by Numbers. Easily his most playful film in every sense of the term, this tricky and often charming film boasts some of his wittiest dialogue and makes for an ideal introduction for newcomers compared to his more experimental works.

One of the most sumptuous English films ever made, Drowning by Numbers revels in sun-dappled fields, moonwashed forests, and rippling bodies of water. All of the performers rattle off their tricky patter perfectly, and Greenaway loads the films with an encyclopedic collection of games, both literal and psychological. The film also features his most audacious and entertaining visual gimmick, outdoing the sequential drawings of Draughtsman or the color-coded rooms of The Cook, the Thief, His Wife and Her Lover. Here the numbers 1 to 100 are contained within the film, in order, hidden somewhere from the first scene to the last; thus, viewers can either focus on the plot or simply have fun playing numeric hide and seek. This William Castle-style device is also thematically appropriate, drawing the viewer into playing along with the characters and firmly announcing when the game is finally over. The trademark Greenaway nudity is still in abundance, with the shapely Richardson getting most of the attention, but the sexual and violent content is extremely mild (even borderline mainstream) compared to his subsequent work. Sonically this may be his richest film as well thanks to Michael Nyman’s astonishing score, partially derived from Mozart and filled with moments of musical brilliance. A wonderful treasure of a film well worth exploring.

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Language(s):English
Subtitles:English

Quote:
Damien lives with his mother Marianne, a doctor, while his father is on a tour of duty abroad. He is bullied by Thomas, whose mother is ill. The boys find themselves living together when Marianne invites Thomas to come and stay with them.

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https://uploadgig.com/file/download/21B03d89D92Ed5db/Andre Techine – 2016 Being 17.mkv

Language(s):French
Subtitles:English

Quote:
First feature film directed by Alex Anwandter and based on a true story.

You’ll never be alone tells the story of Juan, a withdrawn manager at a mannequin factory who after his teenage gay son suffers a violent attack, struggles between paying his son’s exorbitant medical bills and his last attempt at becoming partners with his boss. As he runs into dead-ends and unexpected betrayals, he’ll discover the world he knew was already waiting to be violent with him too.

Teddy special jury prize ensures “Alone” has embraced by the queer film circuit to critical acclaim.

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Language(s):Spanish
Subtitles:English

Quote:
There is a good theory that explains why Agnes Varda’s Jane B. for Agnes V. was never officially distributed in the United States. Apparently, the few distributors that saw it after Varda completed it in 1988 concluded that it was too abstract and therefore too risky to sign. So until recently, it had been screened only a few times at festivals and retrospectives.

Having just viewed Jane B. for Agnes V. for the first time ever, I can agree that it is different. It is a fluid experimental project that matches the audacity of Jean-Luc Godard’s early films and the quiet elegance of Eric Rohmer’s best films, but feels distinctively modern. There is a side of it that easily could have been envisioned by the late Chantal Akerman as well. There was a script for it, but once Varda started shooting the film evolved and actually expanded in different directions. (Le Petit Amout aka Kung-Fu Master! emerged as a natural continuation of this expansion).

The basic idea behind Jane B. for Agnes V. was to sum up Jane Birkin, the legendary actress and singer whose work and relationship with Serge Gainsbourg defined an entire era, but not in a conventional manner. So its foundation would be similar to that of a traditional documentary feature, but because Birkin’s persona was so complex it was agreed that it would be best if the film explored it from a variety of different angles and without any restrictions. In other words, Varda and Birkin were free to experiment and mix facts with ideas which would also recreate the environment in which Birkin emerged.

In a long and very informative interview included on this release, Varda describes Jane B. for Agnes V. as a fictional portrait. It is a good description if one focuses only on the fact that the film attempts to understand Birkin and deconstruct her legacy. But it is also a slightly misleading description because it ignores the fact that Varda is an integral part of it. Indeed, the visual style and tone of the film, both of which are essential to understanding Birkin the artist and Birkin the dreamer, also allow one to explore Varda’s creative genius. So when the final credits roll one walks away not only with a much richer mental image of Birkin, but also of Varda and her art.

There are a couple of unexpected cameos. Jean-Pierre Léaud (Bed & Board) pops up and instantly makes an impression with some typically excellent facial expressions. Alain Souchon (One Deadly Summer) is a quiet charmer. The iconic Italian actress Laura Betti (Novecento) becomes Lardy. A very young Charlotte Gainsbourg (Nymphomaniac) also quickly steps in front of the camera.

Varda did not have a big budget to work with, but many of the dream sequences look strikingly stylish. She was assisted by award winning production designer Olivier Radot, whose credits include such visually impressive films as Queen Margot, Gabrielle, and Coco Before Chanel.

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Language(s):French
Subtitles:English

SYNOPSIS
Enrico “Henry” Rossini (Fabio Testi), is a teacher in an all-girl Catholic school in London and he is having an affair with one of his students Elizabeth (Cristina Galbó). The two lovers are on a rowing boat floating down the river. When Elizabeth thinks she sees a young girl being chased by a mysterious figure wielding a knife in hand. Enrico later finds out that ones of his students has been murder and when more students fall victim in the same way Enrico becomes the police’s #1 suspect. Will Enrico solve these horrific crimes and clear his name and will he discover who is Solange and what have they done to her?

http://nitroflare.com/view/05C3757D643139C/Cosa_Avete_Fatto_A_Solange.mkv

https://uploadgig.com/file/download/2dB74974805566f6/Cosa Avete Fatto A Solange.mkv

Language(s):Italian
Subtitles:English Italian

A girl, a boy, a murder, some great landscapes, the sound of wind. Like a young couple on the lam film shot by Straub/Huillet. It achieves a beauty few films can.

Quote:
Boy meets girl at the end of the world. Once again, Julio Bressane stages the beginning of life itself as a stylized and dysfunctional yet mysteriously minnellian dance. O Garoto, element of the collective project Telha brilhadora, that comprises also O prefeito by Bruno Safadi, O espelho by Rodrigo Lima and Origem do mundo by Moa Batsow, is a film that has at its core a mischievous insurgent sexual energy that bristles and sparks relentlessly poetic hybris. Those who are not familiar with Bressane’s work may be puzzled by the minimalistic approach and its reiterative patterns, but it is obvious that O Garoto (The Kid) is just a different kind of educaçao sentimental The boy and the girl inhabit a world whose only other sign of life is a rhythm pattern that seems to be almost detached from them, even though they watch and listen amused to the silent musician who keeps drumming away. The other element is the camera itself. The sensual geometries of the film try to make this triangle work. The camera wants to make love with the bodies in front of it. But the gaze of the girl and the boy point out toward the wilderness, a barren yet intoxicatingly magnificent landscape. This impossible triangle tries to claim hold of the land. Make it again a land of the living. Or, at least, they try to survive in and on it again. Let’s rewrite the social contract for the very last time. As it happens with Bressane’s recent work, O Garoto also recalls elements and patterns from his previous films. These fragments of memories and echoes from a different time are the tools with which Bressane shapes his vision. His newfound Adam and Eve are the sign of a never ending quest. To regain the world, that is the problem. As in O gigante da America, the film is also an arcane and bewildering reflection on the results of colonialism. O Garoto is definitely Bressane’s song of exile. His Paradise Lost, if you want. Minus the angels and the devils. Minus god. There is no regenerative utopia here. The two are destined to be apart. And even though the girl tries to break the diaphragm that separates her from the boy and the camera and the audience (the most sublime moment of the film), she is on her own as is the boy. Bressane films the end of the world as a reenactment of the origins of cinema: a boy and a girl. One plus one. Where the plus sign is obviously the camera itself. A precise yet restless camera, that roams a never before seen landscape as if it were the ultimate set of the world. A world that still hopes to be filmed, seen, and experienced as such. Bressane thus offers the image of a filmmaker at the end of time and space. Looking for signs of life, Bressane comes up with a sensual dance that manages to rethink the Lumière brothers filmmaking in an utterly innovative way. Gionna A. Nazzaro

http://nitroflare.com/view/D62EEB7EBA068B7/Garoto.2015.720p.HDTVRip.AVC-gooz.mkv

https://uploadgig.com/file/download/67f97988dCf68da7/Garoto.2015.720p.HDTVRip.AVC-gooz.mkv

Language(s):Portuguese
Subtitles:None