A deadpan, picaresque buddy comedy about two old friends through a series of urban adventures, loosely connected by the skull of an executed French aristocrat. Winter Song is a typically irreverent Iosselianian jaunt through a classy Paris apartment block contemplating the past, present and future.
by Busan International Film Festival

Iosseliani was born in Tblisi, Georgia, in 1934, and he was trained in music at the Tblisi conservatory until 1953, after which he lit off for the University of Moscow to study math—both early vocations would crucially inform his future practice. He next proceeded to the VGIK film school which, during the smothering years in which Socialist Realism was the official aesthetic of the Soviet-influenced world, had become a hotbed of dissident thought. After achieving an international reputation with such films as Falling Leaves (67) and There Once Was a Singing Blackbird (71), Iosseliani emigrated to France in search of greater creative freedom, re-establishing himself after one of the periodic hiatuses which would characterize his career with 1984’s Favorites of the Moon (Les Favoris de la lune). Tending towards the use of a withdrawn, observational perspective and the patient development of minutely-calibrated non-gag gags, Iosseliani works in a mode which we might indulge in calling Tati-esque, if only to give the vaguest idea of how his films play. This shorthand, however, fails to account for Iosseliani’s occasional incursions into the realm of fairy tale logic—as in a moment in Chant d’hiver when a passage which appears magically in a grotty suburban wall opens onto an Arcadian grove—or his peculiar political perspective, a sort of bemused outrage.

Chant d’hiver (“Winter Song”) opens with two juxtaposed prologues—one set during the Post-Revolutionary Terror in Paris, another during what is presumably the 2008 Russo-Georgian War—then settles in to focus on the comings and goings of the various residents of a Parisian apartment building and their tertiary acquaintances, most prominently the concierge, Rufus, who carries on a sideline of trading bazookas for antiquarian books. The ensemble includes Enrico Ghezzi, playing a down-at-the-heels gentryman whose family keep is about to become property of the state, Mathieu Amalric as a tramp constructing his own shelter from stray rubble which he will decorate with his family’s promissory notes as a finishing touch, and the actor-director Pierre Etaix, a Jeff to Rufus’s Augustus Mutt. Add to this a band of roller-skating pickpockets, a police chief with the profile of Della Francesca’s Duke of Urbino, and a hobo being pancaked, Looney Tunes–style, by a steamroller that may as well be ACME brand, and you have a small sense of Iosseliani’s quiet-yet-bustling film, which has something like the perspective of the world observed from a park bench. – by Nick Pinkerton

2.53GB | 1 h 56 min | 1280×720 | mkv

http://nitroflare.com/view/07FD2230415D056/Chant.dhiver.2015.720p.WEB-DLRip.part1.rar
http://nitroflare.com/view/46ABEE3AB28EAC3/Chant.dhiver.2015.720p.WEB-DLRip.part2.rar
http://nitroflare.com/view/361EA5173910296/Chant.dhiver.2015.720p.WEB-DLRip.part3.rar
http://nitroflare.com/view/B6A0D3D3583B041/Chant.dhiver.2015.720p.WEB-DLRip.eng.srt

Language:French
Subtitles:English

Quote:
Herzog takes a film crew to the island of Guadeloupe when he hears that the volcano on the island is going to erupt. Everyone has left, except for one old man who refuses to leave. Herzog catches the eeriness of an abandoned city, with stop lights cycling over an empty intersection.

588MB | 29 min 48 s | 762×572 | mkv

http://nitroflare.com/view/2A58F94A23361ED/La_Soufriere_%281977%29.mkv

Language:English
Subtitles:None

Quote:
Kaul’s film addresses the writings of Gajanan Madhav Muktibodh (1917-79), one of the main representatives of the Nai Kavita (New Poetry) movement in Hindi. Muktibodh also wrote several short stories, one of which provides the film with its title, and critical essays. The film integrates episodes from Muktibodh’s writings with material from other source, including a reinvented neo-realism derived from Muktibodh’s literary settings. The narrative is constructed around 3 characters. Ramesh (Gopi) iis one who speaks and enacts Muktibodh’s writings, functioning as the first-person voice of the text; his two friends, , Madhav (Jha) and Keshav (Raina), are Ramesh’s antagonists and interlocuters esp. in the debates about modernity. Kaul gradually minimizes the fictional settings until, in the remarkably shot sequences of the factory, the audience is directly confronted with the written text itself. Kaul had begun his studies of Dhrupad music, the classical North Indian music known mainly for its extreme austerity, and derived a number of cinematic styles from this musical idiom which have continuously influenced his films since, e.g. the continuously mobile camera, the use of changing light patterns and the importance of improvisation.

1.37GB | 1h 46mn | 720×544 | avi

http://nitroflare.com/view/1EEA69F394CF115/Satah_Se_Uthata_Aadmi_1.avi
http://nitroflare.com/view/CBD38BCEE750383/Satah_Se_Uthata_Aadmi_1.srt
http://nitroflare.com/view/F826D3BB9361838/Satah_Se_Uthata_Aadmi_2.avi
http://nitroflare.com/view/5CE9DFD32F6DBF7/Satah_Se_Uthata_Aadmi_2.srt

Language:Hindi
Subtitles:English

The world’s first trial against German war criminals took place in Kharkov in December 1943.
Trial opened 15th December – 18th December defendants were executed.

The film covers the trial of three Germans and one Russian:
Corporal of German Secret Field Police Reinhard Retzlaw.
Captain of the German Military Counter-Espionage Service Wilhelm Langheld.
SS Obersturmbannführer, Company Commander of the SD Sonderkommando Hans Ritz.
Collaborator, assitant to SD Sonderkommando, driver of the “gas van” Mikhail Bulanov.

In the presence of 40 thousand Kharkov citizens, the criminals were hanged on the Blagoveshchensk market, where the invaders themselves had previously carried out mass executions.

Units of the German Wehrmacht first occupied Kharkov on 23/24 October 1941. German forces, including the Einsatzgruppen (mobile death squads), killed tens of thousands of Jews, as well as Communists, Soviet prisoners of war, and other “undesirables”.
Shooting, hanging, and gas vans were used. Fifteen thousand Jews were murdered on 15 December 1941 in a mass shooting in Drobytsky Yar.
By the time that Kharkov was liberated in August 1943, virtually no Jews survived in the city.

272MB | 50 min 41 s | 640×480 | mkv

http://nitroflare.com/view/9B8826AF479CA79/The.Court.is.in.Session.%28Sud.idyot%29.1943.mkv
http://nitroflare.com/view/06486874276B4D1/The.Court.is.in.Session.%28Sud.idyot%29.1943.srt

Language:Russian / German
Subtitles:English

Quote:
THE WAR, a seven-part documentary series directed and produced by Ken Burns and Lynn Novick, explores the history and horror of the Second World War from an American perspective by following the fortunes of so-called ordinary men and women who became caught up in one of the greatest cataclysms in human history.

Quote:
Creating epic documentaries about war is nothing new for Ken Burns, nor is the subject of the Second World War, which never ceases to be a popular subject of films and TV shows. Yet with The War, Burns has definitely succeeded in breaking new ground, exploring in depth the effect of the war on common Americans, and not just the soldiers of The Greatest Generation that fought it.

As the narration says at the beginning, “The war affected people in every house, on every street in every town in America.” This is nothing less than an attempt to show how the war altered the lives of an entire nation through the portrayal of four individuals from four communities–Waterbury, Connecticut; Mobile, Alabama; Luverne, Minnesota; and Sacramento, California–that could represent any town in the country that went through the war. The result is another stunning achievement for Burns and co-director Lynn Novick.

Together the film-making team succeeds in bringing the war home through the testimonies, letters, and footage of the people from these towns. The storytelling is compelling–Burns and Novick manage to find the most vivid, intimate, and personal dimensions of a global catastrophe–and brought to life with exceptional voice work from marquee stars like Tom Hanks, Alan Arkin, and Samuel L. Jackson. Much of the footage is brilliantly restored; even the most die-hard History Channel buff will see clips here that they’ve never viewed before.

Many old grainy family films look almost as clean and bright as if they were just shot using a modern camera with black-and-white film (keeping in mind that most of the footage was shot without sound, the audio effects work on The War is particularly impressive and should bring attention to the under-appreciated work of the foley artist). It took Burns and Novick six years to make this seven-part, 15-hour film–not surprising, really, considering the miles of footage they must have accumulated in the course of their research–and the time and effort shows in the results.

13.72GB | 14 h 37 min | 849×478 | mkv

http://nitroflare.com/view/D069767C74C2E0A/The_War%282007%29_Ep1.mkv
http://nitroflare.com/view/E78E5E12173400E/The_War%282007%29_Ep2.mkv
http://nitroflare.com/view/F3ABE3B61989CA3/The_War%282007%29_Ep3.mkv
http://nitroflare.com/view/CC91AEEF44CA907/The_War%282007%29_Ep4.mkv
http://nitroflare.com/view/4C5EB5518E0611A/The_War%282007%29_Ep5.mkv
http://nitroflare.com/view/84EA3DFE4D7A41B/The_War%282007%29_Ep6.mkv
http://nitroflare.com/view/02849A90138AC34/The_War%282007%29_Ep7.mkv

Language:English
Subtitles:English

Rocha’s first film, a denunciation of exploitation and the superstition that helps maintain it; an exploration of ‘macumba’, the mixture of Christianity and African tribal religion whose superstition aids the successful subjugation and exploitation of the fishermen in the Bahia province.

Review from NY Times:
LEAD: ”BARRAVENTO” (”The Turning Wind”), opening today at the Public Theater, is the first feature by the highly regarded Brazilian director Glauber Rocha, who died at the age of 42 in 1981. The film, made in 1961, is about the efforts of Firmino, part revolutionary, part devil, to free the fishermen in his native

”BARRAVENTO” (”The Turning Wind”), opening today at the Public Theater, is the first feature by the highly regarded Brazilian director Glauber Rocha, who died at the age of 42 in 1981. The film, made in 1961, is about the efforts of Firmino, part revolutionary, part devil, to free the fishermen in his native Bahian village from capitalist exploitation and the religious superstition that prevents social change.

”Barravento” is an exceptionally beautiful work, shot in the dramatically filtered, black-and-white photography associated with Eisenstein’s ”Que Viva Mexico!” and Flaherty’s ”Moana.” In its use of dance and song within – and as comment on – the narrative, it parallels a number of films by Rocha’s associates in Brazil’s CinemaMNovo movement. Even the fights are choreographed as if they were ballets.

It’s also a far more tidy, far less flamboyant work than Rocha’s later films, including ”Antonio das Mortes” (1968). These are so lavish in their use of legend, left-wing politics and obscure mysticism that they tend to be more popular at film festivals than with ordinary audiences.

There’s nothing obscure about ”Barravento.” It’s poetic but also completely straightforward in its revolutionary concerns. Antonio Sampaio cuts a striking, sinuous figure as the comparatively sophisticated Firmino, who moves through the film as if he were a politically committed Sportin’ Life. Nelson Pereira dos Santos, another notable Cinema Novo director (”Vidas Secas,” ”Amulet of Ogum”), acted as film editor for Rocha on ”Barravento.” POETIC POLITICS BARRAVENTO, directed by Glauber Rocha; script (Portuguese with English subtitles) by Rocha, Luis Paulino dos Santos and Jose Telles de Magalhaes; photography by Toni Rabattoni and Valdemar Lima; edited by Nelson Pereira dos Santos; produced by Braga Neto and Rex Schindler; production company, Iglu Films. At Public Theater, 425 Lafayette Street. Running time: 76 minutes. This film has no rating.

1.19GB | 1 h 17 min | 720×540 | mkv

http://nitroflare.com/view/096B4A4D5A44812/Barravento.1962.DVDRIP.x264.AC3.KJNU.part1.rar
http://nitroflare.com/view/D31389BC18B7E6D/Barravento.1962.DVDRIP.x264.AC3.KJNU.part2.rar

Language:Portuguese
Subtitles:English, Spanish, French, Portuguese

Quote:
Tula, the titular aunt is raising the children of her recently-deceased sister, alongside her brother-in-law Ramiro. She is austere and somewhat bossy, but the kids accept her as the replacement for their mother. Ramiro struggles being cooped up with her in their chaste relationship -he suggests they become man and wife, scandalizing Tula. But amid an atmosphere of Catholic hypocrisy -her priest recommends she marries Ramiro and never deems to criticize his unwanted advances to her- and unspoken patriarchy (her female peers all see marriage as their goal in life) she begins to wilt -only, too slowly for the lusty Ramiro, who matter-of-factly precipitates a devastating conclusion to their arrangement.

2.21GB | 1 h 48 min | 1024×552 | mkv

http://nitroflare.com/view/2BDF1B2848032CA/Miguel_Picazo_-_%281964%29_Aunt_Tula.part1.rar
http://nitroflare.com/view/4C9B2B0BD05A026/Miguel_Picazo_-_%281964%29_Aunt_Tula.part2.rar
http://nitroflare.com/view/68B502A0AE8FEA0/Miguel_Picazo_-_%281964%29_Aunt_Tula.part3.rar

Language:Spanish
Subtitles:English

Synopsis:
A woman is taken to a mysterious clinic whose patients have a mental disorder in which their memories and identities are disintegrating as a result of a strange environmental accident.

Review:
When producer Andre Samarcq proposed that Rollin shoot yet another hardcore feature for him, Rollin countered with an offer to shoot a “real movie” for the same amount of money, quickly writing this script and filming it over nine days. Although compromised by budget and schedule limitations, this is one of Rollin’s most interesting films, reminiscent of early Cronenberg (especially the experimental features Stereo and Crimes of the Future) with its depiction of a group of people suffering from a mysterious sickness which is gradually destroying their capacity to remember, and eventually to think and function in any way. The central role of Elisabeth provides Brigitte Lahaie with her most substantial part of the many she played for Rollin, and her performance as a woman conscious that she is gradually losing not simply her memory, but her entire identity is subtle and moving. Given Rollin’s repeated use of memory as a key theme in many of his films, there’s something particularly disturbing about its obliteration here and the film’s climactic echoes of the Holocaust and its final tentative, fragile intimation of the survival of human feeling even when the mind and personality are lost, provides one of the most affecting moments in all his work. (Extras include a brief introduction and two very short interview clips with Rollin, plus a couple of short softcore sex scenes he shot to boost the film’s commercial appeal; when the movie proved a financial failure, the producer shot and inserted some hardcore scenes against Rollin’s wishes, pushing the ambitious project back into the porn ghetto the director had been trying to escape.)
— kgeorge (Cagey Films).

2.22GB | 1h 31mn | 962×576 | mkv

http://nitroflare.com/view/B74F8A2A5C8B4CA/La.nuit.des.traquees.1980.576p.BluRay.AAC.x264-HANDJOB.part1.rar
http://nitroflare.com/view/9FCD4B97D8E898E/La.nuit.des.traquees.1980.576p.BluRay.AAC.x264-HANDJOB.part2.rar
http://nitroflare.com/view/BE823C709B07DC6/La.nuit.des.traquees.1980.576p.BluRay.AAC.x264-HANDJOB.part3.rar

Language:French
Subtitles:English (muxed)

Synopsis:
Colonel Loring Leigh, British Indian Army, appears to have issued an order that cost 90 lives. Cashiered, he returns home, tells his sons of a conspiracy by an arms syndicate to supply the rebels…then is found dead, an apparent suicide. To clear their father, the four sons must globetrot in a hazardous search for evidence, closely followed by Geoffrey’s sweetheart Lynn Cherrington.

1.40GB | 1h 25mn | 778×568 | mkv

http://nitroflare.com/view/58D472622AE8C43/Four_Men_and_a_Prayer_%281938%29_–_John_Ford.part1.rar
http://nitroflare.com/view/7EBB727C21B7282/Four_Men_and_a_Prayer_%281938%29_–_John_Ford.part2.rar

Language:English
Subtitles:English, Spanish (muxed)

Synopsis:
‘Sabotage of a Nazi factory is carried out by the husband of the lover of a resistance leader.’
– BFI

2.31GB | 1 h 23 min | 1920×1080 | mkv

http://nitroflare.com/view/9849752CC3406F2/Den.Usynlige.Haer.1945.DANiSH.1080p.WEB-DL.x264-BoHNeN.part1.rar
http://nitroflare.com/view/B73FB760B370000/Den.Usynlige.Haer.1945.DANiSH.1080p.WEB-DL.x264-BoHNeN.part2.rar
http://nitroflare.com/view/677884AD6EB6401/Den.Usynlige.Haer.1945.DANiSH.1080p.WEB-DL.x264-BoHNeN.part3.rar
http://nitroflare.com/view/2D9C1216AA75E01/Den.Usynlige.Haer.1945.DANiSH.1080p.WEB-DL.x264-BoHNeN.srt

Language:Danish
Subtitles:English

Quote:
Routine Pleasures makes of its investigation of “men and imagination” in 1980s America “a small-scale epic,” in Gorin’s words, a remake of Only Angels Have Wings (Howard Hawks, 1939). Gorin’s principal subject is a group of model train enthusiasts who meet weekly at the Del Mar Fairgrounds in Southern California: their miniature landscapes preserve a lost, perhaps illusory America, and their obsession curiously entwines work and childhood. Gorin weaves this subject with another: his friend and mentor Manny Farber. Farber doesn’t appear, except in photographs; but his paintings and words (and such preoccupations as Jimmy Cagney) do; and Gorin, again assuming the persona of bemused investigator, shuttles between these strands with effortless ingenuity. The film’s intersecting narratives function like the crossing tracks of the train set, or the lines of force of Farber’s paintings, establishing nodes of resemblance and resonance; and all the while Gorin assesses American identity, its experience of geography and frontier, of masculinity, of history, of the relation of private and collective. Like Poto, Routine Pleasures is notable for its lightness and charm, although the polyphony here is if anything more intricate than in its predecessor. One should also mention Babette Mangolte’s excellent cinematography, marvellously nuanced both in black and white and in color. For Routine Pleasures, Gorin won the award for Best Experimental Documentary at the Festival dei Popoli in Florence.

1.20GB | 1h 20mn | 720×540 | mkv

http://nitroflare.com/view/7187BA46C198133/Jean-Pierre_Gorin_-_%281986%29_Routine_Pleasures.part1.rar
http://nitroflare.com/view/B1189C4686DFDA2/Jean-Pierre_Gorin_-_%281986%29_Routine_Pleasures.part2.rar

Language:English
Subtitles:English

Synopsis:
The story of three close friends who are involved in a love-triangle.

7.65GB | 1 h 40 min | 1920×1040 | mkv

http://nitroflare.com/view/4C2AC5AB30924CE/Heartbeats.2010.1080p.BluRay.x264-FUTURiSTiC.mkv

Language:French, English
Subtitles:English, French (Muxed)

Quote:
Not really epic material, this is a fated romantic drama (a typically French quality) set against the exotic background of the Foreign Legion and, actually, a remake of Jacques Feyder’s 1934 film LE GRAND JEU.

The plot involves a successful young lawyer (Jean-Claude Pascal) who, due to a shady deal, finds himself penniless and separated from his wife (Gina Lollobrigida). Stranded in Algeria, he’s persuaded to join the Foreign Legion where he befriends a couple of similar losers (played by Raymond Pellegrin and Peter van Eyck). All three lodge in the tavern run by an ageing fortune-teller (Arletty) and occasionally go out in search of a good time with the local girls eventually meeting up with one who’s a dead-ringer for Lollobrigida! Soon, the buddies fall out over her (and one of them even winds up dead, an event which Arletty had actually predicted!) though the girl, naturally, is drawn to the hero (even if her sweet-natured character differs from that of his materialistic wife). At the end, Pascal does run into the latter and discovers that they have nothing more in common which, therefore, gives him free rein to start life over with his new-found love.

This was one of the first international efforts Siodmak made following his spell in Hollywood (to which he returned sporadically thereafter). Consequently, while his best work may have been behind him, the director manages to lend a reasonable amount of style to the melodramatic (even unlikely) proceedings.
imdb user

1.63GB | 1 h 38 min | 745×576 | mkv

http://nitroflare.com/view/A227741B59FC533/Le_grand_jeu_%28Robert_Siodmak%2C_1954%29.part1.rar
http://nitroflare.com/view/18DE827CE94AAAD/Le_grand_jeu_%28Robert_Siodmak%2C_1954%29.part2.rar
http://nitroflare.com/view/990D4B657D4B125/LeGrandJeu1954.srt

Language:French
Subtitles:English,French

Quote:
The husband and wife team of director Jules Dassin and actress Melina Mercouri, who first enjoyed international success with the comedy Never on Sunday, collaborated for the last time on this powerful drama. Maya (Melina Mercouri) is a famous actress who is returning to the stage for a production of the classic Greek tragedy Medea, in which she will play the title character, a mother who murders her children. Kostas (Andreas Voutsinas), Maya’s former lover, will be directing Maya in the production, and when he discovers that Brenda (Ellen Burstyn), an American woman, is housed in a nearby Greek prison for killing her offspring, he suggests that Maya should meet Brenda as a means of better understanding her character. Maya agrees, and their tense and emotional conversation is cross cut with the taxing rehearsals and performance of Medea. While A Dream Of Passion marked the last time Dassin directed Mercouri, they later appeared together in Keine Zufallige Geschichte, a documentary about their life and work. ~ Mark Deming, All Movie Guide

1.43GB | 1:39:45 | 672×504 | avi

http://nitroflare.com/view/113B625D75929A1/Kravgi_gynaikon_aka_A_Dream_of_Passion_%28Jules_Dassin%2C_1978%29.XVID.part1.rar
http://nitroflare.com/view/AEC66DDE6D9F779/Kravgi_gynaikon_aka_A_Dream_of_Passion_%28Jules_Dassin%2C_1978%29.XVID.part2.rar

Language:English, Greek
Subtitles:Greek Hardsubbed

Quote:
Philippe Seigner, a charming business school graduate from the French Pyrenees, starts his career in business consulting at the posh Paris seat of McGregor. His first serious task is a delicate one, an audit at the Janson food cans factory in the provinces, which is about to be taken over. As he soon realizes, this will mean sacking about 80 employees, as his boss Hugo Paradis knew from the start. However, his Paris girl friend reproaches him collaborating with ruthless capitalism, as if any of the downsizing could be stopped or mitigated by him bowing out. Nevertheless, as he gets to knew the threatened staff better he considers risking his career when his boss orders him to chose who should go. Meanwhile the factory staff starts realizing what’s about to happening.

1.40GB | 1 h 35 min | 854×462 | mkv

http://nitroflare.com/view/E253C073910B034/Work.Hard.Play.Hard.2003.DVDRip.x264-HANDJOB.part1.rar
http://nitroflare.com/view/15DB48C5EF23A25/Work.Hard.Play.Hard.2003.DVDRip.x264-HANDJOB.part2.rar

Language:French
Subtitles:English, Spanish, Portuguese

Dalí considered Luminous Procuress ‘a work of genius’. Featuring members of legendary San Francisco performance troupe The Cockettes, the film was directed by the artist and filmmaker Steven Arnold, a muse and model of Dalí’s. Dalí always referred to Arnold as his ‘prince’, and allegedly co-produced (or at least partly funded) the film, for which he held an elaborate screening at the St. Regis Hotel in New York. Andy Warhol and numerous luminaries of New York society attended the spectacular event, and Dalí projected the film upside down, backwards and sideways. The Village Voice called the film ‘a tour de force of the imagination – a journey through peekboxes of naked tableaux, theatres of mechanical dreams, feasts of monsters and piles of humanity.’

1.46GB | 1h 13mn | 640×480 | avi

http://nitroflare.com/view/FE8CFBFB927924A/LuminousProcuress.part1.rar
http://nitroflare.com/view/8966FB0466541C3/LuminousProcuress.part2.rar

Language:English
Subtitles:None

Bergman’s staging of an opera based on the last great play of the Greek dramatist, Euripides.

Quote:
This was a TV version of the staged opera from 1991, a transposition of Euripides’s classical drama written for an amphitheatre into a performance designed for the most intimate of stages, the TV screen. ‘The whole production was suffused with the total professional knowledge of a master from the first image to the last. A Greek TV drama of world class’ [Hela uppsättningen genomströmmades från första bilden till den sista av den totala yrkeskunskapen hos en mästare. Ett grekiskt TV drama av världsklass], wrote one reviewer (Kaplan). Bergman’s imagery and composer Börtz’s music reinforced each other, and their work was, according to critic Leif Aare, ‘not an opera so much as an optimal interpretation of Euripides’s drama’ [inte en opera så mycket som en optimal tolkning av E’s drama]. Another critic (Lundberg) felt, however, that Bergman’s TV version of The Bacchae was closer to his own cinematography of the 1950s than to classical Greek drama.
-Birgitta Steene, Ingmar Bergman, A Reference Guide.

Quote:
“It is easy to see why Bergman, who has always been concerned with the intermingling of psychological and metaphysical issues, has felt attracted to this ritual drama, the impact of which is clearly sensed in his films Evening of the Jesters and The Face, even more strongly, in his television play The Ritual. Already in 1960, he declared that “Art lost its basic creative drive the moment it was separated from worship”. He has often described himself as someone whose creativity emanates from the tension between subconscious drives, often expressed in the form of dreams, and a rational sense of order, a tension that is at the heart of Euripides’ play with its conflict between ratio and instinct, between the Apollonian and Dionysian principles.”
-Bergman’s Muses by Egil Tornqvist

1.47GB | 2h 15mn | 384×288 | mkv

http://nitroflare.com/view/845671717A0ECFF/Backanterna.1993.part1.rar
http://nitroflare.com/view/1D24F000B307C69/Backanterna.1993.part2.rar

Language:Swedish
Subtitles:Swedish hardcoded

Quote:
At the climax of the spirited teen gangland film, one that unevenly blends together nostalgia and a story of urban angst, Bob Dylan’s “The Times They Are A-Changin'” blares out of a Folk City club and signals the beginning of a possibly new enlightened era for the country. The episodic rock’n’roll film passionately directed by Philip Kaufman (“The White Dawn”/”The Right Stuff”/”Quills”) is good at getting at the symbolic changes that took place in its Bronx, Fordham Road, setting, in 1963, and the swagger of teen gangs and their problematic upbringing and aimless street-life existence, but its character depictions, gang rumbles and racial healing scenes are pure Hollywood hokum. The crudely entertaining cultish comedy/drama, strongly driven by a great golden oldies score (including songs such as Smokey Robinson & The Miracles’ “You Really Got A Hold On Me,” The Contours’ “Do You Love Me,” the Shirelles’ “Soldier Boy,” and the Surfaris’ “Wipe Out”), is based on the novel by Richard Price and is co-written by Kaufman and his wife Rose.

The Wanderers are a tame Bronx gang in the fall of 1963, who are all Italian high school students and are garbed in gang uniform satin baseball jackets. The gang has a strong sense of camaraderie, and have a whistle call to sound the alarm to round up members when there’s danger. The gang exists to give them firepower against tougher turf rivals like the older head-shaven Fordham Baldies, the black gang called the Del Bombers and the toughest Bronx gang called the Ducky Boys. Also to socialize with Italian girls, to give them a sense of identity and a protective outlet for their macho behavior. Richie (Ken Wahl) is a knuckle-head, but seems to be the most likable and together gang member and their apparent leader. Other members include Joey (John Friedrich), a punky loud-mouth, whose father Emilio (William Andrews) is an abusive bully; Turkey (Alan Rosenberg), a weasel-like big-talker who shaved his head in hopes of joining the Baldies; and new to the neighborhood via Trenton, NJ, the mysterious 19-year-old kind-hearted tough guy named Perry (Tony Ganios), who is recruited into the gang.

The action takes place in vignettes and has a number of set pieces that include: the Baldies and their giant leader Terror (Erland Van Lidth De Jeude) going after Joey for calling them names, and the frightened Joey saved from a beating by Perry; a classroom fight unintentionally instigated during a lesson on racial tolerance by inept teacher Mr. Sharp (Val Avery) between the ‘coloreds’ and the Italians; A bowling alley pay back of bowling hustlers by the adult Mafia members led by Chubby Gelasso (Dolph Sweet), who resents that The Wanderers were previously hustled by pros in disguise; on the street, The Wanderers copping feels from big-breasted women by bumping into them; a party for The Wanderers in the home of Richie’s girlfriend Despie Galasso (Toni Kalem), where Richie’s new girl of interest is the bohemian Nina (Karen Allen) who shows up and makes the hostess jealous; a strip-poker game among Richie and his two girls of interest; the Baldies when drunk being tricked into enlisting in the Marines by an amoral recruiter (Burtt Harris); a rumble on the football field between the Ducky Boys and the unlikely allies of the black Del Bombers led by Clinton (Michael Wright), The Wanderers and the Asian martial-arts gang called the Wongs. Their motto is classic: ‘Don’t fuck with the Wongs.’ All the nostalgia for the 1950s rock’n’roll and macho attitude ends with the Kennedy Assassination and the anthem song of the period prior to 1963, Dion’s The Wanderer, sung now as a golden oldie.

The cartoonish violent film makes no social comments on the events of the day, as it just sticks to having fun with this group of mostly meatheads and lets us see tenement life back then as a dead-end existence and how easily violence is passed on to the next generation. Its message is that for those unable to change their ways and discover a better way of living, there’s only the same old thing awaiting them. What the film couldn’t do was make its characters inspiring or the set piece situations from being mostly tasteless or the gang depictions to be more convincing. If you want to get a truer and deeper picture of this neighborhood scene, you would have to read the more observant book.

2.42GB | 2h 3mn | 1024×576 | mkv

http://nitroflare.com/view/E59345B9684D607/Philip_Kaufman_-_%281979%29_The_Wanderers.part1.rar
http://nitroflare.com/view/DE341D26873E7AB/Philip_Kaufman_-_%281979%29_The_Wanderers.part2.rar
http://nitroflare.com/view/737B1F6DD7703BA/Philip_Kaufman_-_%281979%29_The_Wanderers.part3.rar

Language:English
Subtitles:English

Summary:
Coming back from an extended business trip, Frank discovers that his girlfriend Janie is now working at a new resort hotel where the owner has given her a permanent place to stay, as well as other gifts, in exchange for her affections. In the course of fighting over this development, tensions between Frank and Janie escalate out of control until he is holding her hostage in a standoff with the police. As the negotiators try to talk Frank into giving himself up, the desperate man feels himself being pushed further and further into a corner.

699MB | 1h 42mn | 512×384 | avi

http://nitroflare.com/view/2D28635069351B3/Tomorrow_Never_Comes_%281978%29.avi

Language:English
Subtitles:None

Quote:
A scientist & inventor in 1907, Dr Plonk, predicts that the world will end in 101 years, unless something is done about it. A comedy in the Charlie Chaplin / Buster Keaton tradition.

Extras:

1.20GB | 1 h 21 min | 693×520 | mkv

http://nitroflare.com/view/2ADDE9C3E4BBAFE/Rolf_de_Heer_-_Dr._Plonk_%282007%29.part1.rar
http://nitroflare.com/view/5475DE2D9692FBA/Rolf_de_Heer_-_Dr._Plonk_%282007%29.part2.rar

Language:English intertitles (main feature), English (extras)
Subtitles:None