Plot:

At the Belgrade army hospital, casualties of Bosnian civil war are treated. In the hospital they remember their youth and the war. Two young boys, Halil, a Muslim, and Milan, a Serb, have grown up together near a deserted tunnel linking the Yugoslav cities of Belgrade and Zagreb. They never dare go inside, as they believe an ogre resides there. Twelve years later, during the Bosnian civil war, Milan, who is trapped in the tunnel with his troop, and Halil, find themselves on opposing sides, fatefully heading toward confrontation.

The plot, inspired by real life events that took place in the opening stages of the Bosnian War, tells a story about small group of Serb soldiers trapped in a tunnel by a Bosniak force. The film’s screenplay is based on an article written by Vanja Bulić for Duga magazine about the actual event. Through flashbacks that describe the pre-war lives of each trapped soldier, the film describes life in pre-war Yugoslavia and tries to give a view as to why former neighbours and friends turned on each other.

Following the success of the movie, Bulić wrote a novel named Tunel that’s essentially an expanded version of his magazine article.

Quote:
Though cloaked in explosive black humor, the serious anti-war message of this bitterly satirical and politically charged Yugoslav film cuts like shrapnel. Set in Bosnia during 1980 and 1992 (like a pendulum, the time frame swings back and forth), and allegedly based upon a true story, the plot focuses upon the longtime friendship of Muslim Halil, and Serbian Milan. While growing up during the ’80s, the two often hung out near an abandoned tunnel. Though curious, the boys were too frightened by the mythical boy-eating ogres said to venture within. The story moves to 1992 and begins as the war between the Serbs and the Muslim ignites in horrible violence and the friends find themselves forced into becoming enemies. Meanwhile, a beautiful American journalist is captured by the Serbs. The film opens with a shot of European and American dignitaries smiling broadly as they inaugurate the new Brotherhood and Unity tunnel that links Zagreb and Belgrade. Later in the film, it will become the scene of horror when Serbian soldiers are trapped by Muslims within. With nothing to do but wait for death, the trapped soldiers amuse themselves by staging allegorical circus acts.

Awards:

Won European Jury Award at the Festival d’Angers (1997)
Won Telcipro Award at the Festival d’Angers (1997)
Won Distinguished Award of Merit at the Lauderdale International Film Festival (1996)
Won Bronze Horse at the Stockholm International Film Festival (1996)
Won International Jury Award at the São Paulo International Film Festival (1996)
Won Audience Award at the Thessaloniki Film Festival (1996)
Nominated for Golden Alexander at the Thessaloniki Film Festival (1996)

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https://uploadgig.com/file/download/Aa70caf722b605C9/Lepa sela lepo gore AKA Pretty Village Pretty Flame 1996 KG.mkv

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

Plot Synopsis by Hal Erickson:
No relation to the 1928 Lon Chaney vehicle of the same name, the British West of Zanzibar was filmed on location in East Africa. Game ranger Bob Payton (Anthony Steel) makes it his mission in life to capture the head of a vicious ivory-smuggling racket. Payton tracks his quarry through some of the most treacherous passages of the Zanzibar territory. Despite such obstacles as crocodiles and rhinos, Steel finally corners the villain, who turns out to be. . . Well, the ending needn’t be spoiled here. The most fascinating aspect of West of Zanzibar is its accuracy in depicting native customs and values.

http://nitroflare.com/view/1F7E5C3BA41F425/West.Of.Zanzibar.1954.DVDRip.x264-KG.mkv

https://uploadgig.com/file/download/9fBB920c09c0c644/West.Of.Zanzibar.1954.DVDRip.x264-KG.mkv

Language(s):English
Subtitles:none

Standing out from all the stumbling efforts toward a new expression of cinema, Giovanni Pastrone’s story of the Second Punic War, Cabiria , demands special attention. Compared to the other colossal Italian spectacles of its time, it had an integrity and sense of purpose. From the beginning it was regarded as something special, and its premiere at the Teatro Vittorio Emmanuele, Turin, on 18 April 1914 was a great occasion. The film’s accompanying score by Ildebrando Pizzetti, performed by an orchestra of 80 and a choir of 70, added to the excitement. Viewed today, the film has lost little of its epic poetry to the zeitgeist, though the acting performances may seem dated.

This story of a young girl lost amidst the clashes of two great nations retains its human interest as well as its power to amaze and astonish. The association of Gabriele d’Annunzio’s name with the film reminds us of his dictum, “The Cinema should give spectators fantastic visions, lyric catastrophes and marvels born of the most audacious imagination,” though, in fact, d’Annunzio’s actual contribution to this film was very small. He was paid a large sum for the use of his name in promotion. What does bear his mark are the highly poeticized inter-titles which are a part of the film’s continuity, as they harmonize in style and feeling with the images. The film is consistently and stylishly in the grand manner. When the servant describes Massinissa to her mistress Sophonisba she says, “He is like a wind from the desert bringing the scent of dust and lions and the message of Astarte.” Few film heroes have had such a build-up.

Apart from the magnificence of the sets and the pulsating action of the story, the film is important for the patient research that produced such striking results and gave conviction to the historical setting. The great Temple of Moloch must have been one of the largest structures for a film up to that time. It and the Carthaginian palaces certainly influenced Griffith’s Babylon in Intolerance. Infinite pains were taken with details which fitted effectively into the vast canvas.

Technically the film is also remarkable for its photography by the Spaniard Segundo de Chomon. The use of the moving camera has never been so effective in its almost imperceptible transitions. Every device of camera craft is used to produce a smoothly flowing narrative.

There is so much richness in this film: the great scenes of Hannibal crossing the Alps with his army and elephants; the eruption of Etna, and the destruction of the Roman fleet at Syracuse by means of the sun-reflectors of Archimedes. Most of these effects were achieved by multiple exposure. The acting is fairly theatrical, but the performances of Italia Almirante Manzini as Sophonisba and Vitale de Stefano as Massinissa are moving and impressive, while Bartolomeo Pagano, as Maciste the strong man, adds a new figure to the mythology of the movies. Cabiria therefore stands as a major filmic achievement at a time when the cinema was fighting for its place among the other arts.

—Liam O’Leary

http://nitroflare.com/view/E459A5290678403/Cabiria.mkv

https://uploadgig.com/file/download/6c0ae57cA62090c4/Cabiria.mkv

Language(s):Silent
Subtitles:English intertitles

Nine short stories that together amount to a play time of 3h20m.

Presented here are nine short films that feature: film director Slatan Dudow; actor Martin Brandt; authors Erich Fried, Erich Weinert, and Arnold Zweig; photographer Walter Ballhause; cartoonist Leo Haas; and journalist Egon Erwin Kisch. Original interviews with the artists, close family members, and friends are combined with little-known historic film material. All produced in the GDR.

“Arnold Zweig” (Joop Huisken, 1962)

“Malik” (Giovanni Angella, 1967)

“Leo Haas: Artist and Witness of His Times” (Jörg d’Bomba, 1971)

“Slatan Dudow: A Film Essay about a Marxist Artist” (Volker Koepp, 1974)

“Even Today He’d Speak His Mind” (Volker Koepp, 1975)

“Walter Ballhause: One Among Millions” (Karlheinz Mund, 1982)

“Do You Know Where Herr Kisch Is?” (Eduard Schreiber, 1985)

“Erich Fried: The Whole World Should Endure” (Roland Steiner, 1988)

Traces (Eduard Schreiber, 1989)

http://nitroflare.com/view/D5043B0A62DEA9A/ARTS_in_EXILE_%28KUNST_im_EXIL%29_DVDRip_h264.rar

https://uploadgig.com/file/download/6ea87Ddc8dd67b4F/ARTS in EXILE KUNST im EXIL DVDRip h264.rar

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

Oscar winner for BEST DOCUMENTARY (SHORT SUBJECT)

As daily air strikes pound civilian targets in Syria, a group of indomitable first responders risk their lives to rescue victims from the rubble.

Review:

More than five years after the conflict began in Syria It is estimated that at least 470,000 people have died – a figure that shockingly equates to more than one in every ten Syrians. On the ground in the country, the population are mostly having to do what they can, a situation that has given rise to emergency organisation The White Helmets. They have so far saved more than 82,000 lives.

The men forming these squads, who dash from bomb site to bomb site in search of survivors, mostly have no experience and come from professions as diverse as blacksmith and teacher. Like this year’s Sundance documentary Grand Jury Prize winner Last Men In Aleppo, director Orlando Von Einsiedel’s Oscar-winning film immerses us immediately in the chaotic aftermath of a bombing in Aleppo. We see a team rescuing people and recovering bodies from the rubbles as we begin to hear the stories of some of these unsung heroes.

The men – including Khalid Farah, Abu Omar and Abu Zaid – speak to camera about the work they do, their motivations and their hopes for their own children’ future. Einsiedel has shown aptitude with complex situations and conflict before in his feature Virunga and shows a tight control of ‘story’ here, taking us out of the warzone to a training camp in Turkey, where the men spend a month learning how to use listening devices and honing other skills. The ordered routine of these lessons allows the horror of the war to be shown in relief.

“What’s the most important thing? Safety,” they are told, words that sound hollow when you consider the constant barrel-bomb bombardment being faced by civilians back in their homeland. The ‘cleanness’ of these exercises is also in stark contrast to the film of the team working in Aleppo, where clouds of dust, chaos and the emotional trauma make rescues all the more difficult. The scenes of the rescuers in their off-hours show the long reach of the war, with the night’s spent anxiously watching television news of the bombardment or phoning family and friends to make sure they’re alive.

“Life requires sacrifice,” says one of the men, but the film surely asks us whether this conflict really requires all this child and civilian bloodshed. A twist in the tale came shortly before the Oscars when it was announced that cameraman and White Helmet Khaled Khatib would not be able to attend because, despite having a US visa, the Syrian government has cancelled his passport. His is only one story of a person being prevented from leaving the country, but it serves as a reminder of just how many more are stuck, wondering if the next bomb will fall on them or their family.

— Amber Wilkinson (EyeForFilm.co.uk)

Forget Oscar: Give The White Helmets the Leni Riefenstahl Award for Best War Propaganda Film

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https://uploadgig.com/file/download/c7B64ac352e6d3f5/The.White.Helmets.2016.720p.NF.WEBRip.DD5.1.x264-NTb.mkv

Language(s):Arabic, English
Subtitles:English, French, Italian, Spanish (muxed)

Synopsis:
The outsider Benjamin and the charismatic Max share one mutual interest: hacking. Together with Max‘s friends, they form the subversive hacker group CLAY. CLAY provokes with hilarious hacks and connects with a whole generation. For the first time in his life Benjamin feels like he belongs. But when CLAY is suddenly investigated by German Secret Service and Europol, Benjamin must face the consequences of his actions.

http://nitroflare.com/view/9869E9C0C3C7140/Who.Am.I.Kein.System.ist.sicher.2014.German.DTS.720p.BluRay.x264-Pate.en.mkv
http://nitroflare.com/view/3C0BE59FA7B473D/Who.Am.I.Kein.System.ist.sicher.2014.German.DTS.720p.BluRay.x264-Pate.en.srt

https://uploadgig.com/file/download/a49B654eaD376baf/Who.Am.I.Kein.System.ist.sicher.2014.German.DTS.720p.BluRay.x264-Pate.en.mkv
https://uploadgig.com/file/download/57b1296fdd1705af/Who.Am.I.Kein.System.ist.sicher.2014.German.DTS.720p.BluRay.x264-Pate.en.srt

Language(s):German
Subtitles:English (srt), German (vobsub)

Quote:
One of the recurrent themes of the Art Theatre Guild (ATG)’s films of the 60s and early 70s was incest. In Funeral Procession of Roses (Bara No Soretsu, 1968) Toshio Matsumoto told a modern version of the Oedipus tale, transplanting the story into the gay subculture of present-day Tokyo. The hero of Susumu Hani’s The Inferno of First Love (Hatsukoi Jigokuhen, 1968) suffers from the sexual abuse of his stepfather. In Yoshishige Yoshida’s Heroic Purgatory (Rengoku Eroica, 1970) a young girl who creeps into the life of a scientist and his wife pretending to be their daughter seduces her alleged father. The family head in Nagisa Oshima’s masterful critique of the patriarchic family, The Ceremony (Gishiki, 1971), rapes his son’s bride. In Masahiro Shinoda’s Himiko (1974) the prehistoric shaman empress of Japan falls in love with her brother and is killed by ruthless elders who can no longer exercise control over her. In Kazuo Kuroki’s Preparations for the Festival (Matsuri No Junbi, 1975) the disabled Kikuo is sexually comforted by his mother, and in Shuji Terayama’s Pastoral: To Die in the Country (Den’en Ni Shisu, 1974), the story of a boy who tries to escape his mother, incest is omnipresent.

The film that treated incest in the most daring and scandalous way, however, was Akio Jissoji’s This Transient Life, based on a script by Toshiro Ishido. It became an instant success and was the first film to get a wider release outside the confined circuit of ATG. This Transient Life was the most successful film of the early ATG years and by winning the Grand Prix at the Locarno film festival in 1970 it also earned international acknowledgement. Together with Yukio Mishima’s Yukoku (1966; also distributed by ATG) This Transient Life was the most controversially discussed film at the FIPRESCI conference about “Eroticism and Violence in Cinema” in Milan in October 1970. However, for some unfathomable reason the film soon fell into oblivion and is still waiting to be rediscovered as one of the masterpieces of Japanese cinema.

This Transient Life tells the story of the siblings Masao and Yuri who live in a huge estate near Lake Biwa north of Kyoto. Masao refuses to go to university and is infatuated with Buddhist sculptures. Iwashita, a student who lodges at the house, and Ogino, a young priest and former classmate of Masao, are both in love with Masao’s beautiful sister Yuri, who rejects all proposals from her parents to marry her off. One day, while being alone in the big house and playing with No-masks, Masao and Yuri end up in a passionate embrace. Thus starts their forbidden relation that soon bears fruit. When Yuri gets pregnant the siblings plot a perfidious plan. Yuri seduces Iwashita only to be discovered by her parents, who then force Iwashita to marry her. Masao leaves for Kyoto to become an apprentice to the famous sculptor of Buddhist statues, Mori Takayasu. He starts a relation with the much younger wife of the impotent sculptor, who secretly enjoys watching them make love. A year later Masao briefly returns to his parents’ house. He and Yuri resume their forbidden relation. When Iwashita accidentally witnesses them he despairs and commits suicide. Takayasu’s son Takahiro meanwhile is unable to bear the indecorous relation between his father, his stepmother and Masao. He seeks advice from his friend Ogino, who is repulsed by Masao. Ogino had known about the incestuous relation of Masao and Yuri all along and can no longer bear Masao’s immoral behavior. When he takes Masao to task he is shocked by his callousness. Masao’s denial of all he had believed in plunges Ogino into deep self-doubt. A few days later Takayasu dies after finishing a statue of Kannon, the goddess of mercy. Takahiro, who himself has started a sexual relation with his stepmother, holds Masao responsible for his father’s death and his own misery. In a graveyard near Ogino’s temple, where the statue is erected, he attacks Masao with his father’s chisel, but he himself is lethally wounded and dies. Masao hears the voice of an old woman and enters into another world.

Akio Jissoji began his career in 1961 as a TV director for Radio Tokyo, later TBS. His encounter with Eiji Tsuburaya, the master of special effects and “father” of Japan’s most beloved monster, Godzilla, resulted in the TV series Ultraman, Ultra Seven and Operation: Mystery! (Kaiki Daisakusen), which established Jissoji’s reputation and became cult series up to this day. In 1969 Jissoji left TBS, founded his own production company and made the 43-minute long When Twilight Draws Near (Yoiyami Semareba), based on a script by Nagisa Oshima that was originally written for a TV feature for TV Tokyo. The film was released by ATG together with Oshima’s Diary of a Shinjuku Thief (Shinjuku Dorobo Nikki, 1969). ATG subsequently produced Jissoji’s following films, starting with This Transient Life. Together with Kazuo Kuroki and Shuji Terayama he became ATG’s most important director of the 1970s.

This Transient Life is remarkable in several ways. Jissoji employs a very unique film language with daring camera angles and breathtaking camera movements. The camera seems never to stand still but is constantly in motion. The restlessness of the pictures corresponds with the transience of life that gives the film its title: mujo is a Buddhist term that refers to the belief that nothing in this world lasts forever, but that everything is transient and fleeting. According to the philosopher and scholar of medieval Japan, Junzo Karaki (1904-1980), this belief formed the basis of Japanese aesthetics as described in the writings of the Zen priest Dogen and other medieval philosophers. Jissoji, who is strongly influenced by Karaki and his interpretation of traditional Japanese aesthetics, tried to find a filmic equivalent to this transience.At the same time, he deals with other philosophical questions as well. In the climactic confrontation between Ogino and Masao, Masao rejects Ogino’s moral objections and refuses to believe in the existence of good and evil and the salvation of men. He has already reached a higher level of consciousness that finally enables him to enter a world beyond our perception. There he meets an old woman whom he helps excavate and carry away a giant fish that contains stones with the names of all people. This fish can be interpreted as a symbol for the impurity that is inevitably inherent in man.

This Transient Life is a rare example of a successful film about Buddhist thought. Despite the scandalous story, the film treats the topic with the utmost sincerity, without retreating to esoteric kitsch or religious mumbo jumbo. Jissoji, himself the descendant of an old Buddhist family, continued to tackle religious and philosophical topics in his subsequent films, among them Mandala (Mandara, 1971) and Poem (Uta, 1972), both produced by ATG and based on scripts by Jissoji’s congenial partner Toshiro Ishido. Jissoji’s concern with Buddhist thought can also be seen in his popular films. The Buddhist notion of salvation clearly reverberates in the Ultraman series, in which the supernatural hero from outer space rescues men from forces that want to destroy the earth.

Akio Jissoji’s importance for Japanese cinema can be compared to that of Christian directors like Carl Dreyer or Robert Bresson for European cinema. But whereas Dreyer and Bresson are luminaries on the cinematic firmament, the star of Akio Jissoji still shines in the hidden.

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https://uploadgig.com/file/download/466483c8E51b814c/Akio Jissoji – 1970 This Transient Life.mkv

Language(s):Japanese
Subtitles:English

A 2012 Chilean drama film directed by Pablo Larraín. The film is based on the unpublished play El Plebiscito, written by Antonio Skármeta. Mexican actor Gael García Bernal plays René, an in-demand advertising man working in Chile in the late 1980s. The historical moment the film captures is when advertising tactics came to be widely used in political campaigns. The campaign in question was the historic 1988 plebiscite of the Chilean citizenry over whether general Augusto Pinochet should have another 8-year term as President.
At the 85th Academy Awards the film was nominated for the Best Foreign Language Film Oscar.

At the Telluride Film Festival, the film was shown outdoors and was rained on. It was also screened at the Locarno Film Festival in Switzerland. No played as a Spotlight selection at the Sundance Film Festival. Gael García Bernal attended the Toronto International Film Festival where No was screened.
The film was released in the UK by Network Releasing on 8 February 2013.
– WIKIPEDIA

RECEPTION
Praise
The film has a 92% score from the film critics’ site Rotten Tomatoes.
Writing in May 2012, Time Out New York critic David Fear called No “the closest thing to a masterpiece that I’ve seen so far here in Cannes”. Variety reviewer Leslie Felperin felt the film had the “potential to break out of the usual ghettos that keep Latin American cinema walled off from non-Hispanic territories. ….with the international success of Mad Men, marketing campaigners should think about capitalizing on viewers’ fascination everywhere with portraits of the advertising industry itself, engagingly scrutinized here with a delicious, Matthew Weiner-style eye for period detail.”
One of the unique features of the film was Larraín’s decision to use low definition, ¾ inch Sony U-matic magnetic tape, which was widely used by television news in Chile in the 80s. The Hollywood Reporter argues that this decision probably lessened the film’s chances “commercially and with Oscar voters.” The Village Voice reviewer commented that the film “allows Larrain’s new material to mesh quite seamlessly with c. 1988 footage of actual police crackdowns and pro-democracy assemblages, an accomplishment in cinematic verisimilitude situated anxiously at the halfway point between Medium Cool and Forrest Gump.”

Criticism
The film received a mixed reception in Chile. Several commentators, including Genaro Arriagada, who directed the “No” campaign, accused the film of simplifying history and in particular of focusing exclusively on the television advertising campaign, ignoring the crucial role that a grassroots voter registration effort played in getting out the “No” vote. Larraín defended the film as art rather than documentary, saying that “a movie is not a testament. It’s just the way we looked at it.”
In another criticism, a Chilean political science professor asked if one should really celebrate the moment that political activism turned into marketing, rather than a discussion of principles.

Awards
When screened at the 2012 Cannes Film Festival, No won the Art Cinema Award, the top prize in the Directors’ Fortnight section.
In September 2012, it was selected as Chile’s bid for the Foreign Language Oscar at the 85th Academy Awards. In December 2012 it made the January shortlist, and was nominated on January 10, 2013.
At the 2012 Abu Dhabi Film Festival, Bernal won the award for Best Actor.
– WIKIPEDIA

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https://uploadgig.com/file/download/9B97c702Cde95C42/No.2012.BluRay.720p.AC3.x264-HDWinG.mkv

Language(s):Spanish
Subtitles:English

Another romanian short student film on 35mm. Won several international prizes.

Quote:
A lovely piece of film-making from Romania!, 18 March 2004
Author: michaelwalters56 from New York, U.S.A.

I saw this film at the NYU International Film Festival in New York and thoroughly enjoyed every minute of it! The story focuses on the lack of communication between a working-class family that live on C block and combines gritty drama with terrific unclichéd comedy. The story is so clever and entertaining and by the end it resolves itself with such charm. It is full of subtle messages about life, family, communication and relationships. Great acting from the three main actors and a wonderful sense of pacing from the director. This really is a lovely piece of film-making from Romania and well deserving of it’s award at the festival.

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https://uploadgig.com/file/download/9bBaA7de5490fd32/Poveste La Scara C Cristian Nemescu 2002.mpg

Language(s):Romanian
Subtitles:English hard subs

Synopsis:
Three stories about a man and a woman, all three using the same actors. Three years: 1966, 1911, 2005. Three varieties of love: unfulfilled, mercenary, meaningless.

Review:
After two films that admittedly left me uncertain over the direction of Hou Hsiao Hsien’s cinema, it was particularly satisfying to see Hou incorporate his earlier (and specifically, more overtly political) films with his recent expositions into more distilled and highly elliptical mood pieces. Evoking Chantal Akerman’s Toute une nuit in its essential distillation of singular, transformative episodes that define the formative substance of all romantic relationships, Three Times presents a series of vignettes, each chronicling a series of understated encounters between two lovers played by same actors Chang Chen and Shu Qi, as their destinies weave through the complex socio-political terrain throughout the last century of Taiwanese history. Set in a 1966 rural province, the first chapter A Time of Love recalls the nostalgic innocence of young love of Hou’s earlier film Dust in the Wind as a young man spends the few remaining days of his civilian life at a billiard parlor before reporting for compulsory military service and falls for the parlor’s attractive, new employee. Infused with a tonal romanticism of unarticulated longing that rivals the atmospheric texturality of a Wong kar-wai retro period piece, Hou’s melodic rendition is imbued with a poetry of sensually charged gestures and understated intimacy.

The second chapter A Time for Freedom unfolds as a silent film variation of Flowers of Shanghai. Set at a brothel in 1911 during the Japanese occupation of Taiwan, the film follows the evolving relationship between a highly influential newspaper editor (and political activist) and a courtesan approaching the age of marriage who is prompted to re-evaluate her own future when her patron decides to intervene in the fate of one of the junior courtesans. Retaining the atmosphere of insularity that pervades Hou’s earlier film, the episode similarly reflects Taiwan’s increasing estrangement from mainland China at the turn of the century while presenting a social critique on the consuming national and sexual politics of the times.

The third chapter, a contemporary piece set in Taipei entitled A Time for Youth recreates the modern-day rootlessness of Goodbye South Goodbye (sans implicit humor) and Millennium Mambo as a young couple lead an aimless existence of club hopping, wordless intimacy, and escapist motorcycle rides through town. Replacing the stylized, melancholic romanticism of the earlier chapters with a dedramatized, alienated realism, Hou illustrates a sense of estrangement borne, not of external circumstances, but of a pervasive spiritual inertia. Expounding on similar themes of absent parents, broken communication, and missed connection that Hou explores in his previous film, Café Lumière, the film becomes an elegy, not for the nostalgia of a bygone era, but of lost opportunity in an age of liberation.

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Language(s):Mandarin
Subtitles:English

Quote:
Now this is want you call a man vs. nature film! And a real merciless one too! This low-budget, under-appreciated (if forgotten) Australian gem is far from your typical excursion into horror with a melodramatic backdrop involving the couples’ martial problems, but the way the insightful story folds out you can’t deny that this isn’t one horrifying exercise when nature finally unleashes its devastating power with such an claustrophobic strangle hold. You might think the idea in this particular sub-genre would be hokey and overall, a campy b-grade animal feature, but here that’s not the case because there’s nothing cheap about the story and thrills, as it goes for some old fashion spookiness and slow grinding suspense, where we are asked to think about the couples’ careless actions towards nature and the environmental message. There’s a little bit more going on in the film’s material and visuals then you might think and it does play on your mind with it’s disorientating atmosphere.

The story slowly delivers in spurts a heavy amount of unbearable suspense and startling images that have a real unnerving effect with its terribly, uncomfortable mood. The nagging couple here are very obnoxious and a long way from likable, but they aren’t suppose to be! The anger towards them is justified because they’re the villains of this piece and we continuously witness their lack of respect for the surroundings. What nature has in store for them is powerfully effective and we can’t help but be drawn into the brooding mystery of how its going to play out.

The picturesque location for the film is simply exquisite with the sprawling beach line and flourishing vegetation and wildlife. The way it can suddenly turn aggressive and change appearance after only being peacefully luminous (such in the weather and environment) makes it incredibly eerie, as you don’t know what’s up coming next. What caught this development was the hypnotic cinematography (done in anamorphic widescreen) that brought the wildlife off the screen with it’s incredibly spacious execution and swift movement in following the couple around and great panning that captures all the small things. It has a semi-documentary feel about it. The foreboding sound effects of the nightlife really do have a strong impact on your senses with the jerky and high-pitch sensation eating away at you with such well placed tension and strange noises that won’t let you escape. Also the quiet moments, since the dialogue is rather sparse, builds up the harrowing situation they’re faced with. The hauntingly, charged score by Michael Carlos is just like a ticking time bomb waiting to explode with it’s imminent dread and the tight editing nicely keeps the film moving until it reaches boiling point in the third act with an ending that shocks.

The screenplay by Everett De Roche (Patrick, Road Games, Harlequin & Razorback) is an intelligent look at the relationship between the carelessness of mankind and the suffering of nature, which it does takes its time in delivering justice. The plot’s focus on the couples’ marriage, which is on the rocks is an good companion piece with their inconsiderable intrusion on nature where they believe their own problems are more important and think less of their surroundings. The performances are astoundingly, realistic in their interactions by John Hargraves as the arrogantly, destructive Peter (who has a better connection with his dog) and Briony Behets as selfishly, close-minded Marcia. This is one stuck up couple you like to see crash and burn, and nature provides that wish.

‘Long Weekend’ is an sincere, atmospheric revenge tale with a ironically dour twist. It’s a very well made production that maximizes its chilling backdrop, petering tension and stimulating concept to send chills down your spine.

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Language(s):English
Subtitles:None

The inherent kinetic qualities are brought into actuality in GYROMORPHOSIS, as seen in the construction-sculpture of Constant Nieuwenhuys of Amsterdam. To realize this aim I have put into motion, one by one, pieces of this sculpture and, with color lighting, filmed them in various detail, overlaying the images on the film as they appear and disappear. In this way I have hoped to produce sensations of acceleration and suspension which are suggested to me by the sculpture itself. – Hy Hirsh

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Language(s):None
Subtitles:No

Synopsis:
Parking lot security guard Luna is bored with her uneventful daily routine but a call about a customer complaint leads her to discover how the night guard, Diego, alleviates his boredom. Soon the pair develops a relationship by communicating through the garage’s CCTV footage.

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https://uploadgig.com/file/download/4BcBf3a82358b96e/Timecode 2016.mkv

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

Quote:
Spring in wartime. Each day a milkman crosses the frontline on a donkey, dodging bullets to bring his precious wares to the soldiers. Blessed with good fortune on his mission, loved by a beautiful villager, a peaceful future seems to await him… until the arrival of a mysterious Italian woman turns his life upside down. Thus begins a story of passionate, forbidden love that will plunge them both into a series of fantastic and dangerous adventures. They have been joined by fate, and nothing and no one seems able to stop them… Two-times Palme D’Or winner Emir Kusturica directs and stars in this story of love and war, rich in emotion, comedy and adventure.

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Language(s):Serbian
Subtitles:Portuguese

Synopsis:
Four college buddies enjoy a night at a Reno casino and overhear a cop saying that robbing the casino “cannot be done.” That gets the brainiest rich kid among them thinking up a plan for the perfect robbery. He convinces the others to join in when they hear that it will only be a college hoax, his plan being to let the police know where the money is afterwards. The thing is, one of his friends has a head injury from the war, and has no intention of returning a dime.

Review:
“Under Karlson’s sharp direction, it becomes easy to forget that this heist for fun plot-line was a crackpot idea and highly unlikely to happen in real life.”

Phil Karlson (“The Phenix City Story”/”Kansas City Confidential”/”Scandal Sheet”) directs with verve this gripping caper thriller based on a Good Housekeeping serialized magazine story that was based on the novel by Jack Finney and is well-written by John Barnwell, William Bowers, Stirling Silliphant and Frank Tashlin.

Four college chums from the fictitious Midwestern University, Al (Guy Madison), Brick (Brian Keith), Roy (Alvy Moore) and Ronnie (Kerwin Mathews), vacation in Reno and while gambling at the crowded Harold’s Casino are told by a cop that this casino is impossible to rob, after being humiliated when falsely accused of abetting a casino robber. Back at the university, the level-headed law student Al, the group’s leader, proposes to his club singer girlfriend Kay (Kim Novak). Kim’s vocals were dubbed by Jo Ann Greer. Meanwhile Al’s best bud, the sweet but volatile Brick, who saved his life in Korea during the war, has the former captain worried that he was released too early from his treatment at the VA’s mental ward for psychological problems caused by the war. In one incident, Brick goes violent on the new boyfriend of his ex-girlfriend and has to be pulled off the boy by Al or he might have murdered him.

By the time the next college vacation period rolls around later in the semester, rich boy Ronnie, whose dad is an oil man and owns a ranch near Reno, comes up with a foolproof scheme for the four roommates to rob the high-security Harold’s Casino that no one thinks can be robbed. Ronnie wants to rob the joint just to know he was able to do it and intends on returning the money. Brick, worried about flunking out of law school, and the always playful wise-cracking Roy, agree. But Ronnie insists they need Al to pull it off. Brick knowing Al wouldn’t agree to such a dumb prank, instead talks him into going with the boys to Reno with Kay, in the trailer Ronnie secretly just purchased, and marrying her in the place that calls itself ‘The biggest little city in the world.’

When Al is told about the heist on the road to Reno he confronts Brick, who pulls a gun and threatens to kill anyone not going along with the heist. Kay is recruited to be the driver of the getaway car.

The implausible heist is pulled off in a plausible enough manner, as the tension mounts when the boys enter the casino in disguises and force the casino money bag man (William Conrad) at gunpoint to cooperate or else. Under Karlson’s sharp direction, it becomes easy to forget that this heist for fun plot-line was a crackpot idea and highly unlikely to happen in real life. But as a movie story, it couldn’t be more entertaining.

— Dennis Schwartz (Ozus’ World Movie Reviews)

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https://uploadgig.com/file/download/b8Bb79cea1799755/5 Against the House 1955 — Phil Karlson.mkv

Language(s):English
Subtitles:English, Russian (muxed)

Quote:
Adolf Hitler wakes up in present-day Berlin, with no memory of anything that happened after 1945, and interprets modern situations and things from a Nazi perspective. He is mistaken for a method actor or a comedian, and lands himself a career in television, to which he takes advantage of for a political comeback.

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https://uploadgig.com/file/download/64b0a7Afc310b0f4/illsn-eiwd-720p.mkv

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

It’s the evening before the day all brothels must be shut-down, according to the new law, in 1958. At the Kofukuya’s (literally, the house that sells happiness), five prostitutes decide to celebrate the day. Erotism, drama, and comedy mix as each hour, and a different event passes, in which all the women’s stories come to the surface. (IMDb)

With humor and tenderness, this film explores the lives of four Japanese prostitutes in the time just before that lifestyle was outlawed in 1958. All four take some pride in their work, though one of them responds to aging with a suicide gesture. ~ Clarke Fountain, Rovi

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Language(s):Japanese
Subtitles:Japanese, English

S y n o p s i s:
February 1945. In the Paris metro, manual worker Jean Diego is accosted by a tramp, who introduces himself as Fate and lets slip the tragic future that awaits him. According to Fate, Diego is destined to meet a beautiful young woman he once encountered in the past. Sure enough, within a few hours, Diego runs into Malou, the woman he has long dreamed of. Malou is grateful for Diego’s company, particularly as she has just walked out on her husband Georges, a man for whom she is ill-suited. Ignoring a warning from the tramp that he is heading for an unpleasant death, Malou’s cruel brother Guy sets out to stir up trouble for his own amusement. Having told Georges that his wife has fallen for another man, Guy hands him his gun. The trap is sprung and the outcome is just as the tramp predicted…

R e v i e w:
Once the euphoria of the Liberation had passed in the autumn of 1944, France succumbed to a long and bitter winter as the closing acts of World War II were played out beyond its borders. This period of extreme austerity and unremitting gloom is perfectly evoked by Marcel Carné’s final poetic realist masterpiece, Les Portes de la nuit. The war is far from over and the scars of Occupation are a long way from healing. Collaborators and informers have yet to be brought to account and France lives under a pall of shame – De Gaulle’s resistance myth has yet to become an unquestioned fact. Bad men continue to prosper whilst poor decent families suffer.

This is the closed, dismal world into which Carné and his screenwriter Jacques Prévert fling us for their last great collaboration, a world of open wounds poisoned by recrimination and guilt. Needless to say, the critics and audiences of the time found the film too depressing and it was a major critical and commercial disaster. The film’s failure would prove fatal for Carné’s future filmmaking prospects and his next (and last) venture with Prévert (La Fleur de l’âge) had to be abandoned when his financial backers lost faith and withdrew their support. It would take many decades before Les Portes de la nuit came to be as well regarded as Marcel Carné’s earlier films. Now that the Occupation and its traumatic aftermath can be seen through more objective eyes, the film’s strengths are more readily appreciated. With its sombre realism and distinctive poetry, to say nothing of its exceptional production qualities, this must surely rate as one of the director’s finest achievements, a darkly ironic study in the power that an individual has over his or her own destiny.

Les Portes de la nuit is an adaptation of a ballet entitled Le Rendez-vous which had been created by Marcel Carné’s long-term collaborators Jacques Prévert and Joseph Kosma. The film’s producers, Pathé, stipulated that Marlene Dietrich and Jean Gabin be given the starring roles, but both actors were uninterested in the venture and instead opted to work together on another film, Georges Lacombe’s Martin Roumagnac (1946). Marcel Carné then took the bold, some would say suicidal, step of casting two virtual unknowns in the lead roles – Yves Montand and Nathalie Nattier. Montand had by this stage begun to make a name for himself as a music hall singer and had just appeared in his first film, Étoile sans lumière (1946), alongside his off-screen partner Édith Piaf. Nattier also had only a few screen credits to her name but had distinguished herself in Georges Lampin’s L’Idiot (1946). What both actors lack in experience is more than made up for in charisma and vitality, and they bring to the film a very palpable sense of modernity.

The film’s biggest name actor was Pierre Brasseur, who had previously starred in Marcel Carné’s Le Quai des brumes (1938) and Les Enfants du paradis (1945). Serge Reggiani, another rising star, was also cast in a leading part, one that presages his subsequent villainous roles, notably that of the the spiv Leon Lescaut in H.G. Clouzot’s Manon (1949). For the part of the sinister tramp who claims to be Fate, Carné cast the acclaimed stage actor Jean Vilar, who rarely appeared in films (this was only his second screen role). The year after the film was released, Villar went on to found one of France’s major cultural institutions, the Festival d’Avignon. The supporting cast includes some very distinguished names, including Julien Carette, Saturnin Fabre, Raymond Bussières, Sylvia Bataille, Jane Marken and Dany Robin – all excellent in their well-matched roles.

As on Les Enfants du paradis, Carné squandered a small fortune in making the film. Les Portes de la nuit was in production for eight months and cost 120 million francs, making it the most expensive French film ever made at the time. A large proportion of the budget went on some incredibly ambitious sets (designed by Carné’s frequent associate Alexandre Trauner), including a lavish studio recreation of the entrance to the Barbès-Rochechouart underground station. It was the film’s astronomical cost which, at a time of severe national austerity, earned it some very bad press even before it had been released. The critics were also far from enthusiastic about the dreary tone of the film and its unflattering portrayal of contemporary France. This was not what cinema audiences wanted to see, nor needed to see. The film was also pretty severely lambasted for its perceived plot contrivances which rendered the story unconvincing. The film’s poetic qualities and technical brilliance were overlooked by all but a small number of critics. After the film’s failure at the box office, most critics would adhere stubbornly to the view that Carné was a spent force, and this made it increasingly difficulty for the director to find backing for his films.

Today, the criticism that Les Portes de la nuit garnered on its first release seems to be not only unduly harsh but completely misplaced. Whilst it is hard to see quite where all the money went, it is among Carné’s most polished and engaging films – well-acted, well-directed, beautifully scripted by Jacques Prévert and atmospherically photographed by Philippe Agostini. Despite his lack of acting experience, Yves Montand carries the film admirably and gives it an immediacy and charm that even Gabin would have had difficulty matching. The two songs that feature prominently in the film – Les Enfants qui s’aiment and Les Feuilles mortes (written by Prévert with music by Joseph Kosma) – would become very well-known after the film was released (and buried), and would become part of Montand’s repertoire (although he did not get to sing them in the film). And it has to be said that virtually no other film made in France at this time evokes the grim period between the Liberation and the end of WWII half as well as this one – its artistic value is matched by its worth as a historic document.

On its initial release, one of the perceived weaknesses of Les Portes de la nuit was the representation of Fate as a tramp (Jean Vilar in his most memorable screen role). One could argue that the character is entirely superfluous, his presence serving merely to draw attention to the somewhat laboured plot contrivances. And yet to think this is to completely misunderstand the film. Far from being a deus ex machina, Fate (if that is indeed what the tramp is) is a pretty impotent beggar, reduced to being no more than a feeble bystander. He can predict the future, but he is powerless to alter the course of events. Instead, it is the character failings in the protagonists which propel them to their tragic outcome. All that Fate can do is sit back and watch, like a disgruntled sports commentator.

Again and again, the image of the train pounding relentlessly down a set of railway tracks – as in Jean Renoir’s La Bête humaine (1938) – serves as a potent visual metaphor for the unstoppable trajectory the characters are following. They are guided not by supernatural forces, but by their own failings – Diego’s impulsiveness, Guy’s venality and Georges’ jealousy. This can be seen as a departure from the fatalism of Carné’s previous poetic realist films, where external factors play a part in the tragic ending. Here, the characters appear to be entirely responsible for what happens to them. Could it be that Carné and Prévert are using the film to comment on how individuals conducted themselves during the period of Occupation, reminding audiences that those nasty collaborators and informers did what they did on their own account and should be judged accordingly?

The film’s relevance to the Occupation becomes more evident when we consider the characters involved in the drama. On the side of the angels are Diego (Montand) and Raymond (Raymond Bussières), two honest working class men who actively participated in the Resistance during the Occupation. They represent decency and honour in the face of adversity, the authentic face of French patriotism. Set against these models of virtue are three loathsome grotesques. Of these, the most venal is Monsieur Senechal (magnificently played by Saturnin Fabre), the epitome of the petit bourgeois businessman whose ardent support for Maréchal Pétain had more to do with moneymaking expediency than political conviction. Senechal is the film’s least likeable character – he has prospered financially from the Occupation and has absolutely no qualms about doing so. His son Guy would appear to be just as bad, if not worse. He has an aura of Fascistic superiority about him and seems to revel in causing misery to others. Yet, unlike his father, Guy is aware that his conduct is immoral; he has a conscience, and this conscience is ultimately what destroys him.And what are we to make of Georges (Brasseur), a soulless capitalist who exists only to make money to live in comfort? He has no moral fibre, he is just a weak and cowardly man, but he can do great harm when he comes under the influence of someone of evil intent. Diego and Raymond are beyond reproach. Senechal, Guy and Georges represent the ignoble minority who shamed France during the Occupation. This becomes clearer if we recognise that Malou, the ill-fated femme fatale of the piece, symbolises France, France soiled and humiliated by her recent past. Even though Georges is Malou’s husband, it is Diego who is mistaken for the one who truly loves her. Yet Diego’s goodness is not enough to prevent the two Senechals and Georges from destroying Malou and we share his despair as he descends once more into the metro, his dreams shattered. For a hopeful outcome we must look elsewhere – to a pair of young lovers (played by Dany Robin and Jean Maxime) who are untainted by the Occupation. It is they who represent the future; it is they who will lead France out of its period of shame and sorrow, into a bright new tomorrow.
© James Travers 2011

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

Quote:
Sandwiched between his notorious saga of rape, revenge, and realist horror, Last House on the Left (1972), and his franchise-initiating fairytale of supernatural serial killing, A Nightmare on Elm Street (1984), Wes Craven’s The Hills Have Eyes tends to get lost in critical discussion of America’s reigning horror auteur. This may be truer today than ever, considering Craven’s meteoric rise to mainstream respectability after the staggering box office success of his Scream trilogy (1996, 1997, 2000), for which he was ‘rewarded’ with the opportunity to direct a Miramax melodrama (Music of the Heart, 1999). A relentless chronicle of violence against and within the bourgeois family unit, Hills usually occupies the role of Craven’s ‘cult classic’ – celebrated by the director’s hardcore fans, appreciated for its low-budget aesthetic, generating semi-ironic readings which praise its archetypal allusions as well as its exploitation movie themes.(Last House on the Left would lay similar claim were it not for its unremitting bleakness and cynicism, which serves to all but negate that spectatorial pleasure usually deemed necessary for cult status.) Without wishing to suggest that a less than serious interpretation of this film is in any sense a misreading, or that the rest of Craven’s cinematic output isn’t strewn with significant yet overlooked/underexamined achievements – e.g., Summer of Fear (aka Stranger in Our House, 1978), The Serpent and the Rainbow (1988) and The People Under the Stairs (1991) – the claim here is that Hills warrants serious consideration as one of the richest and most perfectly realized films of Craven’s career to date, a career which spans 40 years and counting.

The plot moves inexorably towards establishing a structural correspondence between two superficially opposed families who face off in a battle to the death on the desolate site of a U.S. Air Force bomb-testing range. In one corner are the suburban middle-class Carters, headed for Los Angeles by car but making an unwise detour through the Yucca desert to locate a silver mine willed to Ethel and her husband ‘Big Bob’ by a deceased aunt for the couple’s silver wedding anniversary. In the other is a clan of primitive scavengers who live in the surrounding hills and are ruled with an iron fist by a mutated monster-patriarch named Jupiter. This group of cannibalistic guerillas, standing in for any number of oppressed, embattled and downtrodden minority/social/ethnic groups – from African and Native Americans to backwoods hillbillies to (in Tony Williams’ astute analysis) the Viet Cong during the failed 1970s U.S. invasion (1) – manages to eke out a squalid existence by using discarded army surplus tools and weapons for the purpose of committing petty thievery.

When their station wagon crashes in Jupiter’s neck of the desert, the members of the Carter family – including teen siblings Brenda and Bobby, eldest daughter Lynn, Lynn’s husband Doug and the couple’s infant daughter Katy – reveal the extent of their ideologically-inherited arrogance, repression and capacity for denial, all of which makes them prime targets for victimisation by their ruthless, unscrupulous enemies. Big Bob is crucified and finally immolated by his counterpart Papa Jupiter in a highly symbolic act signifying utter repudiation of Judeo-Christian values – values which Big Bob himself hypocritically denounces in an earlier racist diatribe. Two of Jupiter’s sons later raid the Carter’s RV trailer, where they rape Brenda and murder Lynn and Ethel. Stripped of all pretensions, desperate for survival, the remaining members of the Carter clan finally find within themselves the courage, wrath and craftiness to kill off their enemies. The film closes with a powerful red-filtered freeze-frame of Doug in full fury, set to stab Jupiter’s son Mars in the chest though Mars is surely already dead. As D.N. Rodowick succinctly puts it, by the end “we are…to understand [these families] as being two sides of the same coin; or better yet, the violent ‘monster’ family could be characterized as the latent image underlying the depiction of the ‘Whitebreads.’”(2)

Craven’s creativity is especially evident at the levels of style and genre; in both respects, the director goes all out in what looks like a wholly self-conscious effort to mix, match, juxtapose and hybridise existing codes and conventions. Williams considers Hills a fusion “between several Hollywood genres – horror, the western, and the road movie,”(3) and John Kenneth Muir calls it “an intelligent re-working of the siege film, a genre in which a group of people are isolated in a remote location and attacked from all corners by their enemies.”(4) Stylistically, Craven makes innovative use of shock tactics and startle effects (similar to those found in Dario Argento’s Suspiria [1977] and anticipating those present in John Carpenter’s Halloween [1978]) to keep the anxiety level high throughout. And the varied employment of hand-held camerawork, masked point-of-view shots, night photography and rapid-fire editing (this last technique “particularly important in selling some of the more difficult-to-dramatize scenes”(5)) is all endowed with a strong sense of purpose, serving to sustain pace and tension in the narrative.

It is likely that most viewers of Hills would second Rodowick’s assessment that, “in the final analysis, I’m not sure whether I would consider The Hills Have Eyes to be a progressive text or not.”(6) This can be explained at least in part with reference to the contradiction lying at the heart of Craven’s film: the bourgeois Carter family’s phony values and repressed rage may eventually be exposed, but this does not make any less loathsome or unsympathetic the depiction of Jupiter’s marauding cannibal clan. As in so much of Craven’s work, at the end of the day everyone is guilty, everyone is to blame.

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https://uploadgig.com/file/download/417348c9D8e2c9f5/Wes Craven – 1977 The Hills Have Eyes.mkv

Language(s):English
Subtitles:English

Quote:
At the age of twenty-nine, Elgar Enders “runs away” from home. This running away consists of buying a building in a black ghetto in the Park Slope section of Brooklyn. Initially his intention is to evict the black tenants and convert it into a posh flat. But Elgar is not one to be bound by yesterday’s urges, and soon he has other thoughts on his mind. He’s grown fond of the black tenants and particularly of Fanny, the wife of a black radical; he’s maybe fallen in love with Lanie, a mulatto girl; he’s lost interest in redecorating his home. Joyce, his mother has not relinquished this interest and in one of the film’s most hilarious sequences gives her Master Charge card to Marge, a black tenant and appoints her decorator.

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https://uploadgig.com/file/download/3c28901091ffC6d9/The Landlord 1970.avi

Language(s):English
Subtitles:None