Quote:
Fictional documentary about the life of human chameleon Leonard Zelig, a man who becomes a celebrity in the 1920s due to his ability to look and act like whoever is around him. Clever editing places Zelig in real newsreel footage of Woodrow Wilson, Babe Ruth, and others.
http://www.nitroflare.com/view/B5CEC97E13FE3AB/Zelig.1983.DVDRip.x264.mkv
http://keep2s.cc/file/777957f825154/Zelig.1983.DVDRip.x264.mkv
Language(s):English
Subtitles:None
In Oshima’s enigmatic tale, four sexually hungry high school students preparing for their university entrance exams meet up with an inebriated teacher singing bawdy drinking songs. This encounter sets them on a less than academic path. Oshima’s hypnotic, free-form depiction of generational political apathy features stunning color cinematography.
This gets our vote as the most overlooked of Oshima’s films, underrated perhaps because its English title makes it appear frivolous. It’s decidedly not. Despite flights of comedy, (unnerving) sexual fantasy, youthful yearning, karaoke and hootenannies, Sing a Song of Sex offers an intent, penetrating portrait of a generation confronting its new freedoms and its inability to act on them. Oshima obviously considered the film very important, one infers from the essays he wrote about it.
In some ways, Sing a Song resembles Godard’s La Chinoise (notice the pop visual compositions, with looming movie posters and Coca-Cola billboards). A group of provincial students arrives in Tokyo to take university entrance exams. Disillusioned and nihilistic, they spend their time singing dirty songs and fantasizing about strangling a rich girl. Set on a politically charged day – the Founder’s Day holiday, reinstated in 1967 after the American Occupation had banned it – amid gently falling snow, this tender, crushingly sad examination of the alienation of Japanese youth suggests that solidarity is illusionary, and that political action will always be trumped or undone by sexual desire. The portrait of Otake, the students’ mentor who teaches them the sex songs of the title, which he says express the despair of the oppressed, is movingly ambiguous. The film’s final sequences are among Oshima’s most disturbing. (James Quandt)
The semi-improvised A Treatise on Japanese Bawdy Song – begins Oshima’s trilogy on Japan’s Korean legacy and a turning point of the director as his trip to South Korea changed his life – juxtaposes the sexual longings of four male students with an impassioned lecture, delivered by Oshima’s wife, on the Korean origins of the Japanese race itself. The black comedy Death by Hanging (68) reimagines the case of a highly intelligent Korean-Japanese high-school boy who was hanged in 1963 for raping and murdering two young women five years earlier; the film is equally about questions of Korean identity in Japan, thought-crime, and capital punishment. And the anarchic comedy Three Resurrected Drunkards (68) centers on three students who, for complicated reasons, wind up wearing the clothes of some deserters from the Korean army; the deserters are trying to enter Japan illegally to avoid being sent to Vietnam during their compulsory military service. The film includes a vox-pop montage in which all interviewees follow the Spartacus gambit by claiming to be Korean; among them is Oshima himself.
This loose “Korean trilogy” pointed at least three ways forward for Oshima’s filmmaking. First, it liberated him from thinking himself inescapably implicated in the student-radical movement, and from Japan’s “consensus-identity” in general. Identifying himself with the most discriminated-against minority in Japan opened the door to wider perspectives. Second, it ended forever his faith in “realism” as a viable idiom for his work; his subsequent films all interweave “reality” with individual and collective fantasies. (In interviews since 1969, Oshima has more than once named Buñuel as the only director he profoundly admires.) Third, it clinched his growing sense that sex and crime (and, of course, sex crimes) rather than politics were the pressure points that needed his shiatsu touch. Crime is by definition an act of disobedience, and Oshima, like Jean Genet, sees in it the seeds of rebellion. Sex can be defined as a physical act with limitless mental ramifications; the Japanese (who had no Puritan tradition until General MacArthur imported one in 1945) are generally more matter-of-fact about sex than most western countries, but no less prone to transgressive libidinal impulses—and it’s the transgression, of course, that Oshima sees as potentially rebellious.
http://www.nitroflare.com/view/5A4EC265DA9F4A0/Sing.a.Song.of.Sex.1967.DVDRip.x264-SMz.mkv
http://keep2s.cc/file/cb4abdbb32954/Sing.a.Song.of.Sex.1967.DVDRip.x264-SMz.mkv
french srt:
http://subtitlesbank.com/fr/nihon-shunka-ko-french-srt-1697526/
Language(s):Japanese
Subtitles:English,French
From New York Times Magazine:
Possibly inspired by the existential play No Exit by Jean-Paul Sartre, this story about five people living in close quarters in a small apartment conveys the same angst as Sartre’s well-known story about the nature of hell. Like the 1962 movie version of the play, Oszi Almanach is also garishly lighted, with scenes red-tinted on one side and blue-tinted on the other. Close-ups show a dermatologist’s interest in skin, an example of the kind of bizarre abstraction that underscores the alienation in this film. A single, older mother owns the apartment, where she is tended by a nurse who has brought along a presumed lover. The sick woman’s son lives there too, constantly thinking about how to get his hands on his mother’s money. The last member of this unhappy family is a former teacher now down on his luck and out of work. The three men and the nurse are dependent on the sick woman, on her money and her apartment, just as she is dependent on them. Yet these individuals are two-faced, scheming, and prone to anger. Unable to break away and leave, at the same time they find no solace in staying — making a difficult two hours of misery for the average viewer to take on without a therapist.
by Eleanor Mannikka
http://www.nitroflare.com/view/71185FB92743E36/Oszi_Almanach.mkv
http://keep2s.cc/file/9464f4f9fefe2/Oszi_Almanach.mkv
Language(s):Hungarian
Subtitles:English
Quote:
Cold Showers is a coming of age story about Mickael (Johan Libereau), a high school student who is captain of the Judo team and who lives with his low-income family. His mother is a janitor/groundskeeper at a gymnasium and his father is a long-time taxi driver and drunkard. Both are struggling to pay for services and amenities for their apartment. He also has a girlfriend named Vanessa (Salome Stevenin) and the two of them befriend Clement (Pierre Perrier) a rich student who becomes his Judo teammate. A sex triad is formed, and drama ensues.
http://www.nitroflare.com/view/270979DA0016425/Antony_Cordier_-_%282005%29_Cold_Showers.mkv
http://keep2s.cc/file/32790860b7c69/Antony_Cordier_-_%282005%29_Cold_Showers.mkv
Language(s):English, French
Subtitles:English, Spanish (optional)
Quote:
In Stanley Kubrick’s “Paths of Glory” war is viewed in terms of power. This mesmerizing, urgent film about a true episode in World War I combines the idea that class differences are more important than national differences with the cannon-fodder theory of war, the theory that soldiers are merely pawns in the hands of generals who play at war is if it were a game of chess. The result of this amazing film has been the emergence of one of the great talents in contemporary cinema, the master whose greatest work was yet to come.
http://www.nitroflare.com/view/801E17DC198143C/Stanley_Kubrick_-_%281957%29_Paths_of_Glory.mkv
http://keep2s.cc/file/e4e699aca4e96/Stanley_Kubrick_-_%281957%29_Paths_of_Glory.mkv
Language(s):English, German, Latin
Subtitles:English
Quote:
The tangled story that unfolds in the torrid melodrama The Wandering Shadow centers around the character of Irmgard (played by actress Mia May), a virtuous woman who, like many such heroines past and present, gets involved with the wrong kind of man. As the film opens, she is seen fussing on a train headed for the picturesque mountains of Germany, fleeing an unidentified gentleman. Through flashbacks, we learn that Irmgard once found employment with a wealthy free-love advocate (Hans Marr). The two have an affair and, with Irmgard pregnant and desperate, she schemes to secretly marry the man’s brother (also played by Hans Marr) so it at least appears that the child is being raised properly. The confusing story eventually has Irmgard trudging through the mountainous terrain to come across a generous monk who offers her a chance at the redemption she so desperately desires.
Something of a godmother to the robust, quintessentially German mountain-climbing adventures that Leni Riefenstahl would star in a decade later, The Wandering Shadow counts as another draggy melodrama – although one that isn’t without its own campy appeal. Lang’s direction is so subtle, however, that one would never suspect that a future cinematic genius was responsible for it. The film as presented in this set is a 67-minute version assembled from surviving elements; its choppy pacing certainly doesn’t help the story be any more comprehensible (once it was over, I actually needed to have my spouse explain it to me – and much of it still didn’t make sense). Confusing and terribly dated as it is, the film does boast some nice, natural photography of a quaint village and mountainside vistas.
http://www.nitroflare.com/view/92F6D8985CB22CA/Das_wandernde_Bild.mkv
http://keep2s.cc/file/22881df1bf239/Das_wandernde_Bild.mkv
Language(s):Silent
Subtitles:English intertitles
Quote:
Prospero, a potent necromancer, lives on a desolate isle with his virginal daughter, Miranda. He’s in exile, banished from his duchy by his usurping brother and the King of Naples. Providence brings these enemies near; aided by his vassal the spirit Ariel, Prospero conjures a tempest to wreck the Italian ship. The king’s son, thinking all others lost, becomes Prospero’s prisoner, falling in love with Miranda and she with him. Prospero’s brother and the king wander the island, as do a drunken cook and sailor, who conspire with Caliban, Prospero’s beastly slave, to murder Prospero. Prospero wants reason to triumph, Ariel wants his freedom, Miranda a husband; the sailors want to dance.
http://keep2s.cc/file/dccddf2ecc0de/Derek_Jarman_-_%281979%29_The_Tempest.mkv
http://www.nitroflare.com/view/9BD00760572388C/Derek_Jarman_-_%281979%29_The_Tempest.mkv
Language(s):English
Subtitles:None
Quote:
This is the story of a disoriented and vulnerable woman, overburdened with daily life problems and more: her belongings are impounded, her cosmetics shop has been closed down, and her children are forced to go to a public school. The childrenŽs vitality draw a sharp contrast against the apathy shown by their mother, who slowly plunges into a deep depression. The kids, becoming aware that she lacks the necessary strength and maturity to effectlvely face these problems, are forced to adopt adult attitudes. Life goes on, and things change. Sometimes changes are slow and unnoticeable, sometimes they are sharp and tangible, and everything is transformed, always..
http://www.nitroflare.com/view/17173ECD71EAEF6/Pedro_Aguilera_-_%282007%29_La_Influencia.mkv
http://keep2s.cc/file/02deb109a2d05/Pedro_Aguilera_-_%282007%29_La_Influencia.mkv
Language(s):Spanish
Subtitles:English (optional)
The central character of Szabadgyalog, nicknamed “Beethoven,” is a violinist who has been kicked out of music school in Debrecen and now makes his living as a disc jockey. The problem of marriage and responsibility again provide a central focus. At the beginning of the film, a woman gives birth to his illegitimate child and he loses his job at a mental hospital. He marries a second woman but their lack of income provokes a crisis in the relationship. Here the couple have a flat and living with parents is one of the options. Will he, his wife asks, be a permanent outsider despite his talents? Eventually, she sleeps with his brother.
Here, in another tense and unrelenting film, Tarr seems to question the possibility of a stable life and relationships. He has moved beyond the “social problem” script of his first film toward a more elaborate portrayal of character and a focus on the possibilities of formal expression. Most notable here is the scene in which his wife rejects him at a disco, where he is on stage and she speaks up at him from the floor over the noise of the music. An unusual formal organisation and cross-cutting is pursued at length against ear-splitting sound. Perfectly acted, the scene’s formal elements are endlessly extended in a way that looks forward to his later work.
http://www.nitroflare.com/view/F96B5DE30785F53/The_Outsider.mkv
http://keep2s.cc/file/5d876ecf71441/The_Outsider.mkv
Language(s):Hungarian, Slovak
Subtitles:English hard coded
Plot
In May of 1983, a man turns 49 and, with his 17-year old son, journeys to the village in Baden that he left 40 years before. He wants to discover what happened then, the truth about an affair his mother had with a young Polish prisoner of war, how the authorities came to learn of it, the lovers’ arrest, and the aftermath. While his son takes Polaroid photographs, he retraces the steps of his childhood and interviews those who should remember. The story is disclosed in flashbacks that focus on the lovers (Paulina and Stanislaus), on a jealous and conniving neighbor, and on Mayer, the local SS commander who wants to find a way out of inevitable consequences.
Nominated
Venice Film Festival – Golden Lion – 1983
http://www.nitroflare.com/view/60B8636F41F637A/Eine_Liebe_in_Deutschland_%281983%29.mkv
http://keep2s.cc/file/048b0c358d7e7/Eine_Liebe_in_Deutschland_%281983%29.mkv
Language(s):German, Polish
Subtitles:English, German, French, Spanish
SYNOPSIS:
Ethan Edwards, returned from the Civil War to the Texas ranch of his brother, hopes to find a home with his family and to be near the woman he obviously but secretly loves. But a Comanche raid destroys these plans, and Ethan sets out, along with his 1/8 Indian nephew Martin, on a years-long journey to find the niece kidnapped by the Indians under Chief Scar. But as the quest goes on, Martin begins to realize that his uncle’s hatred for the Indians is beginning to spill over onto his now-assimilated niece. Martin becomes uncertain whether Ethan plans to rescue Debbie… or kill her.
FILMSITE MOVIE REVIEW:
The Searchers (1956) is considered by many to be a true American masterpiece of filmmaking, and the best, most influential, and perhaps most-admired film of director John Ford. It was his 115th feature film, and he was already a four-time Best Director Oscar winner (The Informer (1935), The Grapes of Wrath (1940), How Green Was My Valley (1941), and The Quiet Man (1952)) – all for his pictures of social comment rather than his quintessential westerns. The film’s complex, deeply-nuanced themes included racism, individuality, the American character, and the opposition between civilization (exemplified by homes, caves, and other domestic interiors) and the untamed frontier wilderness.
With dazzling on-location, gorgeous VistaVision cinematography (including the stunning red sandstone rock formations of Monument Valley) by Winton C. Hoch in Ford’s most beloved locale, the film handsomely captures the beauty and isolating danger of the frontier. It was even a better film than Ford’s previous Best Picture-winning How Green Was My Valley (1941). However, at its time, the sophisticated, modern, visually-striking film was unappreciated, misunderstood, and unrecognized by critics. It did not receive a single Academy Award nomination, and was overwhelmed by the all-star power and glamour of the Best Picture winner of the year, Around the World in 80 Days (1956).
The film’s screenplay was adapted by Frank S. Nugent (director Ford’s son-in-law) from Alan Le May’s 1954 novel of the same name, that was first serialized as a short story in late fall 1954 issues of the Saturday Evening Post, and first titled The Avenging Texans. Various similarities existed between the film’s script and an actual Comanche kidnapping of a young 9 year-old white girl (Cynthia Ann Parker) at Fort Parker in East Texas on May 19, 1836. [Note: She was finally ‘rescued’ or recaptured by Texas Rangers about 25 years later in the Battle of Pease River in late 1860, after living as the Comanche wife of warrior Peta Nocona and the mother of three Native-American children (two sons and a daughter). She had great difficulty adjusting to white society upon her return, and died in 1870.] The film’s producer was C.V. Whitney – a descendant of Eli Whitney, who was a pioneer in the mass production of muskets in the first firearms assembly factory in New Haven, CT.
Ten to fifteen years after the film’s debut, and after reassessing it as a cinematic milestone, a generation of “New Hollywood” film directors, French film critics and others, including Martin Scorsese, Paul Schrader, Steven Spielberg, John Milius, Brian De Palma, Jean-Luc Godard, Wim Wenders, and George Lucas, praised the film. They traced their own fascination with film to this mythic John Ford western, and in reverence, reflected his work in their own films (e.g., Scorsese’s Taxi Driver (1976), Who’s That Knocking at My Door? (1968), and Mean Streets (1973), Lucas’ Star Wars (1977), Spielberg’s Close Encounters of the Third Kind (1977), Sergio Leone’s Once Upon a Time in the West (1968, It.), and Schrader’s Hardcore (1979)). Even rock musician Buddy Holly wrote a song based on John Wayne’s trademark line: “That’ll Be The Day,” popularized by the Beatles.
The Searchers tells the emotionally complex story of a perilous, hate-ridden quest and Homeric-style odyssey of self-discovery after a Comanche massacre, while also exploring the themes of racial prejudice and sexism. Its meandering tale examines the inner psychological turmoil of a fiercely independent, crusading man obsessed with revenge and hatred, who searches for his two nieces (Pippa Scott and Natalie Wood) among the “savages” over a five-year period. The film’s major tagline echoed the search: “he had to find her…he had to find her.”
John Wayne, the “Duke,” had already played many major roles in numerous westerns in his career, including The Big Trail (1930), The Spoilers (1942), Howard Hawks’ Red River (1948), and The Fighting Kentuckian (1949), and had appeared in five previous Ford westerns, including: Stagecoach (1939), 3 Godfathers (1948), Fort Apache (1948), She Wore a Yellow Ribbon (1949), and Rio Grande (1950) — and would appear in a few more, including: The Horse Soldiers (1959) and The Man Who Shot Liberty Valance (1962). In this film, his first anti-heroic role, he was a bigot and racist – a tragic, lonely, morally-ambiguous figure perenially doomed to be an outsider. It was a role that the actor often described as his favorite. It is commonly regarded as Wayne’s finest-acted performance – and his ninth starring role in a Ford film. [Wayne’s other Ford films, four non-westerns, included: The Long Voyage Home (1940), They Were Expendable (1945), The Quiet Man (1952), and The Wings of Eagles (1957).]
The opening credits (portrayed in a Playbill fontface) are displayed before a backdrop of an adobe brick wall. The words of the romantic Stan Jones ballad (sung by The Sons of the Pioneers) that play during the credits, What Makes a Man to Wander?, define the central theme of the film – one man’s wanderings and obsessive search:
What makes a man to wander?
What makes a man to roam?
What makes a man leave bed and board
And turn his back on home?
Ride away, ride away, ride away.
In the final, well-celebrated scene located in front of the Jorgensen’s pioneer home, Mose is peacefully sitting on the porch rocking chair, rewarded for his persistence, and having found the answer to his persistent dream to find civilization and never wander again. The Jorgensens see five approaching riders. Laurie rushes off the porch, running to the second rider – Martin. In the lead, Ethan carries Debbie on his horse up to the front door of the Jorgensen’s pioneer home. He dismounts, carries her in his arms to Jorgensen and his wife, and deposits her on the porch doorstep – she has her arms wrapped childishly around his neck.
The soundtrack reprises the opening song for the remainder of the scene:
A man will search his heart and soul
Go searchin’ way out there
His peace of mind he knows he’ll find
But where, O Lord, Lord where?
Ride away, ride away.
The tragic outsider, Ethan stands for a few moments, lingering outside as the camera pulls back into the darkened inside of the home, the doorway framing the scene. Ethan steps up onto the porch, then hesitates and steps to one side as Laurie and Martin cross behind him and enter, reunited once and for all – unlike Ethan who is fated to wander and cannot live in a civilized, family-based community. [Marty and Laurie function as surrogates for Ethan and Martha’s love – the young couple are put back into the functioning, rebuilt remnants of the family that was so split apart by Scar’s savagery.] Neurotically split and isolated, he belongs neither to the civilized settlers nor with the native Indians.
Still standing with his feet astride in a wide stance within the framing of the doorway, Ethan grasps his right elbow with his left hand. [This has been acknowledged as Wayne’s subtle, tribute-remembrance of cowboy actor Harry Carey, Sr.’s familiar stance in silent western films.] He then decides to remain behind, looking after them. Then he turns away, his silhouette continuing to be framed in the open doorway, and walks into the swirling dust. The eternally-excluded loner, he wanders alone (like the fate of the dead Indian whose eyes he shot out) back into the alien, desert wilderness, similar to how he entered the picture so many years before, but now reversed. The Jorgensen’s door, the door to civilization and the family hearthside, swings shut on him, making the screen black.
©Tim Dirks
http://keep2s.cc/file/5b3c179785845/The_Searchers.mkv
http://keep2s.cc/file/533d0664df846/Turning_of_the_Earth.mkv
http://keep2s.cc/file/a60588c638eb2/The_Searchers_-_An_Appreciation.mkv
http://www.nitroflare.com/view/B22D7AE6948F0B8/The_Searchers.mkv
http://www.nitroflare.com/view/167AA65D853EBCC/Turning_of_the_Earth.mkv
http://www.nitroflare.com/view/31949D97F7BCAF8/The_Searchers_-_An_Appreciation.mkv
Language(s):English, Navajo, Spanish
Subtitles:English French Spanish
Quote:
A bored small-town girl and a small-time bank robber leave in their wake a string of violent robberies and newspaper headlines that catch the imagination of the Depression-struck Mid-West in this take on the legendary crime spree of these archetypal lovers on the run.
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http://keep2s.cc/file/de1bcd79f196d/Bonnie_and_Clyde_%281967%29.srt
Language(s):English
Subtitles:English (.srt)
Plot Synopsis from allmovie:
As a newlywed couple boards a train bound for India and are forced to reconcile atheism and faith in director Mohsen Makhmalbaf’s spiritual-themed drama. He is a non-believer that is consumed by doubt, and she has faith that life’s answers will come to her through prayer. Though there is little that this newlywed couple can agree upon — including the prospect of having children — they do love each other and are intent upon sharing a spiritual honeymoon. In the midst of a philosophical debate, a holy man on the tracks forces the train to grind to a halt. While the local beggars revere the man for his power over the imposing locomotives, the truth is much less mystical. Years ago the man failed in committing suicide on the tracks when the oncoming train saw him and slowed down. These days he is compelled by the beggars to reenact the “miracle” daily so that the train will stop and they can collect alms from the passengers.
http://www.nitroflare.com/view/6DB7B3BF15B82B1/Scream_of_the_Ants_%282006%29.avi
http://www.nitroflare.com/view/5F636848D8D64E0/Scream_of_the_Ants_Dialogue_List_%28English%29.doc
http://www.nitroflare.com/view/4EF9EC5A40C0196/screamOfTheAntsEnglish.zip
http://keep2s.cc/file/1880628aa6ad8/Scream_of_the_Ants_%282006%29.avi
http://keep2s.cc/file/e12a4eec94301/Scream_of_the_Ants_Dialogue_List_%28English%29.doc
http://keep2s.cc/file/77b7f09ece60e/screamOfTheAntsEnglish.zip
Language(s):Persian, English, Indian, French
Subtitles:German Hardsub,English srt
This film is a series of letters, photos and video cassettes which women often send in to certain newspapers. By visualizing their story-telling (the name given by the psychologists to their fantasies) the film portrays the confessions, the secret longings, the adventures, recollections, dreams, desires and fantasies of these women. It is an open secret that most women dream of forbidden affairs, secret lovers and hasty encounters but when it comes down to it they lack the courage to pursue their dreams.
http://www.nitroflare.com/view/144980D5D009F44/Fermo.Posta.Tinto.Brass.ITA.DVDRip.XViD.PARENTE.1995.avi
http://www.nitroflare.com/view/92EE4E30907FEA9/subs.rar
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no pass
Quote:
In a murky, seriously deranged cityscape only a studio art department could create, a giant bald strangler (Michael Kirby) is going around killing people with piano wire. The authorities are powerless (though he stomps about freely, occasionally declaiming speeches), so vigilante posses start roving the streets. For some reason, they dragoon a noisy nebbish named Kleinman (Allen) to assist them. So Kleinman goes into the fog, kvetching, and meets Irmy (Mia Farrow), a circus sword swallower (no double-entendres, please) whose clown of a husband (John Malkovich) is two-timing her with the strongman’s wife (Madonna). Add an “et cetera” here, because the big, mostly wasted cast also includes Kenneth Mars as the strongman, Donald Pleasence as a philosophical coroner, John Cusack as a student who mistakes Irmy for a prostitute, and Kathy Bates, Jodie Foster, and Lily Tomlin as the real prostitutes in whose company she happens to be at the time. None of this adds up, and the whole thing moves and feels less like a film than one of Allen’s oddball New Yorker sketches. Still, as the fever dream of an art-house addict, it has its moments.
http://www.nitroflare.com/view/26C6E2A038557B9/Shadows.and.Fog.1991.DVDRip.x264.mkv
http://keep2s.cc/file/fd482529a3c9d/Shadows.and.Fog.1991.DVDRip.x264.mkv
Language(s):English
Subtitles:English, French, Spanish
Quote:
Erotic Man (Det Erotiske Menneske) (Director: Jørgen Leth): This somewhat experimental and extremely personal film raised so many issues for me to think about that I’m not sure my rating will align much with that of other reviewers. I don’t mind at all. Leth, who has been making films for more than 40 years, has made perhaps his most honest and personal one yet. An examination of the erotic, it’s more of a personal memoir, a record of an attempt to recreate (or create) memories or fantasies (romantic/sexual) from years of experiences all over the world. Leth seems to have an affinity for the exotic, having traveled extensively in Africa, Latin America and Southeast Asia. Since 1991, he’s lived in Haiti, and this film seems to have emerged from a long-term love affair he experienced there. In fact, this film and his memoir The Imperfect Man have caused controversy in his native Denmark because in them he details his relationship with Dorothie, the 17-year-old daughter of his cook.It’s very clear from the film that his five years with Dorothie were among the happiest in his life, and his attempts to describe the erotic can be seen as an extended love letter to her. At the beginning of the film, we are simply presented with several sequences of beautiful women, often nude, reciting poetry. We move from Haiti to Senegal to Brazil, from 1999 to 2002 to 2008. Are these love affairs simply captured documentary-style? Then Leth pulls back the curtain. We see him in Brazil at a casting session. He’s looking for beautiful women for his film. He tells them he’s recreating memories of past love affairs, and each woman is to lounge naked on a hotel bed, reciting a poem (often his own — Leth was an accomplished poet before he ever began making films) and simulating post-coital bliss. It’s a constructed dream, and the women are paid to portray memories and feelings they’ve never had.
It’s undoubtedly beautiful to look at, but it’s not erotic because these are not my memories or my fantasies. But Leth raises all kinds of issues with his honest desire to pursue his vision of eroticism. He’s a savvy filmmaker and a man of vast experience of the world. He must know that the places he’s chosen to travel to document eroticism (Eastern Europe, Thailand and the Philippines in addition to the countries mentioned above) have been places where sex trafficking takes place. Places where women sell themselves (or are sold) to men as canvasses for whatever fantasies they want to project. Though Leth is clear to the women that he’s not making pornography, the dynamic is the same. He’s a rich white Westerner who is offering money to women to do sexual things. It raises the question as to whether all male concepts of the erotic involve the same thing. We are aroused by looking, by seeing, by capturing and by keeping what isn’t necessarily ours. We often pay to pretend it is. There is a whole scale of activities, from staring at beautiful women on the subway train, to staring at them naked in magazines or strip clubs, to paying them for more and more simulation. This kind of eroticism is constructed, it’s not real. The interesting thing about Leth’s project is that the act of making a film is also a way of constructing a reality that is not real. Eroticism, like cinema, is a constructed reality. He is capturing, trying to hold onto, something that is ethereal (memory) and untameable (female desire/love). It’s a film that could only be made by a man closer to the end of his life than the beginning.
In Leth’s personal life story, the erotic often equates with the exotic. He loves women unlike those in his native Denmark. He likes dark skin and hair, warm climates and sensual music. In these places, women often seem more submissive. They have no problem playing their parts in his movie. Like actors, they don’t mind that he is giving them the lines they are to read. I suspect that many women in the “developed” world will see this film and think Leth is just an unreconstructed sexist. I’m not sure I’d agree, but I do hope that his honesty and vulnerability might lead to more open discussion of the different expressions of eroticism. The film is a bit like a mirror. What you think about it will very much depend on what you see in the mirror.
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Language:Danish, French, Portuguese, English
Subtitles:English
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Shoah is Claude Lanzmann’s landmark documentary meditation on the Holocaust. Assembled from footage shot by the filmmaker during the 1970s and 1980s, it investigates the genocide at the level of experience: the geographical layout of the camps and the ghettos; the daily routines of imprisonment; the inexorable trauma of humiliation, punishment, extermination; and the fascinating insights of those who experienced these events first hand.
Absent from the film is any imagery shot at the time the Holocaust occurred. There is only Lanzmann and his crew, filming in private spaces and now-dormant zones of eradication to extract testimony from a series of survivors, witnesses, and oppressors alike. Through his relentless questioning (aided on occasion by hidden camera), Lanzmann is able to coax out material of unparalleled emotional truth that constitutes both precious oral history and withering indictment.
“Making a history was not what I wanted to do. I wanted to construct something more powerful than that” – Claude Lanzmann
“I consider Shoah to be the greatest documentary about contemporary history ever made, bar none, and by far the greatest film I’ve ever seen about the Holocaust” – Marcel Ophuls
“I would never have imagined such a combination of beauty and horror… A sheer masterpiece” – Simone de Beauvoir
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Language:English | German | Hebrew | Polish | Yiddish | French
Subtitles:English (idx/sub)
no pass
Plot summary from M-Line Distribution:
Eighteen year-old Tae-hoon and Mi-jung have been going out for 100 days. During winter break they decide to take a trip to the beach to celebrate their anniversary. When they are back home after a few days, they have to confront a harsh situation – Mi-jung’s parents don’t allow them to see each other until they become college students.
Tae-hoon struggles to keep their love and wanders around Mi-jung but she is eventually changed and avoids him as her parents wish. Winter turns to spring, and Tae-hoon and Mi-jung both turn nineteen.
Review by Sean Axmaker at Parallax View:
Eighteen, a quasi-autobiographical drama from first time filmmaker Jang Kun-aje, it’s a largely low-key study in the impulsive, illogical self-absorbed nature of being age eighteen, when they are no longer children but certainly not adults. Add to this teen romance in the throes of hormonal overload and reflexive rebellion and the specific freedoms and restrictions of high school kids in South Korea, where the usual pressures are compounded by the emphasis on scholarship and grades (it means everything in the highly competitive struggle to land a good college) and you’ve got a universal story from a unique cultural perspective. Tae-Hoon is headstrong, defiant, rebellious, sloughing off school, caught up in the emotional rush of romance so much he doesn’t take responsibility for anything, especially when he sweeps his high school girlfriend Mi-Jeong away for a week at the beach without so much as a phone call to either of their parents. When it comes time to face up to the parents, neither are prepared for the runaway fury of Mi-Jeong’s father, whose chummy hospitality at a family summit escalates into interrogation, confrontation and intimidation, driven in equal parts by protectiveness, paternal territoriality and whisky. The film never matches the tension and dramatic dynamism of this slow burn to explosiveness and the story takes a familiar, if not always expected, path. Where Jang’s film really shines is the way it captures the blinkered state of the age. Tae-Hoon’s surliness is maintained until he faces Mi-Jeong’s father, and then his defiance is largely in slinking around the pledge he signed to not see Mi-Jeong until after graduation. Meanwhile the anxiety of it all makes Mi-Jeong just shut herself off to everything—including Tae-Hoon—much to the boy’s frustration. And of course, frustration only leads to more gestures of defiance and almost inevitable disasters.
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Language:Korean
Subtitles:English, Korean
Portrait of an artist as a young manic. First, a montage of still photographs of an artist’s face. Then motion. He stirs in sleep; he paints and expresses frustration. He looks for a light for his cigarette. He sketches, wads it up; makes tea; stares at his face in a mirror, then looks at canvas after canvas of self-portraits. He becomes agitated and defaces the work. He rips and tears, punches and kicks the art. Then he destroys mirrors. The catharsis over, he rests and begins again to paint. (IMDb)
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Language:no language
Subtitles:English (optional)
Plot Synopsis by Clarke Fountain
The director of this film, Larisa Shepitko, was the wife of the distinguished director Elem Klimov and a very promising director herself. Based on a true story, Krylya tells of the efforts of a famous female fighter pilot from the World War II era to make a life for herself in the postwar era. At 42, the present pales before her memories of the past, and of her true love, now long dead. She is unable to come to terms with her past nor with the present, in which she is the director of a high school and the mother of an adoptive daughter. Her attempts to compensate for her distraction all lie in the direction of appearing authoritative, but the students and her daughter, with the unerring instincts of the young, distrust and despise her. In her distress, she is forced even more deeply into reliving her memories of the only time in which she was truly alive, seeking some kind of answer or resolution.
Criterion Synopsis =Wings Larisa Shepitko, 1966
For her first feature after graduating from the All-Russian State Institute for Cinematography (VGIK), Larisa Shepitko trained her lens on the fascinating Russian character actress Maya Bulgakova, who gives a marvelous performance as a once heroic Russian fighter pilot now living in quiet, disappointingly ordinary life as a school principal. Subtly portraying one woman’s desperation with elegant, spare camera work and casual, fluid storytelling, Shepitko, with Wings, announced herself as an important new voice in Soviet cinema.
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Language:Russian
Subtitles:English
