DIRECTIONS is a road movie through the dystopia that is present day Bulgaria, a country that remains optimistic, mainly because all the realists and pessimists have left.

At a meeting with his banker, a small business owner, who drives a cab to make ends meet, discovers the bribe he will have to pay to get a loan has doubled. The ethics board that reviewed his complaint about extortion now wants its share of the action. At his wit’s end, he shoots the banker and then himself.

The incident sparks national debate on talk radio about how despair has taken over civil society. Meanwhile, six taxi drivers and their passengers move through the night, each in hope of finding a brighter way forward. “

http://nitroflare.com/view/1EFB3BAAA60A626/Posoki.2017.Stephan.Komandarev.1080p.WEBRip.ACC.x264.RIYE.mkv
http://nitroflare.com/view/5BCBD2ED92E4DEC/Posoki.2017.Stephan.Komandarev.1080p.WEBRip.ACC.x264.RIYE.Port.srt
http://nitroflare.com/view/7D18C286E475C02/Posoki.2017.Stephan.Komandarev.1080p.WEBRip.ACC.x264.RIYE.Eng.srt

https://publish2.me/file/4c2d961bf726a/Posoki.2017.Stephan.Komandarev.1080p.WEBRip.ACC.x264.RIYE.Eng.srt
https://publish2.me/file/37f4bbb13bd5d/Posoki.2017.Stephan.Komandarev.1080p.WEBRip.ACC.x264.RIYE.mp4
https://publish2.me/file/b61b1b799c8c0/Posoki.2017.Stephan.Komandarev.1080p.WEBRip.ACC.x264.RIYE.Port.srt

Language(s):Bulgarian
Subtitles:English, Portuguese (srt)

Description:
This Low Budget neo-noir crime thriller involves Johnny, a hitman (Brad Rijn), whose contract hit on a gangland rival is witnessed by a three year old boy, playing in his backyard. Johnny’s initial motivation to “eliminate” the one witness to the crime (under orders of his mob boss) becomes conflicted by his growing romantic involvement with the boy’s mother, Sally (Anne Carlisle).

surrealmoviez wrote:

Fans of Larry Cohen’s often-outrageous work might be surprised by how user-friendly Perfect Stranges is. The high-concept premise of a hitman trying to seduce the mother of a child who witnessed his most recent kill would be a perfect subject for a glossy Hollywood thriller. Thankfully, Cohen’s singular style ensures that he doesn’t get bogged down in mainstream boredom: there are interesting subplots dealing with feminist politics and divorce that add some interesting themes to flesh out the premise. Cohen’s no-frills, almost documentarian directing style works wonders with his script, giving it a genuine “New York” flavor and a rawness that enhances the film’s unpredictable feel. He also pulls off a few nice suspense setpieces, the best a creepy moment that involves a swing set. In short, Perfect Strangers is one of Larry Cohen’s most underrated achievements and subtle enough to appeal to those who wouldn’t normally go for his style of filmmaking.

http://nitroflare.com/view/20A571308AA69A8/Perfect.Strangers.1984.DVDRip.x264-Mimuschka-KG.mkv

https://publish2.me/file/a27fc79e57afb/Perfect.Strangers.1984.DVDRip.x264-Mimuschka-KG.mkv

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

Based on the novel by Antonio Di Benedetto written in 1956, on Don Diego de Zama, a Spanish officer of the seventeenth century settled in Asunción, who awaits his transfer to Buenos Aires.

http://nitroflare.com/view/DF53A41833A9341/Zama_-_Lucrecia_Martel__2017_.mkv

https://publish2.me/file/23791f3e2f77e/Zama_-_Lucrecia_Martel_%5B2017%5D.mp4

Language(s):Spanish
Subtitles:None

Quote:
“In Re-entry he successfully synthesizes the Yogic and the cosmological elements in his art for the first time by forcefully abstracting and playing down both of them…” P. Adams Sitney

Quote:
Re-Entry is considered by many to be Belson’s masterwork. Completed in 1964 with a grant from the Ford Foundation, it is simultaneously a film on the theme of mystic reincarnation and actual spacecraft reentry into the earth’s atmosphere. Also, as Belson says, “It was my reentry into filmmaking because I’d given up completely after Allures. Mostly for financial reasons. But also out of general dismay at the experimental film scene. There was no audience, no distribution, there was just no future in it at that time.”

Re-Entry is chiefly informed by two specific sources: John Glenn’s first space trip, and the philosophical concept of the Bardo, as set forth in the ancient Bardo Thodol or so-called Tibetan Book of the Dead, a fundamental work of Mahayana Buddhism. According to Jung, Bardo existence is rather like a state of limbo, symbolically described as an intermediate state of forty-nine days between death and rebirth. The Bardo is divided into three states: the first, called Chikhai Bardo, describes the psychic happenings at the moment of death; the second, or Chonyid Bardo, deals with the dream-state that supervenes immediately after death, and with what are called karmic illusions; the third part, or Sidpa Bardo, concerns the onset of the birth instinct and of prenatal events.

With imagery of the highest eloquence, Belson aligns the three stages of the Bardo with the three stages of space flight: leaving the earth’s atmosphere (death), moving through deep space (karmic illusions), and reentry into the earth’s atmosphere (rebirth). The film, says Belson, “shows a little more than human beings are supposed to see.” It begins with a rumbling thunderous drone (blast-off, perhaps). In a black void we see centripetal, or imploding, blue-pink gaseous forms barely visible as they rush inward and vanish. The sound fades, as though we have left acoustical space. After a moment of silence, the next sound is wholly unearthly: a twittering electrical pitch as vague clouds of red and yellow gases shift across the screen amorphously. Suddenly with a spiraling high-pitched whine we see a gigantic solar prominence (one of two stock-footage, live-action sequences) lashing out into space, changing from blue to purple to white to red. Now blinding white flashes, as though we’re passing the sun, and suddenly we are into a shower of descending white sparks that become squadrons of geometrical modules moving up and out from the bottom of the frame, warping and shifting to each side of center as they near the top.

“The Cosmic Cinema of Jordan Belson”, Gene Youngblood

http://nitroflare.com/view/EEBEBD253187345/Re-entry_%28Belson%2C_1964%29.mkv

https://publish2.me/file/e825b2a89bf4c/Re-entry_%28Belson%2C_1964%29.mkv

Language(s):none
Subtitles:None

Quote:
A look within the walls of the New York Public Library.

Quote:
The director’s latest magisterial study of a public institution is a tribute to the power of education and the importance of community, characteristically ambitious yet surprisingly brisk.

Patience is a virtue; it is also a lion. One hundred and sixteen years old, the white marble beast has guarded the steps outside the main branch of the New York Public Library (NYPL) with her identical counterpart, Fortitude. The principles they embody have sustained Frederick Wiseman across the half-century of his unique career, which arguably culminates in this, his 42nd documentary film. A quietly magisterial enterprise, over the course of 197 minutes it visits the myriad buildings and activities which serve the city under the NYPL’s banner and lion-head logo.

Since debuting with Titicut Follies (1967), the Bostonian has established himself a seemingly unchangeable fixture in documentary cinema. Come rain or shine, Wiseman has brought his discreetly observational eye to institutions both in the United States and – increasingly since 1996’s La Comédie-Française ou L’amour joué – abroad. Having alternated between American and European subjects in the current decade, Wiseman with EX LIBRIS (titles and credits alike deploy majuscule orthography) completes an unofficial Stateside trilogy after At Berkeley (2013) and In Jackson Heights (2015), 244 and 190 minutes apiece.

These durations daunt. But given the sheer scope of his enquiry here, it’s quite a remarkable achievement that editor Wiseman brings EX LIBRIS in under the 200-minute mark. The ‘easier’ approach would have been to concentrate on the structure most associated with the film’s subtitle. And there’s certainly no shortage of material across the four vast storeys of the Beaux Arts ‘main branch’, officially renamed the Stephen A Schwarzman Building in 2008 after the Trumpist billionaire who funded the latest renovation (the NYPL has always been a ‘public/private partnership’).

But while Wiseman returns often to the august confines of the Schwarzman, he roves freely across the city’s diverse boroughs to provide glimpses of library outreach and community work at the most basic grass-roots level. The NYPL, we see, isn’t just a bunch of books. It plays crucial roles in filling education gaps for children and adults alike, spreading internet access to those languishing in what administrators (during one of those protracted managerial discussions which invariably prove catnip for Wiseman) dub the “digital dark”.

Ordinary users are shown (enjoying rather more screen-time than the institutions’ manual staff); illustrious visitors are heard: the action kicks off with a speech by Richard Dawkins, who stresses the importance of “stating simple facts” and pays tribute to “the poetry of reality”. It ends with Edmund de Waal, who aims for “a passionate lucidity” and restates the fundamental thesis of his bestseller The Hare with Amber Eyes: “method is interesting… the manner of what we make defines us.”

At these moments – and there are dozens studded throughout EX LIBRIS – the application of such phrases to Wiseman himself, his method and manner as encapsulated by this film, is near-irresistible. The huge canvas becomes an inadvertent self-portrait of this most self-effacing of auteurs, whom one senses entirely shares the NYPL’s noble aims and belief in the power of education, community and hard work. EX LIBRIS is thus an illuminating, informative and gloriously productive match of artist and subject; Wiseman – now approaching his 89th year – embraces the vast ambition of the NYPL while revelling in its multifarious minutiae. It also feels very much like the defiantly optimistic summing-up of a colossal, unique corpus. But on this evidence there is no ebbing of either patience or fortitude, and further chapters may yet follow.

http://nitroflare.com/view/FCC892B28B298A6/Ex.Libris.The.New.York.Public.Library.2017.DVDRip.AC3.x264-LAA.mkv

https://publish2.me/file/0febc52fd1098/Ex.Libris.The.New.York.Public.Library.2017.DVDRip.AC3.x264-LAA.mp4

Language(s):English
Subtitles:None

Quote:
Crusading publisher Austin Spenser (Sidney Blackmer) wants to prove a point about the insufficiency of circumstantial evidence. Spencer talks his prospective son-in-law Tom Garrett (Dana Andrews) into participating in a hoax, the better to expose the alleged ineptitude of conviction-happy DA (Philip Bourneuf). Tom will plant clues indicating that he is the murderer of a nightclub dancer, then stand trial for murder; just as the jury reaches its inevitable guilty verdict, Spencer will step forth to reveal the set-up and humiliate the DA. Somewhat surprisingly, Tom eagerly agrees to this subterfuge. Unfortunately, an unforeseen event renders their perfectly formed scheme useless. Beyond a Reasonable Doubt was the last American film of director Fritz Lang.

http://nitroflare.com/view/0010EC009CCE156/Fritz_Lang_-_%281956%29_Beyond_a_Reasonable_Doubt.mkv

https://publish2.me/file/865df6e263edb/Fritz_Lang_-_%281956%29_Beyond_a_Reasonable_Doubt.mkv

Language(s):English
Subtitles:English

Quote:
A passionate writer of film versions for the visually impaired meets an older photographer who is slowly losing his eyesight

Quote:

In 1997, Naomi Kawase became the youngest winner of the Camera d’Or for her first feature Suzaku. She has returned seven times in total and this year enters the main competition for the fifth time with Radiance, a thoughtful meditation on seeing and cinema.

Misako (Ayame Misaki) works for a company that provides audio description tracks for movies. She appears to be well cut out for the work, audio describing a little as she walks down the street. The film they are working on looks much like a film Kawase herself might have directed. It features an old man letting go of his dying wife and having to go on without her. Misako’s work gets presented to a focus group of the blind or partially sighted, who critique it or make suggestions. Her harshest critic is Nakamori (Masatoshi Nagase), a photographer who has almost totally lost his sight, yet still tries to hang on to the fragments of a seeing life. He carries around his camera and uses a magnifier to keep up with his work. His resentment fuels his criticisms of Misako, but gradually the two begin to understand each other better, and something like a romance forms.

The visual beauty on display will comes as no surprise for those familiar with Kawase’s slightly dreamy aesthetic. The vibrancy of the city is offset by the tranquility of Misako’s occasional visits to her mother’s village in the countryside. Here, her mother’s health is declining and a mystery is also introduced as Misako’s father has disappeared – a Japanese social phenomenon documented in Shohei Imamura’s mesmerising A Man Vanishes – leaving only his wallet behind and a photograph that has been taken in the same location as one of Nakamori’s photographs.

The film-within-a-film, meanwhile, intrigues Misako that she even interviews the director to find out how she should interpret the piece. In a way her job is about how to watch cinema. She is told to describe the action, the location and the characters accurately but also to allow space for the audience to use their imagination. She also has to avoid imposing a subjective reading. When a character looks into the sunset, she comments that he is full of hope. It’s difficult not to assume that this is Kawase’s own view and Radiance perseveres with its gentle optimism despite Nakamori’s anger and his gradually worsening vision.

There are some problems. Misako seems bizarrely unprepared to do a job she has been doing for some time and the endless consultations for what looks like a fairly mediocre piece of arthouse can’t make much financial sense to the small company. What’s more, her vision of cinema and Nakamori’s musing on photography – “I am a hunter and time is my prey.” – can sound like banality wearing pompous pants. Still, fans of Kawase will likely enjoy this delicate tale of people finding their way in the dark.

http://nitroflare.com/view/5342000A4632584/Hikari.AKA.Radiance.2017.576p.Bluray.AC3.x264-LAA.mkv

https://publish2.me/file/799a5adbea950/Hikari.AKA.Radiance.2017.576p.Bluray.AC3.x264-LAA.mp4

Language(s):Japanese
Subtitles:English

Quote:
Storm (10) tries to figure out how everything is connected – from the serendipitous nature of atoms, to the complexity of human life. But her world spins out of control when her father and his mistress are killed suddenly in a traffic accident. While her mother fills her emptiness with a self-help guru, Storm makes her own set of rules, that allows her to come to terms with her father’s death.

«There are so many extreme things about life and death which are not acknowledged in our daily lives. It’s funny and strange,» says director Kim Hiorthøy about his first feature film. This emotionally challenging story about human fear and shortcomings becomes lighthearted through Hiorthøy´s playful use of visual expression and storytelling.

http://nitroflare.com/view/4CCEADE8948777A/Kim_Hiortoy_-_%282017%29_The_Rules_for_Everything.mkv
http://nitroflare.com/view/8FB16CBD77F31AA/Kim_Hiortoy_-_%282017%29_The_Rules_for_Everything.srt

https://publish2.me/file/cf957a5bc5f62/Kim_Hiortoy_-_%282017%29_The_Rules_for_Everything.mp4
https://publish2.me/file/5674b7b1e75a6/Kim_Hiortoy_-_%282017%29_The_Rules_for_Everything.srt

Language(s):Norwegian, English
Subtitles:English

Quote:
An alien has the ability to travel through time, visiting our planet at different times …

http://nitroflare.com/view/950BBA658B8A121/Le_Maitre_du_temps_%281970%29_Anglais.mp4

https://publish2.me/file/18abb1809ead3/Le_Ma%D1%86%E2%95%9Dtre_du_temps_%281970%29_Anglais.mp4

Language(s):English
Subtitles:None

Colors is a 1988 American police procedural crime film starring Sean Penn and Robert Duvall, and directed by Dennis Hopper. The story takes place in South Central, North West and East Los Angeles, and centers on Bob Hodges (Duvall), an experienced Los Angeles Police Department CRASH Police Officer III, and his rookie partner, Danny McGavin (Penn) who try to mitigate the gang violence between the Bloods, the Crips, and the Hispanic street gangs. Colors relaunched Hopper as a director 18 years after Easy Rider and inspired discussion over its depiction of gang life and gang violence.

The movie was filmed entirely in Los Angeles in 1987. The original script by Richard Di Lello took place in Chicago and was more about drug dealing than gang members. Dennis Hopper ordered changes, so Michael Schiffer was hired and the setting was changed to Los Angeles and the focus of the story became more about the world of gang members.

Real gang members were hired as guardians as well as actors by producer Robert H. Solo. Two of them were shot during filming.

On April 2, 1987, Sean Penn was arrested for punching an extra on the set of this film who was taking photos of Penn without permission. Penn was sentenced to 33 days in jail for this assault.

http://nitroflare.com/view/38E963D5EE464D5/Colors.mkv

https://publish2.me/file/8e1f3f9cf6cc0/Colors.mkv

Language(s):English, Spanish
Subtitles:English German Italian Spanish French Dutch Swedish Norwegian Danish

Quote:
Breaking all the usual rules of storytelling, The Asthenic Syndrome identifies two debilitating forms of behavior in the world today–extreme aggressiveness and extreme passivity. Written and directed by the most celebrated living Russian woman filmmaker, it was the only Russian film to have been banned by the Soviet government during Perestroika.
———————————

With a comic vigor that gets impetus from sadness and rage, Muratova depicts urban life under glasnost as a succession of crises, jolts, and disruptions. The official ideology that was supposed to organize all this has been abandoned to parody, and the only options left to the individual, other than brutality, are escalated aggressiveness or withdrawal. The greatness of the film lies in Muratova’s determined embrace of the fragmentary. The Asthenic Syndrome is a universe of compact microcosms that ignore one another: the school storage room, filled with busts of Lenin, where Nikolai goes to commune with his muse; an apartment where a man tends caged birds while his daughter dances alone to a David Byrne record; a fish seller’s stand besieged by a clamoring, pushing crowd.
From Chris Fujiwara’s review

The film abounds in playful confusions. Nikolai, who teaches English, has two devoted students who sit together in class and are both named Masha (Natalya Busko and Galina Sachurdaewa); both come to visit him when he winds up in a madhouse. Doubtless there are other details referring specifically to aspects of everyday postcommunist Russian life that are too local to register with much clarity to outsiders like me. Truthfully, I found the movie a lot easier to follow when I saw it a second time and knew not to look for too much plot continuity, though I can’t claim there weren’t parts that still baffled me. The movie’s a treasure chest, and if we get to see it more, more will surely become clear.

Nevertheless, the fundamental aspects of the asthenic syndrome come across loud and clear–and you certainly don’t have to be Russian or postcommunist to recognize them as central philosophical as well as behavioral strains in our public life.
From the excellent review by Jonathan Rosenbaum for Chicago Reader

http://nitroflare.com/view/42BCB1FBE3167C1/Asthenic_Syndrome.mkv

https://publish2.me/file/f669ca7a6d806/Asthenic_Syndrome.mkv

Language(s):Russian
Subtitles:English

A slowly moving camera captures the interiors of various houses in a village. They are all deserted except one house with a group of young soldiers. They are digging the up the ground. It is unclear whether they are exhuming or burying something. The voices of three young men are heard. They repeat, rehearse, memorise a letter to a man named Boonmee. They tell him about a small community called Nabua where the inhabitants have abandoned their homes. The wind blows fiercely through the doors, and the windows, bringing with it a swarm of bugs. As evening approaches, the sky turns dark. The bugs scatter and the men are silent.

A Letter to Uncle Boonmee is part of the multi-platform Primitive project which focuses on a concept of remembrance and extinction set in the northeast of Thailand. Boonmee is the main character of the feature film of the project.

Quote:
This short film is a personal letter describing my Nabua to Uncle Boonmee.

The film comprises of shots of house interiors in the evening. The houses are all deserted except for one, where there is a group of young soldiers, played by some teens of Nabua. Two of them impersonate me by narrating the film:

‘Uncle… I have been here for a while. I would like to see a movie about your life. So I proposed a project about reincarnation. In my script there is a longan (fruit tree) farm surrounded by mountains. But here there are endless plains and rice fields. Last week I met a man who I thought was your son. But perhaps he was your nephew because he said his father was a policeman who owned hundreds of cows. Judging from the book I have, I don’t think you owned a lot of cows, and you were a teacher, weren’t you? The man was old and couldn’t remember his father’s name very well. It might be Boonmee or Boonma. It was a long time ago, he said. Here in Nabua there are several houses that I think are suitable for this short film for which I got funding from England. I don’t know what your house looked like. I cannot use the one in my script because it is so different from the ones here. Maybe some parts of these houses resemble yours.

What was your view like? Was it like this?

Soldiers once occupied this place. They killed and tortured the villagers until everyone fled into the jungle.’

There is a soldier having dinner alone on the second floor. In a room nearby, there is a mysterious figure sleeping in a pink mosquito nest. The silence is interrupted by the sound of digging heard from the window. From one of the houses, there is a glimpse of a spaceship parked in the backyard. Something small is darting across the frame.

In an empty room, the soldier is lying on the floor looking out of the window, preoccupied by his thoughts. In a forest, there is a black, ape-like creature walking among the trees. In one corner of the forest we see a model of a shabby house, a spirit house that no one cares for any longer. In front of a tree a cow stands, doing nothing. After a while, it walks away. -Apichatpong Weerasethakul

Mosquitoes, flies and other insects are the enemy of the filmmaker. They ruin our work when they fly past the camera, creating a swift blurry object in the shot, making it ‘not clean’, when the audience are supposed to concentrate on the in-focus object in the frame. I found them in several shots of our Nabua footage, especially those that we shot in the morning and at dusk.

On the other hand, I think they are very beautiful, like ghosts darting across the frame. They create a moment of wonder that makes the audience become conscious of the filmic focal plane, and of filmmaking. I would like to invite them to be part of this short film. These bugs are free to invade some of our ‘clean’ frames. Perhaps these mysterious bugs are flying across most of the villages in Thailand and happen to stop by in this village. Or they simply emerge from the ground where the soldiers are digging.

http://nitroflare.com/view/D4A772DE73A8CC4/A_letter_to_uncle_boonmee.mkv

https://publish2.me/file/22adfba6b6985/A_letter_to_uncle_boonmee.mp4

Language(s):Thai
Subtitles:English (hardcoded)

Quote:
“Becoming someone else: oneself…, to pull out your heart and take off running.” This is the starting point in darkness and light that inspired French filmmaker Anne Fontaine to make Reinventing Marvin [+], premiered at the 74th Venice Film Festival in the Orizzonti section. An existential journey that starts as “a radical experience of exile” because “the poor, sad, gay child is totally out of place, is a stranger in his own home, within his own family.” This individual in internal exile is Marvin Bijoux (played at age 14 by Jules Porier and then by Finnegan Oldfield as a young man) who has an immense amount in common with the adolescent protagonist of Edouard Louis’s shocking autobiographical novel The End of Eddy, the bestseller from 2014 that served as the trigger for the script written by Anne Fontaine and Pierre Trividic, but the duo have deviated from the same by imagining his escape into a world that is larger than the small village he was born in.

Marvin lives in the Vosges Mountains, in a very humble social class where culture is non-existant and human interactions are brusque. You eat chips for dinner before switching on the telly, the father (Grégory Gadebois) is constantly tinkering about while mostly thinking about his next drink, and Marvin, a delicate, sensitive and shy adolescent in a universe of “brutes” who has been nicknamed “the skeleton” by his mother (Catherine Salée), shares a room with his younger brother and his older step-brother. Most importantly, he is subjected to violent homophobic harassment at school, which makes him question his sexual identity even more when he finds out that his family is also asking questions of their own (“why does he embarrass us like this with his faggot ways?”) and that for his father, homosexuality is “something degenerate, like a kind of mental illness.”

Considered a desert rose trapped in an environment where machismo rules, Marvin, nonetheless, chances upon a way out in the form of an improvisation course at school and the well-meaning support of the school principal (Catherine Mouchet). Selected in an audition for the theatre course at Epinal high school, he leaves his family (albeit with difficulty) and goes to boarding school. This is a turning point that will be followed by three other propitious meetings a few years later: with Abel (Vincent Macaigne), professor at the centre for dramatic arts in Nancy who takes him under his protective wing and introduces him to Paris, followed by Roland (Charles Berling) who opens the doors to a wealthy artistic world in which Marvin feels out of place (“the torment of a little faggot who has found a shortcut by jumping from bed to bed”), but also where he meets a certain Isabelle Huppert who (in her own way) helps him to take his story to the stage. It is a performance where Marvin’s family is positively crucified, which has consequences on the life of the young man who has succeeded in creating a new identity by artistically expressing his deep unease, while at the same time being fully aware of where he comes from..

“What is within us is what counts.” This is the search that is brought to the screen by Anne Fontaine using very sophisticated editing, alternating between the different eras of Marvin’s journey. Flash forwards, voice offs and texts written by the young man that explain past events: The filmmaker very skilfully weaves a tale where the actors deliver exceptional performances (special mention for the charismatic Finnegan Oldfield). While the story of this “ugly duckling” and his “guardian angels” might seem a bit too much like a fairy tale to some, the air of melancholy infused by the filmmaker gives Reinventing Marvin a seal of authenticity that makes this feature film masterful and moving.

http://nitroflare.com/view/698FE198B0EE357/Anne_Fontaine_-_%282017%29_Marvin.mkv

https://publish2.me/file/8ca844af71db7/Anne_Fontaine_-_%282017%29_Marvin.mp4

Language(s):French, English
Subtitles:none

Quote:
After the riots of December and the first peaceful marches, while “the Arab Spring” begins in Tunisia and Egypt, Fouzi wants his actors together to show them the incomplete editing of the film he made, two years ago, on the disillusionment of a youth seeking to express his artistic ideas. He seeks an alternative view, especially an ending. He relies on the reactions of his actors to invent a new conclusion to his story, in a country suddenly lifted by a wave of protests. A new vision of today’s Algerian youth, in the middle of a new political and artistic questioning.

http://nitroflare.com/view/F8EF03AD309D7A6/Merzak_Allouache_-_%282011%29_Normal%21.mkv

https://publish2.me/file/06c5393766ff9/Merzak_Allouache_-_%282011%29_Normal%21.mkv

Language(s):Arabic
Subtitles:English, French

Synopsis:
‘In a mysterious secure establishment, a prisoner named David effects a remarkable escape. Convinced that he is being pursued, he flees to the open countryside. Here, he meets a reclusive writer, Thomas, who lives in an isolated country house with his young wife, Julia. The couple offer to take David in for a few days and the fugitive reluctantly agrees to stay. Having formed a bond of trust with Thomas, David reveals that he is on the run from the authorities, and that he has discovered a state secret that puts all of their lives in danger. Although Thomas believes the mysterious stranger, Julia is more suspicious and soon becomes convinced that he is a madman who will kill both of them…’
– Films de France

http://nitroflare.com/view/FE9578004AA1E5D/Le.secret.1974.DVDRip.x264.AC3.mp4
http://nitroflare.com/view/3B2CC9EB853D690/Le_Secret_1974.srt

https://publish2.me/file/b6bf3a44968c1/Le.secret.1974.DVDRip.x264.AC3.mp4
https://publish2.me/file/7dccc915d167e/Le_Secret_1974.srt

Language(s):French
Subtitles:English

Quote:
In an ancient castle in Rajasthan the King overhears the parrot in its cage whispering erotic descriptions to his young daughter Princess Kurangi. Enraged, he pulls out a knife and attacks the cage. Kurangi defends the bird by arguing that its speech is all learnt. Young women descend into the waters of a pool. Kurangi clutches the green parrot with its long tail against her bosom. Her clothes fall on the steps as she enters the waters with the parrot. The bird suddenly spreads its wings and flies off travelling over the mountain top to a far place.
The parrot has been captured by a bird catcher. When Ratnasen passes by its cage, he is startled to hear the parrot speak his love’s name: “Kurangi”
If Ratnasen would free the parrot from his sleepy master, it would be willing to show him the way to the palace and lead him through the secret passages to Kurangi’s chamber. The two reach the palace and the bird flies off to tell Kurangi of her lover’s approach. Ratnasen scales the tower to finally reach her chamber in the clouds and spend a night of’ love. THE CLOUD DOOR has been adapted from three sources: Bhasa’s Sanskrit play ” Aimaraka “(5th-7th century) Malik Mohammed Jayasi’s Sufi epic love poem ” Padmavat ” (13th century) and the erotic Indian tales “Suksaptiti” (writer unknown).

http://nitroflare.com/view/52EE3717A7A713D/Mani_Kaul-The_Cloud_Door_%281994%29.avi

https://publish2.me/file/5b8c0a2df8712/Mani_Kaul-The_Cloud_Door_%281994%29.mp4

Language(s):Hindi
Subtitles:English (non-removable)

A recently divorced woman hides her scandalous past from her new husband and his family.

http://nitroflare.com/view/9A04E9F676DB0E7/07_1927_Easy_virtue.mkv

https://publish2.me/file/804f601d6a4cf/07_1927_Easy_virtue.mp4

Language(s):Silent
Subtitles:None

SYNOPSIS
A Puerto Rican youth is on trial for murder, accused of knifing his father to death. The twelve jurors retire to the jury room, having been admonished that the defendant is innocent until proven guilty beyond a reasonable doubt. Eleven of the jurors vote for conviction, each for reasons of his own. The sole holdout is Juror #8, played by Henry Fonda. As Fonda persuades the weary jurors to re-examine the evidence, we learn the backstory of each man. Juror #3 (Lee J. Cobb), a bullying self-made man, has estranged himself from his own son. Juror #7 (Jack Warden) has an ingrained mistrust of foreigners; so, to a lesser extent, does Juror #6 (Edward Binns). Jurors #10 (Ed Begley) and #11 (George Voskovec), so certain of the infallibility of the Law, assume that if the boy was arrested, he must be guilty. Juror #4 (E.G. Marshall) is an advocate of dispassionate deductive reasoning. Juror #5 (Jack Klugman), like the defendant a product of “the streets,” hopes that his guilty vote will distance himself from his past. Juror #12 (Robert Webber), an advertising man, doesn’t understand anything that he can’t package and market. And Jurors #1 (Martin Balsam), #2 (John Fiedler) and #9 (Joseph Sweeney), anxious not to make waves, “go with the flow.” The excruciatingly hot day drags into an even hotter night; still, Fonda chips away at the guilty verdict, insisting that his fellow jurors bear in mind those words “reasonable doubt.” A pet project of Henry Fonda’s, Twelve Angry Men was his only foray into film production; the actor’s partner in this venture was Reginald Rose, who wrote the 1954 television play on which the film was based. Carried over from the TV version was director Sidney Lumet, here making his feature-film debut. A flop when it first came out (surprisingly, since it cost almost nothing to make), Twelve Angry Men holds up beautifully when seen today. It was remade for television in 1997 by director William Friedkin with Jack Lemmon and George C. Scott.
Hal Erickson on All Movie Guide

Sidney Lumet’s directorial debut is a snapshot of the American judicial system in action. Twelve average New York males convene in a very small jury room on a very hot day in order to reach a verdict in a murder trial. Almost everyone wants to vote guilty and get on with their lives except for Juror No. 8 (Henry Fonda), a conscientious citizen who insists on establishing reasonable doubt. Arguments are made, cigarettes are smoked, murder weapons examined, diagrams drawn, and prejudices revealed. Firm opinions weaken and reverse; voices get raised, the clock ticks, and a ghetto kid’s life hangs in the balance. Lumet’s direction and camerawork steadily builds pressure into the plot. Things start out casual, but wind up so close and tight you can count the pores on the actors’ noses. Fonda is good in a role well-suited to his extra-large sense of human dignity but the stealth giant in this actors dozen is the ferocious Lee J. Cobb. Jack Klugman, E.G. Marshall, Martin Balsam, Ed Begley, and Jack Warden play some of the other jurors, and a better assemblage of grizzled method actors shouting at each other won’t likely come again. 12 ANGRY MEN was originally written for television, it is a true classic of the anti-McCarthy message era, and is not to be missed.
Rotten Tomatoes

REVIEWS
Twelve Angry Men is a tightly wound top of a movie. Each scene ratchets up the tension another notch as Henry Fonda’s character tries desperately to open the minds of his fellow jurors. The setting — a claustrophobic jury room in the dog days of summer — superbly augments the suspense. Operating within the constraints of a small budget, first-time director Sidney Lumet tightens the noose by accentuating the throbbing pulse of the ceiling fan and slowly narrowing his shots on his characters as the film approaches its climax. Based on Reginald Rose’s well-known play, which had been adapted to the television screen three years earlier, Twelve Angry Men boasts a series of excellent performances by young actors who would soon become household names, including Jack Klugman, Jack Warden, and Martin Balsam. However, it is the film’s established stars — Lee J. Cobb, E. G. Marshall and most importantly Fonda — who play the leads, delivering the goods like seasoned pros. The film has instructional value as a study of the inherent strengths and weaknesses of the jury system, but its real value is how it allows each member of the cultural mosaic of a jury to develop into distinct, damaged, and interesting characters. In a well-crafted metaphor for the broader outline of society, the jury members must confront their prejudices in order to see that justice prevails. Nominated for three Oscars, Twelve Angry Men ran into the juggernaut of Bridge on the River Kwai and came up empty handed.
Dan Jardine on All Movie Guide

Henry Fonda, Lee J. Cobb, Ed Begley and Jack Klugman lead the distinctive cast of jurors whose character portrayals are “perfect in every detail” (The Hollywood Reporter). With its star-powered cast and four Oscar nominations including Best Picture, 12 Angry Men is a powerful, suspenseful and “fascinatingly entertaining film” (Los Angeles Examiner).

Eleven jurors are convinced that the defendant is guilty of murder. The twelfth has no doubt of his innocence. How can this one man steer the others toward the same conclusion? It’s a cast of seemingly overwhelming evidence against a teenager accused of killing his father in “one of the best pictures ever made” (The Hollywood Reporter).
Play.com

Extras:
– Audio commentary by film historian Drew Casper
– “Beyond A Reasonable Doubt: Making 12 Angry Men” featurette
– “Inside the Jury Room” featurette

http://nitroflare.com/view/9C8726602B0F171/12_Angry_Men.1957.BDRip.720p.mkv

https://publish2.me/file/527438a4d7201/12_Angry_Men.1957.BDRip.720p.mp4

Language(s):English
Subtitles:English, Spanish (idx/sub)

Quote:
An incestuous love affair. Meme and Jeremias are the younger children in a typical bourgeois family. Their mother Lucia is the dominant force in the household, but her fixation on upholding the niceties of upper-middle-class life has prevented her from seeing what is going on under her roof. When the siblings’ older brother and his fiancee arrive home for their wedding, it seems inevitable that the concealment will be impossible to sustain. But equally, it becomes apparent that if Lucia were to find out about the affair, there would be catastrophic consequences.

http://nitroflare.com/view/C1B45E871239C52/Albertina_Carri_-_%282005%29_Geminis.mkv

https://publish2.me/file/0fbc727d613b1/Albertina_Carri_-_%282005%29_Geminis.mkv

Language(s):Spanish
Subtitles:English, Spanish

No information about this film on the web, but it’s basically Raynal conducting retrospective interviews with the major figures of the Zanzibar group around 2005.

http://nitroflare.com/view/9EC53190CE3B535/Zanzibar__Jackie_Reynal_2005_.mkv

https://publish2.me/file/f331e9f01cb89/Zanzibar_%5BJackie_Reynal_2005%5D.mkv

Language(s):French
Subtitles:English