Quote:
Umay is a young woman of Turkish descent, fighting for an independent and self-determined life in Germany against the resistance of her family. Her struggle initiates a dynamic, which results in a life-threatening situation.

Quote:
What would you sacrifice for your family’s love? Your values? Your freedom? Your independence? German-born Umay flees her oppressive marriage in Istanbul, taking her young son Cem with her. She is hoping to find a better life with her family in Berlin, but her unexpected arrival creates intense conflict. Her family is trapped in their conventions, torn between their love for her and the values of their community. Ultimately they decide to return Cem to his father in Turkey. To keep her son, Umay is forced to move again. She finds the inner strength to build a new life for her and Cem, but her need for her family’s love drives her to a series of ill-fated attempts at reconciliation. What Umay doesn’t realize is just how the wounds have gone and how dangerous her struggle for self-determination has become…

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eng srt:
www.opensubtitles.org/de/download/file/1952431260

Language(s):German, Turkish
Subtitles:English

Renowned actress-turned-director Liv Ullmann helms this bleak, nuanced film about marriage and betrayal penned by legendary filmmaker Ingmar Bergman. The story is straightforward — Marianne Vogler (Lena Endre) is a beautiful actress who is married to Markus (Thomas Hanzon), whose job as an orchestra conductor requires numerous concerts abroad, and who dotes on their young daughter Isabelle (Michelle Gylemo). Yet when Marianne has an affair with family friend David (Kirster Henriksson), a film director with a volcanic temper and little regard to those around him, the fallout destroys the marriage and brings grief and suffering to all involved, particularly Isabelle. Ullman and Bergman frame this plot with a tale about an elderly director named Bergman (Erland Josephson, who played opposite Ullman in Bergman’s landmark Scenes from a Marriage) who is trying to write a script about infidelity. In his austerely decorated house on a remote island, Bergman invites an actress, who may or may not be a figment of his imagination, to breathe life into the character of Marianne. The actress tells Bergman of Marianne’s story through flashbacks. One evening, on the closing night of the play that Marianne was in — and while Markus is abroad — David arrives for dinner with her and ultimately sleeps, platonically, in her bed. This unplanned intimacy soon leads to a full blown affair, including a three week romantic getaway to Paris. When Markus finally discovers the couple in flagrante delicto, he demands an immediate divorce and custody of their daughter. This film was screened in competition at the 2000 Cannes Film Festival. -Allmovie

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Language(s):Swedish
Subtitles:English srt

Dušan Makavejev’s anarchic 1974 comedy goes even further than his previous W.R., depicting more trangressions than the average viewer’s imagination could conjure up.

From Time Out London:
Potentially one of the most scandalous films ever made—except that it has been little seen outside France and has not aged well. Seemingly completely episodic, the ‘plot’ follows the adventures of a beauty queen (Laure), a certified virgin who escapes a disastrous honeymoon with the richest man in the world to join a group of carefree sensualists. The latter are the once-notorious Otto Muehl troupe, who delight in pissing and shitting as a public spectacle. This is cross-cut with the journey of the good ship SS Survival (which sports Karl Marx for a masthead) on the Seine. Laure herself sought legal suppression of certain shots which, in their blanked out form, ironically suggest even more sexual activity on her part. Sadly, this highly idiosyncratic melange of sex and politics, for all its liberating pretensions, only served to put Makavejev’s career back a good few steps. –David Thompson

From the Chicago Reader:
Dusan Makavejev (Montenegro) set out to shock the bourgeoisie with this scatalogical extravaganza featuring everything from food fights to shit baths—and did such a thorough job of it that he didn’t work again for six years. Though much of the content is scandalous, the title is ultimately an accurate one—the sensibility behind the images is innocent, enthusiastic, and childlike (1974). –Dave Kehr

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http://rapidgator.net/file/6ab9c67c13ca52be3251ad827d4b4e15/Sweet_Movie.1974.720p.WEB-DL.AAC2.0.H.264.mkv.html

Language(s):English, French, Polish, Spanish, Italian
Subtitles:English (hardcoded)

Storyline

An episodic look at Grace Elliott (1760-1823) and Philippe, the Duke of Orleans, during the French Revolution. In 1790, they are friends, no longer lovers. He suggests she leave France, she warns him to quit the Revolution. In 1792, she must escape Paris on foot. Less than a month later, she returns on an errand of mercy and shows great courage saving the governor of Tuileries. The Duke in turn steps in to protect Grace. In early 1793, she demands a promise from the Duke that he vote to spare Louis’s life; he does not, and Grace is furious. In April, he warns her of a search; she is arrested and brought before the committee. Orleans, too, is suspect. The guillotine awaits. (From IMDb)

Quote:
In the Paris of the mob, during the French Revolution, a patrician British lady supports the monarchy and defies the citizens’ committees that rule the streets. She does this not in the kind of lame-brained action story we might fear, but with her intelligence and personality–outwitting the louts who come to search her bedroom, even as a wanted man cowers between her mattresses.

Eric Rohmer’s “The Lady and the Duke” is an elegant story about an elegant woman, told in an elegant visual style. It moves too slowly for those with impaired attention spans, but is fascinating in its style and mannerisms. Like all of the films in the long career of Rohmer, it centers on men and women talking about differences of moral opinion.

At 81, Rohmer has lost none of his zest and enthusiasm. The director, who runs up five flights of stairs to his office every morning, has devised a daring visual style in which the actors and foreground action are seen against artificial tableaux of Paris circa 1792. These are not “painted backdrops,” but meticulously constructed perspective drawings, which are digitally combined with the action in a way that is both artificial and intriguing.

His story is about a real woman, Grace Elliott (Lucy Russell), who told her story in a forgotten autobiography Rohmer found 10 years ago. She was a woman uninhibited in her behavior and conservative in her politics, at onetime the lover of the Prince of Wales (later King George IV), then of Phillipe, the Duke of Orleans (father of the future king Louis Phillipe). Leaving England for France and living in a Paris townhouse paid for by the Duke (who remains her close friend even after their ardor has cooled), she refuses to leave France as the storm clouds of revolution gather, and survives those dangerous days even while making little secret of her monarchist loyalties.

She is stubbornly a woman of principle. She dislikes the man she hides between her mattresses, but faces down an unruly citizens’ search committee after every single member crowds into her bedroom to gawk at a fine lady in her nightgown. After she gets away with it, her exhilaration is clear: She likes living on the edge, and later falsely obtains a pass allowing her to take another endangered aristocrat out of the city to her country house.

Her conversations with the Duke of Orleans (attentive, courtly Jean-Claude Dreyfus) suggest why he and other men found her fascinating. She defends his cousin the king even while the Duke is mealy-mouthed in explaining why it might benefit the nation for a few aristocrats to die; by siding with the mob, he hopes to save himself, and she is devastated when he breaks his promise to her and votes in favor of the king’s execution.

Now consider the scene where Grace Elliott and a maid stand on a hillside outside Paris and use a spyglass to observe the execution of the king and his family, while distant cheering floats toward them on the wind. Everything they survey is a painted perspective drawing–the roads, streams, hills, trees and the distant city. It doesn’t look real, but it has a kind of heightened presence, and Rohmer’s method allows the shot to exist at all. Other kinds of special effects could not compress so much information into seeable form.

Rohmer’s movies are always about moral choices. His characters debate them, try to bargain with them, look for loopholes. But there is always clearly a correct way. Rohmer, one of the fathers of the New Wave, is Catholic in religion and conservative in politics, and here his heroine believes strongly in the divine right of kings and the need to risk your life, if necessary, for what you believe in.

Lucy Russell, a British actress speaking proper French we imagine her character learned as a child, plays Grace Elliott as a woman of great confidence and verve. As a woman she must sit at home and wait for news; events are decided by men and reported to women. We sense her imagination placing her in the middle of the action, and we are struck by how much more clearly she sees the real issues than does the muddled Duke.

“The Lady and the Duke” is the kind of movie one imagines could have been made in 1792. It centers its action in personal, everyday experience–an observant woman watches from the center of the maelstrom–and has time and attention for the conversational styles of an age when evenings were not spent stultified in front of the television. Watching it, we wonder if people did not live more keenly then. Certainly Grace Elliott was seldom bored.

Roger Ebert

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Language(s):French
Subtitles:English, Portuguese

A brutal murder in Le Havre: 38 people must have noticed, but say they heard or saw nothing. A claustrophobic, moving, beautifully shot film with a strong cast including Yvan Attal, Sophie Quinton and Nicole Garcia. A clear picture of what fear and shame do to people.

Outside an apartment complex in the French port city of Le Havre, a female student is gruesomely murdered in the middle of the night. The complex’s 38 inhabitants say they heard or saw nothing. Until one of them, the introverted pilot Pierre (Yvan Attal), decides to break the silence. He admits to the police that he was awakened by a desperate, primeval cry. A cry that cannot have escaped his neighbours’ attention.

But why did they, just like Pierre, not come to the victim’s aid? Why do they collectively deny having witnessed the murder? Due to cowardice, shame or fear? These questions haunt the traumatised Pierre, and director Belvaux (The Trilogy) states them openly. His book adaptation (the opening film at IFFR 2012) is an unbiased investigation. Why do people tend to want to hush up certain events? 38 Witnesses is a thorough, psychological study and a claustrophobic murder mystery in one. The understated cinematography and subdued soundtrack subtly increase the tension.

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Language(s):French
Subtitles:French forced

Veteran French New Wave director Eric Rohmer’s Perceval is a unique film faithfully based on the 12th-century Arthurian poem by Chrétien de Troyes. It combines medieval music, bright colors, mime, stylized acting and theatrical sets that reflect a wonderful feel for the period. This elegant adventure film is shot entirely in the studio. Rohmer highlights Perceval (Fabrice Luchini) as a young innocent who uses this to his advantage to gain the confidence of his enemies. The naïve Perceval’s odyssey is depicted as a moral investigation, but is shot with a deft touch exhibiting great humor, wit and style… It’s more involving than either Bresson’s Lancelot du Lac or Syberberg’s Parifal.

(Dennis Schwartz at h**p://www.sover.net/~ozus/perceval.htm)

There is much that could be called fake in Perceval le Galloise. There is the chorus that sings a commentary as well as taking on various subsidiary roles, the forest of abstract metal trees, the castles made of painted wood. There are also characters that not only say their lines but describe their interior thoughts and exterior actions—an interesting extension of the habit Rohmer’s characters have of talking so much about themselves. It is no doubt this strangeness, along with an unusually long running time, that account for the film’s lack of commercial success. Perceval le Galloise is not an easy film to watch. But, as Rohmer argued in the early days of Cahiers du cinéma, cinema is an art, and thus shares art’s obligation not just to entertain but to challenge. Perceval le Galloise certainly challenges. Unlike in Die Marquise von O, we are never allowed in to the human drama. There is no intimacy. Even the intimacies that are hinted, the mother’s love for her child, the love of men for women, are ritualized almost in order to exclude emotion. For all its power, and indeed, its importance, Perceval le Galloise is not seductive, as is much of Rohmer’s work. Its strangeness creates a distance that fascinates more than moves.

(h**p://www.sensesofcinema.com/contents/directors/03/rohmer.html)

L’Avant Scène du 1er février 1979 (Perceval le Gallois) contient un article d’Eric Rohmer (Note sur la traduction et sur la mise en scène de Perceval) où on peut lire :

«Ce film ne prétend pas s’inscrire dans la lignée des œuvres qui, à la manière de Parsifal de Richard Wagner…, reprennent, amplifient, interprètent la légende du Graal. Ce n’est pas tant le thème qui nous importe ici, que le texte, l’un des plus beaux de la littérature française et auquel le cinéma peut redonner une audience qu’il n’a plus ».

D’avoir utilisé directement le texte de Chrétien de Troyes, dans le français du 12ème siècle, n’aurait pas produit un film accessible au grand public. En même temps, Rohmer n’était pas content avec les traductions existantes et a entrepris une traduction qui «obéit à une double exigence de littéralité et de compréhensibilité ». Il explique :

«Contrairement à l’idée reçue, la poésie est plus facile à comprendre que la prose. Ces octosyllabes sont plus proches du langage parlé actuel, même celui d’un enfant de six ans, que la prose très écrit par laquelle le lecteur français d’aujourd’hui est invité prendre connaissance du texte de Chrétien de Troyes. La littérature populaire a été rimée et l’est encore. C’est en vers, généralement de huit pieds, que sont composées nos chansons et nos comédies musicales. A mesure que nous avançons dans notre travail, nous découvrions que plus nous serrions le texte de près, plus il gagnait en compréhensibilité immédiate. »

Il vaut bien citer Rohmer aussi sur sa mise en scène :

«Les acteurs de ce film sont des récitants qui, pris par leur texte, finissent par jouer ce qu’ils s’étaient simplement proposés de dire. C’est bien ainsi que nous entendons les présenter d’emblée, par une mise en scène qui tourne délibérément le dos au réalisme cinématographique, [créant une] mise en scène théâtrale, si l’on veut, inspirée par la scénographie médiévale, mais aussi par les leçons du moderne théâtre en rond. Le studio de tournage sera occupé par un espace central assez vaste, sorte de lice où se rouleront les tournois et toutes les évolutions des chevaux. Autour de ce champ clos seront construit, comme autant de maisons, les décors intérieurs et extérieurs de différentes scènes. »

Donc on voit un film qui est à la fois médiéval et moderne, ce qui commence :

Chœur (chanté) :

Ce fut au temps qu’arbres fleurissent,
Herbes et bois et prés verdissent,
Et les oiseaux en leur latin
Chante doucement au matin
Et tout être de joie enflamment
Que le fils de la veuve dame,
Dans le grand manoir solitaire
Se leva et ne tarda guère
Que sur la selle ne se mit
De son cheval, et qu’il ne prît
Trois javelots, et tout ainsi
Pour la vaste forêt partit
Hu et hu et hu et hi !
Pour la vaste forêt partit.

Perceval (parlé tout en chevauchant) :

Ainsi en la forêt il entre,
Et maintenant le cœur du ventre
Pour le doux temps lui réjouit,
Et pour le chante qu’il ouït
Des oiseaux qui joi-e faisaient.

Chœur (chanté) :

Des oiseaux qui joi-e faisaient.
Toutes ces choses lui plaisaient.

Femme (chanté) :

Pour la douceur du temps serein
Il ôta au cheval son frein
Et le laissa aller paissant
Par l’herbe fraîche verdoyant.

Perceval (parlé) :

Et lui bien lancer savait
Les javelots que il avait,
Allait, autour de lui lançant…
…L’un en arrière… l’autre avant
Et l’un en haut… et l’autre en bas.

Musicien (parlé) :

Mais il entend entre les bois
Venir cinq chevaliers armés
De toutes armes adoubées.

Musicien (chanté off) :

Et moult grand fracas démenaient
Les armes de ceux qui venaient,
Car souvent se heurtaient aux armes
Les branches des chên’ et des charmes.

Les lances les écus heurtaient
Et tous les hauberts gémissaient.
Sonnent les bois, sonnent les fers
Et les écus et les hauberts.

Perceval (parlé) :

Par ma foi ma mère a raison,
Qui me dit que les diables son
Les plus affreuses créatures
Qui se trouve dans la nature,
Et dit aussi pour m’enseigner
Que pour eux on doit signer

Non, ce conseil dédaignerai
Et pour sûr ne me signerai
Mais je frapperai le plus fort
D’un des javelots que je port(e)
Ainsi n’approchera de moi
Aucun des autres, je le crois.

Perceval (parlé off) :

Mais quand il les vit découverts,
Devant le bois, ciel ouvert
Et vit les hauberts frémissants
Et les heaumes clairs et luisants
Et vit le blanc et le vermeil
Reluire contre le soleil…

Perceval (parlé) :

Ah ! Sire Dieu, pardonnez-moi !
Ce sont des anges que je vois.
Et je crois bien que j’ai péché,
Et que je me suis moult trompé,
En pensant que c’étaient des diables.
Ma mère ne me dit pas fable,
Qui dit que les anges étaient
Les plus belles choses qui soient,
Sauf Dieu qui est plus beau que tous.

(h**p://www.udel.edu/fllt/grads/nicholsj/pagebt.html)

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Spanish subs:

http://subscene.com/78061/subtitle.aspx

Language:French
Subtitles:English (.srt)

Quote:
“The film is a melodrama in the high Sirk style (Leander is a cabaret singer in 1840s London who takes the rap when her lover passes a bad check and gets deported to the penal compound that was then Australia), but with a great deal of music, performed by Leander in the wrenchingly emotional style that has made her as much of an icon to German gays as Garland is to the US community.”

NY Times review:
Zu Neuen Ufern (1937)
THE SCREEN; At the 86th Street Casino
By FRANK S. NUGENT
Published: January 29, 1938

The Central offered another twin bill yesterday, Columbia’s “Outlaws of the Prairie” and Universal’s “Behind the Mike.” In the former Charles Starrett and his singing Texas Rangers break up the robber band led by an ostensibly respectable mine boss. In the latter William Gargan takes over a rickety small-town radio station and uses it to expose the sinister link between the Mayor and the owner of the rival broadcasting studio. Two pictures, two hours, too bad.
At the 86th Street Casino
Suse Graf, one of the younger generation of German film actors whose “it” qualities were noted by Yorkville audiences when her charming shadow was shown there a couple of times in 1936 and 1937, is the principal excuse for “Wenn Du eine Schwiegermutter hast” (When You Have a Mother-in-Law), now at the Eighty-sixth Street Casino Theatre. As the young wife of middle-aged Ralph Arthur Roberts and the daughter of the elderly but always vivacious Ida Wuest, Miss Graf has no trouble in making the spectators believe that she is eagerly sought after by men of all ages at the beach resort where most of the action of this routine comedy of matrimonial errors takes place.
This Amalfi-Tonfilm production was directed by Joe Stoeckel, the popular comedian. He keeps a highly capable cast moving pretty fast through lots of funny complications, but even at that the picture seems rather long. Much of the entertainment springs from the plight of Herr Roberts when he is forced to pose as his wife’s father in order to further his mother-in-law’s clever schemes. Other prominent players are Mady Rahl, Ernst Dumcke, Erwin Biegel and Kurt Vespermann.
At the 86th St. Garden Theatre
According to European newspapers, Zarah Leander, the stately Swedish actress who takes the leading part in “Zu neuen Ufern” (To New Shores), the new picture, with English titles, at the Eighty-sixth Street Garden Theatre, is very popular on the stage in her native land and also in Vienna. It was her triumph in the Austrian capital last Winter that caused the Ufa to hire her in the hope of finding a “second Garbo.”
I would be unfair to judge Miss Leander from a single film, and that only her second. Nevertheless despite her undoubted charm, in a rather subdued and tragic manner, and her sweet, extremely low voice, she will have to go a long way before reaching the movie status of her well-known countrywoman. It is to be hoped that Miss Leander will get a chance to show her abilities in something lighter than this well-known screen account of an imaginary, but quite possible, happening in the settlement of Australia a century ago.
Willi Birgel is excellent as the dashing but irresolute officer for whose sake Zarah accepts responsibility for forging a check and is transported for seven years. Viktor Staal is the likely young farmer whose love is destined to make the innocent convict forget her mistake. There are many highly interesting scenes and Detlief Sierck’s direction is smooth.

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Language(s):German
Subtitles:English, French, German (muxed), English, French (srt)

Quote:
Boy and Bicycle is the first film made by Ridley Scott. The black and white short was made on 16mm film while Scott was a photography student at the Royal College of Art in London in 1962.

Although a very early work – Scott would not direct his first feature for another 15 years – the film is significant in that it features a number of visual elements that would be become motiffs of Scotts work. The film features the cooling towers of the Imperial Chemical Industries works at Billingham, foreshadowing images in Alien, Blade Runner and Black Rain. The central element of the Boy and the Bicycle is re-used in Scott’s advert for Hovis of the early 1970s. The film features Scott’s younger brother Tony Scott as the boy.

Scott secured finance from the British Film Institute to complete the editing and sound in 1965 including a track by John Barry called “Onward Christian Spacemen” which originally appeared as the “b” side of the theme to the television series “The Human Jungle” .
Scott wanted to use the existing recording by Barry, but the composer was so impressed by the young film maker he agreed to produce a new recording for the film at limited cost.

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no pass

From Toronto International Film Festival website :

Truck driving is all sixty-year-old widower Germain (Julien Poulin) has ever known. When he is involved in a head-on collision that leaves a woman dead, his quiet life is suddenly thrown into a tailspin. Though he was not at fault, the remorse he experiences is debilitating, leaving him severely depressed and unwilling to get behind the wheel again.

Deeply concerned for his father, Germain’s son Samuel (Patrice Dubois) puts his job in Montreal on hold, travels to New Brunswick to collect his estranged older brother Alain (Stéphane Breton), and together they drive to their rural Quebec hometown to care for their stricken father. The brothers, however, have their own issues: reliable Samuel is still lovelorn decades after a teenage breakup, while Alain, an inveterate raconteur and incurable womanizer, drifts aimlessly from town to town, incapable of settling down.

As the men struggle to reconnect, it becomes apparent that all three are stuck in the past for different reasons, unable to move forward. Slowly, the brothers revive Germain’s will to live, and in the process discover fresh directions for their own lives.

Recently won the Jury Prize and Best Director trophy the Karlovy Vary film festival.

http://keep2s.cc/file/7e6559f299c54/Camion.2012.DVDRip.mkv
http://keep2s.cc/file/07d655339cb60/Camion.Eng.srt

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

Vincent Canby @ The New York Times, August 27, 1982 wrote:

Like the major characters in most of Eric Rohmer’s comedies, Sabine (Béatrice Romand), the heroine of Mr. Rohmer’s new Le Beau Mariage, seems almost ordinary at first. She is pretty in a fresh but unspectacular way, articulate, and seemingly well adjusted to a kind of enlightened middle-class existence.

Part of the week Sabine works in an antique shop in Le Mans, where she lives with her younger sister and widowed mother, and the rest of the week she is in Paris, where she is studying—half-heartedly—for a degree in art history and carrying on a casual affair with a married painter named Simon.

One night as she and Simon are making love in his apartment, the telephone rings. The call is from his children, who are reporting, probably at their mother’s suggestion, on some recent accomplishment, which the father attends to with patient pleasure. Sabine gets out of bed, dresses quickly and, when she finally has Simon’s attention, announces that she is leaving, not for the night but for good.

By way of explanation she tells him she is getting married. To whom? Sabine says she doesn’t know. She hasn’t yet met the man, but she has no doubt that she soon will. Sabine is fed up with a life of freedom and understanding.

This is more or less the jumping-off place for Le Beau Mariage (translated into English as The Well-Made Marriage), one of Mr. Rohmer’s most charming and, in some ways, most compact comedies. The film reduces the relations between the sexes in twentieth-century Western civilization to the dimensions of Sabine’s single-minded pursuit of Mr. Right in Le Mans and Paris and back again. Sabine might at first appear to be ordinary, but it soon becomes apparent that her ordinariness disguises a woman of quite extraordinary emotional tenacity and moral conviction.

Sabine is alternately sweet and ferocious as she puts into effect her plan to convince Edmond (André Dussollier), a handsome, thirtyish Parisian lawyer, that the two of them are made for each other, or at least as made for each other as any two people ever are—Sabine is a pragmatist. Edmond is at first amused and then alarmed.

One of the consistent rewards of Mr. Rohmer’s films (My Night at Maud’s, Claire’s Knee, Perceval, among others) is that his characters never behave in ways made predictable by the second-rate fiction of others. Under any other circumstances Sabine would probably be intolerable in the way she dogs the trail of poor Edmond and refuses to take his lack of telephone calls as a sign of indifference, which, of course, it is.

Sabine is neither stupid nor arrogant. She is, rather, totally convinced of the utter reasonableness of what she’s about. It’s this reason, sometimes misapplied, that forever separates her—and other Rohmer characters—from the people who turn up in far more conventional romantic comedies.

Mr. Rohmer is one of the few filmmakers who can create convincingly intelligent characters, people whose thought processes are in some fashion demonstrated and not solely defined by the music they listen to or the books they say they have read. Unlike My Night at Maud’s and Claire’s Knee, there is little such name-dropping going on here. Sabine is certainly not an intellectual, but she is a remarkably self-aware, engaging woman with a no-nonsense approach to her life.

There is a revealing, very funny sequence in which Sabine runs into Claude, the first man she ever loved, a fellow who is now a teacher and happily married to another teacher, and goes back to his apartment with him. For a few moments it seems as if they might make love, for old times, but they immediately become embroiled in an argument about Sabine’s militantly proclaimed desire to get married and become a housewife.

The news astonishes Claude. What about her career? Does she want to become a hearth slave, ever dependent on her husband? What will happen to her need for self-expression? Sabine has answers for each of his questions and, moreover, makes them sound convincing.

The scope of Le Beau Mariage is limited, but everything within it is well-defined and magically, unexpectedly, illuminating. One has the feeling—rare in commercial films—of having met romantic characters who in no way deny the social and political complexities of the real world that exists just outside the view of the camera.

Miss Romand, who made her screen debut as the precocious teenager in Claire’s Knee, has grown into immensely appealing womanhood and is a comedienne of the first order. Prominent in the excellent supporting cast is Arielle Dombasle as Clarisse, Sabine’s best friend, a wise beauty who watches Sabine with a mixture of concern and amusement; Mr. Dussollier as the besieged Edmond; and Thamila Mezbah as Sabine’s mother, who is shocked when she hears her daughter talking about chastity in terms that she, the mother, considers a hundred years out of date.

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Language:French
Subtitles:English

Quote:
One of those unsentimental films to which people become sentimentally attached.

Plot: The widowed Magali may be charismatic and intelligent but her friends fear that by isolating herself she will never find a new love. Therefore, two of them secretly attempt to set her up with an eligible bachelor, but as no one is aware of the various machinations they appear doomed to end in ignominious calamity.

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Language:French, Russian
Subtitles: English, Russian (srt)

A Winter’s Tale is the second installment in French director Eric Rohmer’s Tale of Four Seasons series. Rohmer’s intention with these films is to “focus on attractive, intelligent, self-absorbed if not entirely self-aware young women who present their dilemmas with clarity and elegance and express their feelings in inspired and witty dialogue.”

Plot: Felicie and Charles have a serious if whirlwind holiday romance. Due to a mix-up on addresses they lose contact, and five years later at Christmas-time Felicie is living with her mother in a cold Paris with a daughter as a reminder of that long-ago summer. For male companionship she oscillates between hairdresser Maxence and the intellectual Loic, but seems unable to commit to either as the memory of Charles and what might have been hangs over everything.

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Language:French, Russian
Subtitles:English, Russian (srt)

Review by Jonathan Rosenbaum
A 1989 film by Mohsen Makhmalbaf about the upsetting discoveries made by a shell-shocked veteran of the Iran-Iraq war after he returns to his job as a photojournalist in Tehran and to his fiancee, the daughter of a wealthy merchant. As in The Peddler, Makhmalbaf shows considerable talent and passion for dealing with the contradictions of contemporary Iranian life, and the restless and eclectic style of his direction makes this one of his most penetrating and disturbing works. In Farsi with subtitles. 75 min.

This one is also on Rosenbaum’s top 1000 list.

Makhmalbaf’s comments:
My friend, my friend’s brother, one of my relatives and a lot of my acquaintances have been seized by explosion waves. Their behavior has attracted my attention. In this film I have tried to acquaint you with the situation of a soldier photographer, whom has been seized by explosion waves; with his aims, what makes him happy or what makes him upset. My mother says that the hero of your movie has been seized by the social waves. And the psychologists of my research resource believe that explosion wave is a primary impact and if the patient’s condition is appropriate he would recover very soon. Haji, the main character of my story, is after recovery and is looking for appropriate conditions for his health. The doctor advises him to set up his wedding as soon as possible…In this movie I accompanied him for his wedding preparations step by step…

http://keep2s.cc/file/d37e2d3e78290/MarriageOfTheBlessed.1989.MohsenMakhmalbaf.avi

https://www.oboom.com/JJ1AFZA9/MarriageOfTheBlessed.1989.MohsenMakhmalbaf.avi

http://rapidgator.net/file/edea2dac3ad46f5c8405954e81aa1047/MarriageOfTheBlessed.1989.MohsenMakhmalbaf.avi.html

Language(s):Persian
Subtitles:English (Hardsubs)

Quote:
Bresson’s brilliant adaptation of Dostoevsky’s short story (A Gentle Creature) exhibits in its lapidary sequences the political and existential revolt of a young student in Paris. Sharing a theme that can be traced from Bresson’s Mouchette to his fantastic exploration of revolutionary choices in The Devil Probably, Une Femme Douce articulates in its inimitable minimalist mode a range of issues from the ideological options of France post-May ’68 to human relationships. Dominique Sanda is not the conventional, recognizable student revolutionary, but a “gentle” philosopher whose powers of sensitivity and social scrutiny exceed and tease the prosaic, crude disposition of her bourgeois husband. The sequences in the zoo, the museum of natural history and the performance of Hamlet are powerful. On another note, look out for Indian experimental filmmaker Kumar Shahani who was assisting Bresson at this time, sitting diagonally behind Sanda in the sequence at the movie theater.

Quote:
“UNE FEMME DOUCE” is the ninth film of the 62-year-old French director Robert Bresson. Of the previous eight, the last three (“The Trial of Joan of Arc,” 1962; “Au Hazard Balthazar,” 1966; “Mouchette,” 1967) have had their premieres in this country at the New York Film Festival. If the festival had no other justification, merely showing the works of Bresson, and of a few other great and not very popular directors, would be justification enough.

Bresson’s career has been extensively discussed in film journals and almost totally ignored everywhere else. His movies are austere, relatively static, acted frequently by amateurs whom the director has trained to suppress both facial and vocal expression, and concerned with man’s inward life—which they take pains to keep inward. The privileged Bressonian moment is the crisis of the soul’s salvation, often, but not always, figured in religious terms.

The Film Festival advertisement asserts that “Une Femme Douce” offers us Bresson’s first “real woman” in years—which is not true. The gentle woman of the title, played by Dominique Sanda (17 years old, a model and, like many of Bresson’s leading ladies, beautiful) is neither more nor less real than her predecessors. She differs from most of them only in that she has no vocation for her life—except to leave it.

In the best critical introduction to Bresson, “Spiritual Style in the Films of Robert Bresson” (1964; reprinted in “Against Interpretation”), Susan Sontag posits a theme common to all his films: “the meaning of confinement and liberty.” For the films made since her essay, I should modify that theme to “the meaning of escape.” In Bresson’s recent movies, “liberty” has meant only the “escape” that is possible through death. The martyrdom of Joan, the dying of the donkey Balthazar, the suicide of the girl Mouchette—all bring to an end unredeemable life situations, and all provide ravishingly beautiful climaxes for their respective films.

The young wife leaps to her death at the very beginning of “Une Femme Douce.” The action is then mostly played out in flashbacks, the husband speaking to the maidservant while standing or kneeling over his wife’s dead body.

That body may produce mixed reactions. It is distressingly in evidence, and the cuts to it are sometimes shocking. Much of the past action takes place in and around the bed on which the corpse now lies and, because Bresson provides no bridges, you are never sure whether the film will cut to a living wife or a dead one. Nevertheless, the corpse is the residue of something that has escaped, and for that escape we must be glad. At the very end, the husband, a pawnbroker who has helped drive his wife to suicide, begs her to look at him once more. But in Bresson’s world a direct look is always a speaking between souls, and this is precisely the sign that can no longer be given.

Just before the young woman’s death the audience is given some signs for itself, momentary scenes: the woman’s smile in her mirror, her fierce and happy eyes at the door to her balcony, the balcony furniture toppling slowly over, her shawl floating to the ground. Anyone familiar with Bresson will recognize a continuity between these signs and the lovely intimations of grace in his earlier films. You must watch closely. That smile, the film’s only smile, lasts a second or two; but in the cinema of Bresson, such seconds are what we go to the movies for.

“Une Femme Douce” is adapted from a Dostoevski novella. Bresson has kept the novella’s basic situation and changed everything else. His gentle woman wants to escape not just her husband (as Dostoevski’s does) but the very idea of marriage, the tedium of typical life patterns and even the historical continuity of biological forms—by which her bone structure partially reproduces the bone structure of animals long extinct and her nude body duplicates nude bodies throughout the history of painting.

Bresson has placed his action in present-day Paris. And he brings in the “modern world”—by which I mean he arbitrarily shows cars, airplanes and race horses on a television screen and introduces the sound of traffic outside the couple’s bedroom.

But his world remains mysterious. The pawning of objects, and the paying of money for them, is presented as a secret joint admission of guilt. Empty stairways, doors, street corners repeatedly suggest the absence of the people who have just passed through them. And on her wedding night the new wife simply runs from closet to bath to bed—to indicate (without expression) what there is of pleasure and passion before that fateful smile.

Of course there are lesser and greater Bresson films. I think “Une Femme Douce” belongs among the greater ones. The usual language of critical praise seems beside the point in discussing Bresson, but please understand that I mean this to be a rave review.

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Language(s):French
Subtitles:English

The Peddler
An impressive, often powerful Iranian feature (1987, 95 min.) by Mohsen Makhmalbaf—who started out as an antishah activist and fiction writer—composed of three sketches dealing with the poor in Tehran (1987). The first, freely adapted from an Alberto Moravia story, follows the appalling misadventures of an impoverished couple with four crippled children as they try to get their fifth and latest child adopted, in the hope that she won’t wind up crippled as well. The second follows the equally pathetic life of a scatterbrained, spastic Jerry Lewis type who devotes his life to caring for his aged and senile mother. (The couple from the first part reappear briefly in this episode.) The third part, shot in film noir style, is largely devoted to the grim fantasies of a clothes peddler who’s afraid of being killed by fellow traffickers. Each episode has a different cinematographer and all are shot very adroitly and fluidly, though the more self-conscious stylistics of the third part sit rather oddly with the first two episodes, which are often much closer to neorealism. According to Makhmalbaf, the film as a whole deals with the three stages of existence—birth, “journey through life,” and death. Critic Gerald Peary has compared the film to Rossellini’s Paisan, and it’s certainly true that the first episode is as wrenching as anything in that film or in Germany, Year Zero. In Farsi with subtitles. By Jonathan Rosenbaum

http://keep2s.cc/file/df838f09f0365/ThePeddler.1987.MohsenMakhmalbaf.avi

https://www.oboom.com/QCOR4FLO/ThePeddler.1987.MohsenMakhmalbaf.avi

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Language(s):Persian
Subtitles:English (Hardsubs)

Wiki:
Ömer the Tourist in Star Trek (Turkish: Turist Ömer Uzay Yolunda) is a 1973 Turkish cult comedy science-fiction film, produced and directed by Hulki Saner, featuring Sadri Alışık as a Turkish hobo who is beamed aboard the Starship Enterprise. The film, which is the eighth and final in a series of films featuring Alışık as Ömer the Tourist, is commonly known as Turkish Star Trek because of plot and stylistic elements parodied from Star Trek: The Original Series episode The Man Trap (1966) as well as the unauthorized use of footage from the series.

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Eng srt:
www.opensubtitles.org/en/download/sub/3113040

no pass

Enormously charming and affecting, “Not Here To Be Loved” tells the story of world weary Jean-Claude (Patrick Chesnais) who, tired of his thankless job as a bailiff, decides on a whim to shake himself out of his rut by enrolling for tango lessons. There he meets Françoise (Anne Consigny), who is learning to dance in preparation for her impending wedding. Recognising in each other a mutual longing for something more from life, Jean-Claude and Françoise put aside their natural reserve and a tentative friendship develops that may just turn their lives upside down. Played with great depth and subtlety by Chesnais and Consigny, Stephane Brizé s film is a tender and beautifully observed study of two people who have who have never quite learned to love or be loved. (amazon.com)

Synopsis:
Following the trials and tribulations of divorcee, Jean-Claude who enrol is a dance class to broaden his romantic horizons. NOT HEAR TO BE LOVED is a charming romantic comedy that examines the difficulties of finding love in middle-aged life. (amazon.com)

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

“Haunters of the Deep” takes us to Cornwall with a tale of a haunted mine. The American CEO of Aminco Mining Corp. wants to re-open the tin-rich Strangles Head Mine, despite the dire warnings of old local miner Captain Tregellis (Andrew Keir, who himself started his working life in a mine at the age of 14) whose childhood friend had lost his life there many years before. Warnings are ignored (there’s local employment to think of too) and its is up to Josh, whose older brother has taken a job in the mine, and Becky, the CEO’s daughter, to set aside their initial animosity and bring about a rescue when the mine walls begin to let in the sea. With its Cornish coastal setting and elements of the supernatural – Spriggans and Jack o’Lanterns and the ghost of young miner lost decades before – “Haunters of the Deep” makes effective use of its distinct local setting.

http://keep2s.cc/file/53fefe8ea237b/Haunters.of.the.Deep.1984.DVDRip.x264-HANDJOB.mkv

https://www.oboom.com/CBKYWXII/Haunters.of.the.Deep.1984.DVDRip.x264-HANDJOB.mkv

http://rapidgator.net/file/0dd99d6280f4089c7910334078aeec5b/Haunters.of.the.Deep.1984.DVDRip.x264-HANDJOB.mkv.html

no pass

Ada was settled in her life, she was pleased with it, or thought she was. She was one half of a couple who seemed happy, she’d had a child, was even due to get married, and wham… she met Paul… And this Paul was writer to boot, who lived alone with his grown daughter, had an exceedingly intrusive mother, and had the unfortunate idea of losing his father when this story had hardly got off the ground… Life started to gather speed. It was about time.

http://keep2s.cc/file/a09876cf6bf02/AuGalop.mkv

https://www.oboom.com/W8Z0T81H/AuGalop.mkv

http://rapidgator.net/file/0dd420d50e4908a114f54faf3bb9e253/AuGalop.mkv.html

Language(s):French
Subtitles:None

Quote:
One of the best of Wiseman’s documentaries, an impressionistic account of the daily police routine in a predominantly black neighbourhood of Kansas City, Missouri. Although violence abounds, with a black prostitute almost strangled by a vice-squad cop, the film avoids grinding axes about police brutality. Instead, sitting back and coolly observing the situation from multiple perspectives, it suggests that any sickness in the forces of law and order is a symptom of disease in the society that breeds them.

http://keep2s.cc/file/804915cd2f277/Frederick.Wiseman.1969.Law.and.Order.DVDRip.XViD-KG.avi

https://www.oboom.com/ECD53U3V/Frederick.Wiseman.1969.Law.and.Order.DVDRip.XViD-KG.avi

http://rapidgator.net/file/6e29884d5abeaabac5958c5e37f8e93f/Frederick.Wiseman.1969.Law.and.Order.DVDRip.XViD-KG.avi.html

no pass