There’s a real murder and a real mystery in Woody Allen’s Manhattan Murder Mystery, but these plot pegs are used mainly to allow Allen to explore modern urban relationships. Allen plays a book editor, married to Diane Keaton (who replaced Mia Farrow, for reasons which were well publicized at the time). Keaton is a free spirit, ever willing to try new experiences, but Allen is a wet blanket. When it becomes apparent that a neighbor has killed his wife, Keaton is eager to investigate the mystery, but Allen thinks her suspicions are nonsensical and doesn’t want to leave his apartment. Undaunted, Keaton finds another “Nick Charles” in the form of family-friend Alan Alda, who, along with his enthusiastic wife (Angelica Huston), joins in the investigation. Slightly jealous, Allen reluctantly agrees to go along on Keaton’s clue-hunting expedition–and it is he who discovers the corpse, who as it turned out was killed after Keaton started poking around the apartment building.
— Hal Erickson @ allmovie.com

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Language(s):English
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Plot Synopsis
Sergio, a wealthy bourgeois aspiring writer, decides to stay in Cuba even though his wife and friends flee to Miami. Sergio looks back over the changes in Cuba, from the Castro Revolution to the missile crisis, the effect of living in an underdeveloped country, and his relations with his girlfriends Elena and Hanna. Memories of Underdevelopment is a complex character study of alienation during the turmoil of social changes. The film is told in a highly subjective point of view through a fragmented narrative that remembles the way memories function.

Review from Slant Magazine
Tomás Gutiérrez Alea’s gutsy Memorias del Subdesarrollo (Memories of Underdevelopment) is a difficult work of political activism. This stirring blend of narrative fiction, still photography and rare documentary footage catalogs the many intricacies and contradictions of a bourgeois Cuban intellectual’s loyalty to Castro’s revolution. Though Alea himself was devoted to the cause, his films forever scrutinized the self-devouring nature of Castro’s Cuba. (Alea died in 1996 shortly after the one-two success of the Oscar-nominated Strawberry and Chocolate and Guantanamera.) If Mikhail Kalatozov’s I Am Cuba championed the need for revolution in the country, Memories contemplates the failure of the new government to recognize and negotiate the lingering bourgeois threat left in the wake of Fulgencio Batista’s fall.

When his wife and parents leave for the United States shortly after the Bay of Pigs invasion, 38-year-old playboy Sergio (Sergio Corrieri) resigns himself to a ritual of neurotic self-analysis. From his apartment, he observes the threat of foreign invasion that haunts the hazy, not-so-distant horizon. Bored and unemployed (he owns the apartment building he lives in), he chases after women all over Havana before finally meeting and bedding 16-year-old Elena (Daisy Granados), who he seemingly attempts to mold after his ex-wife by giving the young girl the woman’s hand-me-downs. If Alea deliberately likens the virginal Elena to a country that welcomes its own defilement, Sergio’s acquittal by the courts (he’s accused to raping the girl by her parents) is no doubt indicative of the man’s obsession with Cuba’s own defilement of its Marxist loyalties.

Underdevelopment refers both to Cuba’s political stagnation and Sergio’s own sense of false enlightenment. The way Alea pieces together the film must count as its own act of political resistance: documentary footage calls attention to a complex individual-group dialectic tearing up the country from the inside while a series of self-referential, surrealist interruptions are alive with better-than-here hopefulness. “She makes me feel underdevelopment everywhere,” says Sergio of Elena before visiting the home of Ernest Hemingway, who according to Sergio killed animals and mounted them on his walls so he wouldn’t have to kill himself. One of Alea’s most jarring framing devices situates Elena as an exotic specimen (“a beautiful Cuban señorita”) trapped beneath the lens of American imperialism. Like Hemingway and Elena herself, it’s only a matter of time before Cuba itself would self-destruct.

The film is haunted by one particular image that appears early on: poet and revolutionary José Martí’s face withering to near obscurity on the wall of a building. Hiroshima Mon Amour is a major point of reference for Alea. In both Resnais’ Hiroshima and Alea’s Havana, human ghosts come to grips with the implications of their past and grapple with the weight of building a new present for themselves. Like Elena, Cuba struggles to “establish links” between its war-torn past and disenchanted present. Memories of Underdevelopment remains a difficult and enigmatic work precisely because Cuba has yet to emerge from a kind of historical and cultural vacuum created by the vise of foreign threats, invasions and embargoes. And like Sergio, the country and its people can only wallow in the unfulfilled promise of its revolutionary consciousness.

Ed Gonzalez

Review from The Guardian by Derek Malcolm
Of all the dozens of films produced in Cuba through Castro’s insistence on the importance of the cinema, Memories of Underdevelopment is the most sophisticated. So much so, in fact, that those opposed to the revolution tend to call it a magnificent and unrepeatable fluke, produced as it was by a film institute that was virtually a Marxist ministry. Those in favour cherish it as a landmark that avoids almost all of the radical cliches.

The director was Tomas Gutierrez Alea, a middle-class university-educated Cuban who went along with the revolution despite some of the doubts about emerging bureaucratisation displayed by the equally bourgeois protagonist of his film. This is Sergio, a wealthy man who decides to stay behind when his family leaves for the US. The time is 1961 and the film is placed between the exodus after the disastrous Bays of Pigs invasion and the missile crisis of the following year.

The film centres on Sergio’s thoughts and experiences as he is confronted by the new reality. He is fundamentally an alienated outsider, scornful of his bourgeois family and friends but also of the naivety of those who believe that everything can suddenly be changed. He continues to live as a rent-collecting property owner and, in his private life, chases women with an almost neurotic fervour.

He is, in fact, the sort of man with whom we can easily identify from our experience of European films and literature. The difference is that he is placed in exceptional circumstances and finds it difficult to understand them. Memories is one of the best films ever made about the sceptical individual’s place in the march of history.

None of this would have been enough if Alea hadn’t constructed his film so richly, and in excitingly cinematic rather than literary terms. Documentary and semi-documentary footage is presented as Sergio would have seen it and the fictional story that goes along with it is very European in its narrative style.

There are even clips from a porno film – there were many made in Cuba under Batista – and Alea himself and the author of the original novel comment on what is going on in Sergio’s mind. As one admiring critic has said, “the film insists that what we see is a function of how we believe, and that how we believe is what our history has made of us”.

Memories was Alea’s fifth film, and probably his most famous, though at least three others received international attention. Death of a Bureaucrat was an ironic satire on the way revolutions stiffen into deadly bureaucracies; The Last Supper showed how the black slaves of Cuba in the plantation era were reconciled by religion to a life of bondage; and Strawberry and Chocolate was a brave and popular film that, despite Castro’s disdain for homosexuality, dared to have a stolid party cadre befriended and changed by a gay man.

Alea was clearly no ordinary product of the revolutionary cinema. He died recently of cancer and was honoured by a government he often seemed to criticise – and even more by ordinary Cubans, who flocked to his films.

Review from NY Times By VINCENT CANBY
The time is 1961, not long after the Bay of Pigs, and Sergio (Sergio Corrieri), the hero of Tomas Gutierrez Alea’s superb Cuban film, “Memories of Underdevelopment,” moves through Havana as if he were a scuba diver exploring the ruins of a civilization he abhorred but cannot bear to leave. The world he sees is startlingly clear. It is also remote. The sounds he hears are his own thoughts.

“Everything happens to me too early or too late,” says Sergio, an intellectual in his late 30’s whose critical faculties have effectively rendered him incapable of any action whatsoever. After his estranged wife and his mother and father have fled to Miami, with the other bourgeosie, he thinks he will write the novel he has always thought about, but then Sergio’s standards are too high to allow him to add to the sum total of civilization’s second-rateness. He finds himself blocked.

Perhaps if the revolution had happened earlier, he tells himself, he might have understood.

Sergio makes half-hearted little efforts to maintain his old ways. He picks up Elena (Daisy Granados), a pretty, bird-brained girl who wants to be an actress, and he tries to educate (he says “Europeanize” her. He takes her to art galleries and buys her books but her brain remains unreconstructed and birdlike. “She doesn’t relate things,” he tells himself. “It’s one of the signs of underdevelopment.”

He takes Elena on a sightseeing tour of Hemingway’s house. “He said he killed so as not to kill himself,” Sergio remembers, looking at some mounted antlers. “In the end he could not resist the temptation.”

Even suicide is beyond Sergio. All he can do is observe, much of the time through the telescope on the terrace of a penthouse apartment he must give up, sooner or later.

“Memories of Underdevelopment,” is a fascinating achievement. Here is a film about alienation that is wise, sad and often funny, and that never slips into the bored and boring attitudes that wreck Antonioni’s later films. Sergio is detached and wary, but around him is a hurricane of life.

Gutierrez Alea was 40 when he made “Memories” (in 1968), and he is clearly a man, like Sergio, whose sensibilities are European. Yet unlike Sergio, and unlike the director of “Eclipse” and “Red Desert,” he is so full of passion and political commitment that he has even been able to make an essentially pro-revolutionary film in which Castro’s revolution is observed through eyes dim with bafflement.

The result is hugely effective and moving, and it is complete in the way that very few movies ever are. I haven’t read Edmundo Desnoes’s original novel (published here in 1967 as “Inconsolable Memories”), but I like the fact that Desnoes apparently likes the film that, in his words, had to be “a betrayal” of the book to be a good film. Gutierrez Alea, says the author, in the film’s program notes, “objectivized a world that was shapeless in my mind and still abstract in the book. He added social density. . . .”

“Memories of Underdevelopment” was one of the films scheduled to be shown here last year at the aborted Cuban film Festival. It finally opened yesterday at the First Avenue Screening Room where it will play one week and then, I hope, it will move to another theater for the long run it deserves.

Review from Talking Pictures
If you are inclined to think that Third World Cinema is simplistic and one-dimensional, I invite you see Tomas Gutiérrez Alea’s Memories of Underdevelopment, selected by the New York Times in 1974 as one of the year’s ten best movies. Based on the novel Inconsolable Memories by Edmundo Desnoës, a Cuban writer who lived in the United States, Memories is a complex and probing film about the dilemma faced by intellectuals in Cuba following the revolution. Although directed by a Cuban who supported the revolution and remained in Cuba until his death, the film has a European sensibility, interlacing fiction and documentary footage and using poetic images, literary narration, flashbacks, and newsreel footage reminiscent of Alain Resnais’ Hiroshima Mon Amour.

Sergio (Sergio Corrieri) is a frustrated writer who chooses to remain in Cuba rather than follow his family to Miami just “to see how it all turns out”. Though he has strong feelings for his people, he is indifferent towards politics an observer rather than a participant. Alea shows the artist as anti-hero, a man who undergoes an identity crisis, is sapped of all his vitality, feels old in his thirties, and drifts along without meaning and purpose. Unable to write the novel he wants, Sergio survives on rental income from apartments and lives in middle class luxury while around him housing is deteriorating and there are serious gas and oil shortages. He spends his days smoking in bed, looking out of a telescope through his bedroom window, taking walks, watching television, and meeting young women. He makes no pretense of his being an outsider but complains that “everything happens to me too early or too late”. Hanna, the woman he says he truly loved urged him to move to New York with her and become a writer but he chose to remain in Cuba to go into the furniture business.

When Sergio makes the acquaintance of Elena (Daisy Granados), a sixteen- year-old girl who wants to be an actress, his life takes on new meaning but it is temporary and the affair ends badly. Persuading her that he knows important people in the theatrical world, he brings her to his apartment and they begin a relationship in which he tries to model her to fit his ideal of the bourgeois Cuban woman. He takes her to modern art galleries and the home of writer Ernest Hemingway to expose her to culture but it doesn’t work and he complains when she doesn’t fit into his mold. “She doesn’t relate to things,” he tells himself. “It’s one of the signs of underdevelopment.” Elena, like other Cuban women”, he says, has an “inability to relate to things, to accumulate experience, to develop”, but the stricture can just as easily refer to himself and he pays the price of this experience when the girl’s parents bring a lawsuit against him for rape. Although he escapes the fate of a criminal, little by little the outside world, the world of guns, slogans, and rallies closes in on him and he feels trapped.

There are several documentary sequences interspersed throughout the film that have no apparent connection to the narrative but convey the sense that no one living in revolutionary Cuba is able to escape the presence of history. The opening sequence shows a public dance in which all the participants are black with the exception of Sergio who is white. In this sequence continued later in the film, an unnamed political leader is assassinated. In other footage, we see excerpts from the trial of counterrevolutionaries captured at Playa Giron, the site of the Bay of Pigs invasion in 1961, and a third in which we hear the voices of Castro and Kennedy during the Cuban Missile crisis.

Though Alea apparently wants us to see the fate that befalls someone who does not directly endorse revolutionary activities, he makes his character so appealing and sympathetic that, to me, the film had mixed messages. I was torn between my support of the aims of the revolution and empathizing with Sergio’s disdain for the emptiness of both the Cuban bourgeois and the revolutionary leadership. An event that took place only three years after Memories of Underdevlopment was released, however, underscored the point that Sergio was making. At that time, Castro, at the First National Congress on Education and Culture, said that artists and writers must reject “all manifestations of a decadent culture, the fruit of societies that are rent by contradictions”. Not surprisingly, although due to receive a special prize for the film from the U.S. National Society of Film Critics in 1973, Gutiérrez Alea was denied a visa to attend the ceremony.

Special features
This rip cames with a Cine-magazine, something like a journal that are showed before the main movie in the cinemas. The cine-magazine was around 10 minutes with informations about the goverment and funny things. Tomás Gutiérrez Alea was the director of the magazine between 1956 and 1959, and directed himself some of them.

The Extra have only portuguese subs.

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Language(s):Spanish
Subtitles:English, Portuguese and Spanish .idx

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Filepost, which We use for a long while, closed their premium account sale. We used them past, despite they close our account to upload because of Quota.

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Plot:

John Ford’s remake of his 1934 Will Rogers vehicle, Judge Priest, combines three Irvin S. Cobb stories about the kindly Kentucky magistrate William Priest (Charles Winninger).

Set in 1905 Kentucky, it focuses on the judge’s battle for reelection against Yankee prosecutor Horace K. Maydew (Milburn Stone). Despite the judge’s popularity, it’s possible that his generosity and sense of justice may cost him the election. First he tries to persuade the eminent General Fairfield (James Kirkwood) to admit that he’s kin to Lucy Lee (Arleen Whelan), whose questionable background makes her a subject for ridicule. Next he faces down an angry lynch mob accusing a black man of a heinous crime – the frustrated vigilantes, dispersed by the gun-wielding judge, vow vengeance at the polls.

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Language(s):English, German (Very Little)
Subtitles:None Included

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This is the first feature by Iguchi Nami, who more recently made the film Don’t Laugh at My Romance. Inuneko is also known as The Cat Leaves Home and as (more literally) Dogs & Cats or even Dog/Cat. The title refers to the personalities of the two heroines–one sly and flirtatious, the other stubborn and introverted.

Iguchi actually shot this as a 8mm feature (in 2001 I believe) before “remaking” it in 35mm. The 8mm feature is also on DVD but I don’t have it; I’d love to see it, provided subtitles are available.

This 35mm version is the one that played commercially in Japan and made it to festivals worldwide. As far as I know, it wasn’t released commercially outside of Japan, which is a shame as this is one of the most charming recent Japanese films i know. It’s shot in the long-take style preferred by many Asian independent filmmakers, but in a mode closer to, say, the deadpan comedy of Jarmusch than to the muted intensity of Kore-eda. I suppose, in the Japanese cinema, it’s closest in tone to Yamashita Nobuhiro’s Linda Linda Linda.

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Language(s):Japanese
Subtitles::English

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Set in the frozen steppes of Mongolia, Khadak tells the epic story of Bagi, a young nomad confronted with his destiny to become a shaman. A plague strikes the animals and the nomads are forcibly relocated to desolate mining towns. Bagi saves the life of a beautiful coal thief, Zolzaya, and together they reveal the plague was a lie fabricated to eradicate nomadism. A sublime revolution ensues.

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Language(s):Mongolian
Subtitles:English (on screen)

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Synopsis:

This story takes place in a small town on the Hungarian Plain. In a provincial town, which is surrounded with nothing else but frost. It is bitterly cold weather – without snow. It is twenty degrees below zero. Even in this bewildered cold hundreds of people are standing around the circus tent, which is put up in the main square, to see – as the outcome of their wait – the chief attraction, the stuffed carcass of a real whale. The people are coming from everywhere. From the neighbouring settlings, from different holes of the Plain, even from quite far away parts of the country. They are following this clumsy monster as a dumb, faceless, rag-wearing crowd. This strange state of affairs – the appearance of the foreigners, the extreme frost – disturbs the order of the small town. The human connections are overturning, the ambitious personages of the story feel they can take advantage of this situation, while the people who are condemned anyway to passivity fall into an even deeper uncertainty. The tension growing to the unbearable is brought to explosion by the figure of the Prince, who is pretending facelessness and is lying low behind the whale. Even his mere appearance is enough to break loose the destroying emotions. The apocalypse that sweeps away everything spares nothing. I does not spare the outsiders wrapped up in scientificness, does not spare the teenage enthusiasts, the people who have philistine fears for ease, the family – nothing that the European culture preserved as from of attitude in the last centuries.

Review:

Based on the novel “The Melancholy of Resistance” by Tarr’s frequent collaborator László Krasznahorkai, “Werckmeister Harmonies” unfolds in an unnamed provincial Hungarian town, gripped by a sense of crisis.

Despite the freezing conditions, disgruntled crowds of men have gathered in the central square to witness a travelling circus, whose attractions include a giant stuffed whale and a promised public appearance from the mysterious “Prince”.

Witnessing these ominous events is a gullible postman, Valuska (Lars Rudolph), who has been recruited by his aunt (Fassbinder regular Hanna Schygulla) to run errands for a shadowy political organisation, the “Clean Up Town” movement. Riots are swiftly followed by a military clamp-down.

Shot by cinematographer Gábor Medvigy in dreamlike black-and-white, Tarr favours lengthy, gliding takes to immerse us into his singular cinematic universe. (One writer has estimated that this film consists of only 39 shots during its 145 minute running time.)

Named after 17th century musical theorist-composer Andreas Harmóniák, it’s a work whose meanings are almost impossible to pin down.

Heading off on surreal tangents (look out for the frenzied refusal of the police chief’s kids to go to bed!), “Werckmeister Harmonies” exerts a peculiarly powerful spell. And the extended, wordless sequence in which a mob rampages through a hospital before being halted by an unexpected vision, is a wondrous achievement.

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Language(s):Hungarian, Slovak
Subtitles:English (idx, sub, srt)

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When experimental director Derek Jarman was serving as production designer on 1973’s The Devils, that film’s director, Ken Russell, was already established as a radical master of the biopic, turning historical and pop culture personalities into grist for his own obsessions and visual quirks. Oddly, it took Jarman over a decade to try his hand at the same approach with Caravaggio, a visually overwhelming examination of the famous painter who redefined the use of light in painting and scandalized the church by portraying sacred figures as dirty, commonplace peasants. Of course, the painter’s life was no less remarkable; a ruffian prone to fighting, gambling, and copulating apparently every waking moment he wasn’t holding a paintbrush, Caravaggio could be read in many ways as a prototype for today’s modern celebrity.

Told in a fragmented structure as recollections on the painter’s deathbed, the story follows Caravaggio from boyhood to adulthood (played through most of the film by Excalibur’s Nigel Terry). The crux of the film lies in his relationship with fighter Ranuccio (The Lord of the Rings’ Sean Bean), the object of Caravaggio’s lust, and the ruffian’s girlfriend, Lena (Jarman regular Tilda Swinton), with whom he becomes involved in a destructive and ultimately violent threesome. We also see how the artist’s youth was affected by an encounter with the Cardinal (horror favorite Michael Gough), who cautions him that his controversial work and behavior may have nasty implications, while the rest of church itself (represented by a young Robbie Coltrane!) is less than pleased with the hellraiser’s antics.

Arguably the director’s most approachable film, Caravaggio feels like a work more concerned with tone and texture than storytelling. The narrative does move in a coherent fashion if one is paying attention, but the succession of ravishing images ultimately overwhelms the senses to the extent that any character development is secondary. Jarman’s usual idiosyncracies are in evidence, such as his injection of period anachronisms (modern formal dress, typewriters, and so on) at odd moments to provide modern analogies; however, the table-slamming politics which ultimately came to the forefront in Edward II (complete with a modern pride parade) are kept in check here in favor of a more subtle study of vascillating sexuality and the destructive nature of the human impulse. The acting is unusually passionate for Jarman, with the three leads all doing some of their most striking work; while Swinton and Bean have ultimately proven themselves many times over since, it’s a shame Terry has mostly been relegating to supporting roles and TV work.(from mondo-digital.com)

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Language(s):English
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The second part of Haneke’s “glaciation trilogy” begins with a buzz and a bang: the white noise of a television screen snow shower and then the bang of a pig being shot on the subsequent home video. Benny’s Video is the most accessible film of the trilogy, but still never departs from Haneke’s powerful concoction of brutal images and laconic montage. Benny is a neglected son of rich parents in Vienna. He spends his days and nights in his room lost in a cobweb of video equipment, cameras, monitors and editing consoles. He keeps his shades drawn at all times and experiences the outside world mediated through the camcorders he has set up outside his windows. He obsessively reviews the farmyard killing of a pig in forward and reverse, slow motion and freeze-frame. Intermittently, he flips through channels full of news on neo-nazi killings, toy commercials, war films and reports on the incipient war in Yugoslavia. One day he meets a girl at the video store and invites her back to his empty house. He shows her the stun-gun used to kill the pig and shoots her with it. The girl’s death is shot visually out of the camera’s frame although the audience is privy to excruciating minutes of screams and whimpers. In the end, Benny foils his parents’ perversely cynical attempt to cover up the murder.

There are a host of potential theoretical thrusts available in connection with this film, from Debord’s “Society of the Spectacle” to the media theories of Paul Virilo to Deleuze’s connection between communication and capital. I have dealt with these approaches in depth elsewhere. Instead, the assertion above by Jean Baudrillard will be the focus of a reading of the film.

Commentators on Benny’s Video nearly unanimously cite Benny’s murder of the nameless girl he meets at the video store to be the key scene in the film. Like the two other panels in Haneke’s triptych (the family’s suicide at the conclusion of The Seventh Continent and when the student runs amok at the end of 71 Fragments of a Chronology of Chance), a murder serves as the focal point of Benny’s Video. This moment is the nexus for the critics’ respective agendas – moral/theological issues, formal concerns (Haneke’s denial of unmediated visual access to the murder), violence in film etc. As important as this scene is, however, what this scene isn’t or what this scene displaces is equally as important.

Of the three films in the trilogy, Benny’s Video is the most aesthetically and formally conventional. Thus, for example, when Benny brings the girl back to his place after meeting her at the video store, the spectator expects (both by conditioning via traditional cinematic narratives as well as through the way Haneke conventionally stages the meeting) a sexual encounter: boy meets girl, girl meets boy, boy kisses girl… Instead, in this film, boy meets girl, boy kills girl. What should be Benny’s first sexual experience becomes a violent act that he records and ritually rehashes. A sexual act first comes after the violent one in an auto-erotic spectacle, Benny strips naked and observes himself in the mirror, smearing himself with the girl’s blood.

This scene might be seen as the cinematic confirmation of the Baudrillard quotation above: in the postmodern moment the myth of Narcissus is now the guiding myth/trajectory/paradigm that structures experience and narrative, rather than the Oedipus initiation story. This is sealed when Benny rearranges the girl’s shirt so that she is “properly” covered, a lack of curiosity that further distances him from normative heterosexuality. If the Oedipal myth in its various hetero- and homoerotic forms functions to reproduce the idea that human subjectivity is sexually realised in the bonded, love relationship, then the Baudrillardian Narcissus myth as found in Benny’s Video instructs Benny that mediated, digitally manipulable violence is the “authentic” experience in a “me” world without connections, so why not “see how it is”? Benny comes of age not through sexual conquest and replacing a mother figure but rather by eliminating/killing the potential object of desire and distancing himself into the cave/care of video equipment, over which he commands absolute control.

http://www.nitroflare.com/view/B430F66D3C2A755/Michael_Haneke_-_%281992%29_Benny%27s_Video.mkv

http://keep2s.cc/file/575a9db20fade/Michael_Haneke_-_%281992%29_Benny%27s_Video.mkv

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

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Synopsis: Two brothers rob a bank and take a young girl hostage. They find out that the girl is a nudist, so they force her to take them to a nudist colony so they can hide out.

“http://www.nitroflare.com/view/8AAF9C665CC5491/fico-hoits.avi

“http://keep2share.cc/file/5220dbf38f4b0/fico-hoits.avi

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The Grapes of Wrath tells the powerful story of the Joad family’s trek from the dust bowl of Oklahoma to the fertile but futile fields of California in the early 1930s. Driven by the live rhythms of the Joel Rafael Band, this heart-wrenching award- winning adaptation of the Pulitzer Prize-winning novel finds its timeless heart in the generous spirit of the common man.

http://www.nitroflare.com/view/7E88B39F2FBBA2C/The.Grapes.of.Wrath.1940-DVDRip-XviD-DK.avi
http://www.nitroflare.com/view/6D09E759541125B/The.Grapes.of.Wrath.1940-DVDRip-XviD-DK.idx
http://www.nitroflare.com/view/BB1292F230D7A42/The.Grapes.of.Wrath.1940-DVDRip-XviD-DK.rar

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http://keep2s.cc/file/2b95d55b31ae5/The.Grapes.of.Wrath.1940-DVDRip-XviD-DK.rar

Language:English
Subtitles:English, French, Spanish, Deutsch, Italiano, Dansk, Finish, Nederlands, Norsk, Portugues, Svenska, Turkish (vobsub)

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“It’s the rawness of the film that makes us believe we are unquestionably seeing the truth.”

Reviewed by Dennis Schwartz

A heavy going realistic slice of life domestic drama that is filmed in black and white. It’s a followup to Béla Tarr’s other domestic strife tales Family Nest and The Outsider. This one keys in on marital strife. It’s about a struggling young couple’s confrontations and their own inability to freely communicate with each other. Tarr was evidently influenced by the works of Ranier Werner Fassbinder and John Cassavettes.

The film opens with factory worker hubby packing his bags and abruptly walking out on his hysterical wife. The young couple have two small children. In the next scene, the wife recalls events in their marriage such as a squabble celebrating their wedding anniversary over her complaints she does the housekeeping and takes care of the children and he offers no help and doesn’t communicate with her, and another spat at an outing to the pool when wifey is ticked he left her alone for over an hour to talk with his friend. At a dance, hubby dances with another woman and wifey jealously stares into space as the song played is “I’ve got a black baby.” The only time hubby is seen talking with his older school-aged son he gets mixed up trying to explain the difference between capitalism, socialism and communism. Hubby is offered a tour of service in Romania for two years to work at the same control room position he has and with double pay, but wifey refuses to be left alone. The film then returns to the opening scene and we now understand why hubby is leaving so abruptly. With hubby returning from abroad, we next see the couple purchasing a new washing machine in celebration of their reconciliation but returning from the store after the purchase looking as depressed as they usually do.

The unrelenting confrontations between a nagging wife and a distant hubby, where the filmmaker takes no sides in showing this downbeat marriage, gives one a picture of how the ordinary Budapest resident of the 1970s and early 1980s lived under communism. It’s not a pretty or entertaining picture, but it does scratch at the surface of things to show that not everything that is deep has to be complex. It’s the rawness of the film that makes us believe we are unquestionably seeing the truth.

http://www.nitroflare.com/view/C5B519F81CCA75C/Prefab_People.mkv

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Language(s):Hungarian
Subtitles:English

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This is the last film of the ATG trilogy of the director Akio Jissoji, who sought the roots of inner psychology and eroticism. It’s a story of a young man who turns his back on the modern world, seeking to be a protector of a family and heads to his destruction.

http://www.nitroflare.com/view/73DF578E9F72ED0/Poem.mkv
http://www.nitroflare.com/view/DCF0243357856C3/Poem.srt

http://keep2s.cc/file/5d544b93eb4c4/Poem.mkv
http://keep2s.cc/file/c7b1f95c343f2/Poem.srt

Language(s):Japanese
Substitles:English

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After her mother dies from a heroin overdose, Jeliza-Rose is taken from the big city to a rural farmhouse by her father. As she tries to settle into a new life in a house her father had purchased for his now-deceased mother, Jeliza-Rose’s attempts to deal with what’s happened result in increasingly odd behavior, as she begins to communicate mainly with her bodiless Barbie doll heads and Dell, a neighborhood woman who always wears a beekeeper’s veil.

http://www.nitroflare.com/view/3A691E871B710D4/Tideland.mkv
http://www.nitroflare.com/view/06A60B7F25F3A41/foreword.mkv
http://www.nitroflare.com/view/D179145ABCDCCA9/Tideland_extras.rar

http://keep2s.cc/file/67f41c4ebac33/Tideland.mkv
http://keep2s.cc/file/39551a51af381/foreword.mkv
http://keep2s.cc/file/b3f4c760eab51/Tideland_extras.rar

Language(s):English dual audio with commentary
Subtitles:none

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Compiled from over two years of footage, the film is an intimate portrait of Lynch’s creative process as he completes his latest film, INLAND EMPIRE. We follow Lynch as he discovers beauty in ideas, leading us on a journey through the abstract which ultimately unveils his cinematic vision. The director of the documentary immersed himself in David Lynch’s world; living and working at Lynch’s home. His unobtrusive style has captured a personal side of David Lynch not seen before. The film reveals Lynch not only as one of the most original and compelling directors of contemporary film but also as an artist who continues to explore and experiment in countless mediums. We witness his “hands on” approach to painting, sculpting, music and screenwriting. His enthusiasm is infectious; inspiring us to tap into the well of creativity that Lynch believes we all have

http://www.lynchdocumentary.com/
http://filmmakermagazine.com/directorinterviews/2007/10/blackandwhite-lynch.php

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A film on & with Paul Virilio
about Virilio

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Paul Virilio is one of the most significant French cultural theorists writing today.1 Increasingly hailed as the inventor of concepts such as ‘dromology’ (the ‘science’ of speed), Virilio is renowned for his declaration that the logic of acceleration lies at the heart of the organization and transformation of the modern world.

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Language(s):1st stream French 2nd srtream german
Subtitles:some german hardsubs

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A family on a ski holiday in the French Alps find themselves staring down an avalanche during lunch one day; in the aftermath, their dynamic has been shaken to its core, with a question mark hanging over their patriarch in particular.

http://www.nitroflare.com/view/E39CF0237CED07C/Force.Majeure.2014.LIMITED.720p.BluRay.x264-GNiSTOR.mkv

http://keep2s.cc/file/97b6f3a4d9d60/Force.Majeure.2014.LIMITED.720p.BluRay.x264-GNiSTOR.part1.rar
http://keep2s.cc/file/c5b2d94dd7769/Force.Majeure.2014.LIMITED.720p.BluRay.x264-GNiSTOR.part2.rar
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http://keep2s.cc/file/eb19a7f316870/Force.Majeure.2014.LIMITED.720p.BluRay.x264-GNiSTOR.part4.rar
http://keep2s.cc/file/e5f2864587ef5/Force.Majeure.2014.LIMITED.720p.BluRay.x264-GNiSTOR.part5.rar
http://keep2s.cc/file/6c96abbfb1762/Force.Majeure.2014.LIMITED.720p.BluRay.x264-GNiSTOR.part6.rar

Language(s):Swedish, English, French, Norwegian
Subtitles:English

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An often-overlooked confederate of Oshima Nagisa (1932-) and Yoshida Yoshishige (1933-), Jissoji Akio (1937-) was one of the avant-garde cinema directors of the early 1970s to focus on issues of sexuality and changing cultural values. Although Jissoji is best known for his first feature film Mujo (1970) and his biggest box office success Teito monogatari (1988), his second feature Mandara best portrays his attitude towards sexuality and Japanese culture. Working with the noted script writer Ishido Toshiro (1932-), who wrote the scripts for a number of famous films, including Oshima’s The Sun’s Burial (1960), Night and Fog in Japan (1960) and Yoshida’s A Story Written in Water (a.k.a. Forbidden Love, 1965), Jissoji created a complex portrayal of a utopian cult attempting the union of sexuality and an agrarian way-of-life. Two pairs of alienated unmarried college students from Kyoto visit an isolated hotel on a beach near Tsuruga where they become enmeshed in the devious schemes of the charismatic cult leader who eventually leads his surviving disciples on a fatal ocean voyage. The cult advocates a violent rejection of social and sexual norms in order to return to a more primitive and emotionally real life focused on the attainment of an ecstatic state of near-death eroticism. These attitudes are mixed into a syncretic religion containing aspects of Shinto ritual, shamanism, and Japanese and Tibetan Buddhism. To effectively create a brooding atmosphere that Ishido describes as “the use of unreality to depict reality,” Jissoji makes use of dramatic camera angles, the still photography of Sawatari Hajime (1940-), classical organ music, locales in Kyoto Zen temples and rural areas, and group scenes that include student members of a theatrical troupe from Ritsumeikan Daigaku. An analysis of Jissoji’s film and Ishido’s script allows a critique of the fusion of death and sexuality found in the nationalist romanticism that emerged in the Japanese counter-culture movement as portrayed in sixties and seventies film.

http://www.nitroflare.com/view/26E867FABFBBFE0/Mandara.1971.DVDRip.x264-SMz.mkv

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Language(s):Japanese
Subtitles:English

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When her sister is murdered by a group of goons working for a local mobster, Beth goes on the fritz, donning a wig, taking martial arts lessons, and using a cane to help take on opponents. Soon, she meets her sibling’s murderers face to face, and they’re in for it. Kathy Allen and George Oakley star in this North Carolina revenge opus. No-budget no-frills regional filmmaking at its rawest awaits you in this Charlotte, North Carolina celluloid catastrophe about a woman who becomes an avenging “catwoman” and takes on the mob. With bare titties, godawful acting, hilariously lame “action,” and joyously unconvincing fight scenes, it’s not only a breath-taking wonder from beginning to end, but so utterly simplistic that you’ll need to take notes to follow it. Morganna, the uber-busty stripper for became famous in the 80s as baseball’s “The Kissing Bandit,” appears in a strip club scene.

Quote:
The apex of this film is not the scene in which a sweaty, 300 pound man falls down a flight of stairs. Incredible, but true!
“What do you think this is, some kind of strawberry festival?!”
I have no idea what a “strawberry festival” is, what it alludes to, or what its implications may hold. But, I know a thing or two about fat guy jokes. The Night Of The Cat, on the other hand, is familiar with both. That is the level of omniscience we are dealing with
The film grain. The blank living rooms. The motel lounge combo soundtrack. The over-enunciation. The Night Of The Cat is, more than anything, the most ripened of peaches in the Eden of regional rarities. Shot in South Carolina by one-time director Jim Cinque, the film knows exactly what it’s saying, yet at the same time, knows nothing of what it’s saying. Hilarious? Moody? Suggestive? Bizarre? Naturally. You see, Cat admires the solemn desolation of Axe, but realizes that those resources are untouchable. So what’s left? A female vigilante in a black bodysuit, an ill-tempered Chico Marx/Mel Brooks gangster, and some big, naked stripper boobies. I can respect that.
Hear Bev roar. When Bev’s police-mole sister is run over by evil pimp Mr. Demmins, the stuff hits the fan. Revenge! The Cat is born! Maybe. After two karate lessons, a few sit-ups, and some ballerina posturing, Bev dons a black wig and mod suit. Then, she just kind of shows up at someone’s house. And gets punched in the face. By Doug. Yes! It’s Doug, the fat guy! There he is! Doug wears rayon golf shirts, sweats way too much, and kills people. He works for Mr. Demmins, who popularizes the stuff about strawberry festivals. Then, the inevitable: People repeatedly walk into unlit rooms. The Cat is tied to a bed while a group of gangsters slice off her suit with a knife for fifteen minutes. Chico/Mel throws a shit-fit over his interior decoration (with good reason). The Cat engages in “fight scenes” which inspire a new sense of hope about this world. And, of course, Doug falls down the stairs. I watched that part twice.
Another Son Of Sam is not a universally accepted surrealist classic, but I could watch it fifteen times in a row, then wake up the next day and watch it again. The Night Of The Cat follows suit, but ups the ante with a little of Crypt Of Dark Secrets’s comedic poise. Sure, downtime is a given. But Cat jams its 75 minutes with gall and determination, even if it doesn’t know why. That’s what I like to see. Random, meaningless inserts. Faulty-yet-cool compositions. Unexplained jumps in logic. Lots of sweet karate chops. Plus, everything else. You really can’t go wrong.
The Night Of The Cat is a clear ‘n’ scratchy 1970s wonder. Think Don’t Look In The Basement. Colors are faded. Texture is thick. Sound is hissed. Plus, we get an unexpected boost; red, orange, and blue color swatches pulse with psychedelic glee at random during the first half of the film. When they eventually faded, my heart grew heavy.
Behold the power of a woman scorned. The Night Of The Cat is a regional champeen; down ‘n’ dirty, surrealistic, and a big mess of odd people and ridiculous situations. It’ll get you through the night. Now, go forth, eat strawberries, and be happy. Doug would want it that way.

Quote:
There’s nothing quite like the rot-gut jolt one gets from the no-frills Americana of a regional rarity. And there’s nothing quite like a the raw insanity awaiting you in The Night of the Cat, a shot-in-Charlotte, North Carolina, celluloid catastrophe about a woman who becomes an avenging “catwoman” and takes on the mob. With bare titties, godawful acting, hilariously lame “action,” and joyously unconvincing fight scenes, it’s not only a breath-taking wonder from beginning to end, but so utterly simplistic that you’ll need to take notes to follow it.
“Believe it or not, when he sees a cat, he goes right up the wall,” says reporter Tom Whitfield about crime boss Mr. Demmons. “He breaks out in a cold sweat at the very appearance of a cat! I have even seen him pas out once when a cat simply ran across his path!” True. Demmons – who looks more like the president of a bowling league than a gangster – is at his backyard pool when he freaks out and screams at the sight of a kitten – yes, a kitten – until a big fat gender-blurred guy named Doug quickly…uh…disposes of the kitty.
When he’s not screaming at puddy tats, Demmons owns a local topless bar – where MORGANNA, “The Wild One,” performs in a bit of bare-breasted go-go footage that was obviously shot for another film. He also runs a prostitution racket in which innocent girls are kidnapped, taken to a secret clinic, and given drugs. “Hopelessly addicted,” the girls pay for the drugs by becoming ho’s. All of which reporter Tom explains to timid blonde Beth, whose sister was murdered by Demmons’ goons. Unfortunately, before Tom can be of more help to her, he’s drowned in his bathtub by the above-mentioned fat guy
So Beth does what any woman would do under the same circumstances: she takes a lesson in kung fu, puts on a long black wig, and becomes a knife-wielding crime fighter. Apparently. There’s really no emphasis put on her transformation. She just shows up in Emma-Peel-like black outfit with Demmon’s thugs letting us know she’s the “cat” of the title: “Kitty kat, you don’t look vicious to me.” Even more amazing, with sublime I-Love-Lucy-logic, no one – not even the detective investigating the case – recognizes her with the wig on! Wow. And, single-handedly, Beth wipes the bad guys off the face of the earth even though she seems to lack the most perfunctory of fighting skills, Best moment: Beth and detective Bob are in an apartment when they hear someone trying to break in. As they dive for cover, they turn off the lights after the director helpfully reminds them by shouting “Lights!”
God bless America. Theatrically released by Dominant Pictures in 1973, The Night of the Cat probably never played outside the South – or, more likely, never outside the Carolinas. It is, of course, the kind of ultra-obscurity Something Weird is only too happy to throw at a world that doesn’t want it. From a 35mm print with color that’s starting to turn psychedelic

http://www.nitroflare.com/view/1969A3FAAE615DD/The_Night_Of_The_Cat_1973_.avi

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Language(s):English
Subtitles: None

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Bergman writing on the genesis of the film in Images: My Life in Film:
‘In spite of all that happened, Lorens Marmstedt did not throw me out. With great diplomacy he pointed out that now would be the perfect time for at least one modest audience success. Otherwise my days as a movie director migth be numbered. A Ship Bound for India as well as It Rains on our Love had been made for Sweden’s Folkbiografer. Now Marmstedt suggested that I make a film for his own company, Terrafilm. It must be noted that Lorens was a passionate gambler, able to put his money on the same number a whole evening.

He had bought the movie rights to a novel by Dagmar Edqvist called Music In Darkness, which told the story of a blind musician. For the time being I would have to stuff my demons into an old sack. Here I was not going to have any use for them. I read the novel; I hated it and decided to tell Lorens how I felt. He declared the he had no intention of coming up with any other offer. Finally we agreed that we would go and see Dagmar Edqvist together. She turned out to be an adorable woman, funny, warm, and intelligent. Also very feminine and pretty. I caved in. She and I would write the screenplay together.’

Shooting the film – Bergman in Images:

‘My only memory of the filming is that I kept thinking: Make sure there are no tedious parts. Keep it entertaining. That was my only ambition. Music in Darkness (known in the United States as Night is My Future) became a respectable product in the style of director Gustaf Molander. It was generally well received and was a modest box-office success to boot.’

Music in Darkness was screened at the Venice Film Festival in 1948, where it was well received by audiences and critics alike. This was probably due in no small part to Mai Zetterling, then on the verge of her international breakthrough.
20 May 2012

“When I made that picture, I would have accepted an offer to film the telephone book. I was a flop from the beginning. Then a very clever producer came to me and said, ‘Ingmar, you are a flop. Here’s a very sentimental story that will appeal to the public. You need a box-office success now.’ I replied, ‘I will lick your ass if you like; only let me make a picture.’ So I made the picture, and I’m extremely grateful to him – he later let me make Prison. Every day he came to the studio and told me, ‘No. Reshoot. This is too difficult, incomprehensible. You are crazy! She must be beautiful! You must have more light on her hair! You must have some cats in the film! Perhaps you can find some little dog.’ The picture was a great success. He taught me – in a very tough way – much that saved me. I will be grateful to him till my dying day.” – Ingmar Bergman (1971)

http://www.nitroflare.com/view/643FFE0A3CB7C5D/Music_In_Darkness.mkv

http://keep2s.cc/file/e1997c30be6ac/Music_In_Darkness.mkv

Language(s):Swedish
Subtitles:English

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