Synopsis by Sandra Brennan
In this drama, a single woman approaching 40 grows bored of her affair with a married trucker and writes to a singles column. She ends up paired with an outwardly conservative bookstore clerk. During their date, he drinks and soon turns into a rude, crude, drunken slob. She is mortified until he apologizes. She forgives him and they have sex. In the morning they resume their former lives. Perhaps they will meet again. Perhaps not.

Review:
While its structure is episodic and sprawling, The Visitor adheres to the classic unities of time, place and theme. The film (again co-scripted by Scola) describes the first meeting of two vastly different people who met through an ad in the personal columns. Pina, an employee in an agricultural cooperative (played by buxom Sandra Milo) eagerly awaits her pen pal Adolfo (the ever-reliable François Périer), a librarian from Rome. She has invited him to spend a Sunday in her Lombardy village. This could easily have become a predictable, complacent confrontation between the cultured man from the big city and the unsophisticated country lass. But the film has something else in store — a wonderful reflection on the volatile nature of intimacy, and a touching exploration of the question of maintaining one’s romantic integrity in the face of disappointment and the duplicity of emotions. In the course of this day, Pina discovers that Adolfo is far from being the decent, sympathetic man his letters had promised: There is something arrogant and downright mean about the way he takes her hospitality for granted and revels in her presumed emotional and erotic availability. Each new sequence reveals yet another obnoxious trait of his — he makes racist remarks, gradually loses his manners, makes a pass at the underage girl next door and embarrasses Pina in front of her neighbors by drinking way too much Lambrusco. When she sensitively confronts him with his foibles at the end of the day, a deeper level of understanding suddenly seems possible. He almost feels relieved by her shrewd assessment of his faults. A delicate moment of catharsis: It is as if she, by struggling to maintain her own dignity, restores some of his as well.

Extras:

1. Audio commentary track by F. De Bernardinis. (in Italian without subtitles)

2. Interview with Armando Trovajoli:
He talks about his collaboration with Pietrangeli and Scolla and how he was able to contribute to the film.

3. Interview with Ettore Scola:
He talks about the Italian comedies from the 1950-70s and their ability to mirror reality.

4. Interview with Paolo Pietrangeli:
A very interesting Interview with Paolo Pietrangeli, the son of Antonio Pietrangeli, in which he talks about his father’s work, the fact that he failed to appreciate the talent of his father, and history behind this film.

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Language(s):Italian
Subtitles:English (muxed), English, Spanish (srt)

This shattering adaptation of Alfred Döblin’s masterpiece – made for TV in 13 episodes with a two-hour epilogue – offers a level-headed account of protagonist Biberkopf’s key weakness: his quasi-sexual infatuation with the psychotic pimp Reinhold. Aided by great design, cinematography, and, not least, performances, Fassbinder tells the story surprisingly naturalistically. Then in the epilogue, he offers a disturbing meditation on his own fantasies about Biberkopf. This phantasmagoria is Fassbinder’s most daring act of self-exposure: a movie time-bomb that forces you to rethink the series as a whole. The work of a genuine master with nothing left to lose or hide.

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password:www.worldscinema.org

Language(s):German
Subtitles:English

Premiered in Cannes (Quinzaine des Réalisateurs) in 2011

Synopsis
Blue Bird is a story about how one day in a child’s life can change its world. One morning, Bafiokadié and his sister Téné, two African children, leave their village. The only thing on their mind is to find their lost blue bird before the day is over. But they will find much more along their way.

http://www.nitroflare.com/view/248EDE3213F99C7/BLUE_BIRD.rar

http://keep2s.cc/file/00d6d4166abbe/BLUE_BIRD.rar

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

Quote:
The life and work of Arthur Penn, whose films like “Bonnie and Clyde” helped shape the conversation around violence in America and its movies.

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Language(s):English
Subtitles:Hardcoded Italian

Plot summary:

Frank, a vagabond, arrives at a service station on a mountain road near to Marseilles. The kindly old owner, Nick, offers him a job which he accepts. Frank is instantly attracted to Nick’s young wife, Cora, and they have a passionate affair. The two lovers plan to kill Nick so that they can profit from his life insurance. Having made Nick’s death look like an accident, they are acquitted of his murder. However, fate has a cruel twist in store…

Quote:
This is the first film version of James M Cain’s The Postman Always Rings Twice, and is cited by some critics as the best. It’s also my favourite film by Pierre Chenal, his last in France before fleeing to Argentina at the outbreak of war.

Fernand Gravey plays the drifter Frank who stumbles into the web of the dangerous but irresistible Cora (Corinne Luchaire), a femme fatale looking for an escape route from her oafish husband (Michel Simon). There are no kitchen table sex scenes in this version. What Chenal gives us instead is an implacable tragedy of two flawed lovers spiralling to their self-destruction.

The trio of lead actors, a fine supporting cast (including Robert Le Vigan and Chenal’s wife Florence Marly), and the atmosphere of dust and fatalism that swirls through every scene, make this essential viewing for fans of film noir and great cinema.

Review:

Quote:
When it comes to noir, we Anglos may have appropriated the word, but the thing was the result of the most delicate Franco-American reciprocity, well illustrated here. Preceding Visconti (Ossessione), Garnett and Rafelson, this is the first adaptation of James M Cain’s 1934 novel The Postman Always Rings Twice, with its triangle of slobbish husband/bored wife/tough drifter. Apart from an accommodation with Michel Simon’s star status, which required the husband to live longer, it’s a faithful transposition of the novel’s tone and content. But it’s the style of the actors – Gravey’s soulful eyes and mournful presence, Luchaire’s other worldly beauty and air of resignation – which makes the difference, nudging the distinctively French world of ‘poetic realism’ and that of American pulp finally and irrevocably into alignment.

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

Synopsis:

Franta Louka is a concert cellist in Soviet-occupied Czechoslovakia, a confirmed bachelor and a lady’s man. Having lost his place in the state orchestra, he must make ends meet by playing at funerals and painting tombstones. But he has run up a large debt, and when his friend, the grave-digger Mr. Broz, suggests a scheme for making a lot of money by marrying a Russian woman so that she can get her Czech papers, he reluctantly agrees. She takes advantage of the situation to emigrate to West Germany, to her lover; and leaves her five-year-old son with his grandmother; when the grandmother dies, Kolya must come and live with his stepfather – Louka.

Review:

In Prague in 1988 Russian trucks rumble through the streets and Czechs make an accommodation with their masters, or pay a price. Louka pays a price. Because in a moment of unwise wit he wrote a flippant answer on an official form, he has been bounced out of the Philharmonic and now scrapes by playing his cello at funerals, and repairing tombstones.

Life has consolations. A parade of young women visits his “tower,” an apartment at the top of a rickety old building. At 55, Louka (Zdenek Sverak) looks enough like Sean Connery to make hearts flutter, and he has the same sardonic charm. But he is broke and needs a car, and so he listens when his gravedigger pal makes an offer. The pal’s Soviet niece must get married or she’ll be sent back to Russia, where she does not want to go. The niece and her chain-smoking aunt will pay Louka to go through a phony marriage.

Against his better judgment, he does. Then the niece skips to West Germany to join a former boyfriend, leaving behind her 5-year-old son, Kolya (Andrej Chalimon). The aunt dies, and Louka is stuck with the kid. This puts a severe cramp in his love life (the kid is delivered in the middle of a would-be seduction), and besides he knows nothing about kids, and this one speaks only Russian, a language Louka has on principle refused to learn.

The outlines of this story are conventional and sentimental (is there any doubt he will come to love the child?). What makes “Kolya” special is the way it paints the details. Like the films of the Czech New Wave in the late 1960s, it has a cheerful, irreverent humor, and an eye for the absurdities of human behavior. Consider Louka’s old mother, who refuses to care for the child because she will not have a Russian in the house, and watch the scene where Russian army trucks stop outside her cottage and the kid hears his native language and runs out happily to talk to the soldiers.

Consider, too, the bureaucracy, faithful to the Soviets. Louka is subjected to a grilling by a hard-nosed official who suspects, correctly, that the marriage was a sham, but the tone of the interview is much altered because Kolya refuses to stay outside, and draws pictures all during the interrogation; his evident love for his “stepfather” is a confusing factor.

Quirky details are chosen to show the gradual coming together of Louka and Kolya. The cellist drags the kid to the funerals where he plays, and the kid watches open-eyed as the musicians play and the soloist sings. It is perhaps not surprising that his first words of Czech are the 23rd Psalm. But look at Louka’s fade when he realizes the kid is using a puppet theater to stage a cremation.

There are many women in Louka’s life, but one becomes special: Klara, played by Libuse Safrankova. He ropes her in to help him care for the child, and eventually something fairly wonderful happens, and at 55 Louka finds a way to break out of the trap of his routine. His new freedom is shown against a backdrop of the end of the Cold War, as the Berlin Wall drops, the Russians leave town, and joyous Czechs take to the streets, chanting “It’s finally over!” Louka is placed in the center of the celebrants, where he sees, of course, his former bureaucratic interrogator now part of the joyous crowd.

“Kolya” was written by its star, Zdenek Sverak, and directed by his son, Jan. It is a work of love, beautifully photographed by Vladimir Smutny in rich deep reds and browns, with steam rising from soup and the little boy looking wistfully at the pigeons on the other side of the tower window.

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Language(s):Czech, Russian, Slovak
Subtitles:English, French (idx, sub), English (srt)

An elder ronin samurai arrives at a feudal lord’s home and requests an honorable place to commit suicide. But when the ronin inquires about a younger samurai who arrived before him things take an unexpected turn.

http://keep2s.cc/file/797ab3520e0a9/Harakiri.NTSC.DVD.DD1.0.x264-saMMie.mkv

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Language(s):Japanese
Subtitles:English

“Sorrow does not come merely from contemplating death, which forces us to look into Eternity, but also from life, which compels us to confront Time”, wrote Russian philosopher Nikolai Berdyayev. Renowned Lithuanian documentarist Audrius Stonys took these words as a motto for his latest film, a meditative visual essay which portrays old people undertaking all kinds of activities, meditation and group laughter therapy. Without a single word of commentary, he creates from sophisticated, aesthetic images a compelling study of human corporeality which, in an ideal union with spiritual equilibrium, can sustain us with the pledge that old age doesn’t have to be a painful wait for the last breath.

Take a deep breath, relax, and let yourself go. That’s the suggestion of this film, in which bodies become landscapes through the seasons, images rhyme, passions appear and disappear like a long breath. Inhale, exhale. Uku Ukai is not a film that tells, but lives like a meditative experience in time and space, landscape and movement. Inhale, exhale. Uku Ukai does not ask the viewer to understand but rather to enter into synchrony with the sounds and images. Uku Ukai is spiritual gymnastics: bodies run, breathe, reach out without needing to reach anything. While images flutter and sounds ricochet, the viewers become the real film. Inhale, exhale.

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Language(s):Lithuanian
Subtitles:English

Synopsis:
The vision of Lisandro Alonso, the blinding photography of Kaurismäki’s regular cameraman and the use of actor/musician Viggo Mortensen combined to ensure a magic result. A Danish military engineer sets off in 19th-century Patagonia looking for his missing daughter. A mysterious masterpiece. Nominated for The Big Screen Award
The Argentinian Lisandro Alonso, with the poet Fabian Casas, wrote a story about ‘Jauja’, an earthly paradise sought in vain for centuries because everyone who looked for it got lost on the way. In this case, it’s about the Danish captain/fortune hunter Dinessen (Danish-born, reluctant Hollywood star Viggo Mortensen) who, at the end of the 19th century, joined the Argentine infantry with his 14-year-old daughter Inge. When she runs off with a young soldier, Dinessen endlessly roams the pampas of Patagonia on the trail of a very thin dog.
The stunningly photographed Jauja is both incomparable and intriguing. It’s no surprise that Mortensen, who also produced this ‘road movie’ and made the music, describes Alonso as a contemporary Tarkovsky.
Jauja, shot in 4:3 and co-produced by the Dutch Ilse Hughan, received the film critics’ best film award for the Un Certain Regard section at the Cannes Festival.

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Language(s):Spanish, Danish
Subtitles:English (soft subs)

Quote:
In this autobiographical feature, Frank Ripploh plays himself: a German elementary-school instructor who lives a double life in his beloved Berlin, socializing with his fellow teachers only when he has to, and venturing into a world of anonymous sex whenever he can. In-between bathroom encounters and trips with his colleagues to the bowling alley, Ripploh manages to forge a steady relationship with a handsome, sad-eyed theater manager named Bernd Broaderup. As Ripploh’s sexual ardor for Broaderup gives way to a wandering eye, and Broaderup begins pressuring Ripploh to give up the city and its many temptations, the couple’s relationship replays a scene that was occurring in urban areas across the world and was satirized in such cultural snapshots as the Larry Kramer novel Faggots. Ripploh, who wrote, directed, and starred in Taxi Zum Klo, which, unlike most German films at the time, received no state funding, saw the picture become an international art-house hit after it played at 1981’s New York and Berlin film festivals.

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Language(s):German
Subtitles:English

Alice White is the daughter of a shopkeeper in 1920’s London. Her boyfriend, Frank Webber is a Scotland Yard detective who seems more interested in police work than in her. Frank takes Alice out one night, but she has secretly arranged to meet another man. Later that night Alice agrees to go back to his flat to see his studio. The man has other ideas and as he tries to rape Alice, she defends herself and kills him with a bread knife. When the body is discovered, Frank is assigned to the case, he quickly determines that Alice is the killer, but so has someone else and blackmail is threatened.

Notes:

Hitchcock’s – and Britain’s – first full-length sound film, Blackmail (1929), made for BIP, was only his second foray into the crime genre which was to make his name. According to legend, the studio gave Hitchcock the go ahead to shoot a proportion of sound footage, but the director surreptitiously shot almost the entire film in sound, back to back with a silent version for distribution to the many cinemas still not equipped for talking pictures.

The result was a critical and commercial triumph, noted for its innovative use of sound, most famously in the ‘knife’ sequence, and confirmed him as the most admired British director of the time. Even the left-wing film journal Close-Up – a magazine not generally known for its enthusiasm for British cinema – was generous in its praise, describing the film as “perhaps the most intelligent mixture of sound and silence we have yet seen.”

Blackmail displays many of the stylistic elements and themes with which Hitchcock would come to be associated: particularly a fascination with male sexual aggression and female vulnerability. Like the later Sabotage (1936) it features a woman who is protected from the Law by her policeman lover. It is also one of a number of Hitchcock’s films to feature a heroine who enters a dazed or ‘fugue’ state in which she acts mechanically and apparently without control of her actions – other examples are Murder! (1930), Sabotage and, more ambiguously, Vertigo (1958) and Psycho (1960). Its British Library climax is the first of the director’s characteristic ambitious set pieces.

Blackmail was adapted from his own stage play by Charles Bennett, the first in a string of collaborations during Hitchcock’s early sound phase. Anny Ondra’s Polish accent was deemed unsuitable for the role of Alice White, and her lines in the sound version were spoken by another actress, Joan Barry (who, in the absence of post-dubbing technology, spoke off-camera). In a tragedy that was repeated throughout English-speaking cinema, Ondra’s career was destroyed by the coming of sound, and she soon left for Germany, where she appeared in only a few more films before retiring.

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Language:English
Subtitles:None

SYNOPSIS:
A petty crook, in search of the proverbial pot of gold at the end of the rainbow, hopes to cash in by befriending the heir to a huge fortune.

Production notes:
This was Jodorowsky’s sixth feature-length film, and his first British film. Filming was carried out in Gdansk, Poland. He was frequently threatened by the producers not to change anything in the script, effectively restraining further artistic involvement from his behalf. Jodorowsky has since disowned the movie. It was released in cinemas in London (May 1990), Italy (Il Ladro dell’arcobaleno, 1990), France (Le voleur d’arc-en-ciel, Paris, 1994) and, after, Spain (El ladrón del Arco iris, Cine Doré, Madrid, 2011); but it was never released in American cinemas.This movie, along with his previous Tusk in 1980, mark his most impersonal work, set far apart from his earlier work. It was discussed along with his other films in the documentary La Constellation Jodorowsky (1994).

Excerpt from IMDb reviewer:
How criminal is this – the only format that has *ever* been available for The Rainbow Thief in America is on VHS. Imagine this, a film starring Omar Sharif, Peter O’Toole and Christopher Lee, regardless of who directed it (though in this case the iconoclast/cult-icon Alejandro Jodorowsky), never got released in *theaters* let alone as of late on DVD. It’s not that one must see it because it’s a great lost masterpiece and yada-yada. It actually isn’t. It’s not as great a film as Jodorowsky’s own Santa Sangre or The Holy Mountain. But as far as projects go that have been neglected by a major studio, Warner Brothers, this is one of the most notable to my mind. Especially because, when it comes down to it, it’s quite possibly the filmmaker’s most “accessible” movie to a mainstream audience.

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Language(s):English
Subtitles:English German

A sharpshooter kills two prisoners in a police van at night. The guard on the van is suspended for six months; he’s Tamon, an upright, modest man. He begins his own investigation into the murders. Who were the victims, who are their relatives and girlfriends, who else was on the van that night? As he doggedly investigates, others die, coincidences occur, and several leads take him to the Hamaju Agency, which may be supplying call girls. Its owner is in jail, his daughter, the enigmatic Yuko, keeps turning up where Tamon goes. Tamon believes he can awaken good in people, but has he met his match? Will he solve the murders or be the next victim? And who is Akiba?

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Language(s):Japanese
Subtitles:English hardcoded

PLOT & Review:
From a village of the Murge (Apulia) three telegrams are sent: “Mom died. Your father. ”
The three Giuranna brothers return to the family home after many years of absence.
F. Rosi tells another story of the South, but from within, poised between private and public. But the first dimension is expressed, the second only declared.
A parable about today’s Italy, sincere, honest, always interesting, sometimes involving.
Written by Rosi and Tonino Guerra on a cue from the story “The Third Son” by Andrei P. Platonov.

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

Veronica and Boris are walking in the streets of Moscow and they love each other. Veronica is laughing, cause they are happy together this morning. They see some cranes in the sky. When arriving to Veronica’s house they talk about a rendezvous at the bank of the river. And the 2nd World War begins in Moscow. Boris works in a factory and he hasn’t got time to speak with Veronica. He has to go to the war …

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Language(s):Russian
Subtitles:English

Based on the short stories of Curzio Malaparte, The Skin is Liliana Cavani s controversial look at the aftermath of the German occupation of Italy during WWII and the equally difficult results of life during the Allied liberation. Marcello Mastroianni stars as writer Malaparte, who chronicled the desperate measures taken by his countrymen in order to survive. Burt Lancaster co-stars as the liberating American General unable to understand the devastation around him.

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In 1943, in Naples, Germans have just left the city when the Americans arrive, commanded by Gen. Mark Clark (Burt Lancaster), having the Italian Captain Curzio Malaparte (Marcello Mastroianni) as the liaison. The population is starving, with women and children prostituting themselves for food. Principessa Consuelo Caracciolo (Claudia Cardinale) is a noble Italian friend of Malaparte, and seems to be very adapted to all situations. Private Jimmy Wren (Ken Marshall) is the support of Captain Malaparte, and falls in love with a local girl. Honorific Colonel Deborah Wyatt (Alexandra King), an arrogant pilot and wife of an American Senator, comes to Naples to be promoted and get votes for her husband and the American president. Malaparte is assigned to show her the situation of the city. This movie is very strange, bizarre and violent. But although paradoxical, it is also fascinating. It shows a defeated people, needing to sell sons and daughters to survive. The last scene, when a tank passes over a local and Jimmy comes to apologize to Malaparte is fantastic. It shows the relation between winners and losers in a war. The cast has Burt Lancaster, Marcello Mastroianni and Claudia Cardinale, among others good actors and actresses. I like very much the work of Liliana Caviani, but this film certainly is not indicated for all audiences. My vote is seven.

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This movie is based on the true memoirs of the main character (Curzio Malaparte) during his time when he acted as diplomatic liaison between the Allied forces and the Italian in the newly occupied Italy. The book is a collection of short stories depicting the collapse of the Italian society under Allied occupation. There is no story line between those short stories. The movie puts them in chronological order, but the reigning chaos and lack of moral message (the message is exactly the lack of morality) can confuse the spectator.

This is a very original war movie, in that the main theme is the not the war front. The Allied are not viewed from their own perspective, which is one of true liberators. Instead, the movie shows the Italian people courting the Allies as liberators in order to escape from starvation. The Allies themselves are caught in a trap where they know the Italian hospitality isn’t sincere, but are unable to understand why. They don’t realize that before them, the Germans were courted as liberators too, and that in this context of food shortage and general poverty, the only way the Italians have to secure their survival is to play that game.

Malaparte (played by Marcello Mastroiani) acts then as a translator, helping the Americans as a guide would help a tourist, by explaining in each situation why people are acting in this seemingly dishonorable way.

La Pelle (The Skin) would make more sense if compared to Malaparte’s twin book on the occupied Europe (Kaputt, or Broken to Pieces). In the latter, he portrays the Nazi way of oppressing through violence. In La Pelle, he shows how the Americans achieve a similar result through economic means, while refusing any responsibility. In Kaputt, Jewish women are made prostitutes by the German Army to escape death by the bullet; in La Pelle, Italian women become prostitutes for the American Army to escape death by starvation.

The Extras include:
At the Frontier of the Apocalypse (1080p; 24:22) looks at the film’s source stories and the Italian experience in World War II in general.

Malaparte, Great Reporter (1080p; 7:08) is an interesting interview with director Liliane Cavani.

The Individual and History (1080p; 7:44) is more from the Cavani interview, focusing on her thoughts about intimate stories within epochal historical events.

Dante Feretti Revisits Naples (1080p; 5:50) is another nice interview, this time with the film’s production designer.

Feature Length Audio Commentary by Film Critics Wade Major and Andy Klein. Major and Klein are quickly becoming the go to guys for Cohen Film Collection commentaries, and they do another really interesting and insightful job here, going over the source material, Cavani’s filmography and various themes that are explored. Speaking of themes, music geeks like I am may not be able to forgive the pair for attributing the theme from The Man from U.N.C.L.E. to The Skin’s composer Lalo Schifrin. That was Jerry Goldsmith (arranged and conducted by Hugo Montenegro), gents.

http://keep2s.cc/file/ab2aabcabf9d0/Le_Pelle.mkv
http://keep2s.cc/file/30aeaeac525b5/Liliana_Cavani_Interviews.rar

http://www.nitroflare.com/view/F1487D61778D5CE/Le_Pelle.mkv
http://www.nitroflare.com/view/E19931E79432764/Liliana_Cavani_Interviews.rar

Language(s):Italian
Subtitles:English (all)

This violent, gore-filled, effective horror tale by director Robert Gordon is about a totally wacko private zoo keeper, Michael Conrad (Michael Gough) whose literal worship of the animals he tends — especially the cat species — starkly contrasts with his cold-blooded disregard for human life. Conrad has a mute son Carl (Rod Lauren) with a simmering Oedipal hatred, and a wife who should have left him eons ago. Whenever Conrad gets miffed with anyone coming a little too close to his private affairs he simply feeds the hapless victim to the animals. It seems inevitable that if the animals do not get him, then the human species will. ~ Eleanor Mannikka, Rovi

http://www.nitroflare.com/view/8D6C66C4FEA5733/Black_Zoo_%281963%29_DVDrip.Xvid.AC3.avi

http://keep2s.cc/file/a2aefaaccdce3/Black_Zoo_%281963%29_DVDrip.Xvid.AC3.avi

Language(s):English
Subtitles:none

A 1966 short film written, shot, edited and directed by David Cronenberg.

Quote:
Cronenberg:
Transfer, my first film, was a surreal sketch for two people – a psychiatrist and his patient – at a table set for dinner in the middle of a field covered in snow. The psychiatrist has been followed by his obsessive former patient. The only relationship the patient has had which has meant anything to him has been with the psychiatrist. The patient complains that he has invented things to amuse and occasionally worry the psychiatrist but that he has remained unappreciative of his efforts.

Quote:
Transfer (1966) is the earliest and least significant of (Cronenberg`s early short) films, a bizarre two-hander between an exiled therapist and the patient who tracks him down in the wilderness. It is poorly acted and visually distinguished only by its strange juxtaposition of setting and content, yet what is fascinating is how quickly Cronenberg has defined his half-aroused, half-appalled view of the science of the mind. The Brood, Dead Ringers and A Dangerous Method all begin here.

http://www.nitroflare.com/view/8C89A71E8CD1972/Transfer_1966_720p_BluRay_AAC1.0_x264-KESH..mkv

http://keep2s.cc/file/9b78b84a70f9c/Transfer_1966_720p_BluRay_AAC1.0_x264-KESH..mkv

Language(s):English
Subtitles:English

jwarthen-3 on IMDb wrote:
A beautiful bildungsroman– a young man goes wandering through the world, making his way as he goes and meeting vivid people. The material isn’t romantic– poverty is general, and the young man discovers his own cruelty as well as the strengths that sustain him. This film had a huge cast, and Troell’s use of widescreen fills the image with detail of 19th century provincial life that authenticates the performances– I have remembered the dirty leer of its blacksmith for thirty years. I remember watching it, wishing there were an hour more of it.

http://keep2s.cc/file/ef2ee6f4e8655/Har.har.du.ditt.liv.1966.DVDRip.XviD.avi
http://keep2s.cc/file/09b019fd85697/Har.har.du.ditt.liv.1966.DVDRip.XviD.srt

http://www.nitroflare.com/view/A5999552CD81623/Har.har.du.ditt.liv.1966.DVDRip.XviD.avi
http://www.nitroflare.com/view/EF8B1EFE35015F4/Har.har.du.ditt.liv.1966.DVDRip.XviD.srt

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

Synopsis:
A single father makes his meager living holding up an advertising placard on a traffic island in the middle of a busy highway. His children wait out their days in supermarkets before they eat with their father and go to sleep in an abandoned building. As the father starts to come apart, a woman in the supermarket takes the children under her wing. There are real stray dogs to be fed in Tsai’s everyday apocalypse, but the title also refers to its principal characters, living the cruelest of existences on the ragged edges of the modern world.

Stray Dogs is many things at once: minimal in its narrative content and syntax, as visually powerful as it is emotionally overwhelming, and bracingly pure in both its anger and its compassion. One of the finest works of an extraordinary artist.

Extra: Tsai Ming-liang Master Class at the Cinemateque Francaise (70 mins)
During the Tsai Ming-liang offers charmingly accessible interpretations and observations of his work. Even his early icebreaker of warning attendees to go to the restroom during the talk and not the screening, reveals something, as when he notes that even if you leave and return during the course of the same shot, the microscopic variations of performance and tone that occur during that shot can send the film in a new direction.

http://keep2s.cc/file/38565b7b01262/Stray_Dogs_SD.mkv
http://keep2s.cc/file/6ca7de761e3b5/Stray_Dogs.srt
http://keep2s.cc/file/f0e8905d2cc8e/Master_Class_at_the_Cinematheque_Francaise.mkv

http://www.nitroflare.com/view/E0420A81227F83A/Stray_Dogs_SD.mkv
http://www.nitroflare.com/view/9E5F16B7DB9645A/Stray_Dogs.srt
http://www.nitroflare.com/view/5A7A6FD40143918/Master_Class_at_the_Cinematheque_Francaise.mkv

Language(s):Mandarin
Subtitles:English (soft subs for both mkv’s)