“Dame Rose ( Dame Carmen Cartellieri ) is a liberal and impudent youngster who sells flowers in selected and important places for aristocrats. There she is obliged by her greedy brother Toni ( Herr Eugen Preiss ) to flirt with old and rich aristocrats ( having in mind that Dame Rose is also a thin girl, that’s a inversely proportional situation for this German count… ). She catches the eye of banker Bergern ( Herr Fritz Helmers ).
Who has a young and handsome nephew, Baron Stein ( Herr Hans Rhoden ). Dame Rose promptly falls in love with Stein so she continues her flirtation both men at the same time.

One night Toni forces Rose to reveal where in his house Bergern keeps his money. As Toni is robbing the house, the banker unexpectedly returns and is shot dead by Toni. Rose and Toni escape to the Austrian “Semmering” to avoid capture as well as starting a new life. There our shameless heroine will meet the richest man of the place ( with pleasure! ) Hannes ( Herr Hugo Werner-Kahle ). Hannes’ family are know as “würghand” for a legend and some terrible incident about the powerful force of their hands but that’s no problem for Rose who will seduce and marry Hannes, a fact that doesn’t set well with Hannes’ father ( Herr Viktor Kutschera ) who warns him that Rose is a wicked girl.
When afterwards, Baron Stein ( now richer than ever since he has inherited his murdered uncle’s fortune ) appears in the same snowy Austrian mountains, Rose finds herself torn between him and Hannes. Obviously, this terrible conflict of love and interests will end in tragedy.

“Die Würghand” (1920) is an Austrian silent film production directed by the little known Herr Cornelius Hintner ( at first, he has success as a painter and then became more interested in photography and pictures, working as a cameraman on the Balkan front during the first world war ). During the 20’s his artistic association with the Italian actress Carmen Cartellieri was decisive. Dame Cartellieri had come to Austria in 1920 and became one of the most popular actresses of that country. She founded the “Cartellieri Film Company”, “Die Würghand” being her first silent film production. It’s a careful film that takes advantage of the scarce technical improvements of that era, or at least in the Austrian film industry, that includes skilful film continuity and some effective special effects.

“Die Würghand” is a perfect film vehicle for Dame Cartellieri as she is the main protagonist of the film, a terrible femme fatale who uses and discards men for her own purposes. Her character of Rose is startling nowadays, displaying a lack of inhibition in a cold and selfish woman who has no scruples. Sometimes Dame Cartellieri is a bit theatrical but that’s not a problem because the overacting fits perfectly for the character; that is to say, a faithful caricature of what is supposed to be a wicked girl.

Don’t forget also the suffering men of the film and how even minor characters are ruthlessly used by Rose to advance her interests. By the way, another interesting aspect of the story, though perhaps not intentional, is that until the middle of the oeuvre, the audience doesn’t know exactly the true relationship between Rose and Toni. Judging by scarce but evident signs one assumes they are a couple. When their real relationship is revealed later an extra element of perversity is added to the story.

As a curiosity, Dame Cartellieri will participate years later in “Orlacs Hände” (1924), another film in which conflictive hands are a main character in the oeuvre, MEIN GOTT!!… A handy and obsessed subject for Dame Cartellieri, Ja wohl!!….

And now, if you’ll allow me, I must temporarily take my leave because this German Count must continue to rule his servants with a heavy hand.”

Herr Graf Ferdinand Von Galitzien

646MB | 01:07:29 | 640×480 | avi

http://nitroflare.com/view/0416636989A64EE/The_Strangling_Hand.avi

Language:English intertitles
Subtitles:None

The lives of six strangers intersect at a suburban Cineplex where a massacre occurs.

Village Voice wrote:
Tim Sutton’s ‘Dark Night’ Finds Beauty and Pain in Teen Lives Before a Shooting

Suburban teendom often means killing time, auditioning selves, inhabiting the you that you can pull off for now but also maybe worrying about the you you’ll aim for next. Few films honor that uncertain aimlessness like Tim Sutton’s Dark Night, an anthro-fiction offering exquisitely framed long-take looks at Sarasota teenagers not doing much. The kids text, play video games, skateboard, go to the shooting range. Guns are all around them, in real life and in their media. They don’t speak much, and only rarely does one shot follow the next in scenic continuity — Sutton, the writer and director behind 2013’s mytho-poetic study Memphis, tends to offer a long look at an everyday moment and then jump to another.

That leaves us the chance to consider what teens themselves, with all that time available to them, don’t often take a breath to think about: What do their do-nothing days mean? Should we weep for the young woman posing tirelessly until she nails the perfect sports-bra selfie? Should we wonder who she’s planning to send it to? Is it a jab of insight or annoyance we experience when we realize that Sutton’s not going to show us who is on the receiving end?

Sutton makes the concrete oblique, even mysterious. His fiction films verge on documentary, with nonprofessional actors inhabiting their real-life environs. But the episodes he captures tend to be related by theme rather than narrative, and he has a poet’s vision, rendering familiar American nowheres into dreamscapes. The opening moments of Dark Night find alien power in a common image: police lights flashing across a parking lot. Even a staid talking-head interview segment, with a concerned mother and the shaven-headed son who is either the perpetrator or the victim of a crime, finds wonder in the living room: A mirrored wall behind the couch the subjects sit on reflects an infinity of ceiling fans. If the lives depicted here never fascinate as much as those in Memphis, is the fault Sutton’s — or is it suburban America’s?

The connecting theme eventually builds into something like a story. Dark Night follows its teenagers over the course of a day that will end with a trip to the movies — and a mass shooting in the theater, inspired by the 2012 murders in Aurora, Colorado. Sutton spares us the violence; instead, he demands we study the milieu in which the shooter has steeped. There’s some suspense, as the film unfolds, over which teen might become the shooter and which the victims and witnesses, and Sutton stages a tense mid-film sequence of a frustrated boy wandering his neighborhood with a gun, eventually aiming it into a window behind which young women are forming a bond without him. What’s terrifying, though, is that nothing much sets the eventual killer apart from the other teens. They’re all trying on masks, trying to find a way to matter in the world. They just don’t have much else to do.

2.63GB | 1 h 25 min | 1280×688 | mkv

http://nitroflare.com/view/A2FB78A18E8F2A3/Dark.Night.2016.WEB-DL.720p.h264.AC3-DEEP.part1.rar
http://nitroflare.com/view/E647197ABD4BB5E/Dark.Night.2016.WEB-DL.720p.h264.AC3-DEEP.part2.rar
http://nitroflare.com/view/CC4E8A7F63D6BE2/Dark.Night.2016.WEB-DL.720p.h264.AC3-DEEP.part3.rar

Language:English
Subtitles:English

Quote:
Marie Prieur, a young doctor, decides to settle down on Ushant, a remote island belonging to Brittany. Little by little she manages to be accepted by the population. One day she meets André Lorenzi, a handsome engineer, and it is love at first sight. Life is wonderful for a while but André wants to marry her only if she remains at home. Despite her strong feelings for André, Marie refuses to give up her vocation and the two lovers part. Marie finds herself alone, with a broken heart.

2.11GB | 1 h 43 min | 792×576 | mkv

http://nitroflare.com/view/96833CD3280DCC7/Jean_Gremillon_-_%281953%29_The_Love_of_a_Woman.part1.rar
http://nitroflare.com/view/7D3394F8DBEDDA6/Jean_Gremillon_-_%281953%29_The_Love_of_a_Woman.part2.rar
http://nitroflare.com/view/078D15806158547/Jean_Gremillon_-_%281953%29_The_Love_of_a_Woman.part3.rar

Language:French
Subtitles:English

A documentary about an important American still photographer who captured New York City in the 1960s (his work there is said to have influenced the TV show Mad Men) and later the West in Texas and Los Angeles.

Slant Magazine wrote:

Detailing Garry Winogrand’s rise to prominence in the 1960s photographing the streets of New York and later Texas and California, Garry Winogrand: All Things Are Photographable also covers various epochs in the American art world and politics and culture at large. As the documentary reminds us, Winogrand started his career in the ‘50s as a freelance photojournalist and advertising photographer. He learned to value economy in framing as well as the value of “lens description,” which suggests a prioritizing of crisp, coherent detail over expressionism. As Winogrand came into his own, defining himself as an artist as well as a professional, he merged lens detail with chaotic abstraction, forging an aesthetic that was uniquely equipped to render the social upheavals in American life in the ‘60s, ‘70s, and ‘80s.

Winogrand’s career paralleled the art world’s occupation with great white men looking to create iconic American art. (More than once, All Things Are Photographable mentions the stout, manly Winogrand’s resemblance to Norman Mailer.) As art became more ironic and self-interrogating against the backdrop of multiple civil rights movements, as well as more suspicious of white men’s dominion over pop culture as official tastemakers, Winogrand became passé, slipping into obscurity and digging deeper into his own head, snapping thousands of pictures that weren’t developed until after his death in 1984. When these photos were finally exhibited, even Winogrand’s greatest and most influential admirer, the legendary photography curator and critic John Szarkowski, proclaimed them to be failures.

In All Things Are Photographable, director Sasha Waters Freyer relates this narrative via a traditional documentary aesthetic, merging interviews with prominent photographers and critics with a vast collection of Winogrand’s photographs. The interviews are intelligent and searching, but it’s Freyer’s worshipful devotion to the photographs that gives the film its vitality. Though he disputed this claim, saying that all pictures were concerned with stillness, Winogrand was a master of movement, or perhaps of movement interrupted. Rich in sharp, canted angels and frames that deliberately obscure portions of a given subject, Winogrand’s art captures both the stifling perpetual motion and the fleeting grace notes of modern American life. Some of his images, such as the famous photograph of three sexy women walking down a street against a ray of sunlight, looking at a man in a wheelchair who’s slumped off to the side of the frame in darkness, seem to effortlessly conjure all of society’s potentialities for transcendence and damnation.

Winogrand explored the warts of human life, including his own lust, one of the many subjects of his 1975 book Women Are Beautiful, which candidly captures women in many aspects of daily life: carrying children, stepping onto curbs, or eating ice cream cones. There are also many photographs in this collection of women’s bodies in somewhat eroticized poses, and the shots remain controversial for their intimation of the male gaze. Whether we’re still allowed to admit that men view women through a sexual lens or not, this element of life nevertheless exists, and such desire cannot be willed away with think pieces. Hence “all things are photographable”—a philosophy that, in Winogrand’s case, also includes images of daring, perhaps tasteless, racial caricature. Freyer’s subjects are admirably unresolved on Women Are Beautiful and other collections, criticizing as well as praising Winogrand for his willingness to plumb the taboo. (And these discussions are comforting for those who feel that art needn’t be “good” for you.)

Freyer’s film floats from topic to topic, offering a lively arts lesson that benefits, as a filmic narrative, from the ghostly power of Winogrand’s later photos, which were taken spontaneously, often with his young daughter sitting on his shoulders. Using these underrated pictures, which capture the diaphanous cultures of Texas and Los Angeles, Freyer forges a poignant portrait of an artist attempting to transcend the limitations of his art by refusing to see the process through. By relegating his art to the snapping of compositions, omitting their refinement and completion, Winogrand kept his life in the present tense, perhaps in his ultimate act of rebellion against self-censorship. One might say that Winogrand achieved the ultimate artistic transcendence, or that he bit off his nose to spite his face. In Everything is Photographable, Freyer allows these potentialities to coexist.

2.83GB | 1 h 31 min | 1280×720 | mkv

http://nitroflare.com/view/72A48A3C39F6EF1/Garry.Winogrand.All.Things.are.Photographable.2018.720p.iT.WEB-DL.DD5.1.H.264-KiMCHi.part1.rar
http://nitroflare.com/view/EC9578FB332D091/Garry.Winogrand.All.Things.are.Photographable.2018.720p.iT.WEB-DL.DD5.1.H.264-KiMCHi.part2.rar
http://nitroflare.com/view/CE11F874597B73F/Garry.Winogrand.All.Things.are.Photographable.2018.720p.iT.WEB-DL.DD5.1.H.264-KiMCHi.part3.rar

Language:English
Subtitles:English

Quote:
Bab Sebta means The door of Ceuta in Arabic, the name of one of the two Spanish enclaves situated in the North of Morocco. It is in the direction of this name, at this doorway, that most of the emigrants from the African continent who want to reach Europe converge.

Quote:

Frederico Lobo
Born in 1981 in Porto. In 2006 he attended the course of the documentary Ateliers Varan at the Calouste Gulbenkian Foundation in Lisbon and he made the short film “Entre-Times”. In 2008 he co-directed with Pedro Pinho the film “Bab Sebta”. He also directed the short film “Zone d’attente # 0”. In 2014 he co-directed with Tiago Hespanha the feature film “Industrial Revolution”. As Director of Photography and Sound Engineer he has worked with Von Calhau, João Vladimiro, André Gil Mata, Paulo Abreu, Tiago Afosno, among others.

Pedro Pinho
Pedro Pinho graduated in Film Studies at the Theatre and Cinema School, in Lisbon and at the Louis Lumière School, in Paris. In 2005/2006 he attended the courses of Directing and Screenwriting of the London Film School at the Foundation Calouste Gulbenkian.

He presently works as a film director, writer and producer and he is a founder partner at TETRRATREME FILMES.

His first film was the feature documentary BAB SEBTA (2008), co-directed with Frederico Lobo. BAB SEBTA premiered at FID Marseille (prize Marseille Esperance 2008). It was also awarded as the Best Film at DOCLISBOA (Portugal) and FORUM DOC BH (Brazil). And it was screened in over 30 festivals around the world.
His first fiction feature THE END OF THE WORLD premiered at the 63rd Berlinale (2013) and was awarded the D. Quijote and Best Cinematography Prizes at CAMINHOS, Portuguese Film Festival and nominated for the Portuguese Globe Awards.

In 2014 he co-directed with Luisa Homem the documentary AS CIDADES E AS TROCAS. Premiered at FID Marseille and screened at the Art of the Real, Lincoln Center in NY.

He is now directing a fiction feature A FÁBRICA DE NADA, producing Filipa Reis’ and João Miller Guerra’s feature JOHN AFRICA and developping and producing a TV serial directed by Leonor Noivo, Filipa Reis & Miller Guerra, João Salaviza and himself.

1.78GB | 1 h 50 min | 1024×576 | mkv

http://nitroflare.com/view/56C6A3527FE3998/Bab.Sebta.2008.APH.DVDRip.x264-MaZ.part1.rar
http://nitroflare.com/view/9E1A6E3941E5E3C/Bab.Sebta.2008.APH.DVDRip.x264-MaZ.part2.rar

Languag:French
Subs:Portuguese, English, French, Spanish

A medieval love story with lots of adventures. The times are troubled – there’s a revolt of peasants going on. To secure its safety a monastery chases for a relics of a holy Brigitte. A nobleman promises to get it if he gets beautiful Agnes as a reward. But she fells in love with a handsome adventurer. The monastery has to act shrewd now and play double game. The movie is still the best achievement of the Estonian cinema. Based on a novel.

1.43GB | 1h 26mn | 762×572 | mkv

http://nitroflare.com/view/71FBC525D52F77C/Viimne_reliikvia_aka_The_Last_Relic_%281969%29.part1.rar
http://nitroflare.com/view/649C28BBE460B12/Viimne_reliikvia_aka_The_Last_Relic_%281969%29.part2.rar

Language:Estonian
Subtitles:English, Finnish, German (muxed)

Quote:
This is the film that left the strongest impression on me. I have been lucky to engage it 3 times on 35mm.

Mani Kaul’s films create a sensory construct around their use of a selection of sounds to create a specific sensorial effect and images to create volume instead of (as in Hollywood) their denotative element of space. His films usually attempt to create an aesthetic where language is used beyond its denotative aspect, into its suggestive and rhythmic tonalities based on Anandvardhan’s 4th century text Dhwanyaloka about haiku like poetry forms and the aesthetic of suggestion they create known as ‘Dhwani’ which means ‘suggestive sound.’

Kaul constructs his trademark suggestive sensory bags in possibly his most explicit way. Juxtaposing images of nature with shots of Dal lake taken through a shikara and landscape shots taken with a helicopter or hot air balloon, the centerpiece of the film is an alaap in Raga Shree in the austere form of North Indian music, Dhrupad.

Kaul comments on the ‘tourist film’ nature of his project by having an American musician, Nancy Lesh, play a Western classical instrument, the cello in the austere dhrupad form in the Dagarbani style.

Kaul suggests the becoming through the inflation of a hot air balloon, its sound, the process of colonization as suggested by shots through the front of the Shikara representing the direction of colonization and a Bresson like sequence of horses with what seem to be their warrior- masters. The sensory collapse is denoted through a remarkable shot of the hot air balloon deflating which is where the Pakhwaj or Indian drum joins in. The text on the air balloon plays with a suggestive pun on the word ‘Indra Dhanush’ which means its textual meaning: (Lord) Indra’s bow as well as its banal meaning:rainbow.

The film has a remarkable soundtrack with sounds of birds interspersed together with sounds of water, the hot air balloon and other natural sounds.

The film ends with what is my most memorable film experience: a gradual tilt up from a glacier to show the shadow of the helicopter from which the film is being shot. The delayed machinated sound of the helicopter fades into the credits.

0.98GB | 26mn 0s | 1440×1080 | mkv

http://nitroflare.com/view/57BE6A63504CC03/Before_My_Eyes_%281080p%29.mkv

Language(s):None
Subtitles:None

Plot:
When her father enlists to fight for the British in WWI, young Sara Crewe goes to New York to attend the same boarding school her late mother attended. She soon clashes with the severe headmistress, Miss Minchin, who attempts to stifle Sara’s creativity and sense of self- worth. Sara’s belief that “every girl’s a princess” is tested to the limit, however, when word comes that her father was killed in action and his estate has been seized by the British government.

1.78GB | 1 h 37 min | 853×480 | mkv

http://nitroflare.com/view/4DA6F891EE663D3/A.Little.Princess.1995.DVDRip.x264-REGISSEUR.part1.rar
http://nitroflare.com/view/A9257AF834FC6BE/A.Little.Princess.1995.DVDRip.x264-REGISSEUR.part2.rar

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

Synopsis:
Dean Selmier plays an expatriate American in each story of this trilogy. Francisco Rabal and his family star in the first feature filmed at the Rabal family home in Madrid. An over aggressive American soldier tries to put the moves on his wife and daughter before he is clubbed and thrown into the swimming pool. Part two finds a hippie couple slain at the country home of a wealthy local (Alfredo Mayo) after the young woman is offered to him for money and the boy makes love to the man’s wife. In part three, an American man, a Cuban girl, two Spanish students and a chimpanzee throw a dance party before the American plants a bomb that destroys everyone. (allmovie)

Directors:
Claudio Guerín (segment 1)
José Luis Egea (segment 2)
Víctor Erice (segment 3)

700MB | 1:40:04 | 512×304 | avi

http://nitroflare.com/view/DFCC3E15703CDA9/Los_desafios__1969___Claudio_Guerin_Jose_Luis_Egea_victor_Erice__DVDRip_XviD-Mp3.avi
http://nitroflare.com/view/01E21AACD870724/Los_desaf%C3%83_os_%281969%29_AKA_The_Chalenges.srt

Language:Spanish
Subtitles:English

Quote:

Even with the landscape bathed in warm hues and verdant fields on a summer day, accompanied by the lushness of a textured Mozart adagio, clad with airy wispiness of draped muslin, and emphatically punctuated by a picture-perfect sunflower in full bloom that suggests an aesthetic symbiosis with the vibrant, saccharine images of husband and fellow filmmaker Jacques Demy’s contemporary film The Umbrellas of Cherbourg, the association of Le Bonheur as both a prefiguration and corollary to the somber and oppressive bleakness of Vagabond – a film Agnès Varda would make twenty years later – nevertheless, seems inescapable. Ostensibly a chronicle of the repercussions of a husband’s admitted infidelity on his family (an affair that, as François (Jean-Claude Drouot) rationalizes, was borne not of an emotional void, but of an abundance of happiness and desire to extend that sense of personal joy beyond the sphere of their marital relationship), the film is also an incisive satire on egoism, patriarchal immunity, and bourgeois complacency that implicitly tolerates acts of infidelity and emotional irresponsibility. A carpenter by trade, François’ vocation provides a glimpse into the vanity of his desire to inhabit a world of his own construction, much like the titular drifter, Mona (Sandrine Bonnaire) chooses her transience – and ultimately her fate – in Vagabond. Intrinsic in this act of self-determinism is the fragility of balance between personal autonomy and social communion, an interdependence that collapses in the polarity of the characters’ own selfishness. On one side of the spectrum is François’ rationalization that love is infinitely additive and therefore, does not take away from his relationship with his wife, Therese (Claire Drouot); on the other side is Mona’s complete emotional detachment beyond the immediacy of physical necessity. Yet both characters are driven by the compulsion – and myth – of the attainability of complete freedom. It is this elusive search that propels the denouement of both films, a myopic sense of entitlement and inability to acknowledge the real world limitations of freedom and pursuit of happiness.

1.80GB | 1 h 20 min | 960×576 | mkv

http://nitroflare.com/view/A6C99B731BDB455/Agnes_Varda_-_%281965%29_Happiness.part1.rar
http://nitroflare.com/view/E844AC2AC94019E/Agnes_Varda_-_%281965%29_Happiness.part2.rar

Language:French
Subtitles:English

Synopsis:
Teens in a Turkish prison struggle to survive under hideous conditions. Made by dying Yilmaz Guney in France, after he escaped from a Turkish prison, enabling him to accept his award at Cannes for Yol (The Road). When the Turkish superstar leading man turned human rights activist, Guney was convicted for pro-Kurdish political activity and murder, by the Turkish military regime. Director/writer Guney’s last film, Duvar (The Wall), was banned in Turkey for 17 years. The incarcerated teens organize and fight back, brutalize each other, exult over the smallest triumph, while joking, suffering and learning from the inhumanity they wallow in. The prison also separately houses men and women, many played by other Turkish expatriates.

948MB | 1 h 51 min | 1280×720 | mkv

http://nitroflare.com/view/67F92B76A344E0F/Duvar_1983_720p_WEB-DL_H264_TURG__Turk_Filmi_.mkv

Language:Tukish
Subtitles:None

Synopsis
A film about a working Filipino woman working as travel guide in Sapporo, Japan who was driven to blindness due to extreme stress and heartache. While living alone, she found comfort in the company of a fellow Filipino whom served as her eyes during her times of temporary blindness.

1.46GB | 1h 23mn | 1280×536 | mkv

http://nitroflare.com/view/92F202A78786950/I.See.You.2017.720p.WEBRip.X264-INFLATE.part1.rar
http://nitroflare.com/view/95684DAFF40F351/I.See.You.2017.720p.WEBRip.X264-INFLATE.part2.rar

Language:Filipino, Tagalog, Japanese, English
Subtitles:English, Spanish, Filipino

Criterion wrote:
Proud, eccentric, and antisocial, Monsieur Hire (Michel Simon) has always kept to himself. But after a woman turns up dead in the Paris suburb where he lives, he feels drawn to a pretty young newcomer to town (Viviane Romance), discovers that his neighbors are only too ready to suspect the worst of him, and is framed for the murder. Based on a novel by Georges Simenon, Julien Duvivier’s first film after his return to France from Hollywood finds the acclaimed poetic realist applying his consummate craft to darker, moodier ends. Propelled by its two deeply nuanced lead performances, the tensely noirish Panique exposes the dangers of the knives-out mob mentality, delivering as well a pointed allegory for the behavior of Duvivier’s countrymen during the war.

This 2018 Blu-ray release boasts the following:
New 2K digital restoration, with uncompressed monaural sound­­track on the Blu-ray
New English subtitle translation by Duvivier expert Lenny Borger

Extras (included in this upload)
The Art of Subtitling, a new short documentary by Bruce Goldstein, founder and co-president of Rialto Pictures, about the history of subtitles, the DOs and DON’Ts of subtitling, and some of the process involved in making them for Panique.
New interview with author Pierre Simenon, the son of novelist Georges Simenon.
Conversation from 2015 between critics Guillemette Odicino and Eric Libiot about director Julien Duvivier and the film’s production history
Rialto Pictures rerelease trailer

2.25GB | 1h 38mn | 788×576 | mkv

http://nitroflare.com/view/B90CBB210BCED4D/Panique.AKA.Panic.1946.576p.Bluray.AAC.1.0.x264-SaL.part1.rar
http://nitroflare.com/view/8C64E63A8E7D38F/Panique.AKA.Panic.1946.576p.Bluray.AAC.1.0.x264-SaL.part2.rar
http://nitroflare.com/view/3B28FD58D4FFB0A/Panique.AKA.Panic.1946.576p.Bluray.AAC.1.0.x264-SaL.part3.rar

Language:French
Subtitles:English

A jolly French film, with a rich vein of satire, is at the little Acme Theatre on Union Square under the name of “Mirages de Paris.”

In this fast-moving fantasy of the unsophisticated student (Mlle. Francell) who escapes from a boarding school to become, after many trials and tribulations, the “toast of Paris,” Fedor Ozep has managed to combine much of the technic of his native Russia with the flair for the ridiculous supposed to belong to all true Parisians.

Consequently, the rather threadbare theme is treated so skillfully and decked out with such luxury of interesting and exciting detail that the spectator forgets about the obvious ending in following the speedy succession of hilarious incidents. From the time the charming heroine arrives in Paris, only to learn that talent doesn’t count for much unless preceded by plenty of publicity, until the last reel shows her and her sweetheart (M. Theville) on the stage in a love scene, there is hardly a dull moment. Especially amusing is the coming to grief of the great artist Tonnerre (M. Vallee) on a revolving stage.

— New York Times.

1.29GB | 1h 17mn | 760×570 | mkv

http://nitroflare.com/view/E69FF586DBB994C/Mirages_de_Paris_%281932%29_–_Fyodor_Otsep.part1.rar
http://nitroflare.com/view/761EC741F9F2F19/Mirages_de_Paris_%281932%29_–_Fyodor_Otsep.part2.rar

Language:French
Subtitles:English (muxed)

Touching short documentary about life in the island of St. Kilda, the most isolated of the Hebrides, shot between 1923 and 1928 (only a few years before it was abandoned by his inhabitants in 1930). The evacuation of this island inspired Michael Powell to create The edge of the world in 1937.

314MB | 15mn 56s | 768×576 | mkv

http://nitroflare.com/view/AD883BD9366A126/St.Kilda.mkv

Language:Silent
Subtitles:English

In 1986 Paul Lacombe live out one’s remaining days in Sainte-Eulalie-de-Cernon, Aveyron. During 3 last years he wrote his memoirs. Claudine Nougaret films the meeting with her grandfather.

198MB | 18mn 16s | 704×384 | avi

http://nitroflare.com/view/E5B9D46704A1C94/Paul.Lacombe_C.Nougaret.avi

Language:French
Subtitles none

Quote:
A college student receives a surprising offer to be a movie star in this unlikely Kinoshita film, sort of college film by the veteran director including even semi nude scene, but eventually the same themes of dreams versus reality and alienation come to the surface.
Still, it’s one of his lighthearted films.

451MB | 1h 26mn | 720×400 | mkv

http://nitroflare.com/view/52A55A77322473E/Sing%2C_Young_People_%281963%29_Kinoshita.mkv

Language:Japanese
Subtitles:English

Quote:
The second feature of German director Valeska Grisebach is one of the pleasant surprises of the Berlin Competition here – a quietly unassuming tale of marital infidelity told in a brisk 90 minutes that is unexpectedly packed with a raw emotional power. It derives that power as much from the non-professional actors’ performances as from Grisebach’s austere approach to the material. Sehnsucht (Longing) is one of those rare films for which the overused axiom “less is more” is totally justified. With her latest feature, Grisebach could give the Dardenne brothers a run for their money.

The grim tale tells the story of Markus (Andreas Müller), a quiet volunteer of the fire brigades in a small village outside of Berlin, who gets by as a welder. He loves his wife Ella (Ilka Welz) and talks with her about love and mortality following a car “accident” in which he tried to help the victims who, or so they discover, were actually trying to kill themselves. Their discussion forms the basis of what is to follow: an exploration of love, longing and death in their relationship as Markus starts an illicit affair with a waitress (Anett Dornbusch) from another village following a beer-soaked meeting of the local fire brigades at the café where she works. Due to the alcohol, he does not remember their first encounter (in fact, Grisebach wisely shows us only a scene in which he dances alone, then cuts to the morning after) but soon Markus is hooked. His wife, as if by telepathy, breaks down during a choir session without knowing why.

Everything in Sehnsucht is played straight, with the non-professional actors lending an edge of normality that few established actors could (at times the film does not only look but also feels like a documentary). At the same time Müller and his colleagues are also more than capable of conveying their innermost feelings in Grisebach’s numerous close-ups of their faces, which would have cruelly exposed any lack of talent ) which is certainly not the case here. The film’s coda provides a teasing twist on the story that makes the tale go out with a bang. Sehnsucht is certainly among the highlights of this year’s competition.

1.37GB | 1:22:12 | 688×400 | avi

http://nitroflare.com/view/8055CD62FDE73BC/SEHNSUCHT.part1.rar
http://nitroflare.com/view/4E9FBFE085314AE/SEHNSUCHT.part2.rar
http://www.nitroflare.com/view/FD06DADA7C2E891/SEHNSUCHT.rar
http://www.nitroflare.com/view/E6EE1A25D661A71/sehnsucht.srt

Language(s):German
Subtitles:English

Plot / Synopsis
The fantasy musical film “Passerby #3? by Korean director Shin Su-won won the Best Asian-Middle Eastern Film Award at the 23rd Tokyo International Film Festival.

Ji-Wan is a middle-aged mother with a case of malaise and hardly any backbone to speak of. She abruptly quits her job to follow her dream of becoming a film director; she’s been working on a script for five years. Her husband thinks she’s wasting her time; her son Si-Young is ashamed of her and lets her know it at every possible moment; and the producer she’s supposed to be working with, Choi, keeps trying to make the film into a commercial blockbuster.

While researching at a rock concert, she comes across a scrap of sheet music and is inspired to take the script in a new, fantasy direction, called Rainbow. But the production company keeps on changing its mind over what it wants, and urges her to write a genre movie instead. Worn down, Ji-wan’s creativity starts to lag as her neurotic visions (involving ants on her computer screen) worsen.

1.37GB | 1h 31mn | 720×416 | avi

http://nitroflare.com/view/2F4587BA917E1AD/Rainbow_%282010%29.part1.rar
http://nitroflare.com/view/66A574F757B42F4/Rainbow_%282010%29.part2.rar

Language:Korean
Subtitles:English.srt

The career of dramatist Robert is in steep decline – his last play was canceled after a two-week run. On top of that he is unable to decide what to do about an old love affair that is once again gaining steam. Finally, his neighbor Gus is able to shed some light on many issues when he and Robert spend the evening together in a highly unexpected situation. The picture captures the protagonists at fragile moments in their lives, when long suppressed truths come to light and there is no longer any uncertainty concerning the decisions they have made. The characters’ secrets aren’t revealed immediately: the film works with ambiguity and a contemplative mood heightened by the contrast between the presence of religious figures and the spiritual emptiness we feel around the protagonists. The movie, thematizing the similarity of real life dramas and those on paper, demonstrates that theater always reveals something about those who act in it. And silent contemplation after the drama ends is sometimes better than applauding and simply forgetting

1.37GB | 1h 23mn | 720×400 | avi

http://nitroflare.com/view/6DA62429333346F/Collaborator.part1.rar
http://nitroflare.com/view/59718E4B6D49F5D/Collaborator.part2.rar

Language:English
Subtitles:Swedish Finish Danish