Emile de Antonio – In the Year of the Pig [+Extras] (1968)

January 15, 2018, 10:08 am

≫ Next: Aleksandr Gutman – Tri dnya i bol’she nikogda AKA Three Days and Never Again (1998)

≪ Previous: Jean-Pierre Melville – Quand tu liras cette lettre AKA When You Read This Letter (1953)

Plot Synopsis [AMG]
Documentary filmmaker Emil DeAntonio’s In the Year of the Pig was financed by New York society matron Mrs. Orville Schell; her fund-raising dinners earned her an executive producer credit on the completed film. An extremely radicalized view of the still-raging war in Vietnam, Pig was so unabashedly provocative that it earned DeAntonio the tireless scrutiny of FBI head J. Edgar Hoover (whose file on the filmmaker inspired yet another DeAntonio production of 1990, Mr. Hoover and I). The film’s highlight is an interview with the late general George S. Patton, adroitly re-edited to make it seem as though Patton (who died in 1945) is characterizing the boys in Nam as “a bloody good bunch of killers.” Bracketed between his Rush to Judgment (based on the highly suspect findings of JFK-conspiracy theorist Jim Garrison ) and his America is Hard to See (a chronicle of the Eugene McCarthy Presidential campaign), DeAntonio’s In the Year of the Pig is an amalgam of the best and worst elements of those two offerings. The film says what needs to be said, but it often ends up preaching only to the converted.

Extra:

http://nitroflare.com/view/29873FDB26AFE77/In_the_Year_of_the_Pig.avi
http://nitroflare.com/view/88AEC248C5F0EE3/In_the_Year_of_the_Pig.srt
http://nitroflare.com/view/338AA612DA91305/PBS_Interview_with_Director.avi

https://publish2.me/file/76b30369dda12/In_the_Year_of_the_Pig.avi
https://publish2.me/file/8199d60d8362f/In_the_Year_of_the_Pig.srt
https://publish2.me/file/176fd556965ce/PBS_Interview_with_Director.mp4

Language(s):English
Subtitles:English .srt (main feature only)

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Aleksandr Gutman – Tri dnya i bol’she nikogda AKA Three Days and Never Again (1998)

January 16, 2018, 2:07 am

≫ Next: Jacques Rozier – Adieu Philippine (1962)

≪ Previous: Emile de Antonio – In the Year of the Pig [+Extras] (1968)

Quote:
Two weeks before the end of his national service, Alexander Birgukov shot and killed his two commanding officers. He was sentenced to death. But when it was alleged that one of his victims had sexually harassed him, President Boris Yeltsin commuted his death sentence to a lifetime in prison. Tenderly revealing two lives lived in limbo, this film bears witness to the first and final visit of his mother, Lubyov. Incarcerated in an isolated monastery prison entirely surrounded by water, an uncertain past is recalled and contrasted to a future of unending certainty.

http://nitroflare.com/view/75B1EC64B16A516/Three.Days.and.Never.Again.2001.WEB.x264-SSS.mkv

https://publish2.me/file/ca7e37342e22a/Three.Days.and.Never.Again.2001.WEB.x264-SSS.mp4

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

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Jacques Rozier – Adieu Philippine (1962)

January 16, 2018, 2:34 am

≫ Next: Terence Young – Soleil rouge aka Red Sun (1971)

≪ Previous: Aleksandr Gutman – Tri dnya i bol’she nikogda AKA Three Days and Never Again (1998)

Jonathan Rosenbaum wrote:
Jacques Rozier is perhaps the least known of the most talented French New Wave directors, if only because his output is so limited—about one feature per decade. His subject is teenagers, and his method owes a lot to cinema verite. This first feature, made toward the beginning of the 1960s, is also probably his best; it concerns a young TV worker who is dating two 18-year-old girlfriends and can’t choose between them. Rozier’s graceful style is a mixture of sweetness and light, devoid of pretension and open to youthful energies. Recommended.

Bonjour Philippine

Bonsoir Philippine

Adieu Philippine

Quote:

Here is one of the 3 most beautiful French films from the beginning of the New Wave and one that could justify almost alone all the efforts to impose the new methods and the approach of the cinema that was defended there.

But this novelty is not unrelated. On the contrary. Vigo, Renoir, to stay only in France. And as with the latter and the Partie de Campagne for ex, (Is “Adieu Philippine” not a the sunny Sunday stretched over a few weeks?), all this happiness of life, these smiles, these crazy laughs, these sensual emotions, these caprices of starlets, these jealous fears, these adventures of nothing at all are articulated around a dark point almost hidden but constantly present in the background from the very beginning and are playing, so to say, with a terrible shadow: The Algerian war here and a possible death for Michel, marriage and an infernal life till death for Henriette (Sylvia Bataille).

1960-62

http://nitroflare.com/view/4332D0D3530F68B/Adieu_Philippine_-_Jacques_Rozier_%281962%29.mkv

https://publish2.me/file/7b916fed8dc59/Adieu_Philippine_-_Jacques_Rozier_%281962%29.mkv

Language(s):French
Subtitles:English

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Terence Young – Soleil rouge aka Red Sun (1971)

January 16, 2018, 8:15 am

≫ Next: Baltasar Kormákur – Eiðurinn AKA The Oath (2016)

≪ Previous: Jacques Rozier – Adieu Philippine (1962)

In what was billed as “The First East-Meets-West Western,” Toshiro Mifune plays Kuroda, a samurai warrior who accompanies a Japanese diplomat to the United States. The diplomat has brought with him a golden, jewel-encrusted sword to present as a token of good will to the president, but as they travel by train through the west, they’re ambushed by a pair of outlaws, Gauche (Alain Delon) and Link (Charles Bronson). Gauche and Link steal the sword, but Link leans the hard way about his partner’s trustworthiness when Gauche double-crosses him and makes off with the booty. Since both Kuroda and Link have a grudge against Gauche, they warily join forces to track him down and return the sword to its rightful owner. Along the way, they have to deal with cultural conflict, Indian attacks, and encounters with beautiful women (played by Capucine and Ursula Andress). Given its cast and theme, Red Sun was predictably enough a major box-office success in Europe and Japan, but it passed through with little notice in the United States.

http://nitroflare.com/view/DCB83555CE06D32/Red_Sun_%281971%29kg.avi
http://nitroflare.com/view/2F6F65D691E925D/Red_Sun_%281971%29English.rar

https://publish2.me/file/9e580fba0e7fa/Red_Sun_%281971%29English.rar
https://publish2.me/file/721b32b3d5726/Red_Sun_%281971%29kg.mp4

Language(s):English
Subtitles:English srt

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Baltasar Kormákur – Eiðurinn AKA The Oath (2016)

January 16, 2018, 11:30 am

≫ Next: Robin Campillo – 120 battements par minute AKA 120 Beats Per Minute (2017)

≪ Previous: Terence Young – Soleil rouge aka Red Sun (1971)

From cinemaperspective.com
When filmmakers possess a signature style that can be identified across their body of work, they are sometimes referred to as an auteur of cinema. It’s a term that might get banded around too frequently, but one that is often used when discussing Icelandic visionary Baltasar Kormákur. His latest feature is crime thriller The Oath, a personal project which he amazingly produces, directs, co-writes and stars in. The story follows family man heart surgeon Finnur (Kormákur) who tries to rescue his daughter Anna (Hera Hilmar) from her thuggish boyfriend Óttar (Gísli Örn Garðarsson) when she becomes entangled in his dangerous, criminal lifestyle.

The wavering moral compass of the protagonist serves as a guide to the narrative as he resorts to desperate measures which sees his life spiral out of control. Everyday sequences are consistently implemented where we see Finnur swimming and cycling to keep fit in his spare time as well as performing surgery in his professional position. This helps to create contrast between his respectable persona and his increasingly questionable decision-making, conjuring up Walter White-esque parallels as his intelligence informs his drastic actions.

As well as showing off his writing and directing skills, Kormákur impresses with a tremendous central performance that can transform from nuanced to volatile in an instant. The turning cogs of his plotting and panicking can be witnessed through facial expressions alone, and as well as his fascinating personal character arc, he also enjoys a tender father-and-daughter dynamic with Anna, who is portrayed with an authentic combination of teenage rebellion and vulnerability by Hilmar. Well suited to the chilly backdrop it unfolds against, The Oath is carefully crafted and smartly executed by Baltasar Kormákur, who displays his palpable technical know-how in a film that has a father’s warmth somewhere deep down in its icy cold heart.

http://nitroflare.com/view/CE1025DDD8E9D9C/The_Oath.mkv

https://publish2.me/file/96312544cb488/Ei%D1%86%E2%95%9Furinn_AKA_The_Oath.mkv

Language(s):Icelandic
Subtitles:English

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Robin Campillo – 120 battements par minute AKA 120 Beats Per Minute (2017)

January 17, 2018, 3:19 am

≫ Next: Marianna Palka – Bitch (2017)

≪ Previous: Baltasar Kormákur – Eiðurinn AKA The Oath (2016)

Quote:
Early 1990s. With AIDS having already claimed countless lives for nearly ten years, Act up-Paris activists multiply actions to fight general indifference. Nathan, a newcomer to the group, has his world shaken up by Sean, a radical militant, who throws his last bits of strength into the struggle.

http://nitroflare.com/view/EE6CEBD92EB7328/Robin_Campillo_-_%282017%29_120_Beats_per_Minute.mkv

https://publish2.me/file/5cb4fcfd84125/Robin_Campillo_-_%282017%29_120_Beats_per_Minute.mp4

Language(s):French
Subtitles:None

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Marianna Palka – Bitch (2017)

January 17, 2018, 3:33 am

≫ Next: Jean-Luc Godard – Grandeur et décadence d’un petit commerce de cinéma (1986)

≪ Previous: Robin Campillo – 120 battements par minute AKA 120 Beats Per Minute (2017)

Quote:
The provocative tale of a woman (Marianna Palka) who snaps under crushing life pressures and assumes the psyche of a vicious dog. Her philandering, absentee husband (Jason Ritter) is forced to become reacquainted with his four children and sister-in-law (Jaime King) as they attempt to keep the family together during this bizarre crisis.

http://nitroflare.com/view/F648F920AE1E6F5/Marianna_Palka_-_%282017%29_Bitch.mkv

https://publish2.me/file/d40fe99106d64/Marianna_Palka_-_%282017%29_Bitch.mkv

Language(s):English
Subtitles:English

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Jean-Luc Godard – Grandeur et décadence d’un petit commerce de cinéma (1986)

January 17, 2018, 3:43 am

≫ Next: Johan van der Keuken – Amsterdam Global Village + Amsterdam afterbeat (1996)

≪ Previous: Marianna Palka – Bitch (2017)

Quote:
The director Gaspard Bazin is preparing a new feature film. For now, he is still in the casting and financing stages. He’s asking the help of Jean Almereyda, a producer once fashionable but now at low ebb, who has more and more difficulties to raise cash for his company. His wife, Eurydice, dreams of being a movie star. Between the two men, a perverse game is starting, Almereyda wishing to please his wife, but the unrepentant seducer reputation of Bazin holds him to require a part for Eurydice…

A sort of peewee, home-movie CONTEMPT, GRANDEUR ET DECADENCE is Godard’s look at what happens during the making of a cheapo TV movie–i.e., he took on an assignment to make a cheapo TV movie, and in typical fashion gave the process the skewer. The emphasis here is on the real faces and real voices of real people–actors seen in a poignant juxtaposition of their headshots and their real, peeved, fragile selves. One of the most energetic, funniest and oddly touching of recent Godards, this is extraordinarily hard to find, and worth the hunt. – matthew wilder

http://nitroflare.com/view/169AF3E9A1534E3/Jean-Luc_Godard_-_%281986%29_Grandeur_et_decadence_d%27un_petit_commerce_de_cinema.mkv

https://publish2.me/file/ed8ca2dff174e/Jean-Luc_Godard_-_%281986%29_Grandeur_et_decadence_d%27un_petit_commerce_de_cinema.mkv

Language(s):French
Subtitles:English

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Johan van der Keuken – Amsterdam Global Village + Amsterdam afterbeat (1996)

January 18, 2018, 4:15 am

≫ Next: Constantin Wulff – Ulrich Seidl und die bösen Buben AKA Ulrich Seidl: A Director at Work (2014)

≪ Previous: Jean-Luc Godard – Grandeur et décadence d’un petit commerce de cinéma (1986)

From an interview about this film, conducted by Serge Toubiana,

Is Amsterdam Global Village intended to be the portrait of a city? Can one in fact portray a city?
– I don’t think you can portray anything, but you can build a city through film, using both fictional and direct cinema techniques, which I purposely blend. The constructivist concept is very important to me. At the end of the film, there is a dedication to my friend, the writer Bert Schierbeek, who died this year. Bert Schierbeek wrote: “I always felt that life was made up of 777 stories going on at the same time.” So I thought we could do 777 four-hour films about Amsterdam, even if it’s a small city. But you have to make choices, take risks. When you film you have to disregard certain realities in order to recreate something physical on the screen. In that way, it’s possible to portray a city.

The film seems to be searching for a heartbeat, the heartbeat of the city… It’s like a heart that pumps and expels: blood circulates and the circulation leads us to distant places: to Bolivia, Chechnya, Sarajevo, Thailand. How did you construct this “here and there”?
– What I really wanted to do was to return to the roots of direct cinema. When I graduated from IDHEC in 1958, I saw Jean Rouch’s first films: Les Maîtres Fous and Moi, un Noir which greatly impressed me in the way they blended direct cinema and fiction. I also saw films by Richard Leacock and Robert Drew. Those films had a very liberating effect on me. At the same time, what I missed — especially in the American work — was an awareness of form. What I saw in them was very classical dramaturgy of the American hero, but it was virtually unavowed. The films claimed to be examples of direct cinema, but there were very marked implicit choices that harked back to Hollywoodian dramaturgy. I told myself that I also needed to work on form, Eisensteinian editing (as much as I knew about it at the time) — all sorts of techniques that I later explored in all my films: and always, that dosage of the synchronous and the non-synchronous cinema, what’s set-up and what’s found, the fabricated conditions and the random things that result from them and to which we react later.
(…)
For Amsterdam Global Village, I wanted to (…) acknowledge the direct cinema aspect, go with it, and let the form come later. Thinking about direct, I still felt I needed a basic structure. This structure was provided by the vast loop of Amsterdam’s canals. I imagined the film as a long journey through the four seasons, following the circular form that the Provo movement around 1965-66 called “the magic apple”: Amsterdam as the magic centre of the world. So in my mind I followed the outline of this magic apple, and it gave me the sense of always turning, as much as possible, to the right. I have to admit that in the film it feels more like a lateral tracking shot. But I’m glad you sensed the circle.
(…)

Could we say that you began with a European, somewhat ethnographic vision of things, and that suddenly the filmic outcome turned out to be much more dramatic?
– I often say that I work against ethnography. It’s always the moment when the model shatters, when representativity no longer functions, that things get interesting. It’s halfway between something representative and something that’s not representative at all.

…You mean when people suddenly become individuals.
– Yes, the absurdity of life, the singular experience. Serge Daney wrote an article in the Cahiers du Cinéma entitled “La radiation cruelle de ce qui est” (“The Cruel Radiation of That What Is” ) in which he noted that the handicapped characters in my films are often there to break with representativity. This rather marginal position with regard to normality gives them a more penetrating view of what is normal, what is real. This explains the thematic of blindness, deafness, obstructed senses, that to me seems to be one of lucidity with respect to a fractured, fragmented perception that needs to be reconstituted. One can’t see or hear, but one has to live with it.(…)

In this film there’s a rhetorical figure: the homecoming. There is also the notion of exile, and the idea that sons are reunited with their mothers.
-It’s quite amazing, because it was never planned. While working on the project I was very sensitive to binary relationships, particularly male-female relationships. The idea of interviews quickly imposed itself. In the past, I’ve often filmed interviews frontally, with me speaking from behind the camera. It creates a sort of flat surface from which a space is created, which is the space between the screen and the spectator. In the last few years I’ve grown tired of this filming method. For this film, the character’s gaze isn’t directed at the camera, but off to the side, as in a television interview. But in the place of the interviewer, I cut in shots of the wife listening, as with Roberto for instance, simply by matching gaze-directions within the 180 degree axis between shots. That’s something I’ve always enjoyed doing. Because, apart from chase scenes, the shot-reverse shot is the ultra classic movie device that joins two spaces together. If a shot is taken in France and the reverse-angle shot in China, you can splice them together and get them to look at one another. It’s the fictional motif par excellence, and therefore the anti-documentary motif par excellence(…)

I get the feeling that as a filmmaker, you blend two dimensions: slowness and speed. You often film people just before they take off.

– It’s the passage from ponderousness to the state of lightness. Traditionally, information was heavy, you had to carry something, but now it is becoming more and more volatile, airborn. I made a film — in which I failed to get things across, where I didn’t understand things myself — about money, I Love Dollars (1986), in which the people we finally understand the best are those who don’t have money. Those who handle money embody both dimensions because they are totally in a volatile realm, in electronic movement every which way, like a great big floating mosaic of funds and deficits. They seek an equilibrium on earth, and always try to grab something in the flow of things. When there’s movement, you can, like in a current, fish something out. Whereas people who are poor carry their bodies. But those who are out in the floating, volatile world, express their motivations with metaphors involving meat, blood, sex, war, daggers — things of a visceral nature. Their imagery is archaic, so they too are dramatically living at two speeds or in two states of gravity. If I could reshoot the film, I’d have placed more emphasis on that aspect

Why is the love scene multisexual and not multiracial? All of a sudden everyone’s white?
– The thought occurred to me, but I wanted to avoid it being “politically correct.” I must say that I’ve since changed my mind and it perhaps proves that once again I’ve done too much thinking.

http://nitroflare.com/view/1A424762263963C/Johan_van_der_Keuken_-_Amsterdam_afterbeat.avi
http://www.nitroflare.com/view/87E9887BE0707DA/Johan_van_der_Keuken_-_Amsterdam_afterbeat.idx
http://www.nitroflare.com/view/C3E6A164C0EAC62/Johan_van_der_Keuken_-_Amsterdam_afterbeat.rar
http://nitroflare.com/view/591B3899BC487FC/Johan_van_der_Keuken_-_Amsterdam_global_village_part_1.avi
http://www.nitroflare.com/view/58D6395F25B0490/Johan_van_der_Keuken_-_Amsterdam_global_village_part_1.idx
http://www.nitroflare.com/view/B79B9769F128E04/Johan_van_der_Keuken_-_Amsterdam_global_village_part_1.rar
http://nitroflare.com/view/3435788CF9E19FD/Johan_van_der_Keuken_-_Amsterdam_global_village_part_2.avi
http://www.nitroflare.com/view/FC919782C6E1B10/Johan_van_der_Keuken_-_Amsterdam_global_village_part_2.idx
http://www.nitroflare.com/view/6552EC6CF4908E5/Johan_van_der_Keuken_-_Amsterdam_global_village_part_2.rar

Language:Dutch and at least half-a-dozen of other languages…
Subtitles: french-english-spanish-dutch vobsub
no pass

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Constantin Wulff – Ulrich Seidl und die bösen Buben AKA Ulrich Seidl: A Director at Work (2014)

January 18, 2018, 4:52 am

≫ Next: Léa Mysius – Ava (2017)

≪ Previous: Johan van der Keuken – Amsterdam Global Village + Amsterdam afterbeat (1996)

Quote:
The film portrait Ulrich Seidl – A Director at Work depicts the controversial Austrian filmmaker Ulrich Seidl at work for the first time, painting a vivid picture of the much-debated “Seidl method”.

http://nitroflare.com/view/001D363A1D7E20A/Constantin_Wulff_-_%282014%29_Ulrich_Seidl_-_A_Director_at_Work.mkv

https://publish2.me/file/6c89341a24c7b/Constantin_Wulff_-_%282014%29_Ulrich_Seidl_-_A_Director_at_Work.mkv

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

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Léa Mysius – Ava (2017)

January 18, 2018, 5:18 am

≫ Next: Ken Burns & Lynn Novick – The Vietnam War (2017)

≪ Previous: Constantin Wulff – Ulrich Seidl und die bösen Buben AKA Ulrich Seidl: A Director at Work (2014)

Synopsis
A young woman finds out she is condemned to gradually lose her sight while spending her summer vacation at a beach resort. While her mother Maud has vowed to make Ava’s month of holidays an unforgettable experience, Ava decides to take a another route.

http://nitroflare.com/view/E034731F1D885A9/Ava.2017.SD.MUBI.WEB-DL.AAC2.0.H.264-Cinefeel.mkv

https://publish2.me/file/6e4d58e76289c/Ava.2017.SD.MUBI.WEB-DL.AAC2.0.H.264-Cinefeel.mp4

Language(s):French
Subtitles:English

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Ken Burns & Lynn Novick – The Vietnam War (2017)

January 18, 2018, 12:04 pm

≫ Next: Alfred Hitchcock – The Ring (1927)

≪ Previous: Léa Mysius – Ava (2017)

Quote:
The Vietnam War: A Film by Ken Burns and Lynn Novick Ken Burns and Lynn Novick’s ten-part 18-hour documentary series THE VIETNAM WAR tells the epic story of one of the most consequential divisive and controversial events in American history as it has never before been told on film. Visceral and immersive, the series explores the human dimensions of the war through revelatory testimony of nearly 80 witnesses from all sides — Americans who fought in the war and others who opposed it, as well as combatants and civilians from North and South Vietnam. Ten years in the making, the series includes rarely seen, digitally re-mastered archival footage from sources around the globe, photographs taken by some of the most celebrated photojournalists of the 20th Century, historic television broadcasts, evocative home movies, and secret audio recordings from inside the Kennedy, Johnson and Nixon administrations. THE VIETNAM WAR features more than 100 iconic musical recordings from greatest artists of the era, and haunting original music from Trent Reznor and Atticus Ross as well as the Silk Road Ensemble featuring Yo-Yo Ma.

Language(s):Vietnamese, English
Subtitles:English

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Alfred Hitchcock – The Ring (1927)

January 19, 2018, 3:38 am

≫ Next: Jean-Luc Godard – Soigne ta droite AKA Keep Your Right Up (1987)

≪ Previous: Ken Burns & Lynn Novick – The Vietnam War (2017)

A 1927 British silent sports film directed and written by Alfred Hitchcock and starring Carl Brisson, Lillian Hall-Davis and Ian Hunter. It is one of Hitchcock’s nine surviving silent films. The Ring is Hitchcock’s only original screenplay although he worked extensively alongside other writers throughout his career.

The film was made by at Elstree Studios by the newly-established British International Pictures who emerged as one of the two British major studios during the late 1920s and began hiring leading directors from Britain and abroad. It was Hitchcock’s first film for the company, after joining from Gainsborough Pictures. It was also the first ever film to be released by the company.

* The film, while widely considered a minor work[citation needed], features photography tricks Hitchcock would use again years later in films like The Man Who Knew Too Much, most notably during the climactic boxing sequences.
– Wikipedia

The film was a major critical success on its release. However, when it went on general release it was considered a box office failure.

http://nitroflare.com/view/E2A5BE075AECDFC/The_Ring_1927_720p_WEB-DL_AAC2.0_H.264-brento.mkv

https://publish2.me/file/edac810438ad1/The_Ring_1927_720p_WEB-DL_AAC2.0_H.264-brento.mp4

Language(s):Silent
Subtitles:None

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Jean-Luc Godard – Soigne ta droite AKA Keep Your Right Up (1987)

January 19, 2018, 3:56 am

≫ Next: Hsiao-Hsien Hou – Nie yin niang AKA The Assassin (2015)

≪ Previous: Alfred Hitchcock – The Ring (1927)

Quote:
Jean-Luc Godard wrote, directed, and edited this mind-boggling comedy. “The Idiot” (also known as “the Prince” and played by Godard himself) has been guaranteed financing for a film, if he can deliver it within 24 hours. But he encounters all sorts of hilarious problems as he attempts to do so. Meanwhile a pop group (Les Rita Mitsouko) works on a new album. (-DVD cover)

With a tip of the hat to Jerry Lewis, Buster Keaton, Jacques Tati, and (for good measure) Dostoyevsky, Jean-Luc Godard wrote, directed, edited and stars in this mind-boggling comedy. The rambling plot involves a hapless filmmaker (Godard) and his attempt to meet a deadline for delivering a film. From there the movie branches out into an abstract, episodic structure. “…engages even as it baffles…The confusion that results, punctuated by glimmerings of understanding, is the point” (A.O. Scott, The New York Times).

http://nitroflare.com/view/7B7E7822527C62B/Jean-Luc_Godard_-_%281987%29_Keep_Your_Right_Up.mkv

https://publish2.me/file/3aaa9b265dd5e/Jean-Luc_Godard_-_%281987%29_Keep_Your_Right_Up.mp4

Language(s):French
Subtitles:English

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Hsiao-Hsien Hou – Nie yin niang AKA The Assassin (2015)

January 19, 2018, 4:08 am

≫ Next: Paco Plaza – Verónica (2017)

≪ Previous: Jean-Luc Godard – Soigne ta droite AKA Keep Your Right Up (1987)

An assassin accepts a dangerous mission to kill a political leader in seventh-century China.

J. Hoberman wrote:
“The Assassin” is extraordinarily beautiful. The film’s editing and narrative construction are, however, no less remarkable. For all its exquisitely furnished interiors and fantastic landscapes, “The Assassin” is far too eccentric to ever seem picturesque. Nor does it unfold like a typical wuxia. Mayhem is abrupt, brief and fragmentary — predicated on suave jump-cuts and largely devoid of special effects.

Manohla Dargis wrote:
A staggeringly lovely period film set in ninth-century China… Filled with palace intrigue, expressive silences, flowing curtains, whispering trees and some of the most ravishingly beautiful images to have graced this festival, “The Assassin” held the Wednesday-night audience in rapturous silence until the closing credits, when thunderous applause and booming bravos swept through the auditorium like a wave.

Adam Nayman wrote:
There’s an old line from D.W. Griffith about how what movies have lost is “the wind in the trees.” Well, look no further than The Assassin, which not only offers its share of swaying foliage, but also connects philosophically to this idea of cinema as exquisite ephemera. Casting his characters in shadows and shooting through thin scrims and brocaded curtains, Hou Hsiao-Hsien keeps his mise-en-scène mysterious, in contrast to the story, which is fairy-tale simple.

http://nitroflare.com/view/C48F2778BD762D7/Nie_yin_niang_AKA_The_Assassin_-_2015_-_Hsiao-Hsien_Hou.mkv

https://publish2.me/file/87d3a45e97b7e/Nie_yin_niang_AKA_The_Assassin_-_2015_-_Hsiao-Hsien_Hou.mp4

Language(s):Mandarin
Subtitles:English

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Paco Plaza – Verónica (2017)

January 19, 2018, 4:22 am

≫ Next: Cam Archer – Shit Year (2010)

≪ Previous: Hsiao-Hsien Hou – Nie yin niang AKA The Assassin (2015)

Quote:
Madrid, 1991. A teen girl finds herself besieged by an evil supernatural force after she played Ouija with two classmates.

http://nitroflare.com/view/8886B5DD7E1D02E/Paco_Plaza_-_%282017%29_Veronica.mkv

https://publish2.me/file/07880acfc45fd/Paco_Plaza_-_%282017%29_Veronica.mkv

Language(s):Spanish
Subtitles:English

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Cam Archer – Shit Year (2010)

January 20, 2018, 5:37 am

≫ Next: A.E. Coleby – Mysteries of London (1915)

≪ Previous: Paco Plaza – Verónica (2017)

A renowned actress (Ellen Barkin) abandons her successful career for a secluded life in the hills. But before long, she begins to fear she has only lived through the characters she has played. Reality becomes inseparable from unhinged obsessions in a hallucinatory struggle to reclaim herself. With a tour de force by Barkin, Cam Archer’s (Wild Tigers I Have Known) confirms him as one of the most distinct voices in American cinema.

http://nitroflare.com/view/A17543F7D8B5861/Shit.Year.2010.720p.FANDOR.WEB-DL.AAC2.0.H.264-Cinefeel.mkv

https://publish2.me/file/bda350d57ddfb/Shit.Year.2010.720p.FANDOR.WEB-DL.AAC2.0.H.264-Cinefeel.mp4

Language(s):English
Subtitles:None

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A.E. Coleby – Mysteries of London (1915)

January 20, 2018, 6:07 am

≫ Next: Alfred Hitchcock – The Pleasure Garden [+Extras] (1925)

≪ Previous: Cam Archer – Shit Year (2010)

Quote:
After her father is falsely jailed for embezzlement and her mother dies of grief, Louise is adopted by a kindly stockbroker. 15 years later, she falls in love with his dissolute son Frank, a mistake that nearly proves fatal to her. The film’s main historical point of interest, though, lies in the still highly recognisable central London locations – but Dutch intertitles and copious print damage suggest that we’re lucky that this lively three-part melodrama survives at all.

Active in films from 1907, and making features as early as 1912, London-born AE Coleby (1876-1930) was a prolific silent-era director. Specialising in thrillers and melodramas, he was among the first to tackle such horror staples as Egyptian curses (The Mummy, 1912) and the perennial Chinese villain Fu Manchu (The Mystery of Fu Manchu, 1923). In the 1920s, he returned to making mainly short films, including a couple of early sync-sound experiments, but he died shortly after Britain’s talkie era began in earnest. Sadly, as with many silent filmmakers, most of his output no longer survives.

http://nitroflare.com/view/8BB9729FCFC206B/Mysteries_of_London.mkv
http://nitroflare.com/view/134424A6D32973F/Mysteries_of_London_-eng.srt.txt

https://publish2.me/file/b27d1786a4d87/Mysteries_of_London_-eng.srt.txt
https://publish2.me/file/4f228da5ece36/Mysteries_of_London.mp4

Language(s):Dutch
Subtitles:English

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Alfred Hitchcock – The Pleasure Garden [+Extras] (1925)

January 20, 2018, 6:26 am

≫ Next: Harmony Korine – Gummo [+extras] (1997)

≪ Previous: A.E. Coleby – Mysteries of London (1915)

Quote:
The Pleasure Garden is the first film that Alfred Hitchcock directed to completion. It’s a nice look into the earliest directorial thoughts and techniques of the master. Even in this earliest film, we can see signs of what would become some of his signature trademarks. I enjoyed some of the point of view shots early in the film with the blurred view of the man looking through his monocle as well as the gentleman looking through the binoculars at the show girls legs. There is also a spiral staircase in the opening of this movie. Not that it was used like the staircase in Vertigo, but it made me smile thinking of how important that would be in his later film. The story deals with the idea of infidelity. Jill (Carmelita Geraghty) is an aspiring dancer who gets engaged to Hugh (John Stuart) who has to leave for work overseas. Patsy (Virginia Valli), who has helped Jill get her start, starts to worry about Jill keeping her promise to wait for Hugh. Jill’s career is taking off and she begins to fool around with other guys. Patsy marries Levett (Miles Mander), Hugh’s friend who also goes overseas to work with Hugh. Unlike Jill, Patsy remains true to her husband, thinking only of being with him. She receives a letter that her husband has taken ill and scrapes up the money to go be with her husband in his time of need. When she arrives, she finds that he has taken to drinking and island women. That’s when the trouble ensues. I enjoyed Hitch’s first film. It’s a little slow starting, but picks up pace as it goes along. I liked seeing Cuddles, the dog, thrown in for a little comic relief to contrast the seriousness of the film, which of course is another of Hitchcock’s trademarks. There was also a nice, subtle score by Lee Erwin, that fit the film well.