Quote:
Renko’s mum and dad are splitting up, and her heart is burning. So she plays with fire, tears up the rule book, holds herself hostage, even starts talking to the weird girl in school who’s the only other one with divorced parents. But as Renko watches her childhood go up in flames, she learns how to forge a new self from the embers. Director Shinji Somai is hugely regarded in Japan, but only starting to be known in the West, more than a decade after his death. Formally surprising and emotionally thrilling, Moving is the work of a remarkable filmmaker at the height of his powers.

http://nitroflare.com/view/E860AC25E7B5C59/Moving.part1.rar
http://nitroflare.com/view/E53FB12ABE84353/Moving.part2.rar

Language(s):Japanese
Subtitles:English

If you enjoy this blog, you can support it by buying a NITROFLARE premium account from the links above. Thank you for your support

This was also voted No.55 on 1999’s Kinema Jumpo Poll of Top 100 Japanese Films of All Time.
It’s a samurai film but its style is rather different from those Toei & Daiei jidaigeki in 50s & 60s (probably not surprising as an ATG production), It has a non-heroic (or at least, unorthodoxy) portrait of the protagonist: Ryoma, at times even a parody, with the wry humor everywhere in the film. But it also looks a bit like a documentary, as the film is very grainy and the cinematographer is Masaki Tamura, who’s responsible for the look of many Shinsuke Ogawa & later, Kiyoshi Kurosawa’s films.

Quote:
Kuroki Kazuo was one of the leadoing filmmakers of the 60s and 70s independent film movement centered on the Art Theatre Guild (ATG). The Assassination of Ryoma shows the last three days of Sakamoto Ryoma, a hero of Meiji Restoration, who was assassinated a year before the Restoration was achieved. Like Yamanaka, Kuroki rejects showing Ryoma only as a hero. Rather, he focuses on anonymous people as well as on the carnivalesque mass events called “eijanaika”, in which commoners would rampage through an increasingly restive Edo (Tokyo) chanting “why not?” The film is one of many attempts in the period to think through the first one hundred years of Modern Japan, which came into being after Ryoma was killed. Kuroki’s discontinuous modernist style is exhilarating to watch, and helps connect Ryoma’s tragic end to the “Asama mountain lodge” incident of 1972, in which a radical political sect involved in a series of murders was caught in a standoff with the police. Perhaps we can see in the film’s loose and fragmentary form the confusion of radical artists, caught in the transformation from the political activism in the 1960s to the consumerism in the 1980s.

Scan about Kuroki Kazuo from “Viennale 2003 – Art Theatre Guild”

http://nitroflare.com/view/F588B1E3A27D513/The.Assassination.Of.Ryoma.1974.DVDRip.XviD-MNAUCE.part1.rar
http://nitroflare.com/view/C32BF3EFFBC9922/The.Assassination.Of.Ryoma.1974.DVDRip.XviD-MNAUCE.part2.rar
http://nitroflare.com/view/2E5D11E11E436BA/The.Assassination.Of.Ryoma.1974.DVDRip.XviD-MNAUCE.srt

Language(s).Japanese
Subtitles:Chinese (srt),English

If you enjoy this blog, you can support it by buying a NITROFLARE premium account from the links above. Thank you for your support

Plot : In the Siberian forest, away from any civilization, a feud is opposing two families whose houses are separated by a river. In the middle of the river stands an island where the kids of the two families are meeting on their own.

http://nitroflare.com/view/C6BB6AC2B4ADCD9/Braguino.2017.VOSTFR.HDTV.720p.x264.mp4
http://nitroflare.com/view/2CFF38524DD74E9/Braguino.2017.VOSTFR.HDTV.720p.x264.srt

Language(s):Russian
Subtitles:French (hardcoded),English srt

If you enjoy this blog, you can support it by buying a NITROFLARE premium account from the links above. Thank you for your support

Produced, directed by Nina Menkes. A soldier’s murder of his wife prompted filmmaker Nina Menkes to imagine the events surrounding the crime in “The Bloody Child,” a nonlinear, decidedly unconventional evocation of one trauma’s ripple effects. Mesmerizing if very opaque compared with standard dramas, impressionistic feature is ideal for the most adventurous auds at festivals and specialized sites.

Rather than telling a story in the usual way, pic creates a uniquely compelling mood of distress and menace. Initial images show the guilty soldier being discovered by fellow Marines in the Mojave Desert in the eerie half-light of pre-dawn. He has come there to dig a grave, and his wife’s bloodied corpse is found in his car on a nearby highway.

Pic returns repeatedly to scenes of the soldier being held, interrogated and sometimes verbally attacked by military police on the roadside where the evidence of his crime remains. Usually these passages are filmed from a distance with long lenses, for an effect that’s both documentary-like and suggestively voyeuristic.

What’s heard here isn’t dialogue so much as snatches of conversation among the soldiers as they await transport for their prisoner, who’s never seen full-on but only from the rear or side, usually slumped in the back of one of the M.P. vehicles.

The ultra-realistic air is interrupted, startlingly, when an enormous black stallion comes galloping into a crime scene. While the explanation for his sudden appearance may be entirely mundane, the impact is hauntingly surreal.

If these scenes are the film’s thematic center, the significant periphery is sketched in other episodes, observed in the same distanced, de-dramatized manner , that take place in locales that include a nearby country-music bar and rural Africa.

The real murder re-created in the film reportedly involved a soldier recently returned from the Gulf War, which perhaps helps explain this chronicle’s associative leaps. In the largest sense, pic’s poetic approach disturbingly evokes a pervasive tapestry of psychic and actual violence by examining a couple of its threads. There are feminist as well as political ramifications here, surely, yet pic leaves it to the viewer to decipher — or supply — them.

At a time when experimental filmmaking is in retreat, the craft and bold unconventionality of the “The Bloody Child” are challenging in the most bracing sense. Pic weaves a spell that’s hard to shake for days afterward, and offers an object lesson in the cinematic possibilities that standard narrative misses.

Pic benefits greatly from helmer Menkes’ sharp, textured lensing and idiosyncratic use of sound. Overall, tech credits are extremely well-realized.

Variety.com [Godfrey Cheshire]

http://nitroflare.com/view/AD33B43C1183715/The.Bloody.Child.Menkes.1996.avi

Language(s):English
Subtitles:None

If you enjoy this blog, you can support it by buying a NITROFLARE premium account from the links above. Thank you for your support

Pete Tombs’ Mondo Macabro label has been unearthing cinematic obscurities for almost two years now, digging up such oddball entries as Pakistan’s THE LIVING CORPSE, Italy’s THE NUDE PRINCESS (with transsexual superstar Ajita Wilson), and Indonesia’s MYSTICS IN BALI. Now, they have uncovered a long-lost French sexploitation film, SEVEN WOMEN FOR SATAN, directed by Franco regular Michele Lemoine and starring familiar Franco face Howard Vernon, and reportedly banned in its home country.

Lemoine plays Count Boris Zaroff (hold your chuckles, please), a stuffy aristocratic businessman to unassuming eyes, but get him in the bedroom and WOW! Zaroff has deep unidentified psychotic tendencies, especially when confronted with beautiful women. Case in point: he picks up a lovely brunette hitchhiker, spends the evening tying her up in front of the fireplace, pouring champagne over her body and licking it off, then drives her to an isolated woods area, beats her, tries to apologize, then runs her down with his car as she tries to run away! His manservant Karl (the great Howard Vernon, who also plays Zaroff’s dying father with a scraggly fake beard) acts as his accomplice, aiding in selecting candidates for Zaroff’s violent outbursts. There is barely a coherent plot here, SEVEN WOMEN is a clothesline for beautiful naked women to writhe, moan, dance, and be tortured and murdered. The ghost of Zaroff’s fiancé, whom he accidentally murdered (played by Jean Rollin favorite Joelle Coeur), reappears and waltzes with him in the loft of the barn, and continues to reappear to haunt him! A beautiful blonde secretary is invited over, drinks some wine, then does a wild dance on a stage, writhes naked on Zaroff’s bed while rubbing a blue boa over her abundant curves, then is chased through the house and out a window by Inga, Zaroff’s bloodthirsty dog! Muriel and Francis, a young couple whose car broke down, happen upon Zaroff’s mansion and stay for the night. As punishment for snooping around the house in the middle of the night, the young lovers meet their ends in the torture chamber!

http://nitroflare.com/view/4F843829C9B7BBD/Seven_Women_for_Satan_%281976%29.part1.rar
http://nitroflare.com/view/CFD99748459E282/Seven_Women_for_Satan_%281976%29.part2.rar
http://nitroflare.com/view/9FB3B237A691F83/Seven_Women_for_Satan_%281976%29.part3.rar

Language:English, French
Subtitles:English

If you enjoy this blog, you can support it by buying a NITROFLARE premium account from the links above. Thank you for your support

Quote:
With every film he makes, Dumont seems to delve deeper into a humanity that, in its connection to nature in all its mystery and force, is a deeply conflicted one. In “Hors Satan”, the division of what is good and evil and how it relates to the man we encounter at the start of the film, is somewhat less clear-cut.

We know nothing of the origins or nature of this man, not even his name. Since very few words are spoken either, everything must be gleaned from his face – and what a fascinating face it is. At times, there is a satanic look in his features, but there is also something of an appearance of the traditional image of Jesus in his appearance. The questions raised by this duality are intensified when we see him genuflect to the sunrise and take in the glory of the landscape, his hands cupped in offering or for receiving of grace, and when he is called upon by another woman in the community whose daughter is ill and seems to be demonically possessed. The ambiguity, I’m sure, is intentional. The traditional understanding of the concepts of good and evil are meaningless here – you might as well ask (and in a way you are) whether nature itself is good or evil.

Much of this is very familiar Bruno Dumont material and it’s filmed in his usual style. “Hors Satan” is made up of long silent scenes, very little dialogue, non-professional characters chosen for the earthiness of their appearance and lack of conventional beauty (yet striking and even beautiful in their own way), with images of strong violence and disturbing scenes of a sexual nature. With such emphasis placed on inexpressive faces, the use of non-professional actors, a preponderance of near-religious significance and solemnity (albeit in an unconventional, paganistic manner), there are clear parallels here not only to Bresson, but also to Dreyer, particularly “The Passion of Joan of Arc” and, certainly in the opening and closing scenes, with “Ordet”.

Dumont however has his own philosophical outlook that is completely different from Bresson and Dreyer, and a visual vocabulary that is also very much his own and often very striking indeed. “Hors Satan” is not easy viewing and it’s not pleasant viewing – but then you probably knew that already. It is however an immensely powerful film that deepens the themes and the body of work of one of the most distinctive and uncompromising film directors in France and the world today.

http://nitroflare.com/view/6C6CB7070C6B5F6/Bruno_Dumont_-_%282011%29_Outside_Satan.part1.rar
http://nitroflare.com/view/17A4006746888E7/Bruno_Dumont_-_%282011%29_Outside_Satan.part2.rar

Language(s):French
Subtitles:English

If you enjoy this blog, you can support it by buying a NITROFLARE premium account from the links above. Thank you for your support

It was once said of Ingrid Bergman that she’d played Joan of Arc so often that she wouldn’t be satisfied until she was burned at the stake. Actually, nobody ever said that, but someone should have. Directed by Bergman’s then-husband Roberto Rossellini, Joan at the Stake is a nonmusical adaptation of the oratorio by Paul Claudel and Arthur Honegger. Essentially a glorified monologue, the film makes no bones about its theatricality. Bergman is impressive as always, far more so than the presentation. While not nearly as bad as its reputation suggests, Joan at the Stake was a box-office flop, principally because the torrid Bergman-Rossellini romance was old news by 1954.

http://nitroflare.com/view/5DA1FA7703A8F0A/Giovanna.d%27Arco.al.rogo.part1.rar
http://nitroflare.com/view/ECF797D7697D8E4/Giovanna.d%27Arco.al.rogo.part2.rar

Language(s):Italian, French (2 audio tracks)
Subtitles:English, Spanish, French (muxed)

If you enjoy this blog, you can support it by buying a NITROFLARE premium account from the links above. Thank you for your support

On a frozen dark night in remote Siberia, a group of strangers travel home together in a van. When the driver refuses to stop for an elder, a darkening shadow looms over what could possibly be the most tragic night of their lives. This dramatic and thrilling feature with its poetic pacing and exquisite cinematography is easily one of Lukachevskyi’s finest works.

Winner — Best Dramatic Feature — 15th International Film Festival of Indigenous Peoples ImagineNATIVE in Toronto

“One of the seven most important movies of 2014” — Maria Kuvshinova, Seance Magazine

About the director:
Mikhail Lukachevsky studied at the St. Petersburg University of Film and TV (class of Nikolai Obukhovich). Author of the short “Premonition” (2011) which won the International Andrey and Arseny Tarkovsky Award in the Ukraine and the Prize for the Best Debut at the International Film Festival of Debut Movies “Kinoproba” in Yekaterinburg. His first feature “The Road” (2012) got the special prize “New Horizons in Yakut Cinema” at the first Yakut International Film Festival. His filmography includes “Cycle of Life” (2007), “Guest” (2008), “Wings” (2009), “Foundry of Life” (2010).

http://nitroflare.com/view/C279654BCE9F21E/Uruk_kun_%282013%29.mkv
http://nitroflare.com/view/215A6EF35F0618F/Uruk.kun_2013.srt

Language(s):Sakha
Subtitles:Russian (hardcoded),English srt

If you enjoy this blog, you can support it by buying a NITROFLARE premium account from the links above. Thank you for your support

Quote:
Daigo Fukuryū Maru (第五福龍丸?, Lucky Dragon 5) was a Japanese tuna fishing boat, which was exposed to and contaminated by nuclear fallout from the United States’ Castle Bravo thermonuclear device test on Bikini Atoll, on March 1, 1954. Kuboyama Aikichi, the boat’s chief radioman, died half a year later, on September 23, 1954, suffering from acute radiation syndrome. He is considered the first victim of the hydrogen bomb of Operation Castle Bravo.

Five years after the accident, the Japanese film director Shindo Kaneto made a film titled Daigo Fukuryu Maru. The actor Uno Jukichi played the role of Kuboyama Aikichi. Director Kaneto Shindo spoke at a screening of his 1959 film ”Daigo Fukuryu Maru” (Lucky Dragon No. 5), emphasizing the need to abolish nuclear weapons and to continue educating youth about the devastation they cause. ”Nuclear arms have been an issue since World War II,” the 91-year-old told an audience of over 90 people, citing this week’s multilateral talks in Beijing on North Korea’s nuclear ambitions. ”They can wipe out the human race.”

Shindo, whose film is a reconstruction of the events that befell the Lucky Dragon, also criticized nuclear nations who talk about eliminating weapons but do nothing. In the audience were Yuko Teramura, 56, and her sister Tomoko, 53. They played the young daughters of crewman Kuboyama Aikichi, who died soon after the fallout, in Shindo’s film when they were 6 and 3 years old respectively. ”I believe film is the best medium to teach children about the destructiveness of nuclear weapons,” Tomoko Teramura told Kyodo News. ”It has a greater impact than just spoken or written words.”

http://nitroflare.com/view/046774DA6AEB906/LuckyDragonNo.5.part1.rar
http://nitroflare.com/view/43FF564FE7D3372/LuckyDragonNo.5.part2.rar

Language:Japanese
Subtitles:English

If you enjoy this blog, you can support it by buying a NITROFLARE premium account from the links above. Thank you for your support

Plot Synopsis
Two years before Jim Jarmusch obtained studio backing for the release of his cult hit Stranger than Paradise, he concocted this independent study of a young man named Allie (Chris Parker) who wanders around Manhattan. He runs into a few friends and strangers on the street and discusses Charlie Parker. He visits his institutionalized mother. He drops in on his girlfriend. If this seems a little erratic, it is, but Jarmusch has a way of working miracles from such material. — John Voorhees

http://nitroflare.com/view/3AF72E4AACA650B/Permanent_Vacation.avi

Language(s):English
Subtitles:None

If you enjoy this blog, you can support it by buying a NITROFLARE premium account from the links above. Thank you for your support

IMDB wrote:

In Jersey City, an African American hit man follows “Hagakure: The Way of the Samurai.” He lives alone, in simplicity with homing pigeons for company, calling himself Ghost Dog. His master, who saved his life eight years ago, is part of the local mob. When the boss’ daughter witnesses one of Ghost Dog’s hits, he becomes expendable. The first victims are his birds, and in response, Ghost Dog goes right at his attackers but does not want to harm his master or the young woman. On occasion, he talks with his best friend, a French-speaking Haitian who sells ice cream in the park, and with a child with whom he discusses books. Can he stay true to his code? And if he does, what is his fate?

http://nitroflare.com/view/522C6B4653E4788/kings-gdwots.cd1.avi
http://nitroflare.com/view/5D632AC9DBA1F88/kings-gdwots.cd2.avi

Language:English

If you enjoy this blog, you can support it by buying a NITROFLARE premium account from the links above. Thank you for your support

Drawing from an actual incident, artistically audacious director Raoul Ruiz and writer Pascal Bonitzer turn a story of psychoanalysis gone awry into a labyrinthine psychological mystery in Genealogies of a Crime. Weaving together flashbacks, flashbacks within flashbacks, multiple renditions of the alleged crime of le monstre, and surreal, voyeuristic compositions, Ruiz skewers psychoanalysis’ excesses in a narrative mind-bender that takes on such heady topics as nature vs. nurture, repetition-compulsion, and the nature of certainty. The dueling psychoanalytic societies provide moments of black comedy, with Michel Piccoli’s certifiably insane Georges as the ultimate dark joke. The flashback structure trickily melds Catherine Deneuve’s two identities as Rene’s lawyer and the embodied memory of the victim, suggesting that she may indeed be Rene’s karmic punishment. Yet there’s still the matter of that little girl holding a cat and a knife. Though some critics were put off by Ruiz’s pretensions, others deemed Genealogies of a Crime a beautifully shot and acted intellectual game, with Deneuve channeling an eerie psychosis reminiscent of her work with Roman Polanski and Luis Buñuel. — Lucia Bozzola, All Movie Guide

http://nitroflare.com/view/5129278A1066EA4/Raoul_Ruiz_-_%281997%29_Genealogy_of_a_Crime.part1.rar
http://nitroflare.com/view/D33E838C4EE5875/Raoul_Ruiz_-_%281997%29_Genealogy_of_a_Crime.part2.rar

Language(s):French
Subtitles:English

If you enjoy this blog, you can support it by buying a NITROFLARE premium account from the links above. Thank you for your support

Andre, a teenager, lives in an industrial town in Brazil near an old aluminum factory. One day, a factory worker, Cristiano, suffers an accident. Asked to go to Cristiano’s house to pick up clothes and documents, Andre stumbles on a notebook, and it’s here that Araby begins — or, rather, transforms. As Andre reads from the journal entries, we are plunged into Cristiano’s life, into stories of his wanderings, adventures, and loves. Beautifully written and filmed, ARABY is a fable-like road movie about a young man who sets off on a ten-year journey in search of a better life.

Quote:
This political road movie by Brazilian writer-directors Affonso Uchoa and João Dumans premiered in competition at the long-running Dutch festival.

by Neil Young

A quiet epic which is both ideal for the current turbulent epoch and timeless, grittily specific in its details but universal in its themes, Joao Dumans and Affonso Uchoa’s Brazilian wonder Araby (Arabia) sets a high bar for world cinema of 2017. An intriguingly structured, multilayered road movie in which an ordinary working-class dude looks back over a nation-wandering decade of his life, this second collaboration by the writer-directors is a cumulatively engrossing and ultimately very moving work of clear-eyed political intent.

Marked by boundless humanism and mature insight, it features a gorgeous, country/folk-flavoted soundtrack that accessibly softens the sharp edges of a pretty hard-knock tale. Premiering in the eight-strong Hivos Tiger competition at Rotterdam, the picture is not just an instant, hard-galloping front-runner for that prestigious $43,000 prize but potentially something of a cinematic Pegasus for which — in an ideal world — the sky would be the limit.

Dumans and Uchoa are very much concerned with our actual, deeply flawed world, however, and have found a simple but superb way to present its challenges, trials and fleeting joys as experienced by a representative of the planet’s hard-toiling poor. Fortyish Cristiano (Aristides de Sousa) has been encouraged to write about his colorful life experiences after joining a theater group at his factory in the southern state of Minas Gerais. When he’s incapacitated by an unseen incident at work, his hand-scrawled memoir is discovered by a bookish teenage neighbor, Andre (Murilo Caliari), who is irresistibly fascinated by the unvarnished chronicle of labor, places and people.

Dumans co-wrote Marilia Rocha’s very fine 2016 Tiger contender Where I Grow Old, and also the Uchoa-directed The Hidden Tiger (2014), a drama/documentary hybrid which provided non-pro de Sousa with his screen debut (Uchoa had previously debuted with 2010’s comparatively little-seen Afternoon Woman). Here the duo slyly wrong-foot their audience by focusing so squarely on Andre for the first 20 minutes, with the actual protagonist on the sidelines. This deceptive first “reel” is only moderately engaging; while evocative in terms of the noisy, polluted environment of the factory, it adheres too squarely to Bresson-influenced art-cinema trends, and introverted Andre is an unpromising sort of lead.

Once the lad starts reading the memoir, however, the title-card appears and the film proper belatedly begins. The remaining 70-odd minutes then unfold an episodic, richly detailed, often amusing visualization of Cristiano’s self-narrated autobiography (which might, just possibly, be a figment of Andre’s imagination). Truly dramatic incidents are few and far between, but along the way we witness crime, punishment, death, romance and one hell of a lot of very hard work as our hero crisscrosses his vast country in search of remunerative employment (“I did everything a man can do”).

This happy-go-lucky ex-jailbird has all manner of encounters, including one particularly formative chat with an elderly chap whom he learns was renowned as a labor-organizer in his earlier days. As Cristiano gets into his authorial stride, weaving his gloriously haphazard tapestry (“How I won and lost”), he grows before our eyes and ears into an entirely convincing three-dimensional character — in tandem with the slow blooming of his political consciousness. A stint on a tangerine farm for zero wages harshly teaches him “the rhythm of the earth: We sow so much, but reap so little.”

Along the way there are countless tales within the tale, songs within the song, letters written and read, anecdotes and tangents, building into a decidedly Brazilian affair which develops and sustains a polyphonically sensual musical pulse. Among home-grown tracks, impromptu sing-alongs and plangent guitar interludes provide consistent, varied embellishment, there are also two crucial deployments of Townes Van Zandt’s 1968 classic ‘I’ll Be Here in the Morning.’

Professionally and unflashily mounted in all technical aspects, edited with virtuoso economy by Luiz Pretti and Rodrigo Lima to clock in at a brisk 96 minutes, this is a seemingly “small” film which tackles the biggest of issues with a beguiling can-do, freewheeling spirit. Having caught us so off-guard with their prologue, the directors maintain an anything-can-happen vibe throughout. They effortlessly capture the intoxicating spirit of the open road that draws Cristiano from job to job, pal to pal, town to town, like some proletarian Southern cousin of Jack Nicholson’s Bobby Dupea from Five Easy Pieces.

Like Bob Rafelson’s 1970 classic, Araby — the exotic title deriving from seemingly throwaway joke recounted by one of the narrator’s myriad co-workers — has the truly rare capacity to inspire and energize with the optimistic sense that nothing is truly impossible. It culminates in an astonishing, bravura sequence as our hobo hero, having found his full voice, suddenly soars into a realm of rousing, radicalized self-realization. An understated epilogue wraps up proceedings in beautiful, haunting, resonant fashion: a perfect finale to a true fanfare for the common man.

Production companies: Katasia, Vasto Mundo
Cast: Aristides de Sousa, Murilo Caliari, Renata Cabral, Glaucia Vandeveld
Directors-screenwriters: Joao Dumans, Affonso Uchoa
Producers: Vitor Graize, Thiago Macedo Correia
Cinematographer: Leonardo Feliciano
Production designers: Priscila Amoni, Janaina Macruz
Costume designer: Juliana Soares
Editors: Luiz Pretti, Rodrigo Lima
Soundtrack: Francesco Cesar
Casting directors: Gustavo Ruas, Silvia Andrade
Venue: Rotterdam Film Festival (competition)

http://nitroflare.com/view/57092E5A8023A40/ArabiaAKAAraby.part1.rar
http://nitroflare.com/view/65F10060F03D07C/ArabiaAKAAraby.part2.rar
http://nitroflare.com/view/DC6B87FB82C1B14/ArabiaAKAAraby.part3.rar

Language(s):Portuguese
Subtitles:English, Spanish and French on .srt

If you enjoy this blog, you can support it by buying a NITROFLARE premium account from the links above. Thank you for your support

My beloved
Will you sleep forever

http://nitroflare.com/view/F68E41643B223E9/Chansons_d_amour.mkv

Language(s):Some French (fragments from an old song)
Subtitles:None

If you enjoy this blog, you can support it by buying a NITROFLARE premium account from the links above. Thank you for your support

Quote:
The hero of Alfonso Cuarón’s “Sólo Con Tu Pareja” is Tomás Tomás (Daniel Giménez Cacho), a young man living alone in a roomy Mexico City apartment with a tedious job writing advertising copy and a hyperactive romantic life. Apparently and perhaps not quite plausibly irresistible to women, he is also unable to resist them, which is believable enough, since the women in this movie favor garter belts, half-slips and other kinds of retro-sexy lingerie, which they seem happy to display, or to remove, in Tomás’s presence.

Mr. Cuarón made this film, his first feature, 15 years ago, before departing Mexico for Hollywood and making “A Little Princess” and “Great Expectations,” returning home for “Y Tu Mamá También” and then coming back to direct “Harry Potter and the Prisoner of Azkaban.”

This zigzagging has made him an intriguing and in some ways exemplary figure in contemporary world cinema, and the movies themselves show remarkable exuberance and versatility. All of which partly justifies the belated release (simultaneously in theaters and on DVD) of “Sólo Con Tu Pareja,” a lively calling card from a young, ambitious director working with limited funds and a screenplay he wrote with his brother Carlos.

Like “Y Tu Mamá También,” “Sólo Con Tu Pareja” — literally, “Only With Your Partner” — is a rambunctious sex comedy shadowed by mortality. Tomás is hardly a smooth-talking lady-killer; rather, he uses a combination of boyish sweetness and neurotic, puppylike eagerness as his main tools of seduction. He is a little too successful, enticing a nurse (Dobrina Liubomirova) into his bed while his randy boss, Gloria (Isabel Benet), is waiting for him across the hall. Tomás has lured her into the apartment he has borrowed from a friend, Mateo (Luis de Icaza).

As Tomás races back and forth along the window ledge, the movie has the breezy insouciance of a classic bedroom farce. But the lighthearted mood is disrupted by the possibility of true love — incarnated in a new neighbor (Claudia Ramírez), who lives between Tomás and Mateo and who has a fiancé — and also by the specter of death.

The nurse, feeling spurned and neglected, plays a cruel prank on Tomás, altering blood test results to suggest that he is H.I.V.-positive. This leads to some anguished soul-searching and also, rather improbably, to a madcap chase that ends on the observation deck of the Latin American Tower, Mexico City’s answer to the Empire State Building.

Mr. Cuarón never quite finds the tone that would allow him to fuse belly laughs with the horror of illness and death, but then perhaps Pedro Almodóvar is the only filmmaker able to mix darkness and light in that way. Still it is hard not to admire the younger man’s cheeky self-confidence, and hard not to enjoy the dexterity of his camera movements and the flair with which he attempts both low comedy and high melodrama.

The promise he showed in “Sólo Con Tu Pareja” has already been realized and exceeded, but there is something gratifying about witnessing such talent in its fledgling state.

http://nitroflare.com/view/FB8672342D10A8C/LoveintheTimeofHysteria.part1.rar
http://nitroflare.com/view/250824013C91C48/LoveintheTimeofHysteria.part2.rar

Language(s):Spanish
Subtitles:English sub/idx

If you enjoy this blog, you can support it by buying a NITROFLARE premium account from the links above. Thank you for your support

synopsis
This classic story of Mob informers was based on a number of true stories and filmed on location in and around the docks of New York and New Jersey. Mob-connected union boss Johnny Friendly (Lee J. Cobb) rules the waterfront with an iron fist. The police know that he’s been responsible for a number of murders, but witnesses play deaf and dumb (“plead D & D”). Washed-up boxer Terry Malloy (Marlon Brando) has had an errand-boy job because of the influence of his brother Charley, a crooked union lawyer (Rod Steiger). Witnessing one of Friendly’s rub-outs, Terry is willing to keep his mouth shut until he meets the dead dockworker’s sister, Edie (Eva Marie Saint). “Waterfront priest” Father Barry (Karl Malden) tells Terry that Edie’s brother was killed because he was going to testify against boss Friendly before the crime commission. Because he could have intervened, but didn’t, Terry feels somewhat responsible for the death. When Father Barry receives a beating from Friendly’s goons, Terry is persuaded to cooperate with the commission. Featuring Brando’s famous “I coulda been a contendah” speech, On the Waterfront has often been seen as an allegory of “naming names” against suspected Communists during the anti-Communist investigations of the 1950s.Director Elia Kazan famously informed on suspected Communists before a government committee — unlike many of his colleagues, some of whom went to prison for refusing to “name names” and many more of whom were blacklisted from working in the film industry for many years to come — and Budd Schulberg’s screenplay has often been read as an elaborate defense of the informer’s position. On the Waterfront won Oscars for Best Picture, Best Director, Best Adapted Screenplay, Best Actor for Brando, and Best Supporting Actress for Saint.

http://nitroflare.com/view/B77FF10DA66FF24/1954OnTheWaterfront.part1.rar
http://nitroflare.com/view/F89D8D362DE4781/1954OnTheWaterfront.part2.rar

Language(s):English
Subtitles:Eng, Fr, Sp, Port and Thai vob sub

If you enjoy this blog, you can support it by buying a NITROFLARE premium account from the links above. Thank you for your support

Quote:
Independence is a crucial part of the legend of John Cassavetes, the original Method actor turned DIY filmmaker. For that reason his early forays into studio directing — he made 1961’s “Too Late Blues” for Paramount and 1963’s Stanley Kramer-produced “A Child Is Waiting” for United Artists — are usually thought of as footnotes at best, or compromised failures at worst (a view that has been ascribed to Cassavetes himself).

But even in these minor works, the Cassavetes touch — the delicate way of handling emotional messiness, the tough but ultimately generous view of human behavior — is unmistakable. The rarely seen “Too Late Blues,” new to DVD from Olive Films, is an especially resonant work, a parable about the price of artistic independence and the conflicts of ego and idealism — in other words, something like a confessional manifesto from the emerging director, 31 when he made it.

Cassavetes’ first film, “Shadows” (1959), was groundbreaking, and not just for being the story of an interracial romance, shot on location in the bohemian quarters of New York City with a largely nonprofessional cast — few other films have so completely changed the face of American cinema. Unlike its French counterpart,Jean-Luc Godard’s “Breathless,” “Shadows” did not launch a new wave, but its urgency and freshness became synonymous with the spirit of American independent film, manifest in era-defining works over the years from “Mean Streets” to “Stranger Than Paradise.”

Like “Shadows” (available in Criterion’s five-film Cassavetes boxed set) and “Johnny Staccato,” the short-lived private-eye TV series (1959-’60) that starred Cassavetes, “Too Late Blues” is set in the nocturnal jazz-music world. Cassavetes co-wrote the screenplay of this second directorial effort, with Richard Carr, a writer on “Johnny Staccato.”

The anguished hero, John “Ghost”Wakefield (Bobby Darin), is the pianist leader of a jazz ensemble whose members pride themselves on playing “what we want to play,” even if that also means playing in empty parks and old folks homes. Things begin to look up when a producer shows interest, and when Ghost starts dating Jess (Stella Stevens), a fragile aspiring singer whom he pries away from the sleazy clutches of his agent (Everett Chambers, a producer of “Johnny Staccato” and later “Columbo,” in an indelible, cold-eyed performance).

But one bad night in a bar — an absorbing 20-minute sequence that amply displays Cassavetes’ gift for generating scenes rife with contradictory cross-currents of emotion and psychology — brings all of Ghost’s insecurities to a head, leading to a painful break with Jess and the band. Before long he’s working the easy-listening lounge circuit and trapped in a perverse relationship as the kept boy toy of an aging socialite.

Cassavetes had to make a few compromises on “Too Late Blues,” though the experience was, by all accounts, not as traumatic as on “A Child Is Waiting,” which was taken away from him at the editing stage. His main concession, apart from a rushed schedule, was in casting — for the lead roles he had envisioned Montgomery Clift and Gena Rowlands, his wife and regular leading lady, a pair of actors who surely would have been sensational together.

But the studio’s choices were more than respectable: Darin is a surprise in his first nonsinging role, willing to appear both arrogant and weak, and Stevens, a sex symbol and underappreciated actress, proves her range and nerve. The cast also includes Cassavetes’ friend and frequent collaborator Seymour Cassel.

Much has been made of the link between jazz and Cassavetes’ modernist, seemingly free-form cinema, and the connection was obvious in the early days. “Shadows” used a Charles Mingus score and the terrific music in “Too Late Blues,” scored by David Raksin, was performed by jazz greats including Benny Carter.

All the talk in “Too Late Blues” of integrity and authenticity seems even more significant in light of the career Cassavetes went on to forge. Despite a certain mannered slickness, the film is proof of his inability, even under clear constraints, to make anything less than a deeply personal work.

After “A Child Is Waiting” he spent the next few years acting — his return to filmmaking, with”Faces”(1968), a film made completely on his own terms, marked his reinvention as an independent artist, and it kicked off a remarkable run (five more self-financed films, up until 1977’s “Opening Night”) unlike anything in American movies before or since.

http://nitroflare.com/view/FEE9BA550E63CA5/TooLateBlues.part1.rar
http://nitroflare.com/view/78BE82F519D8E37/TooLateBlues.part2.rar
http://nitroflare.com/view/C5C71F68B7CC4D6/TooLateBlues.part3.rar

Language(s):English
Subtitles:English

If you enjoy this blog, you can support it by buying a NITROFLARE premium account from the links above. Thank you for your support

Two teenage brothers must face their prejudices head on if they are to survive the perils of being young, British Arabs on the streets of gangland London.

http://nitroflare.com/view/BE53525E7569DB6/My.Brother.The.Devil.2012.DVDRIP.XVID.AC3-MAJESTiC.part1.rar
http://nitroflare.com/view/6EC8CA30490D4E2/My.Brother.The.Devil.2012.DVDRIP.XVID.AC3-MAJESTiC.part2.rar

Language(s):English
Subtitles:None

If you enjoy this blog, you can support it by buying a NITROFLARE premium account from the links above. Thank you for your support

Quote:
Balancing between feverish dreamlike hallucinations of a tormented past and a grim disoriented reality, the grizzled Joe–a traumatised Gulf War veteran and now an unflinching hired gun who lives with his frail elderly mother–has just finished yet another successful job. With an infernal reputation of being a brutal man of results, the specialised in recovering missing teens enforcer will embark on a blood-drenched rescue mission, when Nina, the innocent 13-year-old daughter of an ambitious New York senator, never returns home. But amidst half-baked leads and a desperate desire to shake off his shoulders the heavy burden of a personal hell, Joe’s frenzied plummet into the depths of Tartarus is inevitable, and every step Joe takes to flee the pain, brings him closer to the horrors of insanity. In the end, what is real, and what is a dream? Can there be a new chapter in Joe’s life when he keeps running around in circles?

http://nitroflare.com/view/1BE5BE7FED4AC18/YouWereNeverReallyHere.part1.rar
http://nitroflare.com/view/5DBC9EF59409BE5/YouWereNeverReallyHere.part2.rar

Language(s):English
Subtitles:(none)

If you enjoy this blog, you can support it by buying a NITROFLARE premium account from the links above. Thank you for your support

Based loosely on fact, La Presidentress stars Silvana Pampanini as a sexy nightclub singer with loftier aspirations. Posing as the wife of a judge, the singer manages to bed a high-ranking government official (Carlo Dapporto). As a result, the nonplused judge (Luigi Pavese) is given all sorts of promotions and special perks. When he finds out about the girl’s subterfuge, his first reaction is stark, raw terror: Wait till his real wife (Ave Ninchi) discovers what’s going on! When the judge’s former mistress (Marilyn Buferd) joins the fray, the fur really begins to fly.

http://nitroflare.com/view/60F1289B7B158EA/MademoiselleGobete.part1.rar
http://nitroflare.com/view/FE8E607DA0BBB86/MademoiselleGobete.part2.rar

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

If you enjoy this blog, you can support it by buying a NITROFLARE premium account from the links above. Thank you for your support