The Intrepid Shadows
This is one of the most complex films made by the Navajo. It is the one least understood by the Navajo and most appreciated by “avant-garde” filmmakers in our society. The film opens with a long series of shots showing the varieties of landscape around our schoolhouse. We see rocks, earth, trees, sky, in a variety of shapes but mostly in still or static shots. ’The shadows are very small or short. When we have familiarized ourselves with the things that comprise the “world” we see a young Navajo come walking into the landscape. He picks up a stick, kneels down, and begins to poke at a huge spider web. At this point the tone of the film changes. Suddenly a hand appears rolling an old metal hoop. The hoop is cut in intermittently throughout the rest of the film, rolling as if propelled by unseen hands through the variations in the landscape. A Yeibechai mask appears in the film at this point, wandering and walking through the landscape seemingly looking for something. The Yeibechai wanders behind trees, seen always through bushes, looking at the sky, looking in all directions, and is intercut in an extremely complex manner with continuing scenes of the landscape and of the legs and body of a person dressed in white.

As the Yeibechai mask wanders, the camera work depicting the landscape begins to change from static to complex circular, spiral, and almost indescribable movements. As the hoop, and then a rolling ball, and then the pages of a notebook turn and move faster and faster, so do the movements of the camera as they seemingly search along trees and rocks and bushes for whatever the Yeibechai is searching for. Now the shadows in the film are long and some of the scenes are deliberately dark. Suddenly we see what is very clearly the shadow of the camera man walking through the landscape trying to lengthen itself, and merging with the various parts of the landscape, the rocks, the bushes, and the trees, until at the very end the shadow of the man is almost a hundred feet long. There follows the last shot in the film, a long shot showing the shadow of the hoop whirling and twirling for almost fifteen seconds; suddenly in the corner of the frame the hoop itself appears, and as the spinning, which can now be seen as the hoop and its shadow, grows slower, both come into the frame so that at the very end we see the hoop spinning and the shadow that it makes. The film is ended abruptly.
-Sol Worth & John Adair

194MB | 18:00.237 | 592×448 | avi

http://nitroflare.com/view/28300FDCAD513B2/Intrepid_Shadows_%28Clah%2C_1966%29.avi

Language:Silent
Subtitles:None

Quote:
Hong Kong, 1980. The Vietnam War has been over for five years and the ethnic cleansing of Chinese has begun. As the “boat people”, refugees of Vietnam, flood out of the country, Hong Kong becomes know as “port of first asylum”. Among these boats is Wu Yiet (Chow Yun-Fat), a former South Vietnamese soldier still recovering from the ravages of war. For him, Hong Kong is the first step for life in the United States, and he soon falls for fellow immigrant Sum Ching (Cherie Chung). Yet the promise of a new beginning doesn’t come easy: the refugee camps have been infiltrated by murderous Viet Cong agents, and an act of violence forces Wu Yiet on the run and deeper into a vortex of crime and brutality. Can he and Sum make it to the United States, or will he forever be stuck in the perpetual cycle of killing inherited from the war? Cora Miao (The Terrorizers) and Lo Lieh (all sorts of bad-assery) co-star in Ann Hui’s grim study of immigrant life. Alfred Cheung’s writing famously won Best Screenplay at the 1st Hong Kong Film Awards.

After tackling the mystery film in The Secret and the horror comedy in The Spooky Bunch, The Story of Woo Viet provides us with Ann Hui’s take on the urban crime drama. Yet, even among the various gritty, realist crime dramas that trickled out of the Hong Kong New Wave, Woo Viet deserves special notice. Perhaps more than any other, Hui’s film breaks with the commercial ambitions of Hong Kong cinema, more attuned to the social-realism of 70s Western cinema (and which was slowly creeping into Chinese and Taiwanese films at the time). While the basic outline of a genre film is perceptible, Hui’s film owes very little to the Action and Melodramatic tradition of HK filmmaking. Films like The Club and Man on the Brink may have provided a look at a social milieu until then ignored by HK cinema, but they were still in essence action films. A movie like Dangerous Encounters – 1st Kind may have been uncommercially bleak and violent, but you can’t deny the kinetic thrill provided by Tsui Hark’s various setpieces. The entire New Wave itself was initiated by a kung-fu film: Jumping Ash. The “action” here isn’t mannered or precisely choreagraphed; they’re brief and unsettling bursts of violence which happen too quickly and too shockingly to thrill.

The influence of the crime genre isn’t absent: the theme music purposely brings to mind film noir, a late scene is a riff on one from The Godfather, and in certain ways, it echoes Oliver Stones’ treatment of Cuban refugees in Scarface (and with the film getting a wider release than usual, including a screening at Directors’ Fortnight, you must wonder whether he saw it). Yet, Hui’s focus isn’t on subverting genre thrills, but instead on social realism, on the plight and vulnerability of the Vietnamese immigrant, as well as the capturing the psychological turmoil of her characters as they find themselves stuck in a perpetual cycle of violence and hopelessness. Her film is subdued, mininimalist and quietly intense, in line with anguished cries of urban squalor like Taxi Driver and The Claws of Light (if not as good as either).

It’s a byline she would carry to its conclusion with the following year’s The Boat People, a film which owes nothing to HK Genre cinema, and which is about as close as the industry got to “art” cinema at the time. In fact, that may ultimately be Hui’s ultimate legacy to the New Wave: directors like Tsui Hark, Kirk Wong and Alex Cheung were harbingers (and later participants) of the “Second Wave” of the latter 80s, where the techniques and styles of the New Wave were re-appropriated in a completely commercial form which disregarded its most radical aspects. Yet Ann Hui, along with Patrick Tam and Allen Fong, were perhaps too far ahead of the curve: their films point towards the “Third Wave” of the 90s, the emergence of a serious, personal and independent cinema in HK, epitomized by the films of Wong Kar-Wai, Stanley Kwan and Fruit Chan. It’s no surprise that after these two films, she would retreat to more commercial fare, lending her deft touch to romantic dramas and period pieces (with the occasional excursion back like Song of the Exile and Ordinary Heroes). The Story of Woo Viet isn’t a perfect film, but it is an emblem of how uncompromising and unconventional the films of the HK New Wave could be.

2.13GB | 1 h 29 min | 1024×576 | mkv

http://nitroflare.com/view/5647374C613F593/Ann_Hui_-_%281981%29_The_Story_of_Woo_Viet.part1.rar
http://nitroflare.com/view/687E797C24C19FD/Ann_Hui_-_%281981%29_The_Story_of_Woo_Viet.part2.rar
http://nitroflare.com/view/4D1BF2AE8EAC600/Ann_Hui_-_%281981%29_The_Story_of_Woo_Viet.part3.rar
http://nitroflare.com/view/E78DDE60DBA1263/Ann_Hui_-_%281981%29_The_Story_of_Woo_Viet_-_eng_02.srt

Language:Cantonese
Subtitles:English

Quote:
A storm rages over Tokyo. Meanwhile, inside a high-rise apartment block, the bodies of four people are discovered – apparently the victims of a brutal crime. At first, the victims are all thought to be members of one family, but then it transpires that they were not related to each other at all. Investigations run aground. Who were the victims? Who was responsible for – it has to be said – having slaughtered them in such a way? And why on earth were the murders committed? What could possibly have been the motive? Innocuous citizens who do not normally have anything to do with such horrific crimes are dragged onto the case. And the more testimonies that are collated, the closer the case moves towards a surprising conclusion.

2.30GB | 2h 40mn | 789×444 | mkv

http://nitroflare.com/view/7634958A08BFDDD/The.Motive.2004.DVDRip.x264.part1.rar
http://nitroflare.com/view/404222C12B711FD/The.Motive.2004.DVDRip.x264.part2.rar
http://nitroflare.com/view/8D5F3EF7F2CF96F/The.Motive.2004.DVDRip.x264.part3.rar

Language:Japanese
Subtitles:English

Scott B and Beth B, successful makers of short, experimental films made The Vortex an attempt at a “camp” film with a pessimistic “noirish” atmosphere. The detective Lunch (Lydia Lunch, a popular underground musician and poet) investigates a band of corporate businessman who seek government defense contracts through real “corporate wars” and the manipulation of politicians. Though a bit confusing, this film does have an excellent performance by Lunch, as the detective. – AllMovieGude

Also includes short film Black Box.

1.33GB | 1:45:46 | 704 x 480 | avi

http://nitroflare.com/view/C9A60200F910B59/vortex_black_box.part1.rar
http://nitroflare.com/view/CA9EDD9AD41AABB/vortex_black_box.part2.rar

Language:English
Subtitles:None

Classic movie with Herman Brood, who plays a bankrobber trying to go straight by becoming a rock’n’roll star. Takes place in and around Amsterdam’s punk/new wave scene, with appearances by Nina Hagen, Les Chappell, and Lene Lovich. Includes the marriage between Herman Brood and Nina Hagen, in the church at Ruigoord.

839MB | 1h 34mn | 644×486 | avi

http://nitroflare.com/view/A845B0853A6E6B0/Cha-Cha_%281979%29_DivX_644x486.avi

Language:Dutch, German, English
Subtitles:Dutch hardsubs

Quote:
René Clair, the most distinguished of the French motion-picture directors, is one of the great men of the cinema. His triumphant photoplays, Sous les toits de Paris, Le Million and, the finest of them all, A nous la liberté, stand among the genuine classics of the films. Now M. Clair, who has tried cheerful sentiment in Sous les toits, farce in Le Million, and brilliant social satire in A nous la liberté, gives up some of his adventurousness and returns to the quiet romantic mood of his earliest success in the new work called Quatorze juillet (“Fourteenth of July”). It is true that the latest of the Clair offerings is not being particularly courageous in its efforts. Instead of going in for the new and exciting field of scornful social criticism, it plays reasonably safe and once more tries out the mood of amiable sentimentality. Its story of the romance between a flower girl and a handsome taxi-driver is managed directly and sincerely, without any sophisticated pretense at mockery. In addition, there is a certain formlessness about the film, wherein it darts back and forth between comedy and drama.

Noticing these two widely separated moods and the apparently careless way in which the film wanders about between them, skeptics have suggested that M. Clair has lost all sense of form. Realizing that the story involved is a slight one, and that it possesses nothing of the significant import of A nous la liberté, critics have declared that the eminent Frenchman was falling back on mere simplicity, where he should have been going ahead with witty profundity.

In answer to the first charge it should be said that the director has not lost his sense of unity. The only thing is that Paris, rather than a dramatic mood, supplies the central unity of the work. In reply to the latter attack, it should be said that the work, even if it is not as ambitious as it should be, is one of the loveliest, most enchanting motion-pictures of its time.

That, in addition to the delightful playing of the heroine, Annabella, and the beautiful villainess, Pola Illery, is enough to make a screen play which will bring joy even to those who are not so sure that they are French enthusiasts.

Rating: AAAA (outstanding)

1.45GB | 1 h 29 min | 768×576 | mkv

http://nitroflare.com/view/5CA1C3EEE720F5E/Quatorze_juillet_AKA_Bastille_Day_%281933%29.part1.rar
http://nitroflare.com/view/839D8D7FA08F58E/Quatorze_juillet_AKA_Bastille_Day_%281933%29.part2.rar

Language:French
Subtitles:English srt

Synopsis:
Los Angeles aircraft worker Barry Kane evades arrest after he is unjustly accused of sabotage. Following leads, he travels across the country to New York City trying to clear his name by exposing a gang of fascist-supporting saboteurs led by apparently respectable Charles Tobin. Along the way, he involves Pat Martin, eventually preventing another major act of sabotage. They finally catch up with Frank Frye, the man who actually committed the act of sabotage at the aircraft factory.

1.97GB | 1h 48mn | 780×576 | mkv

http://nitroflare.com/view/20FFD64F4191963/Saboteur.1942.x264.BDRip.part1.rar
http://nitroflare.com/view/DB899AE0B616FA9/Saboteur.1942.x264.BDRip.part2.rar

Language:English
Subtitles:None

Quote:
Rarely is a making-of doc so perfectly matched in tone or storyline as the subject of its gaze, but The Idiots and The Humiliated are furiously intertwined, in a mindgame kind of way that seems quite — Von Trier-ian? Filmmaker Jesper Jargil accepted an assistant director post on The Idiots under the condition that he be allowed to make his own film about the film, and the result is as personal and scarring as Von Trier’s masterwork. Using the same DV cameras as Von Trier was using, Jargil covers the actors and director living in the same communal space (much as the film’s characters do), and as Lars pushes his actors to the brink of emotional endurance, he himself goes bonkers in a paranoid, hypochondriachal fit — and the viewer is left feeling as if the whole production is the brainchild of a semi-mad cult leader intent on instantly capturing on tape every neurosis he wishes to purge in the real world. Unprecedented and ultra-rare, The Humiliated is an intimate meta thrill ride.

1.42GB | 1 h 18 min | 768×576 | mkv

http://nitroflare.com/view/3EECAAE27A60813/Jesper_Jargil_-_%281998%29_The_Humiliated.part1.rar
http://nitroflare.com/view/8FA5DC1517D1993/Jesper_Jargil_-_%281998%29_The_Humiliated.part2.rar

Language:Danish
Subtitles:English

Synopsis:
Mr. Verloc is part of a gang of foreign saboteurs operating out of London. He manages a small cinema with his wife and her teenage brother as a cover, but they know nothing of his secret. Scotland Yard assign an undercover detective to work at the shop next to the cinema in order to observe the gang.

Extra commentary track by film historian Leonard Leff is included.

2.11GB | 1 h 16 min | 768×576 | mkv

http://nitroflare.com/view/AFD84460BBDBAD9/Sabotage.1936.576p.BluRay.AAC.x264-HANDJOB.part1.rar
http://nitroflare.com/view/9DA1376808681F6/Sabotage.1936.576p.BluRay.AAC.x264-HANDJOB.part2.rar
http://nitroflare.com/view/9B6C94D5964EE05/Sabotage.1936.576p.BluRay.AAC.x264-HANDJOB.part3.rar

Language:English
Subtitles:English (muxed)

Quote:
A mysterious artist – and psychopath – named Ronnie Mason, steals a dead woman’s wedding ring and money and leaves a fake suicide note. The woman’s husband, Thomas Turner, when questioned by the local police, believes his dead wife might have been seeing Mason behind his back. He also believes his wife was murdered, but in the absence of other evidence, the police list it as a suicide and drop the case.

Mason leaves town, changes his name to Marsh and, using a limp he acquired jumping from the dead woman’s bedroom window and a veteran’s pin he steals from a fellow passenger on the L.A. bus, passes himself off as a wounded soldier and rents a room in the house of public stenographer Hilda Fenchurch and her younger sister Anne

1.33GB | 1 h 17 min | 720×540 | mkv

http://nitroflare.com/view/5DEAE5A09C00871/Danger_Signal-1945-WAC.part1.rar
http://nitroflare.com/view/0DB6842C5509413/Danger_Signal-1945-WAC.part2.rar

Language:English
Subtitles:None

Todd Wiener writes:
In his directorial debut, former editor Robert Parrish skillfully illuminates screenwriter Bill Bowers’ equally acerbic and droll Cry Danger into an underappreciated noir gem.

Even though this Jerome Cady story was originally purchased by Humphrey Bogart’s Santana Pictures, the film ended up being the only release by Olympic Productions. The tersely pitch-perfect Dick Powell portrays protagonist ex-convict Rocky Mulloy who returns to Los Angeles to find the gang that framed him for a crime he did not commit. Aided by a hard-drinking, crippled ex-marine (brilliantly realized by Richard Erdman), Mulloy sets up home-base at a Bunker Hill trailer camp that is home to his ex-girlfriend Nancy, played by the graceful Rhonda Fleming. Fleming, who was on loan from David O. Selznick’s company for this project, underwent an emergency appendectomy that initially held up the film’s very tight twenty-two day shooting schedule.

Dick Powell had already transitioned comfortably to crime dramas with the likes of Murder, My Sweet and Pitfall to name a few. The stand out performance here belongs to his cohort Erdman. The New York Times noted that the film had “sardonic lines that are tossed off most effectively by a young actor named Richard Erdman, who has been around Hollywood since 1943—just waiting for the right chance, no doubt. Cry Danger gives it to Mr. Erdman and he makes the most of it…” Jean Porter, wife of frequent noir director Edward Dmytryk, is also a standout delight as one of the several downtown Los Angeles denizens adding the equally amusing and seedy local color.

The film premiered and opened in San Francisco with Fleming scheduled to attend; unfortunately the actress’ father died and it wasn’t until years later that she finally saw the film and now considers it one of her favorites. Preservation partner and Film Noir Foundation President Eddie Muller calls it a “crackerjack crime film—short, smart, sassy, and full of surprises.”

1.31GB | 1 h 19 min | 784×576 | mkv

http://nitroflare.com/view/24DBA3430FA180F/Cry_Danger_%281951%29_BDRip.part1.rar
http://nitroflare.com/view/008F0D8B7F6A5B5/Cry_Danger_%281951%29_BDRip.part2.rar

Language:English
Subtitles:None

Synopsis:
Chronic gambler and carouser “Little” Joe Jackson is shot by Domino Johnson at Jim Henry’s gambling club over an outstanding gambling debt. Little Joe’s wife, the God-fearing Petunia Jackson, prays not only for her husband’s mortal life, but also his eternal soul as she’s afraid that if he dies now, he, despite not being an evil man, won’t make it into heaven. As Little Joe is close to death, he is visited by agents of both the Lord and of Lucifer. They make a deal with him: they will give him six months to atone for the errors of his human life. Once back on Earth, he won’t remember the deal but both the Lord and Lucifer will be watching over him, trying to get him to see things their way. As both sides try to get Little Joe’s soul, they figure that some of the most powerful tools they have at their disposal are the women in Little Joe’s life: Petunia on behalf of the Lord, and Georgia Brown, a gold-digging floozy, on behalf of Lucifer. As hard as both the Lord and Lucifer try to get Little Joe on their side, they don’t factor into the equation human judgment, which turns some of their work against them.

1.73GB | 1h 38mn | 765×574 | mkv

http://nitroflare.com/view/A423CD60620C21A/Cabin_in_the_Sky_%281943%29_–_Vincente_Minnelli.part1.rar
http://nitroflare.com/view/8C1CB253F0AA91C/Cabin_in_the_Sky_%281943%29_–_Vincente_Minnelli.part2.rar

Language:English
Subtitles: English, Czech, Danish, Finnish, Greek, Norwegian, Polish, Portuguese, Spanish, Swedish, Turkish (muxed)

Synopsis
A woman has a fine life with rewarding work, a nice house, and a serious boyfriend in the lowlands of Japan. In walks her long lost husband who years ago disappeared and abandoned her. The wife allows her lost husband to secretly live in her house. More specifically, he lives in the wife’s closet. The closet has a peep hole, so he does nothing day and night but watch his wife live her life.

1.67GB | 1 h 36 min | 853×480 | mkv

http://nitroflare.com/view/3AF96EF665F9897/Warau.kaeru.AKA.The.Laughing.Frog.2002.DVDRip.x264.AC3-TM.part1.rar
http://nitroflare.com/view/4EE1E217798AB11/Warau.kaeru.AKA.The.Laughing.Frog.2002.DVDRip.x264.AC3-TM.part2.rar

Language:Japanese
Subtitles:English

Quote:
What young Samuel (Dinis Neto Jorge) was doing at that time of night on the deserted quay, nobody will ever know for sure. In fact, when Mr. Eloi (Henrique Canto e Castro), an old retired sailor, approached him, he was staring at the waters of the Tagus. Tired as he was of his days, Mr. Eloi could not have thought any other way: Samuel was there to put an end to his life. And when Samuel, symbolically or not, invites him to share his last dive, Eloi, as a last resort, stops him from throwing himself in the river and, saying that Heaven can wait, takes him on a tour of the city. So the two characters go off for two long nights of roving during the Saint Anthony festivities.

In a night club they meet Esperança (Fabienne Babe), a dumb prostitute who
is Eloi’s daughter and two other ladies of the night – Rosa Bianca (Francesca Prandi) and Ivone (Rita Blanco). The friendship that grows between them is sealed in a boarding house of ill-repute. Young Samuel discovers love. The Tagus no longer inspires him. From now on he prefers Esperança’s charms. Finally, Eloi throws himself to the Tagus; Rosa Bianca joins a Russian ship; Ivone follows her lot, Esperança and Samuel find themselves in an idyllic world “là-bas je ne sais où”.

1.37GB | 1h 28mn | 768×576 | mkv

http://nitroflare.com/view/EB155672F4928FD/Joao_Cesar_Monteiro_-_%281992%29_The_Last_Dive.part1.rar
http://nitroflare.com/view/5887B1235465F38/Joao_Cesar_Monteiro_-_%281992%29_The_Last_Dive.part2.rar

Language:Portuguese
Subtitles:English, French, Portuguese

Quote:
The plot of the film is taken from two traditional Portuguese tales: A donzela que vai a guerra («The maiden who went war» 15th Century?), of Judeo-Iberian origin, and a novella, The dead one’s hand, orally transmitted, which forms part of the Bluebeard cycle.

Dom Rodrigo has two daughters, one legitimate, the other bastard, Silvia and Susana. Growing old, and without male heir, Dom Rodrigo decides to marry off Silvia to his neighbour, a rich nobleman, Dom Paio, with the aim of securing and expanding his domain. After a brief visit from the fiancé, a great glutton and skirt-chaser, Dom Rodrigo leaves for the court to invite the king to the nuptials. Upon his departure, he instructs the girls not to open the doors of the mansion to any stranger.

One day a pilgrim arrives, requesting hospitality, and Silvia disobeying her father’s orders admits the stranger. By the fireside, the pilgrim offers a gift of an orange to each sister. Susana eats hers, but Silvia only pretends to. The pilgrim later penetrates the room shared by the two sisters, and while Silvia watches in terror, feigning sleep, he rapes Susana, drugged into unconsciousness by the orange.

In the hall, a hand placed upon the table radiates light. At the threshold, against a background of rain, the pilgrim blows a horn. Silvia runs to shut him out. The pilgrim cries out for the return of the hand which is sacred and belongs to his ancestors. Thinking that she is dealing with the devil’s hand, Silvia refuses. He promises that if Silvia gives back the hand she will come to know everything. The girl tells him to reach in through a portal to receive the glowing hand. The man does so, and Silvia outs off his hand with a sword.

When their father returns, the girls keep what has happened hidden from him. The marriage with Dom Paio takes place, but during the banquet a knight arrives demanding Silvia’s hand in marriage. The dumbfounded father finally agrees, on condition that the knight slays a fierce dragon no human could vanquish. The dragon slain, Silvia, accompanied by her sister, is led to the knight’s castle, whereupon the knight reveals his true identity, his amputated stump, and his intention to kill her. Silvia informs her sister. Susana takes her place and succeeds in helping Silvia to escape from the castle. When he discovers the trick, the knight follows in pursuit, but Silvia manages to regain er father’s house. Once there, Marias, the estate steward, tells her that her father has been kidnapped by bandits during a hunt, but that first an expedition must be mounted to rescue Susana. In the meantime, as preparations are made, Susana appears. Silvia decides to take up arms on her father’s, behalf. Susana attempts to dissuade her. Silvia in soldier’s clothing disguises her sex and takes the name Silvestre.

Silvestre is enlisted under the command of a young lieutenant pursuing her father’s kidnappers, and despite her youth behaves bravely on the battlefield where she falls wounded. The lieutenant discovers her true sex and falls in love with the girl who is presented at court.

A nobleman appears who affirms to know the whereabouts of Dom Rodrigo and promises to bring him back safe and sound of Silvia consents to be his wife. The girl accepts.

During the nuptial banquet, Susana discovers that the bridegroom is name other than the pilgrim and knight in new disguise, and unmasks him by exhibiting the glowing hand preserved in a box of salt. The villain tries to kill her but ends slain by the lieutenant. Silvia’s unexpected sorrow infuriates her father who reconciles himself with his bastard daughter. The guests then fling the villain’s remains to be devoured in the pigsty and Silvia leaves with the lieutenant to begin a journey through the stars.

1.79GB | 1h 57mn | 762×572 | mkv

http://nitroflare.com/view/A68A0F9F0C2DFBB/Silvestre.1981.APH.DVDRip.x264-MaZ.part1.rar
http://nitroflare.com/view/C87EB70240091A5/Silvestre.1981.APH.DVDRip.x264-MaZ.part2.rar

Language:Portuguese
Subtitles:Portuguese, English, French, Italian

Quote:
A seasoned detective is called in to rescue a politician held hostage by a lunatic. In a brief moment of uncertainty, he misses the chance for action. Leaving his job and family without explanation, he makes his way to a mountain forest, where there is a peculiar tree called charisma. Should it be destroyed or protected? People stand divided over this one tree.

Extras

1.22GB | 1h 43mn | 716×387 | mkv

http://nitroflare.com/view/2005CDD3ED5124A/Karisuma.AKA.Charisma.%28Kiyoshi.Kurosawa.-.1999%29.part1.rar
http://nitroflare.com/view/A93A492082A325E/Karisuma.AKA.Charisma.%28Kiyoshi.Kurosawa.-.1999%29.part2.rar

Language:Japanese
Subtitles:English

Quote:
Shot in 1967 but not released until 1975, actor Pierre Clémenti’s acid-infused experimental whirlwind of color and music featuring a who’s who of the French 60s underground.

Quote:
Visa de Censure and Carte de voeux, both of which form Certificate No. X (1967-75), a shadow of a precursor to the films of Étant-Donnés. In these hardcore masterpieces, the screen attains the status of a giant perforation through which naked ritualism and elemental textures must dance: it’s like witnessing the birth of Ecstasy! The film’s rapturous use of colour brings to mind Kenneth Anger’s Invocation of My Demon Brother. It is this violent, hypnotic, defining presence of colour that is the film’s driving energy, propelling bodies, texts, abstract figures, light, into each other, into new rhythmic forms.

956MB | 42 min 25 s | 770×578 | mkv

http://nitroflare.com/view/634A0337C65438C/Visa.de.Censure.n%C2%B0X.AKA.Certificate.n%C2%B0X.1967.DVDrip.578p.x264.mkv

Language:None
Subtitles:None needed

Katalin Varga is a 2009 directorial debut of Peter Strickland, he used the money from a bequest from his uncle to fund the project. Filmed over several years in a Hungarian-speaking part of the Romanian region of Transylvania, Strickland completed the project for £28,000.

In the beautiful, otherworldly Carpathian Mountains a woman is traveling with a small boy in a horse and cart, looking to punish those who once abused her. For years, Katalin has been keeping a terrible secret. Hitchhiking with two men, she was brutally raped in the woods. Although she has kept silent about what happened, she has not forgotten, and her son Órban serves as a living reminder. When her village discovers her secret, Katalin’s husband rejects her. With nothing to lose, she is free to seek revenge on the perpetrators. As she puts human faces to horrible acts, she is forced to consider that morality might not be as black and white as she had imagined.
~Santa Barbara Intl Film Festival

Apart from the literary influences, Strickland must surely have taken something from the severe and austere cinema of Béla Tarr, whose films move at a glacial pace, but which, weirdly, have plots which could be thrillers and noirs. The rackety bars here are the location for much central European-style hillbilly-sinister dancing, promising a violent denouement in the darkness outside. It is very like Tarr, and the suspicious farmer who first lets Katalin and Orbán stay overnight is Tarr-ed with that brush. With his neck brace and his moment of semi-nudity in a pair of horribly tiny underpants, he is scary and funny – but mostly scary.

Strickland’s film-making steers away from Tarr’s tendencies towards indulgence and conceit, however. He keeps the storylines reasonably taut and his characters are capable of normal human smiling. Péter’s performance is not catatonic-deadpan in the cliched, high arthouse style: she can be the harassed refugee, or the pained single mother, or the seducer, and her face seems to change radically in each incarnation, as if in the grip of the classic abuse-victim’s multiple personality disorder. It’s the kind of story that could be happening in the city, not the country, on concrete pavements and in the glare of neon rather than sylvan hillsides and golden sunsets. This is a film that glows from the inside with its own awful secret.
~Peter Bradshaw, Guardian

1.22GB | 1h 21mn | 1021×552 | mkv

http://nitroflare.com/view/6871F3D2A8C740D/Katalin_Varga.part1.rar
http://nitroflare.com/view/161A746469C8BA9/Katalin_Varga.part2.rar

Language:Romanian, Hungarian
Subtitles:English

A young man stumbles through the Mexican Sierra, shot and half bled to death, carrying a suitcase containing the loot from a bank robbery. Passing out, he is found by Charles Dump, a former gold miner living on the outskirts of a ghost town with his daughter.

Extras
Documentary – “Die Chance”
Featurette – Portrait of Roland Klick
Interview with director Roland Klick (1997)

2.24GB | 1h 28mn | 1024×576 | mkv

http://nitroflare.com/view/5BD6EEAA184047D/Deadlock.1970.DVD.AC3.DualAudio.2.0.x264-SaL.part1.rar
http://nitroflare.com/view/94DCAF144CDF2FE/Deadlock.1970.DVD.AC3.DualAudio.2.0.x264-SaL.part2.rar
http://nitroflare.com/view/B09D3CF97491F85/Deadlock.1970.DVD.AC3.DualAudio.2.0.x264-SaL.part3.rar
http://nitroflare.com/view/98DE9651BD4A0D5/Deadlock.1970.DVD.AC3.DualAudio.2.0.x264-SaL.part4.rar

Language:German, English
Subtitles:English

Synopsis:
Having lost his heavyweight championship match, boxer Ernie Driscoll now drives a taxi for a living and earns the scorn of his nagging wife, Pauline, who blames him for her lack of social status. Involved with jewel thief Victor Rawlins, Pauline is murdered by him when she impedes his ability to fence the jewels. Blamed for his wife’s murder, Ernie must track down Rawlins before he leaves the country.

1.99GB | 1 h 23 min | 792×576 | mkv

http://nitroflare.com/view/82875AC7C5CC873/99.River.Street.1953.576p.BluRay.part1.rar
http://nitroflare.com/view/E1FD753468A698C/99.River.Street.1953.576p.BluRay.part2.rar

Language:English
Subtitles:None