Synopsis
The story of a young man’s adventures in the Californian pornography industry of the 1970s and 1980s.

Review :
Following his low-key debut Hard Eight (1996), Paul Thomas Anderson staked his claim to auteur status with his ambitious pornography and family epic Boogie Nights. Set in the late 1970s and early 1980s, the story of young porn star Dirk Diggler and his adult movie “family” upends convention, as Anderson non-judgmentally captures the spirited possibilities of ’70s hedonism before it passed into a nakedly acquisitive, coke-fueled Reagan-era hell. Along with the period music, costumes, and décor, Anderson’s bravura technique harks back to 1970s Hollywood, itself: there’s a widescreen, Robert Altman-esque tapestry of characters; split-screen montage in the vein of Brian De Palma; audaciously assured Martin Scorsese-style long takes; and a final shot that pays homage to Raging Bull (1980). The sterling ensemble cast further brings Anderson’s collection of dreamers to complex life, lending humane substance to the dazzling surface. In his best role in years, Burt Reynolds’ nuanced turn as director Jack Horner earned him numerous critics’ prizes and a long-desired Oscar nomination. Julianne Moore received equal approbation as maternal porn queen Amber Waves, while Mark Wahlberg’s head-turning performance as Dirk proved that he was more than the sum of his body parts. Despite doubts over the film’s latter half, Boogie Nights’ accolades and prizes — coupled with its decent box office returns and considerable longevity on video — burnished Anderson’s reputation as a new directorial star.(allmovie)

2.18GB | 2h 35mn | 720×304 | avi

http://nitroflare.com/view/C3D86E88907E5AB/Boogie_Nights_%281997%29.BDRip.part1.rar
http://nitroflare.com/view/A9B259E548783C3/Boogie_Nights_%281997%29.BDRip.part2.rar
http://nitroflare.com/view/1D0ED01CBD4D13C/Boogie_Nights_%281997%29.BDRip.part3.rar

Language(s):English
Subtitles:None

Over the past 25 years Australian cult director Richard Lowenstein has established himself as one of this country’s most dynamic independent filmmakers. With four feature films to his credit, Lowenstein has straddled both period and art-film genres to give cinematic expression to the stories of everyday Australians and in doing so has consistently captured the cultural zeitgeist on film…

After close to a ten year hiatus between films, Lowenstein’s fourth feature was born of his desire to translate to the screen John Birmingham’s humorous rumination on share household life, the cult novel He Died With A Felafel In His Hand. While the structure and substance of Birmingham’s novel would not easily lend itself to film adaptation, Lowenstein managed to craft a screenplay out of it which incorporated the novel’s most prominent scenes, characters and locations. In Lowenstein’s hands, He Died With A Felafel In His Hand presents an intelligent portrait of the highs and lows of share household life, as it takes a shot at exploring the dynamics of desire and existence, and reflects upon the differing psychologies of Australia’s major cities. In everything from the games of cane toad golf played in the shared house in Brisbane, through to the policemen at the door with twitchy trigger fingers in Melbourne, and the over-inflated egos polishing the floorboards in Sydney, Felafel presents a highly stylised snapshot of the different cultural flavours of Australia’s major cities, which shapes the kind of interactions spawned by those locations in the film…

Lowenstein has described He Died With A Felafel In His Hand as the “emotional sequel” to Dogs In Space, and while the focus of these two films on the social phenomenon of share household life would naturally lend itself to comparison, there is a marked stylistic difference between them. In Felafel, the long tracking shots and broad non-narrative structure that were Dogs In Space‘s trademark have made way for tightly framed images, restrained camera movement, a high level of stylisation and a tautly structured plot; culminating in what Lowenstein describes as the film’s “objective, observational style”. In terms of both its subject matter and its mode of delivery, He Died With A Felafel In His Hand conveys the sense that it is a maturation of Dogs In Space…

— Vanessa Long, Senses of Cinema

We started on the Felafel journey in about 1995. And, even though we thought it was a relatively simple low-budget independent film, it was incredibly difficult to finance. And for a number of years we went through financing hell. We were being given the run-around until 1997 when I finally got involved with an Italian producer, Domenico Procacci. It was something of a chance meeting. I’d met an Italian journalist who suggested I send my script to Procacci but I didn’t hear anything. Then I was in this Sydney café and was approached by a longhaired Italian. It turns out Domenico hadn’t ever received the script but had heard about my idea anyway. He’d been asking people around Sydney where to find me, and they said, “He’s sat at the table over there!” Fortunately I had a copy of the script in my bag. We had breakfast the following morning and he was into getting the film made…

Then, as we were finally ready to go ahead, Noah [the film’s lead] got offered the role in Almost Famous. Even though he was committed to Felafel, it was incredibly hard for me to take a sabbatical for six months and just wait…

Talk us through the process of creating a filmic storyline to a book which, essentially, had no spine…

The spine was John Birmingham. And the only way I could really liberate myself from saying, ‘John did this and John did that’ was to change the name of the character [to Danny]. And at the same time, I had Noah living downstairs from me in a very Felafel-type situation. In discussion with John we tried to work out how to thread these hundreds of houses together. We found that they fell into three distinct groups: Melbourne, Sydney and Brisbane – and the three distinct climates. We tried to make the definitive house for each town and just allude to fact that he’d lived in all these other places. It developed with John’s involvement for the first month or so, and then I began to develop it as a script…

There are a few tracks that I actually wrote the script around. The most obvious is ‘Golden Brown’ by The Stranglers. There’s a lot of subtext in it. It’s a beautiful piece of music but a lot of people don’t realise that it’s about heroin. Then there’s the bit about why people always try to kill themselves at 3am with Nick Cave playing on the stereo.

— Richard Lowenstein, interviewed by Michael Gently

1.39GB | 01:42:42 | 704×400 | avi

http://nitroflare.com/view/A434CBCF0875665/He_Died_with_a_Felafel_in_His_Hand_%28Richard_Lowenstein%2C_2001%29.part1.rar
http://nitroflare.com/view/0B768BF3512318F/He_Died_with_a_Felafel_in_His_Hand_%28Richard_Lowenstein%2C_2001%29.part2.rar

Language(s):English / Commentary (2nd audio channel)
Subtitles:English, Spanish, Italian, Hungarian, Czech, and Russian srt’s

Quote:

Pickup on South Street opens with a striking omission of dialogue and score, heightening our awareness of the film’s pared images and the diamond-hard editing rhythms. On a subway, a beautiful woman, Candy (Jean Peters), is scrutinized by two men who are obviously tailing her. Everything about Candy’s pose is intensely erotic, from the crook of her arm that’s holding the subway railing to the sweat on her skin, to the way she’s cramped up against the other passengers. Soon saddling up to her is Skip McCoy (Richard Widmark), who approaches her as the prey she clearly represents to his hunter. Hovering over Candy, Skip makes a show of folding a newspaper, opening her purse, rifling through it, and snatching the contents of interest to him. This fluidly, beautifully staged sequence offers a profound metaphor for violation, showing a pickpocket to be a kind of rapist. Yet Candy doesn’t evince any vulnerability when she discovers the deception. At a villain’s insistence, she matter-of-factly sets about finding Skip so as to remove herself from the chaos that he conjures.

This beginning, setting the stage for a chase narrative in which Skip and Candy battle a communist cabal intent on smuggling American government secrets into their homeland, is among the most startlingly direct sequences of Samuel Fuller’s career, and the remainder of Pickup on South Street manages to match it. Like the recent Mad Max: Fury Road, the film is a potent illustration of just how abjectly meaningless most plots are (which is why self-righteous “spoiler” complaints are so inherently ridiculous), and not only in genre films. Fuller’s “yarn,” to use the director’s preferred parlance, is dispensed with in a handful of minutes, with the stolen microfilm of American secrets that drives it astutely functioning as the most elemental and abstract of MacGuffins. Like the stolen money in Psycho or the severed ear in Blue Velvet, the microfilm is an entrance into a world, a pretext for an artist to untether their imagination.

The world of Pickup on South Street is familiar to admirers of Fuller’s other films, abounding in a lurid cavalcade of unforgettable oddballs who collectively show America to be a place of cracked schemers and dreamers working for their own interests. Like many crime-film directors, Fuller regards his crooks fondly as the people who’re willing to see America for what it is and play by the real rules accordingly, while the cops are hypocrites who hide their prudish self-righteousness behind their badges. There’s a weird, fascinating conflict of politics in Fuller’s vision, as it glorifies both an informal socialism as well as an ethos that’s most typically described as survival of the fittest. The criminals sell each other out, particularly in a wonderful running gag with professional stoolie Moe Williams (Thelma Ritter), but warn each other about said sell-outs, holding no grudges, while eventually dying to protect others. On top of this contradiction, Fuller grooves on a definitively masculine urge to behave as a metaphorical alley cat, doing whatever the hell you like, precisely for the hell of it.

Fuller’s a master of unpretentious hot-house poetry, and that theoretical contradiction of terms gives one an idea of the irresolvable, elegantly compact flourishes that abound in his films. Tiny, precise grace notes allow the audience to discern the larger world that’s barely glimpsed. A criminal informant, a stoolie of stoolies, is shown, for instance, to be shoveling in Chinese food as Candy attempts to buy information about Moe from him; he talks her out of a requisite amount of money, and gingerly lifts the wadded up bills with his chopsticks in a self-consciously pulpy gesture that’s understood as such. This is a hood playing the role of a hood, living up to Candy’s preconceived notions of him. Before Moe is murdered for revealing the depths of her decency, we see her curled up in bed with pillows piled behind her as she listens to the record player. It’s a defining image of comfort, of the refuge we build for ourselves from our stress and disappointments, and this image is soon perversely turned on itself when it’s revealed to be more dangerous than imagined, as Moe notices the black boots of an interloper perched on her bed. This violation reaches its heartbreaking climax verbally, when Moe says that she’s been working all her life to die, or, implicatively, to die with a dignity that transcends her life as a two-bit hustler.

Like most brilliant thriller directors, Fuller renders violence musically. He will typically open a violent scene with an alternation of very close close-ups, which are some of the most intense and evocative close-ups in American film, building to a release in which the people in close-up fight in a wider frame, moving diagonally from the background toward the foreground, or vice versa. This is the secret to Fuller’s compositional dynamism: the use of the foreground as a built-in, low-budget 3D effect that’s considerably more effective than any real 3D. (Billy Wilder favored this sort of blocking on occasion, as in Kirk Douglas’s death scene in Ace in the Hole.) The close-ups suggest the initial refrain of a song, with the wider-framed fighting serving as the explosive chorus that gives voice to all the subterranean desperations and hungers coursing through Fuller’s world. In Pickup on South Street, this idea of musical violence is most vividly embodied by the scene in which Candy stands up to her quasi-boyfriend, Joey (Richard Kiley), who beats her senseless and tries to kill her. But Candy lives, as she must, in a flourish that speaks to Fuller’s remarkable blend of sensationalism with sentimentality. This film is an amazing example of what might be called noir jazz.

1.30GB | 1h 20mn | 768×576 | mkv

http://nitroflare.com/view/1818543F97A7A00/Samuel_Fuller_-_%281953%29_Pickup_on_South_Street.part1.rar
http://nitroflare.com/view/569F04CE946761A/Samuel_Fuller_-_%281953%29_Pickup_on_South_Street.part2.rar

Language(s):English
Subtitles:English

Quote:
About a month after the Holy Week, a major national election will take place. What future does it hold for a motley group of TIRADORS–local slang for petty thieves—whose daily survival depends on fast fingers and yearly atonement on divine grace? The tiradors all live in an old dilapidated tenement building in the slums of QUIAPO, a busy business district of Manila where they ply their trade.

1.08GB | 1:25:34 | 704×384 | avi

http://nitroflare.com/view/FAD27BF7344CE6F/Tirador_%28Brillante_Mendoza%2C_2007%29.part1.rar
http://nitroflare.com/view/8EEC12854A0AEF7/Tirador_%28Brillante_Mendoza%2C_2007%29.part2.rar

http://nitroflare.com/view/0056246596C82D8/Tirador.english.srt

Language(s):Tagalog
Subtitles:English

Quote:
A young, idealistic poet, turns his back on civilization and goes to small, backwood village, rents a bed in the house of an old woman, and decides to make his living as a lumberjack. Soon he realizes that the world around him is far from perfect. He does not make any real contact with the people in the village. And then another outcast like him rents a bed in the same house.

0.99GB | 1 h 21 min | 755×472 | mkv

http://nitroflare.com/view/CC249B153CAB3FA/Siekierezada.mkv

Language(s):Polish
Subtitles:English

Quote:
It is often said that comedy is the most untranslatable element from culture to culture. This is perhaps even more the case with surreal mixed genre films like this. In Shindo Kaneto’s film (his 101st!) the old sensei has given us a strange meditation on male lusts and women’s struggle for independence. It is like a play in that the action takes place almost exclusively in a small cabin in a deserted region of Western Japan. A mother and daughter are stranded in a ghost town and are starving to death. They hit on a plan to get them out of their plight which involves exploiting the few men who stray into their cabin. They offer sexual services and then bump off the happy customers. All goes well until a local cop shows up and, then, a relation of theirs from way back.

1.32GB | 1:59:26 | 720×400 | avi

http://nitroflare.com/view/9134B0298711DF2/Owl.part1.rar
http://nitroflare.com/view/B1BAD96CB196175/Owl.part2.rar
http://nitroflare.com/view/0011B34E9BDF591/Owl.srt

Language(s):Japanese
Subtitles:English

Quote:
A Christ is sentenced by his peers to return to his mother’s womb. Rejected by the censorship commitee on the grounds of “scenes of extreme eroticism and dialogs of the scatological and obscene variety”.

402MB | 23mn 40s | 956×576 | mkv

http://nitroflare.com/view/FB1E1D290746FBE/Tristesse_des_anthropophages_%281966%29.mkv
http://nitroflare.com/view/92241E1541186FF/Tristesse_des_anthropophages_%281966%29.srt

Language(s):French
Subtitles:English

Chidambaram (Malayalam) is a 1985 Malayalam film written, directed and produced by G. Aravindan. It is the film adaptation of a short story by C. V. Sreeraman.The film explores various aspects of relations between men and women through the lives of three people living in a cattle farm. Themes of guilt and redemption are also dealt with. Bharath Gopi, Smita Patil, Sreenivasan and Mohan Das play the lead roles. It won the National Film Award for Best Feature Film and five Kerala State Film Awards including Best Film and Best Direction.

1.21GB | 1h 34mn | 720×576 | avi

http://nitroflare.com/view/B1FE99169710F13/Chidhambaram.rar
http://nitroflare.com/view/1629F6F055FB512/Chidhambaram_TV.srt

Language(s):Malayalam
Subtitles:English

Synopsis:
Laurent Chevalier, a 14-year-old boy, saw his mother as the closest friend. The two of them went to a mountain resort. Clara Chevalier flirted with one of the hotel guests, her son met girls of the same age. However, on the holiday and Laurent, and his mother were left without companions …

Review:
Although it stirred up a double vein of controversy – from those outraged, and those disappointed – Malle’s film is less about incest and its implications than about the frustrations of bourgeois convention. The year is 1954, and the period is effortlessly caught in the opening sequence as two schoolboys swing down a street in Dijon, rattling collecting-boxes for the wounded of Dien-Bien-Phu in the intervals of rhapsodising over Charlie Parker, whose latest record they airily steal while making the shop-owner fork out a donation, ‘pour la France, Monsieur’. More than anything else, the film reminds one of Truffaut and the joyous spontaneity of Les Quatre Cents Coups as 14-year-old Laurent (a stunningly natural performance by Benoît Ferreux) agonises over the problem of how to lose his virginity in the face of a tight family circle which cramps his style while ignoring his needs. He finally makes it when convalescing at a spa from a heart murmur brought on by scarlet fever, and his mother – who has hitherto treated him as a baby, while seeking escape from her own unhappiness in an extra-marital affair – obliges (after a quaintly old-fashioned courtship) in a moment of pure, liberating joy. Tender and funny rather than daring or provocative, it’s a film as gracefully and elegantly teasing as the best of Eric Rohmer.

1.81GB | 1h 58mn | 800×480 | mkv

http://nitroflare.com/view/B6463ECECCDAE99/Murmur_of_the_Heart_%281971%29_–_Louis_Malle.part1.rar
http://nitroflare.com/view/A9A1A1B7F9F6944/Murmur_of_the_Heart_%281971%29_–_Louis_Malle.part2.rar

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

Screen: Legend Retold; ‘Black Orpheus’ Bows at the Plaza
By BOSLEY CROWTHER
Published: December 22, 1959

ALL tangled up in the madness of a Rio de Janeiro carnival, full of intoxicating samba music, frenzied dancing and violent costumes, the Frenchman Marcel Camus presents us a melancholy tale in his color film, “Black Orpheus” (“Orfeu Negro”), which came to the Plaza yesterday.

It is a tragic story of a Negro chap and a Negro girl who meet at the time of the annual blowout, fall suddenly and rapturously in love, whirl through the night in a furious revel and fall off a cliff in the dawn. At least, the fellow falls off the cliff, holding the dead body of the girl in his arms. She has been killed the previous evening while trying to escape a scoundrel in a skeleton costume.

According to word from Paris and a somewhat involved program note, this samba drama is supposed to be based on the classic legend of Orpheus and Eurydice. Some parallels may be detected, but to us this seems an innocent conceit, unless you want to claim all sad love stories come from the same original source.

The parallels here are that Orpheus plays a guitar instead of a lute, his Eurydice is killed in fleeing a suitor and Orpheus goes to the morgue (instead of Hades) in search of her. Otherwise it is an arbitrary fable of love foiled in the midst of gaiety, not very well played by its main performers and therefore lacking in real emotional punch.

Breno Mello makes a handsome, virile Orpheus who glistens when covered with sweat, but he performs the role more as a dancer than as an actor trying to show a man in love. No real conviction of passion comes out of his furious posturing. A suspicion of affectation inevitably intrudes.

Conversely, the girl who plays Eurydice is an American dancer, Marpessa Dawn, and she conveys more forthright emotion than does the non-terpsichorean man. A pretty, frank face and a gentle manner that suggest absolute innocence gather an aura of wistfulness about her that filters down into a melancholy mood. This, at least, is appropriate and helpful for the accidental tragedy that ensues.

But it really is not the two lovers that are the focus of interest in this film; it is the music, the movement, the storm of color that go into the two-day festival. M. Camus has done a superb job of getting the documented look not only of the over-all fandango but also of the build-up of momentum the day before.

He has got much more of a sense of turmoil in his minor characters—in the people surrounding the lovers and the wild, abandoned mobs in the streets. Lea Garcia is especially provoking as the loose-limbed cousin of the soft Eurydice, and Lourdes de Oliveira is lissome and wanton as the cast-off fiancée of Orpheus. Swarms of sinuous girls and children shimmy and race to the samba beat, which is insistent through most of the footage. That’s what makes the picture alive.

Whether it proves what is concluded—that the poor are doomed to tragedy—is a point we strongly question. But it certainly does fill the ears and eyes.

The language spoken, incidentally, is Brazilian Portuguese, which is translated in English subtitles that completely lack the samba beat. A cat with a cool vocabulary should have been turned loose on them.

1.44GB | 1:47:44 | 592×432 | avi

http://nitroflare.com/view/C43DF5517820362/Black_Orpheus.part1.rar
http://nitroflare.com/view/E76945F398767C5/Black_Orpheus.part2.rar

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

Cenk has just arrived back to Istanbul from the United States. Suppressed love slowly begins to resurface after he encounters Ece, a woman whom he had a romantic relationship with in the past. Suddenly, there is a robbery attempt in a quiet and gloomy house, which results in a crime being committed. Ece flees the scene of the crime and in comes Faruk, Cenk’s best friend and Ece’s fiancé. The two best friends struggle to keep their secrets hidden from one another. Intertwining chain of events follow as these three urban lives are put to the ultimate test; their sufferings and disappointments being exposed to the surface for all to see.

3.24GB | 1h 45mn | 1279×674 | mkv

http://nitroflare.com/view/83047B03EB43B1A/Silsile.2014.720p.WEB-DL.H.264.part1.rar
http://nitroflare.com/view/97463574FBE6CFE/Silsile.2014.720p.WEB-DL.H.264.part2.rar
http://nitroflare.com/view/DAA943F03F955EA/Silsile.2014.720p.WEB-DL.H.264.part3.rar
http://nitroflare.com/view/1FE0173F592AF2D/Silsile.2014.720p.WEB-DL.H.264.part4.rar

Language(s):Turkish
Subtitles:English, German

Lonely Kazakh teenager Aslan is bullied at his new school. He prepares himself for a bloody revenge on the school bully Bolat.

1.95GB | 1h 54mn | 1049×552 | mkv

http://nitroflare.com/view/291F058AD1F6075/Lecon_d_harmonie.part1.rar
http://nitroflare.com/view/A8A05413E66D70F/Lecon_d_harmonie.part2.rar

Language(s):Kazakh, Russian
Subtitles:French,English

Synopsis
Si Tous Les Gars du Monde is an entertaining tribute to the ham radio operators of the world. The story begins when a French shipping boat takes on an Arab passenger. While on the high seas, the Arab becomes seriously ill with a communicable disease that threatens the lives of everyone on board. Unable to reach the proper medical authorities, the boat sends out a desperate S.O.S., whereupon several amateur-radio enthusiasts of different nationalities spring into action…

Quote:
Si tous les gars du monde / Devenaient de bons copains / Et marchaient la main dans la main / Le bonheur serait pour demain… Paul Fort’s celebrated poem is powerfully expressed in this cinematic hymn to fraternity, a heart-warming depiction of what might be achieved if mankind could set aside its differences and work for the common good of humanity. Whilst not immune from schmaltz and fanciful naivety, the film delivers its message with considerable charm and vigour. Absurd as its plot contrivances are (the episode in which American and Soviet officers temporarily suspend the Cold War and arrive at an improbable entente cordiale is hard to take seriously), it manages to work both as a gripping suspense drama and as an effective morality tale. The film’s obvious shortcomings (a tendency to stretch credulity to breaking point and a somewhat superficial treatment of racism) are easily forgiven, such is the warmth and sincerity with which the film is crafted.

Quote:
The striking naturalism of the exterior location sequences and the total lack of big name actors give the film a touch of New Wave authenticity – which is odd given that it was directed by Christian-Jaque, one of the great standard-bearers of the quality tradition which the directors of the Nouvelle Vague were so keen to distance themselves from. Christian-Jaque is more closely associated with lavish period dramas such as Fanfan la Tulipe (1952) and Lucrèce Borgia (1953) than contemporary dramas such as this. Equally surprising is the fact that the screenplay was written by Henri-Georges Clouzot, whose own films show a far less rosy assessment of human nature. Prior to this, Clouzot had just made Les Diaboliques (1955), his most viciously cynical portrait of human frailty. Unlikely as it may seem, Clouzot shared something of Christian-Jaque’s unshakeable belief in the inherent goodness of mankind and initially wanted to direct the film himself.

Quote:
One of the most striking things about Si tous les gars du monde, for a major French film of this time, is the absence of a star actor. This was a conscious decision on the part of the production team – a celebrity actor would have stolen the focus and undermined what the film is meant to be about, which is to celebrate the resourcefulness and compassion of the anonymous individual. The cast does include a few recognisable faces – Andrex, a once popular comedic actor reduced to minor supporting roles by the 1950s, Jean-Louis Trintignant, very early in his career, and Georges Poujouly, the child star of René Clément’s Jeux interdits (1952) – but, as in a good war film, it is the ensemble that matters, not individual contributions. Just as we are anxious over the desperate plight of the Breton fishermen (convincingly played by André Valmy and Jean Gaven), we are also moved by the dedication of those who seek to help them, moved and easily inspired to follow their example.

1.37GB | 1:47:19 | 640×480 | avi

http://nitroflare.com/view/16C0576262C28DC/Si.tous.les.gars.du.monde.1956.TVRip.XviD.part1.rar
http://nitroflare.com/view/829957D862890FB/Si.tous.les.gars.du.monde.1956.TVRip.XviD.part2.rar

Language(s):French
Subtitles:French hardcoded for non-French parts,No english subs

A reckless youngster Eun-soo drives to his mother’s and has a car accident. When Eun-soo wakes up, he meets a mysterious girl and is led to her fairytale-like house in the middle of the forest. There, Eun-soo is trapped with the girl and her siblings who never age. Soon he learns all the adults who visited or stayed in the house have met mysterious yet terrible ends. More shockingly, their cruel deaths are drawn in details and made into a fairytale book by the children. Scared Eun-soo tries to find the way out, but the house is secluded in the forest with no way out. Then, Eun-soo discovers a book which tells a brutal end of none other than…himself!

1.45GB | 1h 56mn | 716×464 | mkv

http://nitroflare.com/view/0B5D8958D8AB5A6/Hansel.and.Gretel.2007.DVDRip.x264.part1.rar
http://nitroflare.com/view/74EE2E7EE7BF6D4/Hansel.and.Gretel.2007.DVDRip.x264.part2.rar

Language(s):Korean
Subtitles:English

Quote:
Jennie (Susan Strasberg) travels to San Francisco to locate her hippie brother Steve (Bruce Dern). She meets Stoney (Jack Nicholson) in a coffeehouse and he helps her look for Steve, who Stoney has seen in his various attempts to start a rock & roll band. Stoney and his pals transform the square girl into a swinging hippie chick, complete with a mod miniskirt. Along with their buddy Dave (Dean Stockwell), they search for Steve amidst the psychedelic splendor of the Haight-Ashbury hippie haunts. Dave is killed by a car when he wanders around in an STP-induced stupor. LSD, marijuana, and the good and the bad sides of hippie life are illustrated with non-judgmental accuracy. The soundtrack of the movie is a musical gem, complete with the international smash “Incense and Peppermints” by The Strawberry Alarm Clock. (The group reached the top of the charts with the song in October 1967.) Also on hand are the Seeds, although they don’t get to perform their best-known song, “Pushin’ to Hard.” (Seeds lead singer Sky Saxon would gain as much notoriety as an acid casualty as he would from his musical ability.) Also adding music are the Storybook and Cryque Boenzee. The latter group contained Rusty Young and George Grantham, who would join with former Buffalo Springfield members Richie Furay and Jim Messina from the legendary, long-lived country-rock band Poco. This time-capsulized gem was produced by Dick Clark, the world’s oldest teenager. (Allmovie)

3.05GB | 1h 42mn | 1280×688 | mkv

http://nitroflare.com/view/A162D49E3741727/Psych-Out_-_1968_-_Richard_Rush.part1.rar
http://nitroflare.com/view/94B926079256367/Psych-Out_-_1968_-_Richard_Rush.part2.rar
http://nitroflare.com/view/9C58EB73BD89539/Psych-Out_-_1968_-_Richard_Rush.part3.rar
http://nitroflare.com/view/5BFD3285401B178/Psych-Out_-_1968_-_Richard_Rush.part4.rar

Language(s):English
Subtitles:None

An unpredictable documentary from a fascinating storyteller, Agnès Varda’s next film sheds light on her experience as a director, bringing a personal insight to what she calls “cine-writing,” traveling from Rue Daguerre in Paris to Los Angeles and Beijing.

3.05GB | 1h 42mn | 1280×688 | mkv

http://nitroflare.com/view/ECACBEB70BAFFAE/Varda_par_Agnes.part1.rar
http://nitroflare.com/view/6C66CB1251367CF/Varda_par_Agnes.part2.rar
http://nitroflare.com/view/566D24BEDFB99D9/Varda_par_Agnes.part3.rar

Language(s):French
Subtitles:hardcoded French for non-French part

Quote:
In eastern Ukraine, society begins to degrade as the effects of propaganda and manipulation begin to surface in this post-truth era.

3.50GB | 1h 56mn | 1920×1080 | mkv

http://nitroflare.com/view/FA6150CA6646296/Donbass.2018.1080p.part1.rar
http://nitroflare.com/view/492118468399848/Donbass.2018.1080p.part2.rar
http://nitroflare.com/view/18B47DD2181B4E7/Donbass.2018.1080p.part3.rar
http://nitroflare.com/view/F81DEDE7EA5304B/Donbass.2018.1080p.part4.rar
http://nitroflare.com/view/EE8FA943FCCF1B5/Donbass.2018.1080p.edit4.srt

Language(s):Russian
Subtitles:English

Ivan Vasilyevich Changes Occupation
An unconventional comedy based on M. Bulgakov’s play, “Ivan Vassilevich,” when inventor, Timofeev builds a time machine, things go awry. Tsar Ivan the Terrible comes into the year 1973, while Ivan Bunsha, an apartment complex manager, and George Miloslavsky, a petty burglar, are transferred to 16th century Moscow accidentally.

Maestro of Russian Comedy: Leonid Gaidai
Gaidai Leonid Iovich (January 30, 1923 – November 19, 1993), Russian film director and scriptwriter

The humor of great Gaidai is timeless. His comedies are free from edifying or obtrusiveness, he easily managed to avoid hackneyed cliches and smutty jokes. Phrases from his comedies have become winged and are widely used in Russia till date.

‘A cinema comedy should have as few words as possible, and those words must be laconic, sharp-cut and take an unerring aim’ – Gaidai said, and he was as good as his word.

Leonid Iovich Gaidai was born on January 30, 1923. From 1941 he was in the army in Mongolia. When the war began he was transferred to Kalinin front as a scout, as he had learnt German at school. After a severe wounding he got ‘unfit-for-duty’ and had to return home. In fact he never completely recovered after that wound which actually made him suffer till the end of his life; no one knew about it but for his family. He did not like to complain.

From early age Gaidai was dreaming of stage. In 1947 he graduated from a theatre studio in Irkutsk regional theatre and for several years played on the local stage. Though a shy and clumsy person having difficulties in pronouncing sounds ‘r’ and ‘l’, he was a good actor beloved by the public. In 1949 he entered the film direction faculty of VGIK (The All-Union Institute of Cinematography) where he met actress Nina Grebeshkova to become his wife and spend all life with him.

Though at the beginning of Gaidai’s creative life he was supported by well-known masters of Soviet cinema, such as Ivan Pyriev and Mikhail Romm, his way in cinema was far from simple.

‘Bootleggers’ (1961) (Yuri Nikulin, Evgeny Morgunov, Georgy Vitsin)The year 1961 saw Gaidai’s short-length film that proclaimed the birth of an outstanding comedy film director. It was a nine-minute long ‘Pyos Barbos i Neobychny Cross’ (Dog Barbos and Unusual Race), an unpretentious comedy that originated the unique phenomenon of three super popular mask-characters of the Soviet cinematography: Balbes (“Booby”, played by Nikulin), Trus (“Coward”, played by Vitsyn) and Byvaly (“Stager”, played by Morgunov). They also appeared in Gaidai’s next short-length comedy ‘Bootleggers’ (1962) filmed on the tide of Dog Barbos’ success.

Leonid GaidaiIn 1963 Gaidai creates the full-length comedy ‘Business People’ starring Yuri Nikulin, G. Vitsyn, A. Smirnov, R. Plyatt and the novelette ‘The Ransom of Red Chief’ after O. Henry’s story, which becomes a masterpiece of Soviet comedy. However it was the year 1965 that opened the so-called ‘Gaidai’s golden decade’ with the release of ‘Operation Y and Other Shurik’s Adventures’ starring Alexander Demyanenko. The comedy at once gained people’s love and popularity that somehow last till date. ‘Kidnapping Caucasian Style’ (1966) continuing the adventures of nice and amusingly touching Shurik won still greater love of the public. Spectators were happy to see the funny trio of Booby, Coward and Stager again in these two kind comedies sparkling with good humour. Lots of expressions from those comedies at once became winged.

‘The Diamond Arm’ (1968) (Yuri Nikulin and Andrey Mironov) The next comedy was ‘The Diamond Arm’ (1968), a gripping ironic detective story with unforgettable Yuri Nikulin, Andrei Mironov and Anatoly Papanov.

In 1971 Gaidai creates a screen version of Ilf and Petrov’s popular novel ‘Twelve Chairs’. The film director acknowledged not once that this comedy turned one of his most favorite movies.

Leonid GaidaiAnother undoubted masterpiece by Gaidai is ‘Ivan Vasilyevich Changes Occupation’ (1973) after Bulgakov’s play. The main roles in this fantastic comedy are played by Yuri Yakovlev and Leonid Kuravlev.

The 1980s saw Gaidai’s creative force gradually fading. However the satirical comedies ‘Borrowing Matchsticks’ and ‘Sportloto-82’ are really talented works marked by the brilliant acting of Mikhail Pugovkin, Evgeny Leonov and Vycheslav Nevinny.

In the shaky years of perestroika with its upheavals and uncertainty it was very difficult to create something worthy and Gaidai seems to have had difficulties in adapting to the changed situation. His last comedies are still funny but not as powerful as his earlier works.

In 1993 Leonid Gaidai fell ill with pneumonia and died in the hospital on November 19. His death appeared a sad outcome of his creative wearing out during the last years. Right after Gaidai’s going away reappraisal of his creations started and he was finally acknowledged an indisputable classic and a unique master of Soviet eccentric and satiric comedy.

1.17GB | 01:27:55 | 512×384 | avi

http://nitroflare.com/view/0A2C48B9FE60B68/menyaet_professiyu_-_USSR_-_L._Gaidai.part1.rar
http://nitroflare.com/view/07397033BFD9629/menyaet_professiyu_-_USSR_-_L._Gaidai.part2.rar

Language(s):Russian
Subtitles:English, Spanish, French and German .srt

After the defaet in the Prussian war, famine and riots exploded in Paris. The wife of Lui Ru, a carpenter, could no longer stand proverty, left her son with his father and eloped to Versailles with a butcher. Lui died on the barricades. His comrades got executed. Lui’s son was among those executed. For the sake of his own entertainment the officer aimed at the pipe that Lui’s son was holding in his mouth and shot him to death.

500MB | 00:46:59 | 512×400 | avi

http://nitroflare.com/view/E2511B5825A3F5D/Komunaris_chibukhi.avi
http://www.nitroflare.com/view/0B64D1DE98824EE/The_Communard__s_Pipe.srt

Language(s):Silent, Russian & French intertitles
Subtitles:English

The art film by Luciano Emmer: the camera explores the figurative worlds of Giotto, Bosch, Carpaccio, Leonardo, Michelangelo, Picasso. First edition on DVD of a valuable asset for art history and Italian cinema.
This two-DVD boxset presents, collected for the first time, a wide selection of art films made by Luciano Emmer (1918-2009). Emmer, screenwriter and director, is the author of films that told with delicacy and humor about Italy in the Fifties (Domenica d’agosto, Terza liceo) and one of the inventors of TV commercials; especially personal and meaningful is his work on art documentaries, awarded all over the world.

From the pioneering Giotto of Racconto da un affresco to Bosch’s Paradiso terrestre, from Carpaccio’s Leggenda di sant’Orsola to Goya, Leonardo, Michelangelo, Picasso, the films of Emmer produce a progressive and exciting approach to the work of art, faithful to the principle that there is a scientific way to shoot the works and there is one “that could be called poetic,” and that admits an intimacy with the works would not otherwise be experienced. It is in their refusal to provide a reading of academic art history, that these films are not only exciting cinematic experiences, even unusual, valuable introductions to the world of figurative art.

Contains:
1946 – 1966
– Racconto da un affresco (1946)
– Paradiso terrestre (1946)
– Il cantico delle crature (1943)
– Guerrieri (1943)
– Destino d’amore, ovvero, piccolo mundo al platino (1942)
– I fratelli miracolosi (1949)
– L’invenzione della croce (1948)
– L’allegoria della primavera (1948)
– La leggenda di Sant’Orsola (1948)
– Isolle nella laguna (1948)
– Romantici a Venezia (1948)
– Romantici a Venezia Cocteau (1948)
– Goya. La festa di Sant’Isidoro; I disastri della guerra (1950)
– Leonardo da Vinci (1952)
– La sublime fatica (1966)
– Il dramma di Cristo narrato da Giotto (1966)

2000 – 2009
– Incontrare Picasso (2000)
– Nostalgie (2001)
– I magici colori di Napoli (2004)
– La paz y la guerra (2009)
– Le carceri di invenzione (2009)

Extras
– Interview to Roman Vlad
– Scherzo su Giotto
– Passeggiate con Luciano

http://nitroflare.com/view/66F8BA3E62B9E5B/Luciano_Emmer_-_Parole_dipinte_%281946-1966%3B_2000-2006%29.part1.rar
http://nitroflare.com/view/1C017C47724C448/Luciano_Emmer_-_Parole_dipinte_%281946-1966%3B_2000-2006%29.part2.rar
http://nitroflare.com/view/90D841594B16FAD/Luciano_Emmer_-_Parole_dipinte_%281946-1966%3B_2000-2006%29.part3.rar
http://nitroflare.com/view/B71220E9CBF8F4F/Luciano_Emmer_-_Parole_dipinte_%281946-1966%3B_2000-2006%29.part4.rar
http://nitroflare.com/view/BF729BF0B08EF22/Luciano_Emmer_-_Parole_dipinte_%281946-1966%3B_2000-2006%29.part5.rar

Language:Italian
Subtitles:English, Spanish .srt