Quote:
Bristling with potent erotic imagery, this exquisite film from Spanish director Bigas Luna tells the tale of a young girl’s sexual enlightenment. When fifteen-year-old Lulu succumbs to the advances of one of her brother’s friends, Pablo, she soon finds herself in the back of his car, having her first sexual experience. Years later, when Pablo returns to Spain from teaching in the States, the two meet again and get married. Once married, they create their own private universe, spending their time making love, away from the complications of the real world.

However, their world of intense sexual exploration is soon shattered when Pablo pushes Lulu too far. Alone, and unable to forgive Pablo, Lulu’s feverish passion finds its outlet through an ever more dangerous exploration of sexual perversion. Allowing herself to become increasingly out of control, she soon finds herself in a situation from which there is no going back. Powerful and explicit, The Ages of Lulu is one of the most sensual and erotically-charged cinematic experiences ever crafted.

http://www.oboom.com/56IVCIQY/Las%20edades%20de%20Lul%FA.mkv

http://rapidgator.net/file/e574c17458bc055d7189a2d3553631c4/Las_edades_de_Lulú.mkv.html

Language(s):Spanish
Subtitles:English

Quote:
71 Fragments of a Chronology of Chance (German: 71 Fragmente einer Chronologie des Zufalls) is a 1994 Austrian drama film directed by Michael Haneke. It has a fragmented storyline as the title suggests, and chronicles several unrelated stories in parallel. Separate narrative lines intersect in an incident at the last of the film: a mass killing at an Austrian bank. The film is set in Vienna, October to December 1993.

The film is divided into a number of variable-length “fragments” divided by black pauses, and apparently unrelated to each other. The film is characterised by quite a lot of fragments that take form of video newscasts unrelated to the main storylines. News footages of real events are shown through video monitors. Newscasts report on Bosnian War, Somali Civil War, South Lebanon conflict, Kurdish–Turkish conflict, and molestation allegations against Michael Jackson.

https://www.oboom.com/EY8XPH3R/Michael%20Haneke%20-%20%281994%29%2071%20Fragments%20of%20a%20Chronology%20of%20Chance.mkv

http://rapidgator.net/file/1d589fbcc86c1efa3e9fd05cef6453e1/Michael_Haneke_-_(1994)_71_Fragments_of_a_Chronology_of_Chance.mkv.html

Language(s):German, Romanian, English
Subtitles:English

Banned by the Soviet authorities, Vecher nakanune Ivana Kupala (The Eve of Ivan Kupalo) is widely held to be one of the masterpieces of Ukrainian Poetic Cinema. Adapted from a short story of Gogol, which had its roots in Ukrainian folklore, the film depicts an almost Faustian pact, in which Piotr makes an unholy deal with Bassaruv in order that he may win the hand of Pidorka from her father. The director Yuri Ilyenko brings the same rich, vivid imagery that he lent to Parajanov’s Shadows of Forgotten Ancestors where he worked as the cinematographer. The film often makes difficult first viewing for unaccustomed viewers due to its hallucinatory nature, but its lucid tapestry renders it a mandatory experience.

Review:

This 1968 Russian mind bender has sorcery, murder, tortured romance, mass hallucinations and bold, frenzied visuals worthy of Dario Argento or Alejandro Jodorowski–in short, it’s a certified classic of surreal horror that remains frustratingly unknown in the Western world.

The Package:

Director Yuri Ilyenko started his career as a cinematographer on films like Sergie Parajanov’s classic TINI ZABUTYKH PREDKIV (SHADOWS OF FORGOTTEN ANCESTORS; 1964), a job he continues to perform on his own directorial efforts, which include LEBEDYNE OZERO-ZONA (SWAN LAKE THE ZONE; 1990) and MOLITVA ZA GETMANA MAZEPU (A PRAYER FOR HETMAN MAZEPA; 2002). VECHER NAKANUNE IVANA KUPALA (THE EVE OF IVAN KUPALO), Ilyenko’s second outing as a director, was based on the story “The Eve of St. John” by Nikolai Gogol (who in turn based it on a Ukrainian fairy tale), whose work has provided the source material for genre classics like BLACK SUNDAY and VIY, in whose company IVANA KUPALA rightly belongs.

Unsurprisingly, the vibrant, sexy and surreal IVANA KUPALA was banned by Communist authorities, just as Ilyenko’s directorial debut RODNIK DLJA ZHAZHDUSHCHIKH (A SPRING FOR THE THRISTY; 1965) and the aforementioned TINI ZABUTYKH PREDKIV were. The ban has since been overturned, yet the film remains undeservedly obscure. Outside a brief theatrical run in 1989 as part of a program dedicated to screening films considered too “risky” for commercial release, it has never been distributed in the US. I for one think it’s past time we were granted access to this hallucinatory gem ASAP!

The Story:

Piotr is a modest farmhand living in an impoverished village in some unspecified long ago era. He wants to marry the lovely Pidorka, but her stern father won’t hear of it. Luckily for Piotr, the mischievous demon Bassaruv is loose in the land, and offers him a deal: pluck a flower that blooms only on the eve of Ivan Kupalo and he’ll grace the penniless Piotr with several bags of gold. The only thing is, Bassaruv is in fact the Devil himself and, together with an equally diabolic witch, tricks Piotr into killing the youthful brother of his desired bride.

As promised, Piotr is given a mound of gold, which convinces Pidorka’s father to allow the marriage to go forth. But Piotr finds himself afflicted with amnesia…and quite a few bizarre hallucinations (a bleeding loaf of bread, people walking on his ceiling, etc.). His memory finally returns on the following eve of Ivan Kupalo, but his house burns to the ground, incinerating Piotr inside.

The widowed Pidorka finds herself understandably grief-stricken. She becomes a nun and takes to wandering the land with Piotr’s ashes. One day, however, she’s harassed by a horse-riding army led by the demonic Bassaruv, and spills most of the ashes. In desperation, Pidorka takes what little remains of her beloved to a candlelight festival honoring an icon of the Virgin Mary–it cries magical tears apparently capable of raising the dead…

The Direction:

The experience of viewing this film may be a rough one for Western viewers: it lacks the slick professionalism we’ve come to expect from our cinema and is steeped in Ukrainian folklore, which feels so foreign to our own culture it may as well emanate from another planet. The tripped-out handheld camerawork, whiplash changes in tone (from horror to slapstick comedy to action to religious drama) and bewildering variety of cinematic techniques utilized herein (negative exposure, superimpositions, fast motion) can also seem off-putting. The hallucinatory sequences, while appropriately mind-boggling, are likewise puzzling, simply because the film’s sense of “reality” is hopelessly skewed to begin with (in particular a wedding procession set on a tiny island bearing a miniature castle and the interior of the protagonist’s house, with paintings of tree branches covering the walls).

The film is a must-see nonetheless, although it may take a few viewings to fully comprehend Yuri Ilyenko’s defiantly off-kilter approach. Audacity and exuberance are his major assets, and combine here to create a stunningly hallucinatory symphony of sight and sound.
— Fright.com

https://www.oboom.com/8G5DTCRH/The%20Eve%20of%20Ivan%20Kupala%20%281968%29%20–%20Yuri%20Ilyenko.mkv
https://www.oboom.com/SUFUSTI5/The%20Eve%20of%20Ivan%20Kupala%20%281968%29%20–%20Yuri%20Ilyenko.srt

http://rapidgator.net/file/dfe63aed550a947970bafc4b93a5ba2c/The_Eve_of_Ivan_Kupala_(1968)_–_Yuri_Ilyenko.mkv.html
http://rapidgator.net/file/b076a3d55a0e69f64a3ca1198080897f/The_Eve_of_Ivan_Kupala_(1968)_–_Yuri_Ilyenko.srt.html

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

A poor boy wins the opportunity to tour the most eccentric and wonderful candy factory of all.

https://www.oboom.com/NNTSPQF4/Willy%20Wonka%20and%20The%20Chocolate%20Factory.avi

http://rapidgator.net/file/40cc9274640d6739b4f3c7b68c15b6c2/Willy_Wonka_and_The_Chocolate_Factory.avi.html

no pass

Quote:
A group of space researchers leaves earth to find freedom. Their spaceship crashes on the dark side of the moon. Shortly afterwards, all are dead save for the children and one adult. They create their own society, characterized by shamanism and the worship of fire. The last adult survivor is called the Old Man, who is both worshipped and loathed. The Old Man leaves the group of children for the mountains and sends his video diary in a rocket back to Earth. A space researcher named Marek (Andrzej Seweryn) receives the video diary and travels to the moon. When he arrives he is welcomed by the group of children as the messiah, seeing him as the reincarnation of the Old Man.

Quote:
Polish filmmaker Andrzej Zulawski is best known for his anguished monster movie Possession, which featured Sam Neill and Isabelle Adjani as a married couple spiraling toward domestic meltdown. His films are aggressive shrieks of madness, doomed love, trance-state convulsions, and shrieking emotional upheavals. The octopus creature that materializes halfway through Possession, completing the film’s bizarre love triangle, transports a fairly naturalistic, if explosive, kitchen-sink drama into the realm of magical realism; Zulawski swears the film is partially autobiographical, coming as it did so soon after a vicious and harrowing divorce.

In a career that was plagued with financial restrictions and bans from the Polish Ministry of Culture, Possession is a more easily accessible and wholly complete reference point for those with a taste for this sort of film. Zulawski himself believes that his would-be cinematic opus On the Silver Globe remains a “broken thing” since his financiers not only shut down his movie in the middle of principal photography, but also destroyed his remaining costumes and sets. Based on a series of science fiction novels written by his great-uncle Jerzy Zulawski entitled The Moon Trilogy (which in terms of philosophical heft rivals Stanislaw Lem and resembles the epic scope of Frank Herbert’s Dune books), this might have been a sacrilegious masterpiece about a colonized land where men create new gods in order to have something to believe in.

But the movie was never finished, and it wasn’t until the mid-1980s that Zulawski was able to shoot some additional material and piece together the raw footage into this semi-coherent state. For many years, the most readily available copies of On the Silver Globe were pirate versions that existed in obscure video stores, but even those were missing English subtitles. Those who were able to endure nearly two-and-a-half hours of patched-together footage found the story incredibly difficult to follow; it didn’t help that Zulawski threw in unrelated images of sunsets, cityscapes, and roving shots drifting up and down escalators as his voiceover gave summaries of the scenes or sequences he was never able to film. I hasten to add that even with subtitles, On the Silver Globe remains tough going at times with its large cast of characters, bizarre interplanetary rituals, and extended trance sequences where characters degenerate into insanity.

The first half of the story involves three astronaut colonists—two male, one female—who become stranded on the dark side of the moon, but are strangely able to breathe and survive if they stay close to the water (hauntingly filmed near the Baltic coast and the Crimean banks of The Black Sea). Like Adam and Eve, they produce children of incest who create their own primitive society complete with rival tribe factions and arcane ceremonies that celebrate the oldest surviving spaceman (Jerzy Trela) as a god. The mystical locales, with their grim white sands and melancholy gray-blue skies, set an appropriately nightmarish atmosphere, and the wardrobe of pagan headdresses and ornate embroideries are like the gothic fever-dream flipside of the hippie summer of love.

Kicking into an even more feverish gear, a lone astronaut named Marek (Andrzej Seweryn) arrives to gather information on what happened to the original colonies. His ill-fated rescue mission gives way to surrender as the tribes praise him as their champion defender against the monstrous and fascistic winged raven-black creatures that have enslaved them. Imagine The Last Temptation of Christ set within the post-apocalyptic wreckage zone of Stalker. Zulawski’s most notable visuals include desperate pre-war orgies, a crucifixion that lifts the doomed messiah 60 feet into the air, and the camera spiraling up gigantic spikes with victims impaled upon them like savage Medieval offerings. Absurd and extreme but never morbid, this European shock-cinema offering goes so far overboard in its excess that it becomes a bleak comic spit into the face of organized religion, organized society, and even organized narrative. It is completely out of control, almost joyfully so, like a child knocking over sandcastles. As Zulawski says, “The key to unhappiness is to control.”

Zulawski’s movies tackle big ideas, and if Possession is about the aching pain of love, On the Silver Globe takes raging philosophical bites on the subject of ethical freedom. Zulawski believes we are all unhappy, creating the image of God so that we can tear it down again, or kill, or fulfill our hungers and be forgiven. Heavy stuff, to be sure, but he expresses his thoughts through primal, kinetic images, with a restless camera shoving its way forward into scenes like a parasite and characters descending into caustic fits of love and hate. His films don’t seem like ponderous intellectual exercises, but highly emotional gut responses—and endlessly fascinating because we just aren’t used to seeing that much spirited, hyperactive, shrieking human feeling on screen at one time. When it’s all over, it feels like you’ve been through a cleansing sweat of tears. Viewers willing to jump into the Zulawski abyss are encouraged to buckle their seatbelts and bring their crash helmets, because it’s a wild and bumpy trip down.

~Jeremiah Kipp from The Slant Magazine

https://www.oboom.com/O9KMDZF3/On%20The%20Silver%20Globe%20AKA%20Na%20Srebrnym%20Globie%281987%29%20-CG.mkv
https://www.oboom.com/9QPUK2BJ/On%20The%20Silver%20Globe%20AKA%20Na%20Srebrnym%20Globie%281987%29%20-CG.srt

http://rapidgator.net/file/318e7e73b79d1d19c2b8a6c45f7346df/On_The_Silver_Globe_AKA_Na_Srebrnym_Globie(1987)_-CG.mkv.html
http://rapidgator.net/file/fc9658a287a0d5fa38d99bf0be91433e/On_The_Silver_Globe_AKA_Na_Srebrnym_Globie(1987)_-CG.srt.html

Language(s):Polish
Subtitles:English srt

Synopsis (Written by Theo Angelopoulos):
A, an American film director of Greek ancestry, is making a film that tells his story and the story of his parents. It is a tale that unfolds in Italy, Germany, Russia, Kazakhstan, Canada and the USA. The main character is Eleni, who is claimed and claims the absoluteness of love. At the same time the film is a long journey into the vast history and the events of the last fifty years that left their mark on the 20th century. The characters in the film move as though in a dream. The dust of time confuses memories. A searches for them and experiences them in the present.

https://www.oboom.com/66R5GJBL/the%20dust%20of%20time.part1.rar
https://www.oboom.com/7ST7DTBF/the%20dust%20of%20time.part2.rar
https://www.oboom.com/KS7ML888/the%20dust%20of%20time.part3.rar
https://www.oboom.com/JQGOC3DX/the%20dust%20of%20time.part4.rar
https://www.oboom.com/9VNY88O2/the%20dust%20of%20time.part5.rar
https://www.oboom.com/F58GGADU/the%20dust%20of%20time.part6.rar

http://keep2s.cc/file/bb074f6944bb1/the_dust_of_time.part1.rar
http://keep2s.cc/file/076f8859b9af2/the_dust_of_time.part2.rar
http://keep2s.cc/file/c17cb9f6f9fe9/the_dust_of_time.part3.rar
http://keep2s.cc/file/b7b4c4d102be4/the_dust_of_time.part4.rar
http://keep2s.cc/file/f77d0cf8f9a0d/the_dust_of_time.part5.rar
http://keep2s.cc/file/11ef32231360f/the_dust_of_time.part6.rar

http://rapidgator.net/file/930b5fb08e498dca8c5ec20f671d859e/the_dust_of_time.part1.rar.html
http://rapidgator.net/file/432342d450f84860c31422e818ff5a2e/the_dust_of_time.part2.rar.html
http://rapidgator.net/file/34eead5e9af539e256c7742fe45a7d1c/the_dust_of_time.part3.rar.html
http://rapidgator.net/file/fe548b81c75d75f3fc6deb72c297817e/the_dust_of_time.part4.rar.html
http://rapidgator.net/file/fb0e1c4cce56f20ab01224e2a5629ef8/the_dust_of_time.part5.rar.html
http://rapidgator.net/file/84e9fbeb1845197655979854d99b799a/the_dust_of_time.part6.rar.html

Language(s):English, Russian, German, Greek
Subtitles:English for the non-english parts + English for both english & non-english parts

REVIEW

Film festivals are by their nature notoriously cut off, isolated in such a manner they rarely function as the best place to fully appreciate or accurately evaluate the merit of new works. Laurent Cantet’s astonishing “L’emploi du temps” (“Time Out”) suffers from no such equivocation. It is a masterpiece, the best film shown in this strong festival.

Cantet’s debut feature “Human Resources,” distributed in the U.S. through the Shooting Gallery Film Series, was a marvel of political urgency, social verisimilitude and human conflict. Outlined with some of the same Oedipal struggles of that film, “Time Out” is a perfectly made, emotionally piercing and artistically accomplished examination of the desperation and despair of an essentially good and caring man driven to craven, absurd acts of self-delusion. With echoes of Michelangelo Antonioni’s “The Passenger,” the movie presents a terrifying and gripping portrait of a man so alarmed at what he has become that he invents an idealized portrait to cover up his faults and limitations.

Vincent (the fantastic Aurelien Recoing) has the kind of body and face that seethes with contradictions, suggesting an eagerness to please and a strangely sunken passivity that heightens his own anonymity. He is a man without distinction. Vincent has been fired from his job as a consultant, information that he cannily withholds from his wife, Muriel (the equally excellent Karin Viard). He invents an extravagant counterlife as a United Nations operative with a new post in Geneva specializing in African aid and development. Overwhelmed by the demands of raising their three children, Muriel is excited by his apparent success, though clearly made uneasy by the vague details Vincent offers. Vincent finances his deceitful campaign through the unwitting support of his father (Jean-Pierre Mangeot), a man whose own privilege and success has clearly shamed the son.

Moving between Geneva, where he works out of a hotel lobby and an abandoned chateau in the snow covered Swiss mountains, and the family’s middle class French home, Vincent brazenly deceives his friends and former business associates. He devises an elaborate confidence game of securing cash for covert business speculation in Russia, promising outlandish dividends in return.

Cantet worked on the script with “Human Resources” editor Robin Campillo, and the first hour is a chilling portrait of social and cultural entrapment. In the first hour, the movie’s dominant image is glass, either the interior of the car where Vincent is frequently trapped, the architecturally beautiful office building in Geneva where Vincent engineers his scheme, or the dank and shoddy hotel where Vincent undergoes a perverse transformation.

Cantent is neither conventional nor a strict moralist, and the narrative trajectory is less concerned with the slow unraveling of his deceit than his symbiotic attachment to Jean-Michel (Serge Livrozet), a morally ambiguous businessman who exhibits a strange sympathy with Vincent’s plight, and helps with his own resurrection.

Cantet shows a remarkable affinity for the expressive properties of the cinema. Working with his excellent cinematographer, Pierre Milon, Cantet continuously reveals gradations of character and behavior. The camera pivots, hovers and dances around them, recording, observing, with discretion and clarity, the madness and desperation of lives desperately out of balance. Visually, Cantet creates fragments of startling, even sensual, beauty — the shot of Vincent’s car passing through the dark, with snow-lined tree branches as haunting as any image in recent cinema.

The subtext of both of Cantet’s feature films is the essential conflict between father and son. In “Time Out,” there is the powerful suggestion that the motivation of Vincent’s actions are to gain the love and support of his oldest son, a strong individualist in his own right who is the first to ferret out his father’s indiscretions.

For all of the film’s technical brilliance, visual skill and formal invention, what gives it a particular kick is the emotional depth between its characters. The movie ends with a poetic image of flight only to double back on itself and conclude with a devastating and ironic coda that occasions a new way of considering and contemplating what the movie has to say.

“Time Out” has also been programmed at Toronto, San Sebastian and New York. See it now; see it again. It is a special, transcendent work.

https://www.oboom.com/4B4WXUYO/L%27emploi%20du%20temps.avi

http://keep2s.cc/file/5b10a94d8b963/L%27emploi_du_temps.avi

http://rapidgator.net/file/b6538c6ebb8fcb03c09aea1a0925e1d6/L’emploi_du_temps.avi.html

eng srt:
www.opensubtitles.org/fr/download/sub/3492360

no pass

synopsis

Immortal Story was directed by Orson Welles, who also stars as a fabulously wealthy, but bitter and dictatorial, European merchant. Soured on life, Mr. Clay (Welles) decides to play games with the lives of others. He decides to make the “immortal” legend of a sailor seducing a rich man’s wife come true and even picks the sailor (Roger Coggio) himself. Through Mr. Clay’s machinations, the sailor beds a beautiful younger woman (Jeanne Moreau) whom Clay pays to pose as his own wife. There’s little more to the story than that, but Welles weaves his short tale with an economy and expertise which proves he hadn’t lost his touch by 1969. Based on a story by Isaak Dinesen, The Immortal Story was originally made for French television; it was also the only Orson Welles-directed film to be released in color.

English version. Adrian Martin commentary.

https://www.oboom.com/4D0MHVAP/The%20Immortal%20Story%20%281968%29%20English%20Version%20+%20Commentary.mkv

http://keep2s.cc/file/cbd1de0908f2a/The_Immortal_Story_%281968%29_English_Version_%2B_Commentary.mkv

http://rapidgator.net/file/e1f4d654060eed6c672923bf3a5849f2/The_Immortal_Story_(1968)_English_Version___Commentary.mkv.html

Language(s):English + Director’s Commentary
Subtitles:None

Criterion wrote:
In Arnaud Desplechin’s beguiling A Christmas Tale (Un conte de Noël), Catherine Deneuve brings her legendary poise to the role of Junon, matriarch of the troubled Vuillard family, who come together at Christmas after she learns she needs a bone marrow transplant from a blood relative. That simple family reunion setup, however, can’t begin to describe the unpredictable, emotionally volatile experience of this film, an inventive, magical drama that’s equal parts merriment and melancholy. Unrequited childhood loves and blinding grudges, brutal outbursts and sudden slapstick, music, movies, and poetry, A Christmas Tale ties it all together in a marvelously messy package.

https://www.oboom.com/QCZ0WDA0/Arnaud%20Desplechin%20-%20Un%20conte%20de%20Noel%20aka%20A%20Christmas%20Tale%20%282008%29.avi
https://www.oboom.com/FNOBEFMU/Arnaud%20Desplechin%20-%20Un%20conte%20de%20Noel%20aka%20A%20Christmas%20Tale%20%282008%29.srt

http://keep2s.cc/file/8c446063017c7/Arnaud_Desplechin_-_Un_conte_de_Noel_aka_A_Christmas_Tale_%282008%29.avi
http://keep2s.cc/file/224c623e7b07f/Arnaud_Desplechin_-_Un_conte_de_Noel_aka_A_Christmas_Tale_%282008%29.srt

http://rapidgator.net/file/0a40c06216d67fb80323ce321af4014f/Arnaud_Desplechin_-_Un_conte_de_Noel_aka_A_Christmas_Tale_(2008).avi.html
http://rapidgator.net/file/f1fc6323636088f594ccb47d8bf46993/Arnaud_Desplechin_-_Un_conte_de_Noel_aka_A_Christmas_Tale_(2008).srt.html

Language(s):French
Subtitles:English .srt

Quote:
While the official jury opted for a long German joke, the deliberation for the FIPRESCI award in Stockholm transpired in, literally, a matter of seconds; the choice was that clear. As our citation states, “Elle est des nôtres” is an ambitious and extremely promising debut, a moving symbosis between its director, Siegrid Alnoy, and her lead actor, Sasha Andrès. Titled after a populist French song (and thus poorly translated to English as “For She’s a Jolly Good Fellow”), “Elle et des nôtres” resonates with a cultish ring of unwanted belonging; she is one of us, she is one of us. In a way, Siegrid Alnoy’s first feature, which premiered at the Critics Week earlier this year at Cannes – and has proven to be one of that awful festival’s true discoveries – is about possibly the most banal yet damaging cult of them all: human society in the early 21st century. Her main character, Christine Blanc (musician Sasha Andrès, remarkable in her first feature film role) is appropriately named: she is a blank. Perpetually clothed in the same red business suit, Christine toils in limbo as a temp for bosses who don’t know her name, aspiring to full-time employment and social acceptance in her suburban Annecy environment, all indistinct malls, glass office walls and stifling sterility, approaching her daily interactions with the false veneer of politeness.

But something isn’t quite right with Christine: as she stands in the corporate lunchroom, looking for a place to sit, her hands shake uncontrollably as she holds her lunch tray. She seems too eager to approach her superiors, and ends up behaving inappropriately for a part-time worker. When she invites her temp agent, Patricia, over for a pot-luck dinner, she prepares a spread that would make Martha Stewart blush. And her boyfriend, Jean Michel, is either always away or at his business. We sense that something terrible is going to happen, and it does. Patricia gives Christine a present, a tightly fitting green two-piece bathing suit to match the one she wears to a local swimming pool. The awkward manner with which Christine creeps through the shower and around the pool’s exterior is a factor of her perception of standing out from the crowd – even though this isn’t true for the people playing who shove her into the water, unaware of her presence, faceless carousers who push Christine over the edge towards what amounts to a psychic break for both her and the film.

This sense of unease is heightened by the anxious way Andrès carries herself, and Alnoy photographs her: often frontally, expressionlessly posed like the owls she tells Patricia she collects as a way of bonding, as if the camera is her (Lacanian) mirror, and the audience must confront their degree of kinship. Alnoy begins the film with disorienting shots of the suburban landscape, and we’re uncertain as to their origin: we only hear heavy breathing mixed on top of a Lynchian drone. The first few times these scenes appear they seem dreamy, floating, a combination of the banal and the otherworldly; only later does Alnoy reveal these to be shots from Christine’s point of view as she’s taking driving lessons – she’s 35 and still hasn’t passed her driving test. This sense of never fully grasping Christine’s character or her actions, even though we are constantly with her, constantly given her point of view, haunts the rest of the film. The careful, precise, poses of Christine staring at the audience become a kind of staring contest conducted by Alnoy, to see who dares to blink first. And she simply refuses to back down, adding another layer on top of the set-up, so that the film’s second half becomes even more elusive if one seeks a decisive closure or psychological diagnosis.

Christine is a simple, undistinguished molecule on the outside of an impenetrable nucleus, and the tragedy of the film results from our awareness that, try as she might, society is a system that she cannot penetrate. (The film begins with a quote from Dostoyevsky’s “The Dream of a Ridiculous Man.”) More than alienation or solitude, “Elle est des nôtres” takes absence as its subject, on any number of levels. Along with being absent from the working world, Christine is absent from social relations, from her family and, most of all, typical to recent French cinema, her body – Alnoy often shoots Andrès’s body in various states of discomfort or separateness, at times lopping her head out of frame (her body is that which is truly “present” in the world, the shell in which she feels extreme discomfort, the shell from which she can never escape). In the film’s pseudo-Hitchcockian reveal scene, Christine confides to a police officer who takes an extra-curricular interest in her personality that, at one point, a man told her that while her size and her face are adult, her soul is an absolute child. It’s true, she says, it’s hard for her to be with grown-ups, so she decided to be polite and sincere.

Alnoy and Andrès present Christine in a way that prevents us from writing off her ailment as merely that of a borderline personality experiencing a breakdown. Though Christine is placed in an enigmatic narrative where reality and fantasy might merge, or where Christine’s relations to her external world begin to disintegrate, Alnoy and Andrès find beauty in the brutality. Radical yet sympathetic, “Elle est des nôtres” is deeply moving because of the palpable sense of the potential for this beauty to be fulfilled, and experienced, and how some people find it dangles beyond their grasp. The estimable contribution of Christophe Pollock’s cinematography, whose glacial fastidiousness is an integral part of Alnoy’s mise en scène, counterbalancing Christine’s mental disarray, should not be overlooked. But the film’s real triumph is how Alnoy and Andrès create a character who both pushes us back and draws us into her tragedy, elicits our sympathy while disgusting us, makes us want to laugh (at her), and cry (for her). When they leave us with the sight of Christine sitting alone, in a car, as night falls, and an ethereal light glows in the car’s interior – emanating, perhaps, from that wounded soul who by the film’s end has become one of us and one with us – they have already shone as two new stars on French cinema’s horizon.

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Language(s):French
Subtitles:English

Quote:
Having trodden the path towards ever-increasing obscurity in the 1990s, the eternal maverick of French cinema, Jean-Luc Godard made a surprising come-back with Éloge de l’amour, his first major theatrical release outside of France for well over a decade. More sophisticated and mature than Godard’s increasingly abstract and inward-looking works of the 1990s, it is a film which manages to capture the essence of Godard’s cinema (his political concerns, his love of character, his enthusiasm for cinema and literature, to say nothing of his near-pathological contempt for mainstream cinema). At the same time, it is a challenging work, packed with content whilst employing a minimalist approach reminiscent of Robert Bresson (another great director who is often referred to in the film).
The film is divided in two contrasting parts. It begins with an author’s seemingly doomed attempts to realise a ‘project’ (perhaps a film, but we cannot be certain of this). This part of the film is shot beautifully in black-and-white, almost as a sombre elegy to monochrome cinema. This includes some stunning night shots of Paris, immediately evocative of the Nouvelle Vague cinema of the 1960s in which Godard played such a major part. Two thirds of the way into the film, the mood and style change suddenly, as if we have been propelled into a dream. Thanks to the marvels of the latest digital technology, the images suddenly take on an otherworldly form, with overly saturated colour and some occasional visual distortions.

The content of the film is as striking as its extraordinary visual form. In addition to some brilliant examples of Godardesque humour (the best example being two young girls gathering a petition to get film The Matrix dubbed into Breton), social concerns and philosophical observations abound – far too much to be picked up in a single viewing of the film. Godard’s loathing for Hollywood is brilliantly represented in the scene where an elderly couple sell their life story to an American filmmaker (“let’s book Juliette Binoche”), but his wider political concerns are also very much in presence.
The relationship between real life and cinema are explored, rather ingeniously, though the thoughts and experiences of a sensitive filmmaker (very probably Godard’s alter ego). There is some resonance with the cinema of Godard’s contemporary, Alain Resnais, in the recurring allusions to the link between time and memory. Whilst condemning Hollywood filmmakers for exploiting memory just like any other commodity, to be bought and sold, Godard shows us the true value of memory, an essential part of human existence that cannot just be sold to the highest bidder.
One of Godard’s most intelligent and thought-provoking films, Éloge de l’amour manages to avoid the self-indulgent excesses of the director’s previous works, such as King Lear (1987) and Hélas pour moi (1993). Rather than provoking or mystifying its audience, this latest Godard has an almost irresistible charm, offering some poignant reflections on life, love and the dying art of cinema.

James Travers, 2002

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Language(s):French and some English
Subtitles:English

Alain Resnais demonstrates he still has plenty to say in this drama based on a novel by Christian Gailly. Marguerite (Sabine Azéma) is a successful dentist with a busy practice and an offbeat hobby, flying small airplanes. One day, while running errands, Marguerite loses her wallet, and it’s found by Georges (André Dussollier), a seemingly happy man with a wife, Suzanne (Anne Consigny), and two children (Vladimir Consigny and Sara Forestier). As Georges looks through the wallet and examines the photos of Marguerite, he finds he’s fascinated with her and her life, and soon his curiosity about her becomes an obsession. Georges’ attempts to integrate himself into Marguerite’s life begin to alarm her, and she hires a private security team (Mathieu Amalric and Michel Vuillermoz) to keep him away, but Georges is determined that his new love for her will not be denied. (Mark Deming)

This is a film whose pastel hues and intricate color coding (e.g., the multiple associations of blue with the hero, played by André Dussollier, and the various associations of red with at least two of the main women in the story, played by Sabine Azéma and Anne Consigny) may come even closer to comic-book images than those in I Want To Go Home. Wild Grass seems personal above all as an expression of Resnais’ (personal) shyness, although it doesn’t for me qualify as one of his masterpieces. It’s fascinating to ponder how his first two features as well as his last two to date focus on illicit passion, even though the blocking and frustration of that passion in the latter two films seems far more prominent (as it is in Muriel). What gives this odd provocation much of its thematic interest is the cheerful way the secondary characters (Dussollier’s wife, Azéma’s fellow dentist and best friend) become so warmly complicitous in not only tolerating but nurturing the mutual obsession between the two leads. (Jonathan Rosenbaum)

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Language(s):French
Subtitles:English, Spanish, Portuguese (Fansubs)

Quote:
Chronic traumatic encephalopathy (CTE) is a progressive degenerative disease found in individuals who have been subjected to multiple concussions and other forms of head injury. A variant of the condition, dementia pugilistica (DP), is primarily associated with boxing. CTE has been most commonly found in professional athletes participating in American football, ice hockey, professional wrestling and other contact sports, who have experienced head trauma, resulting in characteristic degeneration of brain tissue and the accumulation of tau protein. Individuals with CTE may show symptoms of dementia such as memory loss, aggression, confusion and depression which may appear within months of the trauma or many decades later. (Wikipedia)

Florentina Hubaldo keeps repeating her story, orally, akin to a mantra, a meditation and a prayer; her way of remembering; her means of maintaining hope for survival and redemption; fighting with what’s left of her memory. She lives and exist in a place and a condition where history, her story, is being systematically being obliterated.

Two gold hunters endlessly dig the ground with their shovels and hoes for the proverbial treasure that will emancipate them.

A father sadly waits for the death of her fragile daughter.

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Language(s):Filipino, Tagalog
Subtitles:English

Quote:
A man who thinks he’s found an easy ride through the Army during World War I has his world turned upside down when facial injuries render him unrecognizable in this wartime drama. In the summer of 1914, Adrien Fournier (Eric Caravaca) is an engineer conscripted into the French Army, where he is made a lieutenant and assigned to join a group of soldiers helping to design and build a bridge to move troops near the front lines. While scouting a suitable location for the bridge, Fournier and his fellows are caught in the middle of an attack, and a shell explodes in his face. Fournier survives the attack, but while his limbs and his body suffer only minimal damage, his face is torn to shreds — only landing in the mud prevents him from bleeding to death (the dried muck seals off a number of key blood vessels severed by the blast). It is some time before Fournier can be moved to an Army hospital, and he cannot talk through his ruined mouth, communicating with notes scratched onto a small chalkboard. Fournier finds himself in a special hospital wing for officers who’ve suffered severe injuries (a relatively comfortable area a good bit different from the crowded and spartan wards for common foot soldiers), and as a dedicated surgeon (Andre Dussollier) struggles to rebuild Fournier’s face with the primitive means available to him, the once-handsome engineer ponders an uncertain future. Commiserating with Fournier are Alain (Jean-Michel Portal), his best friend from college; Pierre (Gregori Derangere) and Henri (Denis Podalydes), a pair of fellow officers also suffering facial injuries; and Anais (Sabine Azema), a patient and warm-hearted nurse who brings hope to the hospital’s most severely injured men. La Chambre Des Officiers was screened in competition at the 2001 Cannes Film Festival.

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Language(s):French
Subtitles:English, French sub/idx muxed

Shuji Terayama (December 10, 1935—May 4, 1983) was an avant-garde Japanese dramatist, writer, director, and photographer, noted for such films as Emperor Tomato Ketchup and Fruits of Passion.
In 1967, Terayama started an experimental cinema and gallery called ‘Universal Gravitation,’ which is in fact still in existence at Misawa as a resource center. The Terayama Shuji Memorial Hall, which has a large collection of his plays, novels, poetry, photography and a great number of his personal affects and relics from his theatre productions, can also be found in Misawa.
source: artandpopularculture

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no pass

One of the very first prison escape movies, Grand Illusion is hailed as one of the greatest films ever made. Jean Renoir’s antiwar masterpiece stars Jean Gabin and Pierre Fresnay as French soldiers held in a World War I German prison camp, and Erich von Stroheim as the unforgettable Captain von Rauffenstein.

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no pass

AMG: Gallic actress-turned-director Josiane Balasko – a Euro cinema mainstay best known for her unconventional romantic lead in Bertrand Blier’s 1989 Trop belle pour toi – helms and co-stars in Cliente, a quirky and offbeat look at the bittersweet life of a male prostitute, which Balasko co-adapted from her 2005 novel with screenwriter Franck Lee Joseph. Eric Caravaca stars as Marco, a French hustler in his mid-30s whose path criss-crosses with that of infomercial actress Judith (Nathalie Baye) in a local park. A nascent divorcee, she’s in the mood for a quick fling, and follows suit with Marco, but this infuriates her sister, Irene (Balasko). Both sexual partners intend to enjoy the liaison as a one-time engagement; for better or worse, it soon repeats itself on multiple occasions and evolves into a deep-seated and very sticky relationship with lots of emotional strings. Significantly, this makes matters very complex and messy for Marco, who happens to be married to hairdresser Fanny (Isabelle Carre) and shares a residence with her, her mother (Catherine Hiegel) and her goth-decked sister (Marilou Berry, Balasko’s real-life daughter)). Fanny, it seems, harbors no knowledge of Marco’s real profession; when she discovers the truth, she systematically attempts to use her husband’s profession to her own selfish advantages in lieu of objecting passionately or leaving him.

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

Synopsis
Tinto Brass scored his first major international success with this shocking but stylish tale of decadence in the Third Reich, inspired by a true story. Madame Kitty (Ingrid Thulin) is the proprietor of one of Berlin’s most luxurious brothels, where many members of the Nazi high command are her regular customers. Kitty is approached by Helmut Wallenberg (Helmut Berger), an S.S. official who orders her to shut down her business and act as his partner as he founds a new bordello, which will exclusively cater to the elite of the Nazi Party and the German military. Unknown to Kitty, Wallenberg’s brothel has been staffed entirely by women recruited by the S.S. for their loyalty to the Reich, and each room has been equipped with secret recording devices, which will allow Wallenberg and his staff to not only gather blackmail material against troublesome officers, but to discover who might be expressing disloyal thoughts about Hitler’s regime when their guard is down. Margherita (Teresa Ann Savoy), a pretty young prostitute working for Kitty, is especially devoted to both her job and her country, but when she falls in love with Biondo (John Steiner), a German officer and frequent customer who has grown disillusioned with both the war and National Socialism, she discovers the true purpose of “Salon Kitty,” and sets out to destroy the operation, with Kitty’s help. Both a scandal and a success in Europe, Salon Kitty initially played the exploitation circuit in the United States in an edited version titled Madame Kitty, though the shorter version still earned an X rating.
~ Mark Deming, All Movie Guide

Review
Salon Kitty is repetitive, banal and repellent. Seemingly offering little in the way of insight and with a narrative that could have been told in half the time, the film presents scenes of perversion and perversity in a somewhat double-faced way.
How, for instance, are we supposed to respond to the sequence where where Wallenberg tests his applicants suitability by having them perform with, amongst others, a deformed midget and a legless man? Do we admire the women’s single-minded dedication to the Nazi cause – lie back and think of Hitler, perhaps? Or empathise with the two men here reduced to the status of lab animals? Find the scene a turn-on or a turn-off?
And yet in this specific context it is perhaps best that Salon Kitty be this way, suggesting as it does the deep – if not necessarily conscious – understanding that the film-makers have of their subject matter.
Nazism was, after all, always about contradictions, whether it be its wooing of both right – “National” – and left – “Socialism” – or the way in which the extermination camps simultaneously reflected both a high point of instrumental rationality – the Fordist/Taylorist death factory – and its complete absence – the value-rational obsession with continuing this programme in spite of the advancing Soviet forces in 1944-45.
Whatever the merits or otherwise of Nazi exploitation – who is it exploiting – there is no questioning that Salon Kitty is a quality product. Ken Adam’s production design is particularly impressive, giving the whole a suitably tawdry opulence whereby the budgetary constraints, such as his need to use a faked perspective to provide the illusion of depth to the clinically white corridor of Wallenberg’s laboratory, adding rather than subtracting from the overall effect.
Away from the name cast, fans of Euro exploitation will appreciate the presence of such reliables as John Steiner (Tenebre) and Paola Senatore (Emanuelle in America).
In the end, the only thing Salon Kitty lacks is the single-minded determination of a Pasolini to go as far as possible without actually killing people. This notwithstanding, the film is far enough out there for one to recommend that sensitive souls steer clear.

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Language:Italian/English (dub)
Subtitles:English
no pass

Kaige Chen “100 Flowers Hidden Deep”
Víctor Erice “Lifeline”
Werner Herzog “Ten Thousand Years Older”
Jim Jarmusch “Int. Trailer Night”
Aki Kaurismäki “Dogs Have No Hell”
Spike Lee “We Wuz Robbed”
Wim Wenders “Twelve Miles to Trona”

Ten Minutes Older – The Trumpet (Germany/UK)
CANNES — The concept is both intriguing and simple. With the promise of complete creative freedom, a lineup of the world’s leading directors are given the same assignment: Make a film dealing with the theme of time in their own inimitable fashions, with the ego-curbing catch being that they have only 10 minutes with which to work.

While the results are predictably mixed, most manage to rise to the occasion, with Spike Lee, Spain’s Victor Erice and Chinese director Chen Kaige doing particularly impressive stuff.

Set to air this summer on Showtime (a second completed anthology will feature shorts by Bernardo Bertolucci, Mike Figgis, Michael Radford and Claire Denis, among others), the collection certainly makes for one appetizing auteur sampler platter.

Although Finnish director Aki Kaurismaki (whose feature-length “The Man Without a Past” was an Official Competition entry) gets the program off to an uninspired start with the typically quirky but unsatisfying “Dogs Have No Hell,” things pick up considerably with the evocative “Lifeline,” from acclaimed Spanish filmmaker Victor Erice (The Spirit of the Beehive).

Set during a very specific point in time — namely June 28, 1940, the day the Nazis crossed the French border into Spain — the black-and-white piece is composed of a series of stirring tableaux chronicling everyday domestic activities from baking bread to working at a sewing machine, while foreboding drops of blood form beneath a sleeping newborn baby’s gown.

Werner Herzog finds himself back in “Fitzcarraldo” territory with “Ten Thousand Years Older,” a mini-documentary revisiting a remote Brazilian rain forest tribe that had its first introduction to the modern world 20 years earlier. While intriguing in concept, Herzog’s dull narration and nothing-special approach to the task at hand makes for equally unexceptional viewing.

Jim Jarmusch, returning to the monochromatics of his early “Stranger Than Paradise” days, takes the 10-minute limit literally with the curious “INT. TRAILER. NIGHT,” a private look at a movie actress (Chloe Sevigny), all decked out in vintage flapper garb, who takes five (times two) in her Winnebago in between shots.

“Twelve Miles to Trona,” meanwhile, finds Wim Wenders back in his early road movie mode with a visually revved-up story about a young man (Charles Esten) who has unwittingly overdosed on drug-laced cookies and is trying to get to a hospital before they take their full, heart-racing effect.

Wenders isn’t the only one who seems to have regained his moviemaking mojo thanks to this project. A re-energized Lee seizes the opportunity to deliver “We Wuz Robbed,” an invigorating recap of the events of Nov. 7, 2000, leading up to Al Gore’s famous “You don’t have to be snippy” phone call to George W. Bush in which he retracted his earlier concession call.

Talking to several Gore campaign movers and shakers, Lee blends tightly edited black-and-white and color footage with the resulting stylized zip of one of his old Nike spots combined with an acute political punch.

Rounding out the collection, Chen (Farewell My Concubine) contributes “100 Flowers Hidden Deep,” a gentle, lyrical parable about the rapidly changing face of present-day Beijing and a seemingly crazy old man who forces a group of movers to stop and smell the cherry blossoms.

With Hugh Masekela’s reflective trumpet interpretations of Paul Englishby’s music providing the elegant transitions, this is one anthology that has its art in the right place.
Michael Rechtshaffen, Hollywood Reporter, Jan. 01, 2005.

http://keep2s.cc/file/b54008dd33e41/Ten.Minutes.Older.The.Trumpet.2002.DVDRip.XviD-iMBT-ENG.txt
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https://www.oboom.com/OLND9LB8/Ten.Minutes.Older.The.Trumpet.2002.DVDRip.XviD-iMBT-ENG.txt

Language(s):English / German / Mandarin / Spanish / Finnish
Subtitles:English

Synopsis:

Histoire d’eaux (Bernardo Bertolucci) – A whimsical, cross-cultural melding of east meets west romantic comedy presented in highly fractured (if unremarkable) ellipses that chronicle the couple’s chance encounter, marriage, extramarital temptation, and bizarre separation.

About Time 2 (Mike Figgis) – Multichannel split screening in the vein of Timecode, sometimes converging towards the encounter, other times intersecting temporal planes between childhood and adulthood, life and death. At each transection, the incompleteness of connection, the failure of intimacy, the painful awareness of intranscendable distance.

One Moment (Jirí Menzel) – Poetic, affectionate, lyrical, and elegy for actor Rudolf Hrusinsky composed of a wordless montage of slowed film footage spanning Hrusinsky’s entire career that embodies the human experience: toil, rest, education, romantic love, rejection, desire, aging, frailty. A recurring interstitial black screen with the words “ten minutes” becomes a constant reinforcement of transience, a career and life distilled to the precious few minutes of the film, a reflection of its brevity.

Ten Minutes After (István Szabó) – Jeanne Dielman meets Joseph K. (by way of Michael Haneke) surreal nightmare tale of a meticulous, bored housewife who is aggressively confronted by a drunken husband. Neither the cinematography nor the narrative, however, is particularly memorable or engaging.

Vers Nancy (Claire Denis) – A train conversation between an immigrant French woman and novelist Jean-Luc Nancy centering on the idea of intrusion within every foreigner (a more philosophical precursor to L’Intrus).
A social commentary on the inherent fallacy – particularly in nations with a strong national identity like the U.S. and France – of the social notion that assimilation and integration embrace cultural differences; rather, it erases them. The idea of intrusion is also present in the creation of the Schengen Zone which allows for free movement of people from European countries within the agreement signatory countries (note the opening sequence in L’Intrus), creating a buffer between Old Europe and the “other” Europe (an exclusion similarly explored by Aleksandr Sokurov in Russian Ark) that flouts the idea of globalism and a unified Europe, essentially establishing a segregated European “homogenous zone” where populations from outside the zone become “intruders” within it. Themes of transplantation, assimilation, rejection, and identity expound into broader cultural and social themes beyond Nancy’s medical heart transplant.

The Enlightenment (Volker Schlöndorff) – Based on Augustinus (A.D. 354-430), the film is part philosophical meditation on the malleability and ephemerality of time, wryly (perhaps even cynically) set against a trailer park family barbecue. The point of view from the unidentified, seemingly all-seeing narrator is never still: always moving, floating, weaving, impermanent as time.

Addicted to the Stars (Michael Radford) – Hyperstylized time travel and homecoming, a transfigured, Einsteinian space-time odyssey, an Odysseus returning – not to his beloved Penelope – but to an aging Telemachus, the loneliness of returning after a long separation, the consciousness of time passed.

In the Darkness of Time (Jean-Luc Godard) – Brooding, ponderous elegy on the death of cinema. Juxtaposed images of disposability and history (shots of garbage collection cuts to images of Holocaust victims being loaded into a truck) underscore the confluence, obsolescence, and marginalization of film as a tool for social document. A micro-version of Histoire(s) du cinéma punctuated by a Kenneth Anger-esque, clandestine, sinister ritual, filtered through the aging filmmaker’s cynical, contemptuous, and impotent gaze.
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Extra included:
Documentary – Ten Minutes Older – Making Of (48 minutes)(Chinese idx, sub) (Most of it is in English)

http://keep2s.cc/file/4322bc9076287/Ten_Minutes_Older_-_The_Cello.idx
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http://keep2s.cc/file/cb91947705878/The_Cello_Extra.rar

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http://rapidgator.net/file/383f2651f027044896526128f12eac24/The_Cello_Extra.rar.html

https://www.oboom.com/IC73G1R4/Ten%20Minutes%20Older%20-%20The%20Cello.mkv
https://www.oboom.com/G2FFFB2G/Ten%20Minutes%20Older%20-%20The%20Cello.idx
https://www.oboom.com/QT4KEMIM/Ten%20Minutes%20Older%20-%20The%20Cello.sub
https://www.oboom.com/SOHX714X/The%20Cello%20Extra.rar

Language(s):English, Hungarian, French, German
Subtitles:English (idx, sub)