Synopsis
Jin, an antagonistic youth, tries to take over a motorcycle gang once its leader, Ken, announces he’s going to retire and settle down with his girlfriend. But things aren’t so easy for Jin. The other gangs have united, and decide that Jin’s reckless ways are a thing of the past, so they band together to take him and his four followers out.

Review
Visions of a bleak, post-apocalyptic urban wasteland strewn with twisted hunks of mechanical wreckage. A rasping electronic buzz on the soundtrack. These impressions kick-start into a jarring, rapid-fire sequence of chrome, neon and showers of sparks alongside the howl of roaring motors, as boys in black leather with Be-Bop High School quiffs ride menacingly out into the night in the theatrical debut from arguably the most important director to emerge from Japan during the 80s.
Completed by former punk musician Ishii for his film course graduation from Japan University in Tokyo, this raw-edged biker flick is a tour-de-force of automotive auto-eroticism. Originally shot on 16mm, Toei were so impressed by this violent counter-cultural kick-back against the anodyne fluff that typified early 80s cinema that they blew it up to 35mm for theatrical distribution.
Focusing on the internal conflicts within the Mabiroshi biker gang, set in motion when their leader Ken opts out of the frontline to settle down for a life of domestic bliss with his girlfriend Noriko, the story unfolds almost as a series of fragmented image sequences, its manga-influenced stylistic origins rendered more obvious in scenes such as a muted bar room heart-to-heart as the resigned leader communicates to his girlfriend tacitly in a series of speech bubbles in the form of textual intertitles.
Ken’s departure leaves the rest of the gang floundering with all the direction of a headless chicken, and so into the breach steps Jin. When Jin’s hellraising antics begin to incur the ire of rival gangs, erupting into a full-blown pitched warfare involving chains, chainsaws and anything else that is hard-edged and at hand, Ken is soon hauled back into the fray.
Crazy Thunder Road has little in the way of stylistic precedent in terms of Japan’s previous decade of cinema, though the biker angle had been tackled before by Teruo Ishii’s Detonation! (Bakuhatsu!) trio of films during the mid-70s. Though often reminiscent of Mad Max (George Miller, 1979), Crazy Thunder Road bears more of a relationship with parallel developments in the US underground, notably Sam Raimi’s uncannily similar spirited debut, The Evil Dead (1982). Both films are dazzling showcases of ostentatious film school experimentation coupled with an undeniably accomplished technical proficiency and razor-sharp editing, films which attempt to subdue rather than seduce the viewer. Ishii and Raimi’s films are obvious calling cards to the industry that make a virtue of their minuscule resources to complement the raw-edged aesthetic, demonstrating that when it comes to making fast paced, in-your-face violent action entertainment, technical innovation stretches one hell of a lot further than big bucks.
Undeniably a product of its time, Ishii’s raw biker film lacks the gloss and veneer of later actioners, and its loud and brutally uncompromising kinetics arguably come at the cost of characterisation. However, what it lacks in charm, it more than makes up for in terms of its pure crude energy and a refreshing vitality. Approaching the material with precocious exuberance, this embryonic offering in Ishii’s oeuvre proved sturdy foundations for the director to build his career upon, a career in which the director’s explorations, experimentations and innovations into cinematic technique have continuously marked him out for interest.
taken from midnighteye.com

1.44GB | 01:37:14 | 720×400 | avi

http://nitroflare.com/view/5AEA8136276357D/Crazy.Thunder.Road.1980.DVDRip.XviD.part1.rar
http://nitroflare.com/view/986DBCDF29D129C/Crazy.Thunder.Road.1980.DVDRip.XviD.part2.rar

Language(s):Japanese
Subtitles:English

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From Wikipedia:

The Night Before Christmas (Russian: Ночь пе́ред Рождество́м, Noch pered Rozhdestvom) is a 1951 Soviet traditionally-animated feature film directed by the Brumberg sisters and produced by the Soyuzmultfilm studio in Moscow. The film is based on Nikolai Gogol’s story The Night Before Christmas.

The animation features heavy use of rotoscoping, known as “Éclair” in the Soviet Union, and is an example of the Socialist-Realist period in Russian animation.

http://nitroflare.com/view/892B71B7FA8BF1C/Noch_pered_Rozhdestvom_%281951%2C_Brumberg_sisters%29.avi
http://www.nitroflare.com/view/2F632496429950A/The_night_before_christmas_V0.9.srt

Language(s):Russian
Subtitles:English

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Gregoire Canvel has everything a man could want: a wife he loves, three delightful children and his dream job – he is a film producer. Discovering talented filmmakers and developing films that fit his conception of the cinema, free and true to life, is precisely his reason for living. Gregoire devotes almost all of his time and energy to his work. Although he spends weekends with his family at their house in the country, even these precious moments are regularly interrupted by demanding directors and concerned investors. While Gregoires very presence commands admiration, and his exceptional charisma lead many to believe he is invincible, the future of his prestigious production company, Moon Films, is in doubt; too many productions, too many risks, too many debts. Storm clouds are gathering, and Gregoires realisation that he may have made one gamble too many will trigger a series of events that will change the lives of his family forever.

Raphaël Chevènement somewhere in this picture.

1.36GB | 1:46:19 | 704 x 384 | avi

http://nitroflare.com/view/811B94BBD75178A/FatherofMyChildren.part1.rar
http://nitroflare.com/view/444EC7F242746EC/FatherofMyChildren.part2.rar

Language:French
Subtitles:English (optional)

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One of the most acclaimed Vietnamese films of the 1980s, The Traveling Circus won numerous international awards, including Grand Prix at Fribourg Third world Film Festival, Audience Award at Uppsala (Sweden) International Film Festival and First Prize at Madrid Women’s Film Festival. With obvious influences from Bergman, DeSica and Fellini, director Viet Linh tells the bittersweet story of a small traveling circus from Hanoi stopping in an impoverished ethnic minority village in Vietnam’s central highlands. Through the eyes of a village youngster, we witness the magic of the circus, and the naïve hope that illusion can be transformed into reality. The Traveling Circus is an extremely realistic, sensitive and moving film, that is rarely shown either in Vietnam or abroad.

1.46GB | 1h 17mn | 720×540 | mkv

http://nitroflare.com/view/A23A640A5FC4CD9/Ganhxiecrong%281988%29.part1.rar
http://nitroflare.com/view/4CF85B9F0753568/Ganhxiecrong%281988%29.part2.rar

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

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“In [Sonbert’s] best work, behind the mask of unalloyed visual pleasure lurks a dramatic intensity and trajectory, not just of personal concerns or protracted journeys but of massive social upheavals, the melding or collision of distinct cultural rituals of crisis, cessation, renewal.” – Paul Arthur

(Descriptions below are online program notes written by Jon Gartenberg)

SHORT FUSE is informed by Sonbert’s awareness of his own mortality, once he was diagnosed with HIV. As film critic Steven Holden astutely noted, in SHORT FUSE, “an undercurrent of rage seeps through the cracks of its ebullient surface.” The opening of the film explodes with a sea of turbulent emotions, underscored by the gripping sound track from Prokofiev’s First Piano Concerto. Shifting musical passages collide against images of leisure, war, and protest.

In 1986, Sonbert wrote a feature-length screenplay adaptation of Strauss’ Capriccio, his favorite opera. A central artistic question raised by Capriccio is whether the music or the libretto takes priority. Short Fuse is replete with a soundtrack that counterpoints the film’s visuals; this prompts the spectator to contemplate, in analogous fashion, whether the images or the sound track predominates. In Sonbert’s creative hands, there are no definitive answers, only more open-ended perspectives.

In CARRIAGE TRADE, Sonbert interweaves footage taken from his journeys throughout Europe, Africa, Asian and the United States, together with shots he removed from the camera originals of a number of his earlier films. CARRIAGE TRADE was an evolving work-in-progress, and this 61-minute version is the definitive form in which Sonbert realized it, preserved intact from the camera original. With CARRIAGE TRADE, Sonbert began to challenge the theories espoused by the great Soviet filmmakers of the 1920’s; he particularly disliked the “knee-jerk’ reaction produced by Eisenstein’s montage. In both lectures and writings about his own style of editing, Sonbert described CARRIAGE TRADE as “a jig-saw puzzle of postcards to produce varied displaced effects.” This approach, according to Sonbert, ultimately affords the viewer multi-faceted readings of the connections between individual shots. This occurs through the spectator’s assimilation of “the changing relations of the movement of objects, the gestures of figures, familiar worldwide icons, rituals and reactions, rhythm, spacing and density of images.”

1.37GB | 1:38:05 | 640×480 | avi

http://nitroflare.com/view/B94E5F04E0FC2B6/ShortFuseandCarriageTrade.part1.rar
http://nitroflare.com/view/326DBA1E691AA9B/ShortFuseandCarriageTrade.part2.rar

Language(s):music/none
Subtitles:None

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Paired texts as dueling histories; a journey imagined and remembered; 57 mileage markers produce an equal number of prospects. The latest in a series of films about the division of landscapes, objects, people, ideas and the Byrd family of Virginia during the early 18th century.
—David Gatten

The films in Gatten’s Secret History of the Dividing Line, A True Account in Nine Parts incorporate both approaches within an aesthetic that is rigorous, but not rigid, subtly expressive, but not self-involved. For example, Secret History of the Dividing Line is rigorously structured and it incorporates a “hand-touch sensibility.” Like each of the subsequent films in the project, the title film is divided into a brief introduction and three sections, each of which is organized mathematically (Gatten describes some of the details in our interview). The first section begins with what appears to be a scratch down the center of the filmstrip (it was actually made by painstakingly tearing the filmstrip in two, then reassembling it), which leads into a series of visual texts: a timeline of dates of important historical and cultural events leading up to and away from the life of William Byrd II of colonial Virginia, who founded the city of Richmond; led the surveying party that drew the boundary (the “dividing line”) between Virginia and North Carolina; wrote one of the first detailed descriptions of American nature, History of the Dividing Line (written soon after the surveying expedition, but not published until 1841); and assembled one of the largest libraries in colonial North America. After the sequence of dates, the “scratch” divides the frame in two, revealing on one side, passages from Byrd’s official History of the drawing of the Virginia/North Carolina boundary, and on the other, comparable passages from his secret history of the same events, written before the official history and circulated privately to other colonial gentlemen. Gatten’s work with visual text, along with his precise, mathematical organization, recalls Frampton’s Zorns Lemma, while the “scratch” evokes the many filmmakers who have worked expressively directly on the filmstrip (Douglas Crockwell, Len Lye, Harry Smith, Brakhage, Schneemann, Lawrence Brose, Carl E. Brown, Jennifer Todd Reeves…).
—diagonalthoughts.com

*This is a rip from a VHS copy of the 16mm film. Quality of transfer and VHS tape are not the best.

210.76MB | 20mn 9s | 640×480 | avi

http://nitroflare.com/view/9CBF2802C93779A/secret_history.avi

Language(s):silent
Subtitles:None

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Plot Synopsis by Hal Erickson
Of the many films (English and American) bearing the title Carnival, only one was based on the Compton MacKenzie novel of the same name. This 1946 melodrama stars Sally Gray as a 19th century ballet dancer who makes an unfortunate career move by marrying a taciturn Cornish farmer (Bernard Miles). Sally soon longs for the bright lights of the big city, and for the arms of her artist lover (Michael Wilding). Her husband is all too aware of this; and when the lover comes calling to renew the affair, the husband shoots Gray to death. The first film version of Compton MacKenzie’s Carnival was filmed in 1931 as Dance Pretty Lady.

850MB | 1:28:56 | 640×480 | avi

http://nitroflare.com/view/9011D74FC07C4C5/Carnival_%281946%29.avi

Language(s):English
Subtitles:None

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Synopsis: The gritty, kinetic, visionary cinema of Roland Klick is ripe for rediscovery. After shooting with international stars, such as Mario Adorf and Dennis Hopper, Klick celebrated international success and achieved cult status. Yet after making only six features, he disappeared from the scene in a rather mysterious way. The story of an uncompromising film maniac.

——————————————————————————————————-

“He was a dreamer inside a German – not an easy thing to be!” recalls actor David Hess about director Roland Klick, in whose 1983 film White Star he appeared. Klick made this film, as he tells Sandra Prechtel in her documentary, in order to get over his Waterloo: widely regarded as the great white hope of German cinema at the time, Klick had recently been ousted as director of the film Wir Kinder vom Bahnhof Zoo. With their bid to abolish the ‘ostensible contradiction of art and box-office’ Klick and producer Bernd Eichinger should have been a dream team but they fell out over their conflicting ideas about working with ‘children’. Eichinger was not convinced by Klick’s personal approach.

Klick is still all for the personal approach; in The Heart is a Hungry Hunter this director who defies all categories reveals himself as humorous and far from embittered. Excerpts from his films and comments from contemporaries such as Eva Mattes, Otto Sander and Hark Bohm round off this portrait of a class-conscious director; a man for whom film was not about ‘telling those up there about those down there’, but who also made his films for those who otherwise probably don’t give a hoot for cinema.

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The gritty, kinetic, visionary cinema of Roland Klick …

At the age of fourteen Roland Klick was certain: cinema was what his soul was longing for. Filmmaking as an adventure, existential experience and escape from overstructured German post-war reality. The film director as explorer and foreign legionnaire, in search of himself.

Roland Klick, the director of films such as DEADLOCK (with Mario Adorf) and WHITE STAR (with Dennis Hopper) has an exceptional position in German cinema. Maladjusted to the forms of New German Cinema of the 1970s, too imaginative and unconventional for commercial cinema, Klick was marginalized by the critical establishment. Although his films won several German Film Awards, were international acclaimed and achieved cult status, Klick was written out of history. His dystopian punk-rock odysseys, acid-drenched Westerns and youth-oriented crime dramas are now ripe for rediscovery.

ROLAND KLICK – THE HEART IS A HUNGRY HUNTER by Sandra Prechtel (80 min), a documentary about one of the most extraordinary directors in the history of German film, is premiering at the Berlinale 2013.

With Roland Klick, Eva Mattes, Otto Sander, David Hess, Hark Bohm and Jost Vacano

1.46GB | 1h 17mn | 720×540 | mkv

http://nitroflare.com/view/ECDBAD575C05D30/RolandKlick-TheHeartIsaHungryHunter%282013%29SandraPrechtel.part1.rar
http://nitroflare.com/view/4CDFEE998202A48/RolandKlick-TheHeartIsaHungryHunter%282013%29SandraPrechtel.part2.rar

Language(s):German
Subtitles:English

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A couple makes dolls modeled on neighborhood kids. A gardener at a mansion buys four of them for Mary, the girl of the house. He’s her only friend: her parents neglect her for work and card games and her governess is humorless. Mary loves the dolls and dreams of them during her nap. While Mary sleeps, the governess throws the dolls in the dust bin. Mary wakes and goes searching – outside she runs into the very same four kids who were the dolls’ models, and she thinks she’s still dreaming. She invites them back to the mansion where she’ll either make fast friends or the gang will need to make a fast getaway when the governess finds them.

335MB | 22mn 19s | 640×480 | avi

http://nitroflare.com/view/237C1C51DE39F6A/1925_Mary_Queen_of_Tots.avi

Language(s):Silent, English Intertitles
Subtitles:French hardsub

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Quote:
Super close Mother LYN and daughter IONA (Dafty One and Dafty Two) are excited for their new life in a new town. Determined to make a success of things after a tricky start, Iona becomes ‘best friends’ with KEELY, STACEY and CHELSEA. Used to being Iona’s bestie herself, Lyn feels left out. So Lyn also makes friends with BELINDA, her neighbour. As much as Lyn and Iona pretend to each other that things are going great, things aren’t going great for either of them. Iona struggles with the girls, who act more like frenemies than friends, and Belinda won’t give Lyn her stepladders back. Both Mother and Daughter retreat into fantasy and lies.

1.65GB | 1 h 21 min | 1280×688 | mkv

http://nitroflare.com/view/C627C402777F1D7/Pin.Cushion.2017.720p.AMZN.WEB-DL.DDP5.1.H.264-NTG.part1.rar
http://nitroflare.com/view/65DEF566CD74836/Pin.Cushion.2017.720p.AMZN.WEB-DL.DDP5.1.H.264-NTG.part2.rar

Language(s):French
Subtitles:English

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Quote:
BASIC TRAINING follows a company of draftees and enlisted men through the nine weeks of the basic training cycle. The varieties of training techniques used by the army in converting civilians to soldiers are illustrated in scenes of drills, M-16 and bayonet use, a gas chamber, mines, night crawls, an infiltration course and the many forms of ideological training familiar to millions of men and women who have served in the armed forces.

Quote:
Shot during the summer of 1970 at Fort Knox, Kentucky, Frederick Wiseman’s film Basic Training focuses on a group of men going through infantry training, showing how they are turned from civilians into soldiers. As well as being a unique portrait of the US army at work, the film is also a fascinating snapshot of a time and place at a defining moment in American history.

Recognised as one of America’s best documentary filmmakers, Wiseman began his filmmaking career in the late 1960s, where he embarked on a series of documentaries that dealt with American institutions: how they functioned, how people functioned within them and the effects this had on both the institutions and the people connected with them. Wiseman’s films followed in the tradition of direct cinema and observational documentary, which sought to chronicle real events with as little intervention from the filmmaker as possible. All of Wiseman’s early films were shot in black and white on lightweight, hand-held 16mm equipment, with none of the incidents staged for the camera. The resulting films seem to unfold naturally, allowing the people and events that are depicted to speak for themselves. The films in Wiseman’s ‘institutional series,’ beginning with Titicut Follies (1967), feature no voiceover, no direct to camera interviews, no music and no captions to orient the viewer within the film. The lack of these techniques, which usually serve to familiarise the viewer with the subject, allows the audience to form their own interpretation about the events they witness in the films.

Nevertheless, Wiseman does significantly shape the material in his films – principally during the editing process – while still presenting many sides to the situations he documents. In the case of Basic Training, Wiseman shows the army from a variety of perspectives and allows both the trainees and their instructors to have their own voice. However, it is clear that his main purpose is to show us how civilians are assimilated into army life and turned into fighting machines, and how some of these men attempt to maintain their individuality in the midst of the conformist attitudes of a military institution. The idea of an individual being subsumed by the system is at the core of Basic Training, and is introduced at the very beginning of the film. The first words we hear are numbers, as the new arrivals are allocated bunks to sleep in, followed by a sequence where the men are fitted for uniforms, their measurements read aloud. We then see a series of heads being shaved, one of the many sequences reminiscent of Full Metal Jacket (Stanley Kubrick, 1987). Like products on an assembly line, the trainees are quickly processed and indoctrinated in military combat techniques, and Wiseman, with skilful speed and economy, introduces us to the army way of life. We watch as the men are incorporated into a system that they are meant to serve unquestioningly. As Lieutenant Hoffman succinctly puts it, “The best way to go through basic training is to do what you’re told, as you’re told, and there’ll be no problems. When you start trying to fight the system, that’s when you get into trouble.” Most of the trainees seem to go along willingly with the training and do as they are ordered, while others – the rebels, the individualists or the ones who simply don’t fit in – are disciplined, punished and humiliated.

Throughout Basic Training we encounter a variety of people, many of them resembling stock characters from a Hollywood war film. There’s the tough drill sergeant who bellows orders to his troops, the jokers and outsiders who try to buck the system, and the more unfortunate trainees like Hickman, who, like Pyle (Vincent D’Onofrio) in Full Metal Jacket, cannot keep pace with the other trainees and is ill-suited to military life. However, the majority of trainees do fit in with the system and seem to adapt to army life very quickly. In one memorable sequence, Wiseman shows the men receiving four hours of bayonet training. They quickly progress from awkwardly thrusting their weapons to executing well-practised combat moves. The implication is clear: in a short space of time, ordinary men can be trained to kill with maximum efficiency. Wiseman also has a great eye for details, often cutting a scene off abruptly after a significant comment or action, or isolating a telling moment – a hand, a face, or a simple gesture – to make a point. Many other shots constantly reinforce the fact that these individuals are being moulded into one fighting unit. For instance, when we see a group of trainees standing side by side and shaving together in front of a row of mirrors, their reflected faces seem to blend into one image. The long scenes showing the men in training are often punctuated by shots of troops marching and singing in unison, a telephoto lens compressing the individuals into one mass. Every time we cut back to these marching troops, we are reminded that these individuals are being moulded into a group of soldiers. It is an image already familiar to us from countless films about boot camp life, summarising the army way of life and encapsulating the entire film.

Martyn Bamber

from an interview:
When Basic Training was screened here in Baltimore a few months ago, I saw it with an anthropologist who has done fieldwork in a military community. When I asked him what he thought about it, he said he liked it but didn’t find it “shocking.” I thought that was interesting, that he would feel he was being cued to be shocked. Did you see yourself as making a shocking picture?

Wiseman: No. That’s interesting, because one could argue that the thing that’s most shocking in Basic Training is the ease with which civilians can be turned into soldiers prepared to kill in the service of the state. It’s a form of education, and the Army is very good at offering that form of education. And most people are willing participants.

895MB | 1:26:49 | 640×480 | avi

http://nitroflare.com/view/B1B8F7E957DEB75/Basic_Training.avi

Language(s):English
Subtitles:None

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“Opium” (1919)

Produced in Germany by Meinert-Films
Directed by Robert Dinesen
Released in 1919 with a running time of 112 minutes.

Cast Werner Krauss, Sybill Morel, Hanna Ralph, Conrad Veidt and Eduard von Winterstein

Cinematic Freedom

Germany in 1919 was a country that had been devastated by the war, four years of slaughter, famine, civil unrest, a civil war and runaway inflation. The country was in dire need of change. The Council of Peoples Representatives in 1919 abolished the military censorship that had been in effect since 1918. The council believed that the numerous political parties causing unrest would use the screen to spread their political views instead of battling in the streets. The political parties continued using the streets and beer halls to spread their message, but, having nothing to fear from government interference, the film industry decided to take advantage of the abolishment of censorship.

Every film studio took advantage of the situation, and there was a sudden increase in “Aufklarungsfilme” films pretending to be concerned with sexual enlightenment. Conrad Veidt was featured in “Es werde Licht” (“Let There Be Light”) which dealt with the problems of human sexuality. When released 1918, it caused quite a stir since it dealt with subjects that were avoided in polite conversations. Many of these films were destroyed by the Nazis as they attempted to ban any exhibition of any controversial film which had no place in “The New Order” of Hitler’s Germany. The German civilians, stifled by four years of military censorship and military control, as well as the demobilized soldiers not adjusted to civilian life, flocked to the theaters.

Many of the films were directed by established directors and well-known actors, and the films depicting sexual debaucheries were released with alluring titles such as “Prostitution,” “Women Engulfed by the Abyss,” “Lost Daughters,” and “A Man’s Girl.”

The more privileged also enjoyed other stimulants as can be inferred from the success of the very popular film “Opium,” which ran in an expensive Berlin movie house for three weeks with all seats sold.

In May of 1920 the National Assembly of the Weimar Republic resumed national censorship, and the flood of the supposedly sexually enlightening films was over.

In 1919 Conrad Veidt appeared in 19 films, and among them were “Prostitution,” “Different From The Others,” “Those Who Sell Themselves,” “Whipped” and “Madness,” and in that year he also appeared in two stage plays.

This silent melodrama is dated in the acting style of the time and of special note are the scenes depicting the debauchery of sex and drugs. The film warns over and over the consequences of the drug by showing the trance-like dreams of an abuser with bare breasted women suggestively beckoning.

Synopsis

Our story begins in China where Professor Gesellius has finished his research on the uses of opium. On the day before his departure for home, he is told of an opium produced by Nung Chiang which, if treated in a special manner, produces terrific sensations. It also can destroy both mind and body. While visiting Nung Chiang’s opium den, he is approached by a young lady in a rickshaw who pleads with him to rescue her from a horrible fate.

The professor had been observed talking to the young lady, and, as the professor follows the rickshaw, he, in turn, is being followed by Nung Chiang. The rickshaw takes the young lady to another opium den where the professor agrees to help her escape. The professor is held hostage in the opium den by Nung Chiang who tells him that he had been happily married until seventeen years ago when another European had an affair and impregnated Nung Chiang’s wife. Nung Chiang kept the child, killed his wife and made the European a prisoner. He kept the European in a locked room and supplied him with opium until he was physically and mentally destroyed.

The young lady the professor had promised to help is Sin, the child of the illicit affair.

Late that night she bribes a guard and escapes from Nung Chiang’s clutches with the professor. They board a ship sailing for Europe, but as the ship pulls away from the pier, Nung Chiang arrives and swears vengeance against the European.

When the professor and Sin arrive at the professor’s house, his wife, Marie, refuses to greet or acknowledge Sin. Sin is later enrolled as a nurse in a teaching hospital. At his college, the professor is greeted by Dr. Richard Armstrong (Conrad Veidt), the professor’s assistant whom the professor greets warmly calling him his favorite student.

While Professor Gesellius was in China researching opium, his wife was having an affair with Dr. Armstrong. That evening, the professor is preparing a lecture on “Happiness.” His wife slips out of the house and meets her lover, Dr. Armstrong, in the garden.

The next morning as the professor is on his way to give his lecture, Nung Chiang is among the spectators at the the college. After he has given his lecture on the evils of opium, he is greeted by a disheveled figure while leaving the campus who is the long lost Richard Armstrong who had disappeared in China seventeen years before.

Richard Armstrong is the father of the professor assistant, Dr. Richard Armstrong. The professor takes the senior Armstrong, who is a drug addict, to his sanitarium for treatment. When the senior Armstrong asks the professor about his son, the professor answers, “Your son is my pride and joy.”

While being admitted into the sanitarium, the senior Armstrong recognizes Sin as his daughter! The film comes to a tragic ending which encompasses all of the characters.

Werner Krauss

Werner Krauss (1884-1959) was a star of the stage and screen when he appeared in Opium. From his film debut in 1916 until the advent of talkies Krauss made no fewer than 104 movies and he emerged as one of the outstanding interpreters of expressionist cinema. To the American audiences he is primarily remembered as the malignant Dr Caligari in Robert Wiene’s outstanding film. He can also be seen in Jean Renoir’s silent film Nana.

Many of the directors and actors departed Germany when the Nazis came into power. Krauss remained, and in 1933 he was made Vice-President of the Reichstheatkammer. In the anti-Semitic movie “Jud Suss” (1940) a cinematic curtain-raiser for the holocaust he played a half-a-dozen Jewish parts in the film. His portrayal of grotesque ‘Semitic’ characters was a macabre testimony to his professionalism. Quite a contrast from Conrad Veidt.

As a result of the film Krauss did not act again until several years after the war. Robert Dinesen born in Denmark (1874-1972) sometimes credited as Robert Reinert, was a director, actor, and writer during his career during the silent era. Directed his last film in 1929.

867MB | 01:36:02 | 640×480 | avi

http://nitroflare.com/view/94F766573F56F2B/Opium.avi

Language:German intertitles

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Silent, 14-minute short.

A history of scarred surfaces, an inquiry, and an imagining: for the marks we see and the marks we make, for the languages we can read and for those we are trying to learn. Reproduced by hand on an old contact printer resulting in individual, unique release prints.

“… David Gatten, in his film HARDWOOD PROCESS, proposes that the scarred surfaces of our physical world are actually the visual dimension of secret languages and exotic vocabulary. HARDWOOD PROCESS traffics in chemically manipulated and optically reprinted images of this world. Marks on scruffy floor boards, swirls of dust and fallen hairs, weather bruised walls of an old barn, words etched into film, vividly colored and solarized windows, fields aglow with otherworldly light, lover’s hands feeling lover’s hands, painterly abstraction that borders on blind light, the darkly voided screen itself – Gatten mindfully, imaginatively, poetically, generously regards these marked realms not as chaos, not as visual noise, but as enigmatic languages.” – Zack Stiglicz

170MB | 13mn 40s | 704×480 | mkv

http://nitroflare.com/view/8E342B6FE2B870F/Hardwood_Process_%281996_David_Gatten%29.mkv

Language(s):No
Subtitles:No
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Quote:
The life of Poe (Herbert Yost) shows the author suffering as the woman he loves is slowly dying. Poe goes out to try selling his stories.

76MB | 7mn 6s | 576×432 | avi

http://nitroflare.com/view/38867F8A15F80CF/Edgar.Allen.Poe.1909.DVDRip.XviD-EPiSODE.avi

Language:English
Subtitles:Silent

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About the movie
Beyond Good and Evil (Italian: Al di là del bene e del male, UK title: Beyond Evil) is a 1977 drama film directed by Liliana Cavani. It stars Dominique Sanda, Erland Josephson and Robert Powell. The film follows the intense relationship formed in the 1880s between Friedrich Nietzsche, Lou Salome and Paul Rée. This is the second part of “The German Trilogy” directed by Liliana Cavani. In The Night Porter she described connection between perversion and fascism. This time she describes life of Friedrich Nietzsche, a German philosopher who wrote Thus Spoke Zarathustra and Beyond Good and Evil. Virna Lisi won Nastro d’Argento Best supporting Actress award Nastro d’Argento (Silver Ribbon) from the ‘Italian National Syndicate of Film Journalists’.

Janet Maslin in THE NEW YORK TIMES
Friedrich (Fritz) Nietzsche, played by Erland Josephson, Lou Andreas- Salome (Dominique Sanda) and Paul Ree (Robert Powell), whose menage a trois is examined in Liliana Cavani’s ”Beyond Good and Evil,” are spending an evening together. Fritz dares Lou to take a vase off the piano and use it as a chamber pot; Lou, the oft-proclaimed free spirit of the three, calmly obliges. Then Lou and Paul couple on the floor, with an anguished Fritz looking on and finally grasping Paul’s hand. At last, weary of all the merriment, Lou pauses. ”Intellectuals!” she says.

1,47GB | 2h 1mn | 720×384 | avi

http://nitroflare.com/view/C5742F991F89966/Aldiladelbeneedelmale.DVDRip.CFC-VTG.part1.rar
http://nitroflare.com/view/8B1EBCE8C71BE9B/Aldiladelbeneedelmale.DVDRip.CFC-VTG.part2.rar
http://nitroflare.com/view/16FA7E251CA230E/Al_di_la_del_bene_e_del_male_%281977%29.srt

Language(s):Italian
Subtitles:English

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John, a television director, is preparing a show on speed. A phone call from his girlfriend Sophie makes him leave the studio in a hurry. Ηe drives fast and quarrels with another driver. John is upset; he insults the other man and drives off. In the meantime, the producer of the show changes John’s editing. John’s assistant calls him at home but John tells him that they should talk later. John hears the sound of another car and looks out the window.We hear the sound of an accident. John shouts and runs out onto the road. Sophie has hit a pedestrian. She was on her way to tell John that they are expecting a child

535MB | 11mn 5s | | avi

http://nitroflare.com/view/A3999F72979A907/Il_court._il_court_le_monde.avi

Language:French Subtitles:English (hardcoded)

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On November 25th 1970, a man committed ritual suicide inside the Tokyo headquarters of the Japanese Ministry of Defence, leaving behind a legacy of masterpieces and a controversy that echoes to this day. The man was Yukio Mishima, one of Japan’s greatest and most celebrated novelists. With four members of his own private army – the Tatenokai – Mishima had taken the commandant hostage and called upon the assembled military outside the Ministry to overthrow their society and restore the powers of the Emperor. When the soldiers mocked and jeered Mishima, he cut short his speech and withdrew to the commandant’s office where he committed seppuku – the samurai warrior’s death – tearing open his belly with a ceremonial knife before being beheaded by one of his colleagues. What was Mishima truly trying to express through his actions? And what did he witness during his final moments?

1,95GB | 1h 54mn | 720×576 | mkv

http://nitroflare.com/view/1792C914F2DDF27/TheDayHeChoseHisOwnFate%282012%29.part1.rar
http://nitroflare.com/view/0924272D2176118/TheDayHeChoseHisOwnFate%282012%29.part2.rar

Language(s):Japanese
Subtitles:English, Russian (muxed)

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On a Scottish island, a depressive police investigates the disappearance of a girl. The mournful mother is responsible for the disappearance of the inhabitants of the island.

541MB | 12 min 38 s | 1494×1080 | mkv

http://nitroflare.com/view/124D8C6E63B2101/Depressive.Cop.2015.1080p.MUBI.WEB-DL.AAC2.0.H264-CMYK.mkv

Language(s):English
Subtitles:None

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Plot:
With Dandy Don Meredith in the cast, the made-for-TV movie Terror Among Us bears a resemblance to the 1970s series Police Story. Meredith plays a police sergeant who is desperately trying to track down serial rapist Ted Shackleford. Newly paroled, Shackleford may very well carry out the threats he’s made on the five women who testified against him. Meredith enlists the aid of parole officer Jennifer Salt to stop the wave of terror before it begins. Terror Among Us first aired January 12, 1981.

1,32GB | 1h 35mn | 640×480 | avi

http://nitroflare.com/view/109CFAEE0B7D28F/Terror_Among_Us_1981_DVDRIP_x264_CG.part1.rar
http://nitroflare.com/view/AA3A84E5BF02985/Terror_Among_Us_1981_DVDRIP_x264_CG.part2.rar

Language(s):English
Subtitles:None

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synopsis
This whimsical fantasy about a local drunk’s 6′ 3 1/2″ imaginary rabbit pal was a smash hit (and a Pulitzer Prize winner) on Broadway and was then adapted into this likeable farce that’s also an allegory about tolerance. James Stewart stars as Elwood P. Dowd, a wealthy tippler whose sunny philosophy and inebriated antics are tolerated by most of the citizenry. That is, until Elwood begins claiming that he sees a “pooka” (a mischievous Irish spirit), which has taken the form of a man-sized bunny named Harvey. Although everyone is certain that Elwood has finally lost his mind, Harvey’s presence begins to have magically positive effects on the townsfolk, with the exception of Elwood’s own sister Veta (Josephine Hull), who, ironically, can also occasionally see Harvey. A snooty socialite, Veta is determined to marry off her daughter, Myrtle (Victoria Horne), to somebody equally respectable, and Elwood’s lunacy is interfering. When Veta attempts to have Elwood committed to an insane asylum, however, the result is that she is accidentally admitted instead of her brother. Then the institution’s director, Dr. Chumley (Cecil Kellaway), begins seeing Harvey, too. Hull, who reprised her part from the stage production, won an Oscar and a Golden Globe.by Karl Williams

1,36GB | 1h 44mn | | avi

http://nitroflare.com/view/E15D236AB96CEC1/Harvey%281950%29.part1.rar
http://nitroflare.com/view/7E304B89212AEC1/Harvey%281950%29.part2.rar

Language(s):English
Subtitles:None

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