In 1637, the Tokugawa Shogunate mandated religious orders to severely restrict and contain the spread of Christianity. In Kyushu, Shimabara and Amakusa, the Christian population was particularly large, and the farmers continuously endured extreme pain and suffering under the oppression of the land’s rulers. Unable to pay taxes because of severe famine, Christians watched their daughters taken away by the samurai and waited for a miracle that could save them. People lined up to follow Shiro of Amakusa in the belief that he was the one to lead them out of despair. This is a serious story taken from the pages of history, and exposes what led up to the siege of Shimabara. A tremendous performance by mega-star Okawa Hashizo along with crisp direction by noted filmmaker Oshima Nagisa raise the level of this film to true art.

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https://publish2.me/file/894475fcac584/Amakusa.shiro.tokisada.%28The.Rebel%29.1962.mp4
https://publish2.me/file/27e5f491a0376/Amakusa.shiro.tokisada.%28The.Rebel%29.1962.srt
https://publish2.me/file/04d91a8492df2/Amakusa.shiro.tokisada.%28The.Rebel%29.1962.Trailer.mp4

Language(s):Japanese
Subtitles:English

A brilliant analogy to life on Earth, Happiness tells the story of a rodent’s unrelenting quest for happiness and fulfillment.

http://nitroflare.com/view/312FAE8403722EE/Happiness.2017.1080p.WEB-DL.mkv

https://publish2.me/file/523a67e52d9ac/Happiness.2017.1080p.WEB-DL.mp4

Language(s):None
Subtitles:None

Quote:
“The Fruit of Paradise” is a breathtaking experimental film from Vera Chytilova. Well known for her surreal feminist comedy “Daisies” (1966), Chytlova uses many of the same hallucinatory camera tricks for “The Fruit of Paradise”. I used to think that the film “Begotten” was original until I saw the “Fruit of Paradise”. The film’s first 15 minutes is highly psychedelic as it tells the story of creation. There are layers of image on top of image with fast camera cuts. The film almost made my head spin with it’s fast pace, use of color and bizarre experimental sound effects. Then it breaks out into a song about Adam & Eve, which is hauntingly catchy. Now if only I could learn Czech. Then the story of Adam and Eve goes to a modern setting. The devil is portrayed as creepy man of middle age; a persistent stalker and serial killer of women. Eva and her boyfriend go on vacation to a health spa, where they encounter temptation. The devil gets Eva to eat the forbidden fruit. Then the film becomes very comical throughout, as the Devil chases adorable Eva everywhere she goes. Very deep, surreal and philosophical, “The Fruit of Paradise” is another underrated masterpiece to Czech out!

Extras included:

1. Interview with actor Jan Schmidt
2. Interview with director Vera Chytilova

http://nitroflare.com/view/25E25CDE5B0D1B7/Fruit_of_Paradise_%281970%29_–_Vera_Chytilova.mkv
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http://nitroflare.com/view/836E898A7F92F62/Fruit_of_Paradise_%281970%29_Extras.rar

https://publish2.me/file/8897292cd46df/Fruit_of_Paradise_%281970%29_–_Vera_Chytilova.mp4
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https://publish2.me/file/0a9f0af9e2e31/Fruit_of_Paradise_%281970%29_Extras.rar

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

Quote:
Jean-Luc Godard, the unabashed enfant terrible of French cinema, creates a lighthearted, bizarre and atmospheric utopia in Alphaville. Lemmy Caution (Eddie Constantine), an Outland agent, checks into an Alphaville hotel as Ivan Johnson, a reporter from Figaro-Pravda (the first of many unusual alliances). The hotel manager assigns him a room, a Seductress and a bottle of tranquilizers for the evening. A disembodied voice, the synthetic voice of the ubiquitous Alpha 60 supercomputer, announces room availability and incoming telephone calls, and monitors every inhabitant’s behavior. Refusing the services of the ever-obliging Seductress, he briefly struggles with an unknown assailant, but is eventually left alone to study his mission: to locate a missing agent named Henry Dickson (Akim Tamiroff), and the elusive Professor Vonbraun (Howard Vernon), creator of Alpha 60. He arranges a meeting with Natascha Vonbraun (Anna Karina), who knows nothing of her father, and enlists her as his guide through the logically crafted nightmare of Alphaville.

Godard’s futuristic vision is presented through an odd synthesis of gangster noir, romantic melodrama, and pop culture, resulting in a subtly humorous, accessible, and highly original film. The levity of the film is tempered by minimal lighting (literally keeping Alphaville residents in the dark), inexpressive actors, and unexpected violence, creating a sense of incongruity and imbalance. Lemmy Caution target practices on a nude centerfold picture, held in place by an unfazed (and heavily tranquilized) Seductress. Henry Dickson, unable to adjust to life in Alphaville, is encouraged by a tenant to commit suicide. Public executions are performed on an Olympic-sized swimming pool, with swimmers performing an aquatic ballet after retrieving the body. Alpha 60 has dehumanized the residents by fostering complacency: supplying mind-numbing drugs, outlawing emotions, and limiting sources of information (words are routinely removed from dictionary “bibles”). Instead of Alpha 60 evolving to emulate the complex behavior of its creator, humans have adapted to the limited capacity of its logical governor. Together, Lemmy and Natascha set out to find the missing men – bringing chaos to the carefully constructed world of Alphaville – and in the process, discover the infinite possibilities of independent thought and human emotion.

http://nitroflare.com/view/FC9627437D2D6DD/Jean-Luc_Godard_-_%281965%29_Alphaville.mkv

https://publish2.me/file/8dd7ee48fa586/Jean-Luc_Godard_-_%281965%29_Alphaville.mkv

Language(s):French
Subtitles:English

Synopsis:
When her only relative, her elder brother is accused of robbing and murdering an old woman loan-shark, pretty, young Kiriko (Chieko Baisho) travels from her home in Kyushu to Tokyo to get Japan’s top lawyer to defend her brother. Unfortunately her naive idealism is shattered when the lawyer refuses to take the case based on her insufficient funds. What follows is a long determined revenge plot that sees the heroine become a Tokyo bar hostess and worse to punish the lawyer. The plot thickens with another murder mystery and a sleuthing reporter.

Review:
For whatever reason, Yoji Yamada has yet to really catch on with the arthouse crowd. I suppose the narrative of Japanese cinema tells us that this was the time period of “radical filmmakers” like Nagisa Oshima and Yoshishige Yoshida. I use the quotes somewhat sarcastically, because when it comes to aesthetic, Yamada is just as evolved as any of them. He hasn’t gotten a larger critical evaluation because it’s his content, which lacks the edge of filmmakers like Oshima and Yoshida. He makes, at the risk of using an already overused phrase, more of a “humanist” and a lot of dramatic works are grounded within the home life. This is not the case with Kiri no hata, a stylish thriller, that is a bit less sensitive (at least superficially) than Yamada’s more gentle work. It’s a perfect fit as his usual merits manage to stand point even within a genre piece.

Masao Yanagida is on trial for the murder of a loan shark, and the evidence is not in his favor. His sister, Kiriko Yanagida testifies on his behalf, but the fact that he owed the loan shark an enormous amount of money that he didn’t have is enough to send him away to prison. While there, he dies only a year into his sentence. Kiriko, obviously frustrated, finds a golden opportunity when the mistress of the lawyer who essentially put her brother to jail is seen at the scene of a different murder. Kiriko can now use the justice system to her advantage and perhaps avenge her brother’s death.

One of the problems with writing a plot synopsis comes when one can’t capture the same spirit with which the story itself unfolds. I would note that my description of the story is not at all like the way Yamada tells it. Instead, he takes a more elliptical approach, cutting in between the trail, the events leading up the murder, and the year following the trail. He does this all rather flawlessly, perhaps not with the dizzying Roeg-like precision of his contemporary, Yoshishige Yoshida, but in a more restrained way, which still manages to serves the film’s function as a genre piece. It’s hard to think that Yamada didn’t see Kurosawa’s High & Low before making this picture, while that one is ultimately more complicated and intricate, Yamada seems to move the pieces of his film around in the same way. The compositions are cut tightly in a way that evokes a similar tension.

This is still a film that represents Yamada’s work, even if it not representative of the genre he spent most of his time. His “humanist” streak still shines through, although one might argue that the film’s conclusion is a fairly cynical one. I don’t think the two aren’t mutually exclusive. Yamada’s portrait of Kiriko, played by Chieko Baisho, is so rich and complex that her final decision plays out not like Yamada and the film’s writers winking at the audience (like twists tend to do) but instead, like a radical and empowering decision by Kiriko.

Yamada’s position as a more conservative filmmaker (not ideologically, but in form) compared to the New Wave isn’t an inaccurate one. While all of his films are beautiful, they lack the formal playful of the ATG crowd. Instead, his aesthetic is more in service of the film’s other parts, which sounds like a way of saying he isn’t cinematic, but I hope to not be implying that. He’s extremely cinematic, and this film might boast his most “cinematic” scene. A wonderfully constructed, completely wordless sequence of Kiriko following a man around from a Ginza bar to his house. It has an Antonioni quality and actually anticipates Antonioni’s Blow-Up by being in the context of a suspense film. It’s one of Yamada’s best moments as a director in a career that is full of them.
— Cinema Talk.

http://nitroflare.com/view/6D131D623ADCC13/1965_Flag_in_the_Mist_-_Yamada_%281080p%29.mkv

http://nitroflare.com/view/6508E8AA5B333AE/1965_Flag_in_the_Mist_-_Yamada_%281080p%29.ass

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https://publish2.me/file/8c75b59bfe7e1/1965_Flag_in_the_Mist_-_Yamada_%281080p%29.mp4

Language(s):Japanese
Subtitles:English

Quote:
When August suggests a suicide pact to his lover Beto, the skater soul mates emerge to defiantly ride through one final Los Angeles day punctuated by moments of lyricism, chaos, and contention. How far can love take you? To the very end? On their final night, August and Beto will discover an unpredictable environment and a unique cast of characters as they skate toward a certain end. As dawn rises on their final morning, the only question remaining will be…who ends it first?

http://nitroflare.com/view/42A0D8C299B167F/Henry_Alberto_-_%282016%29_Hara_Kiri.mkv

https://publish2.me/file/bd0e0f68d37f1/Henry_Alberto_-_%282016%29_Hara_Kiri.mp4

Language(s):English
Subtitles:None

A Man-Made Monster in Grand Guignol Film Story
Out of John L. Balderston’s stage conception of the Mary Shelley classic, “Frankenstein,” James Whale, producer of “Journey’s End” as a play and as a film, has wrought a stirring grand-guignol type of picture, one that aroused so much excitement at the Mayfair yesterday that many in the audience laughed to cover their true feelings.

It is an artistically conceived work in which Colin Clive, the Captain Stanhope of the London stage production of the R. C. Sherriff play, was brought from England to act the rôle of Frankenstein, the man who fashions a monster that walks and thinks. It is naturally a morbid, gruesome affair, but it is something to keep the spectator awake, for during its most spine-chilling periods it exacts attention. It was Carl Laemmle, head of Universal, the firm responsible for this current picture, who presented Lon Chaney in “The Hunchback of Notre Dame,” and while, as everybody knows, Quasimodo was a repellent sight, he was a creature for sympathy compared to the hideous monster in this “Frankenstein.” Boris Karloff undertakes the Frankenstein creature and his make-up can be said to suit anybody’s demands. He does not portray a robot but a monster made out of human bodies, and the reason given here for his murderous onslaughts is that Frankenstein’s Man Friday stole an abnormal brain after he had broken the glass bowl containing the normal one. This Frankenstein does not know.

No matter what one may say about the melodramatic ideas here, there is no denying that it is far and away the most effective thing of its kind. Beside it “Dracula” is tame and, incidentally, “Dracula” was produced by the same firm, which is also to issue in film form Poe’s “Murders in the Rue Morgue.”

There are scenes in Frankenstein’s laboratory in an old windmill, somewhere in Germany, where, during a severe electric storm, the young scientist finally perceives life showing in the object on an operating table. It is not long after that the monster walks, uttering a sound like the mooing of a cow. And then ensues the idea that while Frankenstein is proud of the creature he has made and boasts loudly about his achievement, he soon has reason to fear the brute, and in course of time it attacks Frankenstein’s faithful servant, a bowed and bent little man, and kills him.

The scenes swing here and there to the Baron, Frankenstein’s father, efficiently acted by Frederick Kerr, to those of a friend named Victor, played by John Boles, and to Elizabeth, Frankenstein’s fiancée, portrayed by Mae Clarke. This is a relief, but they are all anxious about what Frankenstein is doing. They learn at the psychological moment, and have then still greater anxiety for Frankenstein.

Imagine the monster, with black eyes, heavy eyelids, a square head, huge feet that are covered with matting, long arms protruding from the sleeves of a coat, walking like an automaton, and then think of the fear in a village, and especially of the scientist, when it is learned that the monster has escaped from the windmill. It is beheld parading through the woods, sitting down playing with a little girl, and finally being pursued by a mob with flaming torches, for apparently fire is the only thing that causes the monster to hesitate.

The sounds of the cries of the pursuers and the strange noises made by the monster add to the disturbing nature of the scenes, and in a penultimate episode there is the struggle between the monster and Frankenstein. As a concession to the motion picture audience, Frankenstein is not killed, but he is badly injured. Two endings were made for this production, and at the eleventh hour it was decided to put in the one in which Frankenstein lives, because it was explained that sympathy is elicited for the young scientist and that the spectators would leave disappointed if the author’s last chapter was adhered to.

As for the monster, he is burned when the villagers set fire to the windmill. From the screen comes the sound of the crackling of the blazing woodwork, the hue and cry of the frightened populace and the queer sounds of the dying monster.

Mr. Clive adds another fine performance to his list. He succeeds in impressing upon one the earnestness and also the sanity of the scientist, in spite of Frankenstein’s gruesome exploits. Lionel Belmore gives an easy performance as the town burgomaster. Miss Clarke, Edward Van Sloan and Dwight Frye also serve well.
Morduant Hall, NY Times, December 5, 1931

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https://publish2.me/file/8594faafcfc7e/James_Whale_-_Frankenstein_%5B1931%5D.idx
https://publish2.me/file/017e8f8e22c24/James_Whale_-_Frankenstein_%5B1931%5D.mp4
https://publish2.me/file/240aa7940e0a4/James_Whale_-_Frankenstein_%5B1931%5D.rar

Language(s):English + Commentary
Subtitles:English, Arabic, Greek, Turkish, Czech, Hungarian, Romanian

Quote:

Motherland Hotel (Anayurt Oteli) is a 1986 Turkish film directed by Ömer Kavur. It is an adaptation of the novel of the same name by Yusuf Atılgan.

Zebercet owns a hotel in a small provincial town. He manages to keep it up with the help of one maid, a little girl who lives with him. One evening, one of the clients leaves the hotel, promising to return in a week. Haunted by the memory of the beautiful unknown, it leaves little to be gained by a little melancholy. Overwhelmed by his impulses, he refuses to take any clients, and closes the hotel.

http://nitroflare.com/view/AAE674E90DBAFBC/Anayurt_Oteli_%281987%29_Restorasyonlu_1080p_WEB-DL_H264_AAC_TURG.mkv
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http://nitroflare.com/view/B664D1164F06AA2/Anayurt_Oteli_%281987%29_Restorasyonlu_1080p_WEB-DL_H264_AAC_TURG.EN.srt

https://publish2.me/file/d376933a7fd2f/Anayurt_Oteli_%281987%29_Restorasyonlu_1080p_WEB-DL_H264_AAC_TURG.mp4
https://publish2.me/file/239bb9063106a/Anayurt_Oteli_%281987%29_Restorasyonlu_1080p_WEB-DL_H264_AAC_TURG.EN_HI.srt
https://publish2.me/file/a11456b1c6b26/Anayurt_Oteli_%281987%29_Restorasyonlu_1080p_WEB-DL_H264_AAC_TURG.EN.srt

Language(s):Turkish
Subtitles:English

Synopsis:
“Mountain-film” specialist Luis Trenker plies his trade with his usual expertise in the Austrian Velorene Sohn (Prodigal Son). Trenker himself plays the leading role of Tonia Feuersinger, a Tyrolean mountaineer bound and determined to scale the American Rockies. He also wants to journey to the States to court pretty American tourist Lillian Williams (played by pretty American actress Marian Marsh). Leaving his broken-hearted local girlfriend (Maria Andergast) behind, Tonio treks to New York, but never quite makes it to the Rockies; instead, he gets a welding job on a skyscraper, then achieves success as a prizefighter. In the end, however, he realizes that his heart is still in the Tyrol and thus returns to the arms of his hometown sweetheart. Though aimed at the German-speaking clientele, Verlorene Sohn was financed in Hollywood by Universal Pictures.
— allmovie.com

Quote:
This is a stunning film, preceding neo-realism by more than 10 years in the New York passages, and I’ve never seen anything like those ‘Raunacht’-rituals in the third part of the film before. Truly great, and visually absolutely arresting.

http://nitroflare.com/view/3EBDAD815400405/1934_-_Der_verlorene_Sohn_24p.mkv
http://nitroflare.com/view/1489CDF407B00FC/1934_-_Der_verlorene_Sohn_24p.Eng1.srt
http://nitroflare.com/view/854F77555A88D6A/1934_-_Der_verlorene_Sohn_24p.Eng2.srt

https://publish2.me/file/1bf54bc615916/1934_-_Der_verlorene_Sohn_24p.Eng1.srt
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https://publish2.me/file/7b2378d2e1238/1934_-_Der_verlorene_Sohn_24p.mkv

Language(s):English, German
Subtitles:English (full), English (only German parts)

Quote:
A film commissioned by the Algerian government that shows the Algerian revolution from both sides. The French foreign legion has left Vietnam in defeat and has something to prove. The Algerians are seeking independence. The two clash. The torture used by the French is contrasted with the Algerian’s use of bombs in soda shops. A look at war as a nasty thing that harms and sullies everyone who participates in it.

Quote:
The most electrifyingly timely movie playing in New York was made in 1965. Gillo Pontecorvo’s The Battle of Algiers is famous, but for some time it’s been available only in washed-out prints with poorly translated, white-on-white subtitles. The newly translated and subtitled 35-millimeter print at Film Forum is presumably the version that was privately screened in August for military personnel by the Pentagon as a field guide to fighting terrorism. Former national-security adviser Zbigniew Brzezinski volunteered this blurb: “If you want to understand what’s happening right now in Iraq, I recommend The Battle of Algiers.” I wonder if these politicos are aware that Pontecorvo’s epic was once used by the Black Panthers as a training film? In fact, not much in the current Iraq situation is historically comparable to the late-fifties Algerian struggle for independence dramatized in The Battle of Algiers, but its anatomy of terror remains unsurpassed—and, woefully, ever fresh.

The movie’s original U.S. distributor inserted the disclaimer: “Not one foot of newsreel or documentary film has been used.” That disclaimer might still be helpful to first-time viewers. The Battle of Algiers has often been compared to Potemkin as an example of incendiary, documentary-style political filmmaking. But Eisenstein’s classic was a flurry of highly theatrical techniques; there was a formality to the revolutionary chaos he unleashed, with carefully patterned crowds surging on cue. Pontecorvo’s approach is much looser and more caught-in-the-moment, although everything is carefully choreographed. What perhaps accounts for the extraordinary realism is a combination of Pontecorvo’s chief neorealist influences, Rossellini’s Open City and Paisan (the movie that inspired Pontecorvo to become a filmmaker), and his own wartime experience as an anti-Fascist partisan who commanded the Milan Resistance in 1943. The Battle of Algiers is a movie made by a director who knows (in both senses) whereof he shoots.

Co-written by Franco Solinas, who would later write Costa-Gavras’s State of Siege, the film was originally intended as a piece of agitprop for the cause of anti-colonialism. (De Gaulle pronounced Algeria an independent country in 1962, so the struggle was still fresh for audiences.) Subsidized by the Algerian government, the movie began as a sketchy screenplay written in a French prison by Saadi Yacef, the rebel leader of the Algerian National Liberation Front (FLN). Upon his release, Yacef approached three filmmakers: Luchino Visconti, Francesco Rosi, and Pontecorvo (demonstrating that, whatever else might be said about them, some revolutionaries have good taste in movie directors). Yacef not only became the film’s producer but also stars in it as El-hadi Jaffar, the military leader of the FLN. The existential ramifications of this casting are breathtaking: When we witness the bombings of civilians in the cafés and dance halls of Algiers’s European Quarter, or the hit-and-run assassinations of French policemen, we are seeing re-creations of what Yacef himself perpetrated. When Jaffar is trapped and about to be blown up by French paratroopers in the casbah, Yacef is acting out his own arrest. What must have been going through his head on the set?

The other rebel protagonist is Ali La Pointe, played by Brahim Haggiag, an illiterate peasant chosen by Pontecorvo for his riveting, prole-hero features. Ali—his eyes, to be exact—is the fervid center of the movie. A petty thief, he is radicalized in prison by the executions he witnesses, and recruited by the FLN upon his release. (To test his mettle, and to make sure he’s not a spy, Jaffar orders him to assassinate a French cop.) Ali is not a character, exactly; he’s the embodiment of downtrodden Muslims clamoring for liberation. Pontecorvo has a great eye for faces that carry within themselves a depth charge, and in Ali he gives us an unforgettable mask of suffering and rage. There is destiny in that acetylene glower of his; it tells us that time is on his side.

His adversary is Colonel Mathieu, played by Jean Martin—the film’s only professional actor—and modeled on General Massu, the military commander of Algeria. (Ironically, Martin, primarily a stage actor, had once been blacklisted in France for signing a manifesto against the Algerian war.) If Ali is fire, Mathieu is dry ice. He represents military efficiency at its most draconian: His lecture to his paratroopers about how to decapitate the FLN is an object lesson in the calculus of anti-terrorist warfare. When a press conference is staged with a captured FLN leader, and his words begin to stir sympathy in the room, Mathieu shuts down the show. He may represent Pontecorvo’s paradigm of colonialist thuggery, but as is so often true with movie villains, he gets the best lines. This man, who fought as a hero on the side of the Resistance and served during France’s recent defeat in Indochina, is given his due—if only to reinforce a deeper point. When Mathieu tells the reporters that they must accept the consequences of war if they want France to win, he is exposing the ugly truth behind all policing; people in power prefer not to know about the dirty work—the torture—that keeps them there.

Pontecorvo makes it clear that terrorists must also face their own moral reckoning. The strongest scene in the movie comes when three FLN women drop their veils and assume a Western look in order to infiltrate the European Quarter and plant explosives in two cafés and an Air France ticket office. We see tired businessmen at a bar, passengers waiting to board buses, teenagers dancing, and, most pointedly, a baby licking an ice cream cone—all soon to be blown to bits. Is Pontecorvo saying that these people are tragic casualties of a necessary war? Perhaps. But in the end, the horror unleashed in The Battle of Algiers cannot be fitted into neat partisan formulations, which is perhaps why so many disparate groups, from the Panthers to the Pentagon, have tried to claim the film for their own agenda. What reveals Pontecorvo as an artist, and not simply a propagandist of genius, is the sorrow he tries to stifle but that comes flooding through anyway—the sense that allsides in this conflict have lost their souls, and that all men are carrion. – Peter Rainer, The New York Times

http://nitroflare.com/view/026709DAF3DA5E2/La.battaglia.di.Algeri.1966.720p.Bluray.FLAC1.0.x264-DON.mkv

https://publish2.me/file/d2ddcebd6211f/La.battaglia.di.Algeri.1966.720p.Bluray.FLAC1.0.x264-DON.mp4

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

Quote:
After a violent dispute with her mother, sixteen-years old Chloé ends up in the streets with nowhere to go. Then she finds Jean-Michel, a charming young man who will lead her to prostitution.

http://nitroflare.com/view/7DF31266187DFD9/Dennis_Berry_-_%281996%29_Chloe.mkv

https://publish2.me/file/db49e3c6cebad/Dennis_Berry_-_%281996%29_Chloe.mp4

Language(s):French
Subtitles:None

Quote:
This unusual Iranian documentary/drama is based on the true story of a poor and religious 65-year-old father who kept his two 12-year-old daughters locked in their small house from the day that they were born. Their blind mother agreed with the arrangement since she was unable to supervise them in any other way. Thanks to the concern of neighbors over the plight of Massoumeh and Zahra, a social worker looked into the matter and found the girls unable to talk or walk properly. They were given the first baths in their lives and then returned to their home. The father, believing that he has been publicly shamed by his neighbors, promises not to keep them imprisoned anymore.

Eighteen-year-old-director Samira Makhmalbaf, the daughter of the filmmaker responsible for Gabbeh, takes this raw material and spins a fascinating drama out of the experiences of the girls after they are liberated by the social worker. Makhmalbaf uses the apple, which is a symbol of knowledge and enjoyment of life, as a major motif in the unfolding story. The film celebrates freedom and presents a severe critique of the continued shabby treatment of women in societies where patriarchal authoritarianism still holds sway.

http://nitroflare.com/view/3F645971D91D747/Samira_Makhmalbaf_-_%281998%29_The_Apple.mkv

https://publish2.me/file/7afb028e297a1/Samira_Makhmalbaf_-_%281998%29_The_Apple.mkv

Language(s):Persian
Subtitles:English

A 1982 courtroom drama film which tells the story of a down-on-his-luck alcoholic lawyer who pushes a medical malpractice case in order to improve his own situation, but discovers along the way that he is doing the right thing. Since the lawsuit involves a woman in a persistent vegetative state, the movie is cast in the shadow of the Karen Ann Quinlan case. The movie stars Paul Newman, Charlotte Rampling, Jack Warden, James Mason, Milo O’Shea, and Lindsay Crouse.
Directed by Sidney Lumet, the film was adapted by David Mamet from the novel by Barry Reed and is not a remake of the 1946 film of the same name.
The Verdict garnered critical acclaim and box office success. The film was nominated for five Academy Awards, including Best Actor in a Leading Role (Paul Newman), Best Actor in a Supporting Role (James Mason), Best Director (Sidney Lumet), Best Picture and Best Screenplay Based on Material from Another Medium (David Mamet).

The Verdict holds a 96% “Fresh” rating on the review aggregate website Rotten Tomatoes. In a poll of 500 films held by Empire magazine, it was voted 254th Greatest Movie of all time. In 2013, the Writers Guild of America ranked the screenplay #91 on its list of 101 Greatest Screenplays ever written. Richard D. Pepperman praised the scene in which Judge Hoyle eats breakfast and offers Galvin coffee as “a terrific use of objects, making for a believable judge in his personal, comfortable and suitable place, as well as a Physical Action (motion) that demonstrates the subtext of the Judge’s objective (in support of the insurance company, the doctor and their attorney) without an abundance of expository dialogue.”
– WIKIPEDIA

http://nitroflare.com/view/D9F6C9DC43AE72B/The.Verdict.1982.720p.Blu_Ray.x264-HD4U._%2BCommentary_.mkv

https://publish2.me/file/99e994ed977d6/The.Verdict.1982.720p.Blu_Ray.x264-HD4U.%5B%2BCommentary%5D.mp4

Language(s):English, English (Commentary)
Subtitles:English

Synopsis
The internationally acclaimed director and recipient of the Erasmus Award in 2007, Péter
Forgács created a documentary exploring the fate of hundred thousands of Hungarian
men and women who arrived to the United States between 1890 and 1921. To tell their
sagas Forgács weaved this grand epic from the early American cinema, found footage,
photographs and interviews. The film reveals the difficult moments of arrival, integration
and assimilation, which eventually fed the happiness of the later generations and their
fulfillment of the American dream.

http://nitroflare.com/view/F863468C7397C54/Hunky_Blues.avi

https://publish2.me/file/fad6bf45b45ca/Hunky_Blues.mp4

Language(s):English, Hungarian
Subtitles:English where needed

Synopsis:
Frédéric, a shy small-town man, falls in love with Anne, a middle class woman married to Didier, who cheats on her with top model Barbara. Catherine, a very determined woman, is secretly in love with Frédéric and in order to keep him away from Anne, pushes him into Barbara’s arms. After a while, she gives herself to him. On the other hand, Didier is forced to leave the country due to a swindle. Anne decides to follow him but, before leaving, she exchanges a last kiss with Frédéric. Catherine understands she has lost the game. Frédéric remains by himself.

http://nitroflare.com/view/4B83E13EE7EB5D7/Education_Sentimentale.1962.DVDRip.x264-mafalda.mkv

https://publish2.me/file/e442e5fddaaef/Education_Sentimentale.1962.DVDRip.x264-mafalda.mkv

Language(s):French
Subtitles:English, French, Portuguese (muxed)

Synopsis:
In a powerful and provocative authored film, Trevor Phillips investigates the liberal urge to protect minorities from offence by gagging so-called populists and concludes that for liberals it’s backfired. The backlash has stirred the Trump-Farage-led revolt – and even alienated the minorities whom liberals claim to champion. From the sacking of a Nobel scientist for a politically incorrect joke to the banning of sombreros on campus, the liberal elite’s unwritten rules about what you can or can’t say risk becoming not only ridiculous but self-defeating. For Trevor, the acid test of a democracy is whether it truly encourages the airing of different opinions whatever they might be – a test that Britain seems in danger of failing.

http://nitroflare.com/view/4663903FB5F8C7E/Has.Political.Correctness.Gone.Mad.720p.HDTV.AAC2.0.x264-BTN.mkv

https://publish2.me/file/7654e5c713de6/Has.Political.Correctness.Gone.Mad.720p.HDTV.AAC2.0.x264-BTN.mp4

Language(s):English
Subtitles:(None)

Quote:

Many great movies are classics. A few stand as landmarks. The merest handful—perhaps four or five in a century—deserve to be called revolutions. Breathless belongs unequivocally in the final category. Since its first screening in 1960, Jean-Luc Godard’s astonishing debut has lost none of its power to thrill an audience or change the way we see the world.

Godard dedicated the film to Monogram Pictures, the company which made the low-rent gangster cheapies that Breathless was drawing on and greatly sending up. Jean-Paul Belmondo plays Michel, a small-time crook who kills a highway patrolman. Though on the lam to Italy, he heads to Paris and hooks up with his girlfriend Patricia, a boyish American whose allure is her cool capriciousness. As they talk, make love and lackadaisically dodge the cops, Godard shows them to be the kind of young people that the movies had never before shown—alive in the present tense, oblivious to conventional morality, eager to try on world views like so many hats. Theirs is an instinctive existentialism, and Godard’s leading actors make it almost impossibly glamorous.

Wiry and sensual, the 26-year-old Belmondo became an international star by capturing Michel’s winning mixture of vulnerability and outlaw bravado; his passion for Patricia evokes post-war France’s volatile love for the exuberance of American culture. But though Godard feels the same passion, he’s not sentimental about it. As played by Iowa-born Jean Seberg, Patricia is a star-spangled sphinx whose unforgettable blend of goddess and bitch could be a European’s metaphor for the New World’s promise and perfidy. Godard’s friend and colleague Francois Truffaut wrote the original story and seldom gets enough credit for its sneaky-smart simplicity. Yet what makes Breathless revolutionary comes not from weighty intellectual themes but from Godard’s knockabout spontaneity, a blithe spirit of improvisation that gleefully scuttles what’s worn out in old movies. Just as Godard knew that crooks-on-the-run pictures could no longer be played straight, he knew that the ruling ideas of professional craftsmanship (handsome photography, invisible editing) had become a prison—a way of not seeing the world. He wanted to reinvent cinema in order to liberate it. “Breathless,” he said, “was the sort of film where anything goes: that was what it was all about.”

The movie’s most shocking technique, initially, is its lavish use of jump cuts, a deliberately jarring style of editing that Godard uses to evoke urban life’s racing, herky-jerky rhythms. In love with the modern city as it’s actually lived in, he sends Raoul Coutard’s incomparable camera through dinky apartments and teeming streets, submerging us in the unruly swirl of a contemporary world where everything eventually collides: Michel and Patricia’s melodrama breaks into a parade for De Gaulle and Eisenhower on the Champs Elysees, and movie posters toss out an ironic commentary on the romance-hungry souls of those passing them by. No other director has ever matched Godard’s feel for the elusive textures of the modern, especially his sharp awareness that many of our primary experiences now come through the media. While this is clearly the case with Patricia—who interviews film directors, quotes from Faulkner and even sells the New York Herald Tribune—it’s more fatally true of Michel, whose code of honor comes straight from B-movies. There may be no more illuminating moment in any ‘60s movie than Michel standing before a photo of Humphrey Bogart and self-consciously running his thumb across his lips just like Bogey. Soon after Breathless first appeared, not only were millions mimicking Belmondo’s own mannerisms but filmmakers began to imitate Godard. His footprints show up in everything from A Hard Day’s Night and Bonnie and Clyde to today’s sassy, bounding, nervously edited commercials for athletic shoes and blue jeans.

In the seven years following Breathless, Godard created a run of movies—including My Life to Live, Contempt, Band of Outsiders, Alphaville, Masculin féminin, Two or Three Things I Know About Her, and Weekend—that may be the greatest period of sustained brilliance in motion picture history. But his genius was already obvious in this lilting yet heartbreaking masterpiece which captures the lyricism and cruelty of city life, the easy amoralism of youthful impatience, the melancholy dead-end of male-female relations, the doomed romanticism of those weaned on old movies. The most iconoclastic of revolutionary films, Breathless is also the freshest. More than thirty years after its release, it still throbs with the ineffable longing that draws us, dreaming, to the movies. To see it is to become different.

http://nitroflare.com/view/07B6BBE9D9FFFA6/Jean-Luc_Godard_-_%281960%29_Breathless.mkv

https://publish2.me/file/2b007eccf5fc3/Jean-Luc_Godard_-_%281960%29_Breathless.mkv

Language(s):French, English
Subtitles:English

Quote:
Teenagers Zach and Josh have been best friends their whole lives, but when a gruesome accident leads to a cover-up, the secret drives a wedge between them and propels them down a rabbit hole of escalating paranoia and violence.

http://nitroflare.com/view/372F3FBD55D7051/Kevin_Phillips_-_%282017%29_Super_Dark_Times.mkv

https://publish2.me/file/6717bad9cce95/Kevin_Phillips_-_%282017%29_Super_Dark_Times.mkv

Language(s):English
Subtitles:English

Introduction & Synopsis from Allmovie.com
This is the last film in the trilogy that began Andrzej Wajda’s career as a director. Preceding this wartime drama are Pokolenie (1955) and Kanal (1957). Once again, Wajda presents a strong anti-war statement, this time in the personae of two men who are given orders on the last day of World War II in Poland to murder a leading communist. The orders come from the part of the resistance that opposes the new communist regime. One of Wajda’s favorite performers and a friend, Zbigniew Cybulski, plays the man who eventually pulls the trigger and kills the communist leader — and the results are not what he expected. In 1959, Popiol I Diament won in competition at the British Academy Awards and at the Venice Film Festival.

Review from Allmovie.com
Ashes and Diamonds is the strongest of Andrzej Wajda’s early films. Wajda’s father was killed in the early days of World War II, and Wajda himself fought with the resistance against the Nazis. In Ashes and Diamonds, he revisits the themes of choice and consequences, with an overriding anti-war sentiment. Ironically, the central factor influencing Wajda’s later, more mature work was the 1967 death of his close friend Zbigniew Cybulski, who plays the assassin protagonist in Ashes and Diamonds. Cybulski’s performance is generally regarded as the finest of his brief career, and it brought to Poland the same sort of restless youth motif that Western audiences had found appealing in the also dead-too-young James Dean.

http://nitroflare.com/view/2BA0D1E308AC19D/Popiol_i_Diament.mkv

https://publish2.me/file/94ab67b33969e/Popiol_i_Diament.mp4

Language(s):Polish
Subtitles:Polish, English

Quote:
Brimming with sex and violence, The Wound is an exploration of tradition and sexuality set amid South Africa s Xhosa culture. Every year, the tribe s young men are brought to the mountains of the Eastern Cape to participate in an ancient coming-of-age ritual. Xolani, a quiet and sensitive factory worker (played by openly gay musician Nakhane Touré), is assigned to guide Kwanda, a city boy from Johannesburg sent by his father to be toughened up, through this rite of passage into manhood. As Kwanda defiantly negotiates his queer identity within this masculine environment, he quickly recognizes the nature of Xolani s relationship with fellow guide Vija. The three men commence a dangerous dance with each other and their own desires and, soon, the threat of exposure elevates the tension to breaking point.

http://nitroflare.com/view/D0C1550C6B6152F/John_Trengove_-_%282017%29_The_Wound.mkv

https://publish2.me/file/c1da85f33c04d/John_Trengove_-_%282017%29_The_Wound.mkv

Language(s):Xhosa, Afrikaans, English
Subtitles:English