SYNOPSIS:
Man has shepherded his flock since the beginning of time, so long in fact that the nomadic shepherd has become part of our collective consciousness. Joan Pipa is the last in the line of a millenarian tradition on the verge of extinction. We accompany him on his last trek through the Catalan Pyrenees and as the days go by we discover the past and present of a man who loves his way of life and exudes the pleasure of life at one with nature. In recent years however, rural depopulation, industrialization, construction on an unparalleled scale, the proliferation of new roads and infrastructure and climate change have combined to put an end to a dream. Where do we go from here? Is the disappearance of nomadic shepherds a sign of progress, or are we witnessing the death of our civilization?

DIRECTOR’S STATEMENT:
Making this film was a vital experience for me. By painting the portrait of a free man, I have tried to sketch an outline of humanity itself. I walked by his side, scrutinising his face, his hands, his feet, listening to the words he spoke, sharing his intimacy and his authenticity. “A dream” was conceived as a cinematographic poem, a search for my own visual language within simplicity, aesthetically pure ans stripped of all artifice. I would like to transmit the sensorial richness of nature, and to evoke the absolute beauty and the immense frailty of humankind and the world in which we live.

http://nitroflare.com/view/8F907C7F6BF2B5F/El_somni__Christophe_Farnarier__2008_.part1.rar
http://nitroflare.com/view/C6DB5937CF6C555/El_somni__Christophe_Farnarier__2008_.part2.rar

Language(s):Catalan
Subtitles:None

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Quote:
Tomoyo Harada is an average student in high school. She has an old friend Toshinori Omi who goes to the same school, and Ryoichi Takayanagi who is also her classmate, but is not quite the old friend she thinks he is. One day after a routine cleaning of the school’s chem lab, she starts to experience a time warp in her life where she experiences the same event multiple times. Quite by accident, she is getting drawn into the plan that came from the future. She soon discovers why she is experiencing the time warp.

2,20GB | 1 h 44 min | 1024×576 | mkv

http://nitroflare.com/view/D4FB0D5A3968E2D/TheLittleGirlWhoConqueredTime.part1.rar
http://nitroflare.com/view/8DC1BA1941A6379/TheLittleGirlWhoConqueredTime.part2.rar
http://nitroflare.com/view/374ABAD2FEFC30C/TheLittleGirlWhoConqueredTime.part3.rar

Language(s):Japanese
Subtitles:English

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Quote:
PETER KUBELKA : BIOGRAPHY

Peter Kubelka (b. 1934) is a multifaceted artist and theoretician who has worked in the art forms of film, cuisine, music, architecture, speaking and writing. Since the beginning of the fifties he has been a leading exponent of the international avante garde film and has had screenings in all the European countries as well as in the USA and Japan.

In 1964 Kubelka co-founded the Austrian Film Museum and has been its curator ever since.

Kubelka has been involved in creating avante garde film collections, a music ensemble and has taught at various universities in the USA and Europe. In addition, he has been a professor in film at the Art Academy in Frankfurt since 1978 where he also served as Rector in the period of 1985-88. As a theoretician he has held numerous lectures and participated in many symposiums among others, “Non-Industrial Film – Non-Industrial Cuisine”. Already in 1967 Kubelka created his first theoretical work in cuisine as an art form and in 1980 his teaching position was expanded to include “Film and Cuisine as Art”. Another of his large projects has been his plan for the ideal cinema – The Invisible Cinema – the first draft of which he finished in 1958. It was created again in 1970 for Anthology Film Archives in New York where he was also a co-founder. It was created once again nineteen years later for the Austrian Film Museum in Vienna.

Mosaik im Vertrauen (1955, 16min)

Adebar (1957)

Kubelkas achievement is that he has taken Soviet montage one step further. While Eisenstein used shots as his basic units and edited them together in a pattern to make meanings, Kubelka has gone back to the individual still frame as the essence of cinema. The fact that a projected film consists of 24 still images per second serves as the basis for his art.

This idea has different materializations in different Kubelka films. In Adebar, only certain shot lengths are used — 13, 26 and 52 frames — and the image material in the film is combined according to certain rules. For instance, there is a consistent alternation between positive and negative. The film’s images are extremely high contrast black-and-white shots of dancing figures; the images are stripped down to their black-and-white essentials so that they can be used in an almost terrifyingly precise construct of image, motion, and repeated sound.

(Fred Camper)

Adebar (1957, 2min)

Schwechater (1958)

In 1957, Peter Kubelka was hired to make a short commercial for Scwechater beer. The beer company undoubtedly thought they were commissioning a film that would help them sell their beers; Kubelka had other ideas. He shot his film with a camera that did not even have a viewer, simply pointing it in the general direction of the action. He then took many months to edit his footage, while the company fumed and demanded a finished product. Finally he submitted a film, 90 seconds long, that featured extremely rapid cutting (cutting at the limits of most viewers’ perception) between images washed out almost to the point of abstraction — in black-and-white positive and negative and with red tint — of dimly visible people drinking beer and of the froth of beer seen in a fully abstract pattern. This ´commercialª may not have sold any beer in the twenty years since it was made, but I (as someone who hates beer) have woved that if I’m ever in Austria i’ll drink some Swechater, in tribute to what i consider one of the most intense, most pure, and most perfect minutes of cinema anyone has ever achieved.

(Fred Camper)

Schwechater (1958, 1min)

Arnulf Rainer (1960, 7min)

Unsere Afrikareise (1966)

Kubelka’s most recent film before Pause! is Unsere Afrikareise, whose images are relatively conventional ´recordsª of a hunting-trip in Africa. The shooting records multiple ´systemsª — white hunters, natives, animals, natural objects, buildings — in a manner that preserves the individuality of each. At the same time, the editing of sound and image brings these systems into comparison and collision, producing a complex of multiple meanings, statements, ironies…

I know of no other cinema like this. The ultimate precision, even fixity, that Kubelka’s films achieve frees them to become objects that have some of the complexity of nature itself — but they are films of a nature refined and defined, remade into a series of relationships. Those rare and miraculous moments in nature when the sun’s rays align themselves precisely with the edge of a rock or the space between two buildings, or when a pattern on sand or in clouds suddenly seems to take on some other aspect, animal or human, are parallelled in single events of a Kubelka film. The whole film is forged out of so many such precisions with an ecstatic compression possible only in cinema.

Fred Camper

Unsere Afrikareise (1966, 13min)

Pause! (1977)
His triumph is really quadruple. First triumph: Pause! is an ecstatic work. Second triumph: With the perfection and intensity of his work he dissolved the audience’s swollen-up expectations which had grown out of normal proportions during the ten years of waiting. He enabled us to receive his new work in its newborn nakedness. Third triumph: His dissolving of Arnulf Rainer. Arnulf Rainer himself is an artist of unique originality and intensity. His face art, which constitutes the source of imagery in Pause!, is a chapter of modern art itself. I have a particular aversion to film-makers who use other artists and their art as materials of their films. These films never transcend their sources. During the first few images of Pause! I had an existential fear. Kubelka had to consume and to transcend not only Arnulf Rainer but also — and this constitutes his fourth triumph — to transcend the entire genre of contemporary art known as face art. A few more images, and my heart regained itself and jumped into excitement: Both Rainer and Art disintegrated and became molecules, frames of movements and expressions, material at the disposal of the Muse of Cinema. I am not saying this to diminish the person and art of Arnulf Rainer: His own greatness cannot be dissolved, in his art. But here we speak about the art of Peter Kubelka, and in a wokr of art, as in the heavens so on earth, there is only one God and Creator.

(Jonas Mekas)

Pause! (1977, 12min)

699MB | 00 49 04 | 640×480 | avi

http://nitroflare.com/view/ED880FD9E311B00/KUBELKA.avi

Language(s):None
Subtitles:None

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Soup’ Dreams

By Jeffrey M. Anderson

Essentially a retread of The Freshman (1990) on a much lower budget, In the Soup concerns a young wannabe filmmaker, Adolfo Rollo (Steve Buscemi) who becomes mixed up with a gangster-type, Joe (Seymour Cassell) in the name of financing his first film.

Very little filmmaking occurs, though. What really happens is the old story of the life-loving older guy teaching the high-strung younger fellow a thing or two about living.

Yes, it’s an old story that has been told a thousand times before and since, but Alexandre Rockwell’s little film has a home movie charm and a streetwise wit that make it a must-see sleeper.

The strangest thing about In the Soup was how little attention it earned during its theatrical release in 1992. It was a Sundance baby along with Quentin Tarantino’s Reservoir Dogs and Allison Anders’ Gas Food Lodging, and it featured a breakout performance by Seymour Cassell that should have had critics falling all over themselves. How Cassell was overlooked for a Best Supporting Actor Oscar nomination is a mystery for the ages.

I hate to admit it, but I assume the movie’s failure has to do with one simple fact: it’s shot in black-and-white. Many black-and-white movies of the last 20 years (Ed Wood, Dead Man) have failed for the same reason. Audiences are not trained to watch what they view as “colorless” film, and because of it they’re missing out on an essential part of film history.

Regardless, it’s as easy to fall under the film’s charms as it was for Adolfo to fall under Joe’s. Adolfo lives in a cruddy building over a liquor store, but next door to a beautiful woman, Angelica (Jennifer Beals, Rockwell’s wife for a while). Barely scraping by, Adolfo finally decides to put his magnum opus, a 500-page script called “Unconditional Surrender,” up for sale. Joe is the only bidder, and right away Adolfo’s life begins to change. The money starts to roll in from various dubious sources, only to be spent just as quickly. Will Adolfo’s film ever get made? Of course the film ends with the usual cliché: Hey! What about the story that we’re living right now? Wouldn’t that make a hell of a picture? But In the Soup is easily forgiven.

Along the way, Rockwell inserts several lovely and funny little set-pieces, including one in which Adolfo allows himself to be interviewed on a show called “The Naked Truth,” produced by a couple of New York hustlers (Jim Jarmusch and Carol Kane). In one of the film’s loveliest scenes, Joe and Adolfo break into a house in the middle of the night. While Joe searches elsewhere, Adolfo listens to the house’s owner, a lonely, confused old man who misses his wife.

Other great New York character actors turn up as well: Debi Mazar as a call girl, Sam Rockwell as Angelica’s mentally-challenged son and Stanley Tucci as her green card husband. The underrated Beals (who started at the top in the hit Flashdance) does a superb Dominican accent, playing a high-class beauty with low-class origins.

Buscemi plays the passive Adolfo with a slow-witted naïveté that sometimes takes you out of the picture, but his soulful eyes and world-weariness make up for it. Ironically, Buscemi played another filmmaker — this time actually directing a movie — in Tom DiCillo’s Living in Oblivion (1995), then made his own directorial debut in 1996 with Trees Lounge.

But it’s Cassavetes veteran Cassell that steals the show and gives the movie its warmth and soul. “You’re one of those budding young things,” he says to his new filmmaker. For a while, we wait for the other shoe to drop, wondering if Joe is just a hustler or if he’ll skip town or suddenly pull out a gun. But this uncertainty only adds to his appeal. Cassell moves beautifully (he dances in one scene) and looks great in a tuxedo, and his good cheer never dies down. Rockwell correctly keeps the character’s ambiguity going until the film’s final frame.

1,37GB | 01:35:34 | 656×368 | avi

http://nitroflare.com/view/38AAD74949DC750/IN_THE_SOUP.part1.rar
http://nitroflare.com/view/35135AB322756C6/IN_THE_SOUP.part2.rar

spanish srt:
http://subtitlesbank.com/ru/subtitles/movieid-68643/langid/es/

Language(s):English
Subtitles:Spanish

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Roger Ebert was the most influential film critic in the United States, the first to win a Pulitzer Prize. For almost fifty years, he wrote with plainspoken eloquence about the films he loved for the Chicago Sun-Times, his vast cinematic knowledge matched by a sheer love of life that bolstered his appreciation of films. Ebert had particular admiration for the work of director Werner Herzog, whom he first encountered at the New York Film Festival in 1968, the start of a long and productive relationship between the filmmaker and the film critic.
Herzog by Ebert is a comprehensive collection of Ebert’s writings about the legendary director, featuring all of his reviews of individual films, as well as longer essays he wrote for his Great Movies series. The book also brings together other essays, letters, and interviews, including a letter Ebert wrote Herzog upon learning of the dedication to him of “Encounters at the End of the World;” a multifaceted profile written at the 1982 Cannes Film Festival; and an interview with Herzog at Facet’s Multimedia in 1979 that has previously been available only in a difficult-to-obtain pamphlet. Herzog himself contributes a foreword in which he discusses his relationship with Ebert. Brimming with insights from both filmmaker and film critic, Herzog by Ebert will be essential for fans of either of their prolific bodies of work.

Quote:
As a fan of Herzog, I will read just about anything written about/by him. Unfortunately, I could never understand the appeal of Roger Ebert, whose reviews are so formulaic and ordinary that it’s a great irony that he became the champion of Herzog.
As such, Ebert’s inclusion is the weakest link in this book. Each review he writes of Herzog’s films has three parts: a summary of the film that is merely descriptive, a re-hashing of an old story (remember that time Herzog moved a ship over a hill!), and a hint that there is so much “deeper” about the film than what’s on the surface. But then he never expresses what that deeper substance might be. Other parts of the book include interviews with Herzog at various film festivals and events over the decades, which are much more enjoyable for the inclusion of Herzog’s voice, but often once again follow a formula: 1) Ebert fawns over Herzog, 2) Ebert makes incorrect observations about aspects of Herzog’s cinema which Herzog must then correct, and 3) Ebert asks Herzog to tell us once again about that wacky time he moved a ship over a hill (or any number of a handful of stories that Ebert repeats ad nauseum in his writings and discussions).
Less than halfway through the book, I was already bored by the repetition. (Again, “boredom,” “repetition,” and “formula” are three words that I’d never associate with Herzog, but they seem to be the prime traits of this book.) Near the end, the editors provide Ebert’s “Great Movies” reviews of Herzog’s films, which I always saw as an attempt to do some revisionist critiquing of classic films (and make some quick cash). The simple truth is that Ebert’s original reviews of these Herzog films — many of which appear near the beginning of this collection — were not really as “great” as the movies deserved, so I guess Ebert felt the need to re-write them later in his career. Their inclusion here adds a little more meat to the discussion, which is promptly nullified by Ebert mentioning the same old stories yet again.
In the end, who, exactly, is the intended audience for this book? If you are a Herzog fan, then you will have heard all these stories, and in many cases read the reviews and interviews. If you are an Ebert fan, then you will have likely read at least half of the book already.

http://nitroflare.com/view/DA4990F6EA3EBA3/2017_Roger_Ebert-Herzog_by_Ebert.pdf

Herzog by Ebert
by Roger Ebert
Foreward by Werner Herzog
Hardcover: 224 pages
Publisher: University of Chicago Press; 1st edition (Sept. 4 2017)
Language: English
ISBN-10: 9780226500423
ISBN-13: 978-0226500423

Plot Synopsis [AMG]
Widely regarded as a masterpiece of Spanish cinema, this allegorical tale is set in a remote village in the 1940s. The life in the village is calm and uneventful — an allegory of Spanish life after General Franco’s victory in the Spanish Civil War. While their father (Fernando Fernán Gómez) studies bees in his beehive and their mother (Teresa Gimpera) writes letters to a non-existent correspondent, two young girls, Ana (Ana Torrent) and Isabel (Isabel Telleria), go to see James Whale’s Frankenstein at a local cinema. Though they can hardly understand the concept, both girls are deeply impressed with the moment when a little girl gives a flower to the monster. Isabel, the older sister, tells Ana that the monster actually exists as a spirit that you can’t see unless you know how to approach him. Ana starts wandering around the countryside in search of the kind creature. Instead, she meets an army deserter, who is hiding in a barn. The film received critical accolades for its subtle and masterful use of cinematic language and the expressive performance of the young Ana Torrent.

http://www.nitroflare.com/view/8EBC4FD0A91EF79/the.spirit.of.the.beehive.1973.criterion.dvdrip.xvid.ac3-ostermann.cd1.avi
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http://www.nitroflare.com/view/7FB4035073E687D/the.spirit.of.the.beehive.1973.criterion.dvdrip.xvid.ac3-ostermann.cd2.sub

Language(s):Spanish
Subtitles:English

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Scifilm wrote:
Maciste is tempted by the devil, and ends up trapped in hell when he elects to fight him.

Bartolomeo Pagano played Maciste in the 1914 movie CABIRIA; he must have liked the character; he ended up playing him repeatedly in a variety of movies over the next twenty years. I do wonder about the character’s position in time; CABIRIA took place in ancient Rome, but even if I’m not sure when this movie takes place, it’s certainly a much later period of time; Maciste wears a suit and tie through most of this, and at one point he is tempted with some shots of very modern cities indeed. Nonetheless, the fantasy element is very strong; the scenes in hell are great, with a huge cast of demons and fiends, including a couple of giant demons, a flying dragon, and some great special effects. It’s based at least partially on Dante’s “Inferno”, and it includes both Lucifer, Pluto and Proserpine as characters. I would love to have seen some of the other early Maciste movies just to see what the character’s story was, but this one and CABIRIA are the only ones I know exist for sure. It’s definitely worth a look for people interested in creative visions of hell; the movie apparently served as an inspiration both for Mario Bava and Federico Fellini.

699MB | 01:05:16 | 576×432 | avi

http://nitroflare.com/view/0F5CC84596B1513/Maciste_all_inferno-guido_brignone_1926.avi

Language:Silent (With music)
Subtitles: English Intertitles

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During the summary trial that he and his wife were submitted to, Nicolae Ceausescu is reviewing his long reign in power: 1965-1989. It is an historical tableau that in its scope resembles American film frescos such as those dedicated to the Vietnam War.

It’s impossible that “The Autobiography of Nicolae Ceausescu” is the monument that the former Romanian dictator would have produced in his own honor. Among other things, it has an unhappy ending, at least for him and his wife, Elena, who were executed on Christmas Day, 1989. Yet in many respects Ceausescu turns out to be as much the author of this brilliant documentary as the director, Andrei Ujica, who waded through more than 1,000 hours of filmed state propaganda, official news reports and home movies to create a cinematic tour de force that tracks the rise, reign and grim fall of its subject.

2,35GB | 3:00:07 | 672 x 368 | avi

http://nitroflare.com/view/C0EC4AB770D3313/TheAutobiographyofNicolaeCeausescu.part1.rar
http://nitroflare.com/view/354846E52BCE7FF/TheAutobiographyofNicolaeCeausescu.part2.rar
http://nitroflare.com/view/F37FD97378050CA/TheAutobiographyofNicolaeCeausescu.part3.rar

Language:romanian
Subtitles:english

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Nicolás Pereda / Mexico-Canada, 2015 / New York, Toronto / 53′

Two young men and a young women occupy a flat in Mexico City. They spend their days reading alone, reading aloud, and sleeping. From time to time, a maid arrives to tidy their quarters. Time and even space cease to exist; there is only the present somnambulant moment, drifting between sleep and wakefulness.

A wraithlike fantasy capturing the languorous texture of privilege, Minotaur studies both the nearly-obsolete ritual of cloistering oneself from the world to read, and the social status that would make such an activity possible. Nicolás Pereda’s seventh film premiered at both the New York Film Festival and Toronto.

“Minotaur is the kind of film we’re able to see at such a big festival as Toronto only because adventurous programming strands like Wavelengths have the patience to present their unique tempo within the hectic atmosphere of the surrounding festivities. And its tempo is indeed unique, evoked through the opiated, satin haze of its digital photography… You feel echoes of Last Year in Marienbad and also perhaps Marguerite Duras’s India Song, filmed in the lo-fi sleekness found in the films of Matías Piñeiro, where the gloss of the video images is a sheen of mystery, the screen itself strangely slippery… Within this nestled, aborted story— love story, perhaps, story of a friendship, perhaps, story of privileged unemployment, perhaps— there’s a casual, sidelong indictment of an indolent bohemian class, but a critique mostly subsumed by the creeping atmosphere of an interior apocalypse, a malady (recalling Tsai Ming-liang) of ennui precise only in its victims. It simple but enchanting film, its 55-some minutes are exactly what it needs to stretch a kind of three-page fable into cinematic languor”

– Daniel Kasman, Toronto Review, Mubi Notebook

661MB | 52 min 48 s | 1920×1080 | mkv

http://nitroflare.com/view/9E5C72DBF0EF3C1/Minotaur.2015.1080p.WEB-DL.AAC2.0.H.264-Busillis.mkv

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

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An obscure gem, a hidden treasure to international cinema lovers; “Sevmek Zamani” is one of the best movies in Turkish cinema history. This cult film still remains as a cinematic enigma for the new generation in Turkey. Praised for its B&W cinematograhpy and regarded as a masterpiece, film follows the aesthetic tradition of Antoninoni. Also resembles some of Bela Tarr’s works with its visual sensibility; “Sevmek Zamani” is an eclectic mixture of modernist themes (i.e. individual loneliness), metaphysics (the fight of good vs evil), and notions of Marxism like director’s some other works. Metin Erksan is one of the first Turkish filmmakers who saw cinema as an art form apart from a mass entertaining medium.

User Review fom Imdb:
A Paradoxical Presentation of Realism and Mysticism!
Erksan’s Sevmek Zamani expresses its story in a two-folded plane.First, a strict realism in the search for specific (but global at the same time) identity problem of Turkish people is investigated: Occident or Orient, the chaotic battle of these two different identity-construction choices. Second, through this separation, the movie shows us two perceptions of LOVE: An urbanized, modern female singer(Sema Ozcan) wanting to be with the guy (Musfik Kenter)who is in love with her poster on the one hand. On the other, the (Oriental) guy refusing this famous singer. The guy says:”I’m in love only and only with your poster”. The fetish and the sublime! That Love turns to be some kind of Sufistic way of perceiving the world. The Magnificient scene of boat-tripping with the poster must be seen!

1.38GB | 1 h 25 min | 720×576 | avi

http://nitroflare.com/view/82C07A59C1FBF7B/Time.to.Love.%28Sevmek.Zamani%29.1965.DVDRip.x264-Zog.part1.rar
http://nitroflare.com/view/9289E7BD42BF45D/Time.to.Love.%28Sevmek.Zamani%29.1965.DVDRip.x264-Zog.part2.rar

Language(s):Turkish
Subtitles:English, Turkish, Russian, Italian, Spanish, Portuguese

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Synopsis
In their new film somniloquies, Lucien Castaing-Taylor and Verena Paravel overcome the boundaries between inner dreamscapes and human bodies. At the start, flowing forms can be seen and a gentle, undefinable sound made out in the background. McGregor’s voice appears and makes an invitation: “I have expected you, come-on in, I said I would grant an interview”. The more we listen to him and enter into his dreamworld, the clearer the contours of the sleeping bodies become, before they seem to dissipate once again. The dreaming man speaks with people who are sawing open his body, removing his organs and stitching him back up. As we find out how painful he finds the stitches, we ask ourselves for how long we’ll want to follow the camera, which sometimes seems to caress the bodies tenderly, but at other times seeks to pierce them almost brutally, like an x-ray. Just in time, we hear his voice: “Let’s go to future land (…) it’s shining near the corner”. In this case, sleeping in the cinema means pushing forward to its very limits.

1.02GB | 1 h 13 min | 1920×1080 | avi

http://nitroflare.com/view/DF4C4203EFC9A07/Somniloquies.2017.1080p.WEB-DL.AAC1.0.H.264-Cinefeel.part1.rar
http://nitroflare.com/view/5185D896C40D19A/Somniloquies.2017.1080p.WEB-DL.AAC1.0.H.264-Cinefeel.part2.rar

Language(s):English
Subtitles:English for indecipherable language [Hard]

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Again, it is a portrait of a woman and it gives us another glimpse of an exceptional figure. Mézières comes across as an outstanding actress, offering her body and her sufferings with a rare and profoundly moving abandon. Although the action of the film unfolds over five years, charting the development of a painful relationship between a mother and her daughter, the basic principle is to draw it all together rather than follow a psychological chronology. The relationship is apprehended as a single entity: the cracks are evident, but there is not too much emphasis on the process of disintegration. The story divides into two distinct time periods, first with mother and daughter together in the same bohemian setting, then separated by society, each facing her own choices and wanderings. However, the purpose of this time division is not so much to answer the predictable question “What will become of them?” in preparation of a pointless debate on “How can a girl live without her mother?” (and vice versa), as to show the metamorphosis of a single body, a dual mother-daughter identity, which is treated in the film less as a social couple going through ups and downs than as a single female figure with two faces. The beauty of the film lies in this constant blending of the two personalities, an on-going role-play in mother/daughter boundaries resulting in a disturbing tension between incestuous bond and transfer of identity.

1,02GB | 01:40:18 | 704×384 | avi

http://nitroflare.com/view/31ADEF8088B25D1/Fleursdesang2002.part1.rar
http://nitroflare.com/view/6F8F0304F7B56F4/Fleursdesang2002.part2.rar

Language:French
Subtitles:German (idx/sub)

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(from Cinemarehiyon)
The picaresque adventures of a young, naive country bumpkin named Kulas (de Leon) and his whimsical encounters with denizens of various nationalities – Spanish, American, Chinese, indio – is a metaphor for the Filipino quest for identity at a time when nationhood was still an imagined concept. Set during the liminal period when the Philippines was in transition from Spanish to American colonial rule, this masterwork shows Romero at his best and most exuberant as a filmmaker. It swept most of the awards at the 1976 Metro Manila Film Festival, and was subsequntly voted best picture at the very first Urian Awards in 1977.

includes the documentary Ganito Kami Muli
Documentary has no subtitles.

2.15GB | 2h 16mn | 704×480 | mkv

http://nitroflare.com/view/28798607CBBDB6C/GanitoKamiNoon.part1.rar
http://nitroflare.com/view/888EFE1743C03F5/GanitoKamiNoon.part2.rar
http://nitroflare.com/view/6820BE283020B78/GanitoKamiNoon.part3.rar

Language(s):Filipino, Tagalog, Spanish
Subtitles:English and Tagalog

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Stephen Dwoskin was born in New York in 1939 and began making independent shorts there in 1961. In 1964 he followed his research work to London where he settled and participated in the founding of the London Filmmaker’s Co-op. His experimental films, for which he himself does the camera work, play with ideas of desire, sexual and mental solitude and the passage of time. In his films he also explores representation in cinema, performances, personal impressions and his own physical handicap which has been a source of inspiration for him throughout his career. His sensitive and emancipating works have been the subject of various international presentations.

Cinexperimentaux #9: A documentary portrait of Stephen Dwoskin (59 mins)
+ extras:
Stephen Dwoskin: Un parcours – Coops et Festivals (10 mins)
Stephen Dwoskin: About Trixi (7 mins)
Maggie Jennings: Oblivion (7 mins)
Rachel Garfield: Working with Stephen Dwoskin (8 mins)

1.13GB | 59 mins + extras 33 mins | 720×542 | avi

http://nitroflare.com/view/AF9C14B4B8CA2A7/Cinexperimentaux_%239_A_documentary_portrait_of_Stephen_Dwoskin.mkv
http://nitroflare.com/view/3B3680FE3886330/Cinexperimentaux_Extras.rar

https://publish2.me/file/092e0e714be5b/Cinexperimentaux_Extras.rar
https://publish2.me/file/4db9b1f5bfd8a/Cinexperimentaux_%239_A_documentary_portrait_of_Stephen_Dwoskin.mkv

Language(s):English
Subtitles:French

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Roger Ebert / May 25, 1997

On the day that Kasparov was defeated by Deep Blue, I found myself thinking of the film “Being There” (1979). The chess champion said there was something about the computer he did not understand, and it frightened him. There were moments when the computer seemed to be . . . thinking. Of course, chess is not a game of thought but of mathematical strategy; Deep Blue has demonstrated it is possible to be very good at it without possessing consciousness.

The classic test of Artificial Intelligence has been: Can a computer be programmed to conduct a conversation that seems human to another human? “Being There” is a film about a man whose mind works like a rudimentary A.I. program.

His mind has been supplied with a fund of simplistic generalizations about the world, phrased in terms of the garden where he has worked all his adult life. But because he presents himself as a man of good breeding (he walks and talks like the wealthy older man whose house he lived in, and wears the man’s tailored suits) his simplicity is mistaken for profundity, and soon he is advising presidents and befriending millionaires.

The man’s name is Chance. We gather he has lived all of his life inside the townhouse and walled garden of a rich recluse (perhaps he is his son). He knows what he needs to know for his daily routine: Where his bedroom and bathroom are, and how to tend the plants of the garden. His meals are produced by Louise, the cook. The movie provides no diagnosis of his condition. He is able to respond to given cues, and can, within limits, adapt and learn.

Early in the film he introduces himself as “Chance . . . the gardener,” and is misunderstood as having said “Chauncey Gardener.” Just the sort of WASP name that matches his clothing and demeanor, and soon he is telling the President: “Spring, summer, autumn, winter . . . then spring again.” Indeed.

Chance is played by Peter Sellers, an actor who once told me he had “absolutely no personality at all. I am a chameleon. When I am not playing a role, I am nobody.” Of course, he thought himself ideal for this role, which comes from a novel by Jerzy Kosinski. Sellers plays Chance as a man at peace with himself. When the old man dies, the household is broken up and Chance is evicted, there is a famous scene where he is confronted by possible muggers, and simply points a channel changer at them, and clicks. He is surprised when they do not go away.

Sellers plays Chance at exactly the same note for the entire film. He is detached, calm, secure in his own knowledge, unaware of his limitations. Through a series of happy chances, he is taken into the home of a dying millionaire named Benjamin Rand (Melvyn Douglas). The millionaire’s wife Eve (Shirley MacLaine) establishes Chance in a guest suite, where he is happy to find a television (his most famous line is, “I like to watch.”)

Soon the rich man grows to treasure his reassuring friend. The family doctor (Richard Dysart) is perceptive, and begins to have doubts about Chance’s authenticity, but silences himself when his patient says Chauncey “has made the thought of dying much easier.” Chauncey is introduced by Ben to the president (Jack Warden), becomes an unofficial advisor, and soon is being interviewed on television, where his insights fit nicely into the limited space available for sound bites.

Satire is a threatened species in American film, and when it does occur, it’s usually broad and slapstick, as in the Mel Brooks films. “Being There,” directed by Hal Ashby, is a rare and subtle bird that finds its tone and stays with it. It has the appeal of an ingenious intellectual game, in which the hero survives a series of challenges he doesn’t understand, using words that are both universal and meaningless. But are Chance’s sayings noticeably less useful than when the president tells us about a “bridge to the 21st century?” Sensible public speech in our time is limited by (1) the need to stay within he confines of the 10-second TV sound bite; (2) the desire to avoid being pinned down to specific claims or promises; and (3) the abbreviated attention span of the audience, which, like Chance, likes to watch but always has a channel-changer poised.

If Chance’s little slogans reveal how superficial public utterance can be, his reception reveals still more. Because he is WASP, middle-aged, well-groomed, dressed in tailored suits, and speaks like an educated man, he is automatically presumed to be a person of substance. He is, in fact, socially naive (“You’re always going to be a little boy,” Louise tells him). But this leads to a directness than can be mistaken for confidence, as when he addresses the president by his first name, or enfolds his hand in both of his own. The movie argues that if you look right, sound right, speak in platitudes and have powerful friends, you can go far in our society. By the end of the film, Chance is being seriously proposed as a presidential candidate. Well, why not? I once watched Lamar Alexander for 45 minutes on C-SPAN, as he made small talk in a New Hampshire diner, and heard nothing that Chance could not have said.

The film is not flawless. There are two sex-oriented subplots, and neither one is necessary. The story of the president’s impotence could have been completely dispensed with. And the seduction attempt by Shirley MacLaine, as the millionaire’s wife, requires her to act in a less intelligent way than she should. MacLaine projects brains; she, like the doctor, should have caught on, and that would have created more intriguing scenes than her embarrassing poses on a bear rug.

In the much-discussed final sequence of “Being There,” Chance casually walks onto the surface of a lake. We can see that he is really walking on the water, because he leans over curiously and sticks his umbrella down into it.

When I taught the film, I had endless discussions with my students over this scene. Many insisted on explaining it: He is walking on a hidden sandbar, the water is only half an inch deep, there is a submerged pier, etc. “Not valid!” I thundered. “The movie presents us with an image, and while you may discuss the meaning of the image it is not permitted to devise explanations for it. Since Ashby does not show a pier, there is no pier–a movie is exactly what it shows us, and nothing more,” etc.

So what does it show us? It shows us Chance doing something that is primarily associated with only one other figure in human history. What are we to assume? That Chance is a Christ figure? That the wisdom of great leaders only has the appearance of meaning? That we find in politics and religion whatever we seek? That like the Road Runner (who also defies gravity) he will not sink until he understands his dilemma?

The movie’s implications are alarming. Is it possible that we are all just clever versions of Chance the gardener? That we are trained from an early age to respond automatically to given words and concepts? That we never really think out much of anything for ourselves, but are content to repeat what works for others in the same situation?

The last words in the movie are, “Life is a state of mind.” So no computer will ever be alive. But to the degree that we are limited by our programming, neither will we. The question is not whether a computer will ever think like a human, but whether we choose to free ourselves from thinking like computers.

http://nitroflare.com/view/296E8EE72217834/BeingThere.part1.rar
http://nitroflare.com/view/68BB6D481ABB85E/BeingThere.part2.rar

Language:English
Subtitles:Eng, Fr, Sp, Port sub and Eng CC srt

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This 1915 film stars Marguerite Gale as the title character, a journalist trying to make her name by interviewing celebrities for the New York Tribune. Picture quality is quite good, although the print is a little dark on the whole. A number of celebrities play themselves, including noted drag performe Julian Eltinge, and burlesque star Mabel Fenton.

1GB | 1h 10mn | 720×540 | avi

http://nitroflare.com/view/D755F28A695EC23/HOWMOLLYMADEGOOD.part1.rar
http://nitroflare.com/view/4E77C1D92343223/HOWMOLLYMADEGOOD.part2.rar

Language(s):English
Subtitles:None

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Synopsis
The film follows the cycle of the seasons upon a rural landscape, from the reawakening of life following the Winter thaw to the blossoming of Spring, the heat of Summer working in the fields and the twilight of Autumn. Man is confronted by nature through the succession of seasons and in the essential moments of his existence: youth, love, food, work, pain.

Extras
A brief interview with Piavoli, complete with custom English subtitles:

1.11GB | 1h 19mn | 704×570 | mkv

http://nitroflare.com/view/4519ED4B9C7FC50/IlPianetaAzzurro.part1.rar
http://nitroflare.com/view/6B2A2C6F9C8D9B8/IlPianetaAzzurro.part2.rar

Language(s):Italian
Subtitles:English

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Quote:
By her fourth film, Deren discussed in An Anagram that she felt special attention should be given to unique possibilities of time and that the form should be ritualistic as a whole. Ritual in Transfigured Time began in August and was completed it in 1946. It explored the fear of rejection and the freedom of expression in abandoning ritual, looking at the details as well as the bigger ideas of the nature and process of change.

186MB | 14mn 27s | 700×480 | mkv

http://nitroflare.com/view/C19617CD9138204/Ritual_in_Transfigured_Time_%281946%29.mkv

Language(s):Silent
Subtitles:none

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Standard Gauge
1984, 16mm, colour, sound, 35 min

“While on one level, Standard Gauge is Fisher’s homage to 35mm and to the diverse cinematic world it made possible, the irony of its having been filmed in 16mm reveals a conceptual paradox central to the film, and which unites it with the webs of irony and paradox evident in his earlier work. (…) As Fisher explains in his program notes, the thirty-two minute shot “is virtually the maximum length of a scene in 16mm, and is longer by far than 35mm is capable of.” For all its potentials and accomplishments, standard gauge is limited, and in ways that a non standard gauge-a gauge quite marginal to mainstream film history-is not”. (Scott MacDonald)

An autobiographical account of Fisher’s experiences as an editor in the commercial film industry during the early seventies. Filming a succession of divergent film scraps rejected at the editing stage, Fisher comments on the origin and meaning of each image, thus exploring the mechanisms and conditions of film production, in both its materialistic and institutional aspects.

520MB | 34mn 0s | 720×544 | mkv

http://nitroflare.com/view/237E351F5F74E42/Standard_Gauge.avi

Language(s):English
Subtitles:none

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From AMG:
Neo-Tokyo consists of three fast-paced tales set in a surreal cyberpunk landscape. Most of the tales center around either cops pursuing criminals or criminals running from the cops — none of the stories has a great deal of psychological depth. What makes this film an essential part of the animae canon is its particularly wonderful and inventive envisioning of the Tokyo of the future (which, in America, always seems like the Tokyo of today). As the late twentieth century counterpart to early modernist city symphonies and mid-century noirs, Neo-Tokyo has a good deal to say about 21st century metropolitan life and its effects on the human condition. It’s merely icing on the cake that it does so with a fabulous blend of humor and technological terror. –

IMdb:
Before X, before Vampire Hunter D: Bloodlust, before Akira, there was Neo Tokyo, a fine blend of high-end animation and artistic expression, as well as experimentation. This is far from the typical “big eyes, small mouth” anime with big guns, big robots, and girls with big, um, “talents”. In other words, this is not your younger siblings’ anime.

700MB | 00:50:02 | 640×384 | avi

http://nitroflare.com/view/17C3C641E4CE6E8/Manie.Manie_Neo.Tokyo.avi
http://nitroflare.com/view/BEAEB8680973FA2/Manie.Manie_Neo.Tokyo_EN.txt
http://nitroflare.com/view/6009F9302392C2C/Manie.Manie_Neo.Tokyo_2.srt
http://nitroflare.com/view/BC7B1F5A872B59E/Manie.Manie_Neo.Tokyo.pl
http://nitroflare.com/view/D7AAE8235F961D1/Manie.Manie_Neo.Tokyo.srt

Language(s):Japanese
Subtitles:Spanish, Polish, English

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