SUMMARY
A profound influence on filmmakers from Sergio Leone to Béla Tarr, The Round-Up is widely acknowledged as a masterpiece of world cinema.

Set in a detention camp in Hungary 1869, at a time of guerrilla campaigns against the ruling Austrians, Jancsó deliberately avoids conventional heroics to focus on the persecution and dehumanization manifest in a time of conflict. Filmed in Hungary’s desolate and burning landscape, Jancsó uses his formidable technique to create a remarkable and terrifying picture of war and the abuse of power that still speaks to audiences today.
From Second Run website

REVIEW
On a raining afternoon in a remote Hungarian countryside at some indeterminate time after the collapse of the 1848 revolution against Austrian rule, an unassuming man is led away from the oddly surreal congregation of weary prisoners who have been assembled at the courtyard of a detention camp on nebulous grounds of suspicious activity. The camera then fluidly tracks the movements of the characters as the prisoner is escorted by an enigmatic, cloaked official into a room of a nearby abandoned farmhouse, encounters another official on the premises who, in turn, walks towards the rear of the farmhouse for his appointment: an aging peasant woman (Ida Siménfalvy) summoned to identify the remains of her husband and son. The first official methodically and dispassionately reveals that the man has been arrested for smuggling propaganda from an exiled patriot and revolutionary leader, Louis Kossuth, into Hungary, but curiously, sets him free. In an understatedly elegant long shot, the man is observed walking away before a shot breaks the silence of the idyllic pastoral landscape, and the man falls to the ground. Meanwhile, returning to the prison camp, the old woman identifies the cowardly Janos Gajdar (János Görb) as one of the roving outlaws, and is immediately brought before the interrogators. With little hope of escaping the gallows, Janos attempts to bargain for his life by acting as an informant for the Austrian gendarmes and in the process, initiates a cycle of betrayal, violence, and deceit in an attempt to ferret out the revolutionaries from the randomly assembled prisoners.

Miklós Jancsó creates a sublime, provocative, and haunting examination of moral bankruptcy and human cruelty in The Round-up. A profound influence on the spiritually bleak and alienated cinema of Hungarian compatriot Béla Tarr, Jancsó’s signature detached long shots and spare, omniscient crane shots reinforce the insidious, distrustful, and uncertain landscape of Hungary after the failed revolution: the opening shot of the prisoner roundup against the image of the setting sun on the barren plains; the overhead shot of the captured insurgent’s assassination that tracks to a shot of the crowded prison yard; the circular procession of shackled, hooded prisoners as they return to their holding cells; the chaotic lashing of a woman that proves to be a catalyst for disillusioned prisoners committing suicide. Through languid and sweeping pans, minimal composition, and oppressive environment that reflect the emotional vacuity, hopelessness, and isolation of the detained prisoners, The Round-up presents an understated, yet harrowing portrait of spiritual desolation, betrayal, and existential limbo.
From Strictly Film School website

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

Plot summary:
Two sisters from Austria, Ursula (Barbara Magnolfi) and Dagmar (Stefania D’Amario) check into a lavish seaside hotel in Italy. Still grieving the loss of their recently deceased father, they are warmly welcomed by the hotel’s owner and manager (Vanni Materassi) who invites them to check out the adjoining nightclub. They are introduced to the hilariously awful singer Stella Shining (Yvette Harlow) and the suave and debonair closet junkie Filippo (Marc Porel). It would all be deadly dull if it wasn’t for a mad unseen killer who’s going around raping and murdering the local women with a giant wooden dildo! A subplot involving a drug ring and lots of near hardcore sex fails to spice up things any further.

Quote:
Out of all of the gialli that I’ve ever seen this has to be one of the most interesting. It’s a movie that certainly has the stylish presentation that most do but it is also very comedic in it’s own particular way. Although I don’t want to spoil anything I think it’s safe to say that the killer in the film uses the most “phallic” weapon I’ve ever seen in this type of movie. It’s funnier than hell and considering how goofy it is it’s amazing that it really doesn’t take you out of the film. Not only that but you also get an interesting murder mystery like in most gialli out there but you get more flesh on display than in possibly an giallo film I’ve ever seen. I didn’t pay close attention to it during the entire film, but at one point I was pretty much sure that there was at least one bare breast per frame.

Another notable item about this movie is the fact that it’s a pretty sleazy little giallo film considering. Pretty much ever murder in the movie follows up a lengthy sex scene in which there is only so much left up to the imagination. The movie works as a giallo but it’s also a pretty effective sexploitation flick as it’s as good as soft-core could possibly be with revealing scenes and pretty good looking women throughout. So I would of course say that this would surely appeal to your sexploitation aficionado’s as much as it would Italian thriller and gialli ones as well.

The acting in the film is pretty solid especially when Barbara Magnolfi (Ursula) is on screen. She is more than likely the most interesting character in the movie and is the one that has the most substance here as well. Stefania D’Amario is pretty hot and is naked for a lot of the movie. Her big scene would have to be the one in which she manages to engage in sexual activity with a piece of jewelry. It’s pretty funny, comes out of nowhere, and is probably my choice for most unintentionally funny thing I’ve ever seen in a giallo flick before.

Overall I found “The Sister of Ursula” to be incredibly entertaining and something different from this familiar Italian subgenre. It’s a solid film that I think anyone who courts different types of sexploitation stuff too. Either way if you’re a fan of female flesh, phallic weapon carrying madmen, or just like to get your sleaze on then you’ll most likely really dig this one.
bloodtypeonline.com

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http://keep2s.cc/file/7fb5f2248d848/The.Sister.Of.Ursula_1978.DVDRip.XviD-BLooDWeiSeR.avi

English srt:
http://subscene.com/subtitles/the-sister-of-ursula-la-sorella-di-ursula/english/142098

Language(s):Italian
Subtitles:english

The first film of the Yugoslav Black Wave.

Quote:
Grad is a psychological drama about the thin line that separates depression and melancholy. It gives us the opportunity to understand that the alienation of the modern socialist man is not just a social problem, but also a poetic aestheticization of urban thinking and behaviour. For Pavlovic, Bapca, and especially Rakonjca, self-destruction is not a defence mechanism, but a lifestyle.

Exploring new areas of old sites, Grad is, in a figurative sense, the first Yugoslavian film that deals with the suburb as a metaphor of alternative culture. Through their analysis of public consciousness, the three directors project their secret Bauhaus, seeking its shadow in the hidden areas of obsolete thought, in the everyday of Socialism.

The film ends up in a real suburb of Belgrade, defining a new border area between intimacy and claustrophobia, Neoclassicism and Constructivism, night and day, village and city, sound and images, present and future.

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Language(s):Serbo-Croatian
Subtitles:English

Quote:
Out of the Past is so perfect a film noir that it is considered practically a textbook example of the genre. In his first starring role (it had previously been offered to John Garfield and Dick Powell), Robert Mitchum plays Jeff Bailey, the friendly but secretive proprietor of a mountain-village gas station. As Jeff’s worshipful deaf-mute attendant (Dick Moore) looks on in curious fascination, an unsavory character named Joe (Paul Valentine) pulls up to the station, obviously looking for the owner. Jeff is all too aware of Joe’s identity; he’s been dreading this moment for quite some time, knowing full well that it will mean the end of his semi-idyllic existence, not to mention his engagement to local girl Ann (Virginia Huston). In a lengthy flashback, the audience is apprised of the reasons behind Jeff’s discomfort – and thus begins a tale of treachery, betrayal and intrigue that extends into the present day and turns Jeff’s life upside down. Out of the Past was remade in 1984 as Against All Odds, with Jane Greer cast as the mother of her original character.

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

Synopsis:
Iiris leads a bleak existence. She has a dead end job working on the assembly line at a match factory. What meager wages she earns all goes toward supporting her mother and stepfather, with who she lives in a small, crowded house. They largely ignore her unless she does something against their sensibilities, which leads to them exacting emotional and physical abuse toward her. And Iiris is also ignored socially, because of her overall somber demeanor and the fact that she has no money to make herself look more attractive to men. She believes her life will change with her chance meeting with well-off businessman, Aarne. However, what she believes is the start of a possible relationship with Aarne was solely a one-night stand for him, he who has no intention of ever seeing her again. The aftermath of this encounter with Aarne leads to Iiris making some decisions of how she will deal with her bleak life.

The final flights that marked the closing moments of Shadows in Paradise and Ariel, with their crisply composed shots of ships sailing off into the unknown, were a luxury that the protagonist of the final film of Aki Kaurismäki’s “Proletariat Trilogy” could not afford. The Match Factory Girl (1990) is easily the darkest of the three, yet it is still thematically tied to the others. Though he had not set out to make a trilogy, when Kaurismäki began planning to shoot The Match Factory Girl, he proclaimed it, along with the earlier two, as “dedicated to the memory of Finnish reality.” A typically sardonic, outsider’s pronouncement, but also a key to unlocking the oddly nostalgic, wistful strain throughout these films, in which financially unstable people struggle—amusingly, hopelessly—to get by in a world that no longer seems to have use for them.

The opening sequence of The Match Factory Girl brilliantly illustrates this notion of working-class superfluousness. In a series of short, terse shots, a machine chugs along at a swift pace, breaking down tree logs into packets of matches with graceful, Kubrickian efficiency. Finally, we see a human, Iris (Kati Outinen), although she has the mien of an automaton, checking the boxes as they are conveyed by. Iris’s obsolescence is reiterated in her drab home life, where her mother and stepfather only acknowledge her to tear her down, and in her stabs at dating, which mostly consist of not being asked to dance at a local nightclub. Kaurismäki details all of this with his usual acerbic spareness, yet here he takes his style to its unyielding, bitter end. There is indeed dark humor in The Match Factory Girl, but one must nearly squint at the screen to see it.

The film grows increasingly grim as it inexorably trudges along to its conclusion, but in its ultimate misery it finds both catharsis and gallows humor. If Shadows in Paradise and Ariel deconstructed the romantic comedy and film noir, respectively, then The Match Factory Girl could be considered Kaurismäki’s maddeningly subdued version of the revenge melodrama, casting Outinen’s dour nobody, with her receding chin and prominent upper lip, as a sort of ridiculous, minimalist Charles Bronson. When she metes out her own brand of justice to those who have wronged her, Kaurismäki frames her actions dispassionately, as though they are the natural outgrowth of a repressive social system, one in which extermination is a transaction as bloodless as the money exchanges he frequently films in pointed close-up.

The film never succumbs to total darkness, however: dabs of ironic color stand out amid the gray-toned fatalism, from the pink flowery dress Iris covets to the glass of bright orange soda she orders in the bar. These moments of visual incongruousness exemplify Kaurismäki’s awkward charm, a madcap miserabilism that has marked all his subsequent successes, from Drifting Clouds (1996) to the Academy Award–nominated The Man Without a Past (2003). His influence can be felt in the works of, among others, Jim Jarmusch and Wes Anderson. As eclipsed as Kaurismäki might remain to most filmgoers, he’s left a subtle but unmistakable imprint on contemporary cinema.
~Criterion

http://keep2s.cc/file/3ec9cc2799eca/03_The_Match_Factory_Girl.mkv

http://www.nitroflare.com/view/B8F3D3296198B50/03_The_Match_Factory_Girl.mkv

Language(s):Finnish
Subtitles:English

FLAMING EARS is a pop sci-fi lesbian fantasy feature set in the year 2700 in the fictive burned-out city of Asche. It follows the tangled lives of three women — Volley, Nun and Spy. Spy is a comic book artist whose printing presses are burned down by Volley, a sexed-up pyromaniac. Seeking revenge, Spy goes to the lesbian club where Volley performs every night. Before she can enter, Spy gets into a fight and is left wounded, lying in the streets. She is found by Nun–an amoral alien in a red plastic suit with a predilection for reptiles, and who also happens to be Volley’s lover. Nun takes her home and subsequently must hide her from Volley. It’s a story of love and revenge, and an anti-romantic plea for love in its many forms. An avowedly underground film which was shot on Super 8 and blown up to 16mm, FLAMING EARS is original for its playful disruption of narrative conventions (the story is a thread rather than a backbone in the film), its witty approach to film genre, and its visual splendor.

http://www.nitroflare.com/view/1BB378B66D442BC/Flaming_Ears.mkv

http://keep2s.cc/file/9732b55e323b8/Flaming_Ears.mkv

Language(s):German
Subtitles:English

An early (1967) film by Dusan Makavejev, the master of the eastern European dirty joke (WR: Mysteries of the Organism, Montenegro). The passionate affair of a telephone operator and a Marxist rodent exterminator is intercut with lectures on criminology and sexology, with occasional cooking lessons. It’s very funny and, with its ragged arrangement of warring styles and ideologies, very original: it’s like a smutty, sticky-fingered Godard. – Dave Kehr, The Chicago Reader

Given that four of Makavejev’s first five features are essentially the same film, it seems increasingly unlikely that he’ll ever improve on this, his second movie, the most interesting and concentrated treatment of his recurrent themes. A tragi-comic love affair between a switchboard operator and a corporation rat-catcher starts out idyllic, but turns sour under external pressures; Makavejev breaks up the time sequence of his story with constant flashes forward, and brings in a lot of apparently extraneous material, from lectures on sex in art to a poem about rats. The disjunctions and contradictions yield a lot of ideas about personal freedom and oppression (especially within a ‘socialist’ state), and the profusion of images is well enough organised to make the movie continuously provocative and suggestive. The use of historical newsreels is finally as glib as in W.R., but the emphasis on the banalities of day-to-day living is trenchant, and more than compensates. – Tony Rayns, Time Out London

http://keep2s.cc/file/9b379c40c5e91/Ljubavni.Sluc.1967.720p.WEB-DL.AAC2.0.H.264.mkv

http://www.nitroflare.com/view/42F3390C13F8232/Ljubavni.Sluc.1967.720p.WEB-DL.AAC2.0.H.264.mkv

Language(s):Serbo-Croatian
Subtitles:English (hardcoded)

Plot: Jojo’s ambition is to become a gangster, but to be admitted into a gang he has to prove himself by committing a daring act. To that end, he kills someone in broad daylight, not knowing that his victim is an actor who is playing a scene in a film directed by a cranky film-maker (Darry Cowl). The murder is caught on film, leading Commissaire Bernard (Michel Simon) to think that the killer will be easy to find. Sure enough, Bernard soon makes his arrest, a clown from a circus, but then he faces an almost insurmountable problem. The clown has an identical twin, who is also a clown with the same circus. Both men claim to be innocent…

Quote:
Le film fut réalisé par intérim par Clément Duhour, producteur et acteur, agissant suivant les indications de Guitry déjà très malade. Cet intérim renforce encore l’extrême et fascinante économie des moyens de la mise en scène. Guitry possède tellement la connaissance de ce qu’il veut dire et des moyens pour y parvenir que son art finit par ressembler au style du dernier film américain de Fritz Lang, Beyond A Reasonable Doubt. Par coïncidence, les deux septuagénaires jonglent l’un et l’autre avce l’idée d’une universelle culpabilité humaine, prétexte à leur variations et à leur dérision. C’est bien du côté de Lang, de Mizoguchi, de McCarey, de Ford – c’est-à-dire des plus grands – que l’oeuvre de Guitry, close avec ce film, vient d’elle-même se placer, grâce à la variété de ses thèmes et à la perfection de leur traitement. Jacques Lourcelles

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Language(s):French
Subtitles:No

Synopsis
Cuadecuc, vampir is a dreamlike combination of documentary, narrative, experimental, and essay film styles and is one of the key films of contemporary Spanish cinema. Shot on the set of Jesus Franco’s Italian horror film Count Dracula, and featuring the star of that film, Christopher Lee, Vampir is both a sly political allegory about generalissimo Francisco Franco, a gentle homage to early films about the vampire legend, particularly Dreyer’s Vampyr and Murnau’s Nosferatu, and a work of subtle beauty and great richness.

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Language(s):English (silent movie, only a few words by Lee)
Subtitles:Spanish, French, none

Synopsis

Edmund Kean is a popular and flamboyant British actor of the nineteenth century, addicted however to vices and in debt. He argues with the Prince of Wales, his companion in intemperance, the wife of the Danish ambassador, but eventually falls in love with Anna, a young but promising beginning actress.

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Language(s):Italian
Subtitles:English & Italian

Quote:
Gilles and Christine a boy and a girl live in the outskirts of Paris, their families are ineffective and distant and they lead a purposeless life. They steal some records in a supermarket but she is caught and sent to a nursing home by force by her parents. She escapes and follows Gilles to a house where some other youths live. They then decide to go south: Christine has been told there is a commune there, where artists live. So they head south sleeping rough…

filmsdefrance.com wrote:
Better known for his 1996 comedy Irma Vep, Olivier Assayas has won critical acclaim for this film, a controversial and often disturbing portrayal of teenage desperation. The film was originally shown as part of the French television series of films, All the Boys and Girls in Their Time, which featured the work of other notable directors including André Techiné, and Claire Denis.

Although the its uneven pacing and raw feel can make it uncomfortable viewing, the film manages to convey the frustration of teenagers who feel excluded from a world they are unable to conform to. Setting the film in the 1970s is hardly an accident. A decade which is associated with relentless pessimism (fuelled by political and ecological failings) provides the perfect backdrop for a film centred on adolescent ennui and anarchistic impulses.

There are some cinematographically stunning moments – most notably the funereal scene of the morning after the all-night party at the chateau. The film is to be commended on its feel of authenticity, stemming from the inspired camerawork and some fine acting from the two lead actors, Virginie Ledoyen and Cyprien Fouque.

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http://keep2s.cc/file/c0f3042508a89/L%27Eau_Froide_%281994%29.srt

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

Quote:
Kertu (Ursula Ratasepp) is a girl who is different to other people in her village. Extremely fearful and shy, she keeps to herself, and so the word around the village is that she is a simpleton. One day, Kertu falls in love with the village drunk, Villu (Mait Malmsten). Villu, being an alcoholic, and Kertu, with her timid personality, are both outcasts of society. When they start talking one night at the village party, they are pleasantly surprised to find comfort in each other’s company. Villu seems to be the only one who sees Kertu as a normal person, while Kertu is the only one who doesn’t see Villu as a mere drunkard. They spend a happy night together, but that is all they get – the next day, Kertu’s family is convinced that Villu took advantage of their daughter, even though the girl refuses to press charges against him. But little attention is paid to Kertu’s opinion. For her family, the concept of the two being together is just too incomprehensible – how could a simpleton girl know what’s good for her? Why should the village drunk be trusted? The couple is torn apart, and a struggle begins for the two lovers to make their voices heard.

Set to be screened in the CinEast Festival’s Cinéscope programme, Ilmar Raag’s Love Is Blind boasts the performances of some truly skilful actors. Ratasepp portrays her character in a subtle and genuinely delicate way, showing the viewer that hidden under even the most fragile exterior can lie a strong-willed woman. Equally interesting to watch is Malmsten’s Villu – a drunken womaniser who, with the help of Kertu, discovers his tender and sensitive side, but doesn’t really know what to do with it.

Not only are the main characters exciting to watch, but there are also some very impressive performances from the main characters’ mothers. Kertu’s mum, played by Külliki Saldre, is torn between doing what is best for her daughter and submitting to the will of her violent husband, while Villu’s mother (Leila Säälik) gives a strong portrayal of a woman who loves and believes in her son, despite him being a criminal in the eyes of the rest of the villagers.

As the title of the movie highlights, love truly is blind, and with this film, director Raag gently cautions us to never forget it. Indeed, even social outcasts like a simpleton and a drunk deserve the right to make their own decisions.

http://www.nitroflare.com/view/F453A4742416B40/Kertu.avi
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http://keep2s.cc/file/2203c0005e1ef/Kertu.avi
http://keep2s.cc/file/09f55cc663c32/Kertu.srt

Language(s):Estonian
Subtitles:English (srt)

Quote:
Filmmaker C.S. Leigh writes and directs his first feature film with the extreme drama The Process. French actress Béatrice Dalle plays an actress trying to kill herself. Through long, uncomfortable takes, the film explores her tortured existence. After a disastrous on-stage appearance with her estranged husband (Guillaume Depardieu), she engages in a rough sexual three-way with two men (Daniel Duval and Sebastien Viala). She also loses her child to a car accident and her breast to cancer. The Process was screened at the Berlin Film Festival in 2004 with live musical accompaniment by John Cale.

http://www.nitroflare.com/view/EFA9A02FEBE6821/Process.mkv

http://keep2s.cc/file/c4ec655630327/Process.mkv

Language(s):French, English (brief snatches of dialogue)
Subtitles:None

Quote:
Young Bodies Heal Quickly, Andrew T. Betzer’s first feature after a storied career as a short film-maker, is about as personal as a narrative fiction can get: Betzer wrote, directed, produced, edited and even color-graded the film. But in this case, “personal” doesn’t mean a regurgitation of the filmmaker’s latest breakup or childhood ups and downs. It means a highly idiosyncratic take on storytelling, in which the viewer is thrown in the deep end from the enigmatic first shot and carried along by the hurtling young bodies of two brothers who do a bad thing and have to get out of town fast. Set in godforsaken parts of Maryland and structured as a picaresque road film in five main episodes, Young Bodies Heal Quickly is as unpredictable as the boys’ off-the-grid father yet crystal clear in its intent to present an unflinching exploration of masculinity and the transmission of violence. If there is anything else out there like it, I haven’t seen it.

At the age twenty, Older escapes incarceration and seeks out his ten year old little brother, Younger. Clearly the bad influence, Older gets the boys mixed up in the “accidental” killing of a young girl and they are forced to go into hiding as they wait for their mother to rescue them. Thanks to their mother, the brothers now have a car and enough money to begin their bizarre road trip. Along the way, they encounter a host of people ranging from their unwelcoming sister to a troubled maid and her violent lover. Eventually, they wind up on the doorstep of their father’s compound, wherein the three of them are quickly reminded why they are estranged in the first place. Just as the walls are about to close in, their father packs up his brood and takes them on a road trip of his own. They join several militaria enthusiasts in a remote forest where they re-enact actual Vietnam War battles. Once in the “jungle,” the three of them revert to hostile tendencies building up to a final confrontation between father and sons, leaving the audience to decide what is real and what is make believe.

http://keep2s.cc/file/23e133e5bdebe/Young_Bodies_Heal_Quickly_-_Andrew_T._Betzer_%282014%29.avi

http://www.nitroflare.com/view/F912AFA88D7AB51/Young_Bodies_Heal_Quickly_-_Andrew_T._Betzer_%282014%29.avi

Language(s):English
Subtitles:None

Synopsis:

‘Linen maid Marie is surprised when one of her neighbours, an impoverished artist named Claude, wishes her “good luck” one day. When a client gives her a present, Marie is convinced that Claude’s salutation will indeed bring her good luck, so she goes and buys a lottery ticket. She immediately tells Claude that if she wins, she will share her winnings with him. Naturally, Marie wins the jackpot but Claude is reluctant to take his share. He agrees only when Marie accepts his proposal that they spend twelve days together, living the high life on Claude’s winnings. Although she is engaged to be married, Marie accepts, and they set off on the holiday of a lifetime…’
– Films de France

http://keep2s.cc/file/c061ba2bcf877/Bonne.chance.1935.DVDRip.x264.AC3.mkv

http://www.nitroflare.com/view/DC033D67350FEF9/Bonne.chance.1935.DVDRip.x264.AC3.mkv

Language(s):French
Subtitles:None

“The Earth Is a Sinful Song” is the somewhat misleadingly lyrical title of this film. It is based on a novel set in Finnish Lapland in 1947-48 and concerns itself, in unusually intimate detail, with the lives of the inhabitants of a small, rustic community, and with particular emphasis on one family—an old man, his unhappy son, haggard daughter-in-law and teen-age granddaughter.

One is tempted to call these lives harsh and brutal. But that would be an urban judgment, passed upon people who exist so close to nature that the appearance of an automobile about midway through the film jars a viewer. No, these lives are simply different, stripped almost bare of what we like to call the amenities of civilization. They have no luxuries. Hardship is omnipresent. Death comes among them frequently, taking people and animals. Pleasures are simple—an outdoor dance (where a drifter is killed); drink; religion; the sauna; and sex, indulged in and depicted with a minimum of fuss.

The seasons pass. Lives change. People grow up, grow older, die, are killed, are born. The cycle is ancient and eternal; the landscape is literal paradise and figurative hell. — (The New York Times).

Review:

Northern Finland, the late 1940s: Martta (Maritta Viitamäki) is an 18-year old promiscuous daughter of a poor family in a small village. She lives with her parents Juhani and Alli (Pauli Jauhojärvi and Milja Hiltunen) and grandfather Äijä (Aimo Saukko) and is often the target of the advances of a crass local man named Kurki-Pertti (Veikko Kotavuopio). Upon meeting a Sami reindeer herder Oula (Niiles-Jouni Aikio), Martta falls deeply in love with him and cannot see any other men the way she used to. However, her father thinks Oula is no good and threatens to kill him if he comes to see Martta at their home.

What strikes the viewer instantly when watching The Earth Is a Sinful Song is the tremendous naturalism of everything. The people, mostly amateur actors or just locals with no acting experience at all, are not made to look traditionally beautiful in any way; they would without a doubt be called very ugly by most audiences who are used to polished modern cinema. The plentiful nudity and sex are not sugared either, neither is the harsh treatment of animals that was once common in the society the film portrays: a calf is cut in pieces while still inside the cow’s womb, reindeer are slaughtered by stabbing them in the heart, a dog is kicked, a hare is clubbed. Even one of the writers admitted that the filmmakers may well have gone too far in their pursuit of extreme realism, but the result is a powerful experience all the same.

The way of life on the vast plains and hills of Lapland comes across as thoroughly soaked in a unique combination of nature, love, sex, death, religion and alcohol. If Martta’s romance with Oula represents love of classical infatuation type, more pleasure-driven sex certainly isn’t out of the question in the village either as evidenced by Martta’s escapades with Kurki-Pertti and her family’s adopted son Hannes (Jouko Hiltunen), let alone the villagers’ wild orgies during their drunken gatherings. The scene with a traveling preacher (Osmo Hettula) truly demonstrates the meaning of frenetic religion in the poor people’s lives: the slimy preacher’s misanthropic rant about the worthlessness of humanity driving the listeners into a trembling state of delirium and a crazed session of unrestrained sex marks truly the most memorable scene in the whole film. How empty must a person’s life be when this kind of “message of love” is the only outside entertainment the village ever gets?

The film has been criticized for ignoring the poetic, beautiful side of Timo K. Mukka’s original novel, but I think there’s plenty of strange beauty to be found in the film. The gorgeous scenery of Lapland during the changing seasons is portrayed without dialog through visual means; just seeing the coloured leaves in the autumn, the reindeer herd running on the snow-covered plains, a boat floating at a lake at sunset or the green forests of the summer should be enough to provide contrast for the raw hardships in the people’s lives. In the last act the pacing slows down significantly, focusing more on the inner feelings of the characters before and after the dramatic climax on a frozen lake, so I don’t think the accusations of only wallowing in filthy despair are justified at all.

Last but not least, the actors are extremely convincing in their roles; what they lose in acting experience, they win gloriously in rough charisma. Especially Aimo Saukko definitely deserved his Jussi Award for his performance as the old man Äijä, and Maritta Viitamäki as the plump Martta carries a sense of raw beauty that only the vain are not willing to see. I have watched the film many times and enjoyed it every time; along with Mikko Niskanen’s masterful miniseries Kahdeksan surmanluotia (Eight Deadly Shots, 1972), The Earth Is a Sinful Song is an important part of Finnish history on the silver screen. The meaning of nature, family, love, death and society to our recent ancestors is among the themes in these films and they show powerfully where we modern tech-savvy Finns are coming from, even if the lives of Martta and her family now feel distant and irrelevant to some. In my book, The Sinful Song is one of the best Finnish films ever made and essential viewing for anyone willing to understand this nation’s psyche through cinema.
— random_avenger (IMDb)

http://keep2s.cc/file/d9b3969790af3/The_Earth_is_a_Sinful_Song_%281973%29_–_Rauni_Mollberg.mkv
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http://www.nitroflare.com/view/7FAE19F24EAC2B9/The_Earth_is_a_Sinful_Song_%281973%29_–_Rauni_Mollberg.srt

Language(s):Finnish, Saami
Subtitles:English, Swedish, Finnish (muxed), English (srt)

Dennis Potter’s most controversial work by a country mile, BRIMSTONE AND TREACLE was a BBC Play For Today production that tackled an almost unthinkable subject. A bickering, middle-aged couple with a brain-damaged daughter (Pattie) are visited one typically fraught evening by an overbearingly polite young man named Martin, who claims to be a friend of Pattie’s. The mother is thoroughly charmed by the stranger, the father is less convinced, but – in desperate need of some respite from the round-the-clock attention their daughter requires – they allow Martin to stay with them anyway. Trouble is, Martin is an extremely disturbed individual who either is – or believes himself to be – the Devil incarnate, and takes to raping Pattie when her parents aren’t at home.

A very bleak, disturbing and claustrophobic piece, bolstered by excellent performances and one of Potter’s darkest ever scripts (particularly in these politically-correct times), BRIMSTONE AND TREACLE was banned by the BBC in the mid-seventies and remained unscreened until over a decade later. Despite the low-budget production and some very seventies camera trickery, the play has lost nothing of its ability to shock and unsettle, and will rightly affect everyone who approaches it seriously. Potter saves the biggest surprise until the very end, and it could be this sudden, shocking curve-ball thrown to an audience who thought they knew all the characters inside out that was the strongest deciding factor in the BBC’s eleven-year-ban on one of their toughest masterpieces.

http://keep2s.cc/file/022d7f3cf810b/Brimstone_and_Treacle.mkv

http://www.nitroflare.com/view/A8AB98EC50AE950/Brimstone_and_Treacle.mkv

Language(s):English
Subtitles:None

Quote:
Fiona is a crack-smoking prostitute. She lives a reckless life outside the law where she kills three cops with the same nonchalance with which she turns tricks… Gritty and unsparing, the film blends an original screenplay with actual documentary footage shot in a Lower East Side crack-house with prostitutes playing some of the key roles. The tender relationship between these women is felt without descending into voyeurism or pity and depicted with an authenticity that transcends the line between fiction and documentary.

http://keep2s.cc/file/e771ae24f9c10/Amos_Kollek_-_%281998%29_Fiona.mkv

http://www.nitroflare.com/view/E672F25C2ADD64D/Amos_Kollek_-_%281998%29_Fiona.mkv

Language(s):English
Subtitles:none

Synopsis:

Bosnian-born filmmaker Emir Kusturica made this farce, set in a Gypsy settlement along the banks of the Danube, where three generations of characters burst forth in manic and frenetic displays of charm, confusion, and chaos.

Garbage dump godfather Grga Pitic (Sabri Sulejman) and cement czar Zarije Destanov (Zabit Memedov), both in their 80s, remain friends even though they haven’t seen each other in 25 years. Zarije’s son Matko Destanov (Bajram Severdzan) goes to Grga for a loan. Matko is double-crossed by his partner, gypsy gangster Dadan Karambolo (Srdan Todorovic), who demands that Matko’s son, Zare Destanov (Florijan Ajdini), marry Dadan’s small sister, Afrodita (Salija Ibraimova).

Unfortunately, Afrodita and Zare have absolutely no interest in each other. Cute barmaid Ida (Branka Katic) and Zare fall in love and only have eyes for each other as plans get underway for the wedding of Zare and Afrodite. The sudden death of Zarije seems to offer a solution, since no gypsy would have a wedding and a funeral on the same day. However, Dadan delays the death announcement by hiding Zarije, packed in ice, in the attic. The wedding celebration gets underway amid numerous madcap mishaps and misadventures.

Review:

BLACK CAT, WHITE CAT is a movie in which no effort has been spared, a movie which makes other films seem as if they are merely going through the motions. It is a riotous, exuberant, irrepressible comedy from Emir Kusturica, who seems to treat every film as if it might be his last, and had better put everything he’s got into it. His previous work, UNDERGROUND, had the same energy and invention, but was concerned with the matter of Yugoslavia, and was therefore a tragedy. The joy of BLACK CAT, WHITE CAT is untrammelled by the hardships of geopolitical conflicts. It exists merely for the pleasure of being, and that is more than enough.

The gleefully convoluted plot, which I’m not sure I understood entirely, goes something like this: Matko (Bajram Severdzan), a man of gypsy descent living with his son Zare (Florijan Ajdini) by the side of the Danube, has a get-rich-quick scheme which depends on purchasing a train full of oil-drums and bringing it across the border to sell for major profit. To obtain the train, he calls in favours from rich obnoxious gangster Dadan (Srdan Todorovic) and his father’s old friend Grga (Sabri Sulejmani). But Dadan fleeces Matko and demands his money back. Matko can’t repay him because he invested everything he had in the train, but, according to his dead father’s wishes, Dadan also needs to marry off his sister (Salija Ibraimova)–who is called Afrodita but is variously described as a dwarf or gnome–and says that he will forget the debt if Zare marries Afrodita. Matko reluctantly agrees, even though his son is madly in love with the decidedly ungnomish Ida (Branka Katic). Meanwhile, Grga is urging his own grandson to get married, but the grandson is determined that he will only marry the woman of his heart’s desire. We can guess that all these hurtling narratives will collide before the movie is done, and they do.

Kusturica likes to hurl as much as he can into the frame and then simply move the camera about, allowing us to observe the chaos. The screen teems with life: a recurring band of gypsy musicians orchestrating scenes with their infectious upbeat playing; a gaggle of geese often found swirling about the feet of characters as they bustle about; a pig munching on the rusted frame of an old car; the black and white cats of the title. These anarchic presences crop up again and again, their vital chaotic antics paralleling and parodying the profuse comic antics of the people.

The whirligig motions of the plot somehow come to rest without flying off in all directions in the film’s centrepiece, a wild wedding which is a splendid illustration of Kusturica’s technique. Dadan dances about shooting a gun into the air, the absent-minded official gets the name of the bride wrong, a tearful Ida displays the wedding presents to the guests, Matko’s dead father lies under a block of melting ice in the attic, abd the coerced bride escapes by shuffling about the floor in an overturned box, slipping through a trapdoor, and escaping into a nearby forest where she hides in a tree-stump as the wedding party searches for her; Grga and his sons approach from the other direction, leading to a fateful encounter. The ever-present gypsy music pulses throughout, heartbeat of the film.

The movie as a whole approaches the same level of delirious unstoppable energy. What saves it from becoming overbearing is the rightness of the details. Kusturica enriches the film with generous human touches, like the delightful sequence in which Zare and Ida chase each other through a field of sunflowers, performing a gradual striptease as they go, radiant with young love; like the secret stash Zare’s grandfather has set aside because he knows Matko is too irresponsible to provide for his son; like the hideous teeth of the two patriarchs, Grga and Matko’s father, rotting and gold-capped, emblematic of human weakness and mortality. The “anything goes” sensibility of the film is somewhat deceiving: the madness is so entertaining only because it so carefully nuanced.

BLACK CAT, WHITE CAT is not a perfect film, but it never stays in one place long enough for us to dwell on its imperfections. Perhaps the abundance of motion and music and madcap plotting, the sheer relentlessness of the spectacle, could be said to disguise the thinness of characterization and the thematic incoherence. But who cares? The disguise, in this case, is all that matters. BLACK CAT, WHITE CAT is a celebration, a carnival, a parade of the grotesque and bawdy, and it is only as good as it is gaudy, colourful, lively. As far as those qualities are concerned, you couldn’t ask for more than this movie gives.

http://www.nitroflare.com/view/B95A80B9EE6B946/Black_Cat%2C_White_Cat_%281998%29_–_Emir_Kusturica.mkv
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http://keep2s.cc/file/6ee75a7aed87f/Black_Cat%2C_White_Cat_%281998%29_–_Emir_Kusturica.sub

Language(s):Romany, Serbian, Bulgarian, German
Subtitles:English, French (idx, sub), English (srt)

Synopsis:
In the 1960s and early ’70s, Claude Chabrol was celebrated as the Gallic Hitchcock for his crisp, character-rich thrillers. La Cérémonie, his 1997 hit adapted from Ruth Rendell’s novel A Judgement in Stone, is a return to form, an assured domestic drama set in the upper-class household of the kind but condescending Lelievres family. Sandrine Bonnaire, excellent in an enigmatic, uncommunicative role, stars as their new, neurotically silent maid Sophie. She performs her duties efficiently and emotionlessly, staring out from behind an implacable, mask-like face born of loneliness and defensiveness. Isabelle Huppert is the town’s gleefully misanthropic postmistress Jeanne, a gossipy, energetically insolent misfit who hates the Lelievres. When she becomes Sophie’s best friend, her pathological game of taunts and gossip goes into overdrive with her sudden access to their house, and an already simmering class conflict boils over in unleashed anger. Chabrol charts the cascade of mischief and misunderstandings to its shattering conclusion, with a sensitivity to character and an eagle-eyed remove that makes the explosive climax all the more chilling. It’s a devastating thriller, one of Chabrol’s best, and a powerful portrait in hate and psychosis pushed over the edge in misunderstanding, manipulation, and mistrust. Jacqueline Bisset is the fumbling but sincere Mme. Lelievres, Jean-Pierre Cassel her complacent husband, and Virginie Ledoyen (A Single Girl) their sensitive young daughter.

http://keep2s.cc/file/2dfe5b5d40864/La_ceremonie.mkv
http://keep2s.cc/file/58bd9c8d788ae/La_ceremonie.srt

http://www.nitroflare.com/view/AB40ED7F1DBA4BF/La_ceremonie.mkv
http://www.nitroflare.com/view/6839FFE7312D371/La_ceremonie.srt

Language(s):French
Subtitles:English