F I L M I N F O
1. Samuel Beckett made a single work for projected cinema. It’s in essence a chase film; the craziest ever committed to celluloid. It’s a chase between camera and pursued image that finds existential dread embedded in the very apparatus of the movies itself. The link to cinema’s essence is evident in the casting, as the chased object is none other than an aged Buster Keaton, who was understandably befuddled at Beckett and director Alan Schneider’s imperative that he keep his face hidden from the camera’s gaze. The archetypal levels resonate further in the exquisite cinematography of Academy Award-winner Boris Kaufman, whose brothers Dziga Vertov and Mikhail Kaufman created the legendary self-reflexive masterpiece Man With a Movie Camera. Commissioned and produced by Grove Press’s Barney Rosset, FILM is at once the product of a stunningly all-star assembly of talent, and a cinematic conundrum that asks more questions than it answers.

2. Nobel Prize-winning playwright Samuel Beckett’s lone work for projected cinema was entitled archetypally, Film, and grew from Berkeley’s pronouncement, essi et percipi: “To be is to be perceived.”

Yet Beckett’s ontological concerns have less to do with the plastic medium than the nature of recorded and projected images. Film is in essence a chase film; arguably the craziest committed to celluloid.

It’s a chase between camera and pursued image that finds existential dread embedded in the very apparatus of the movies. The link to cinema’s essence is evident in the casting, as the chased object is none other than an aged Buster Keaton, who was understandably befuddled at Beckett and director Alan Schneider’s imperative that he keep his face hidden from the camera’s gaze. The archetypal levels resonate further in the exquisite cinematography of Academy Award-winner Boris Kaufman, whose brothers Dziga Vertov and Mikhail Kaufman created the legendary self-reflective masterpiece Man With a Movie Camera (with the latter in the titular role). Commissioned and produced by Grove Press’s Barney Rosset, Film is at once the product of a stunningly all-star assembly of talent and a cinematic conundrum that asks more questions than it answers. — Ross Lipman, UCLA

Preserved in cooperation with the British Film Institute from a variety of 35mm and 16mm prints. Laboratory services by Cinetech, Ascent Media, NT Picture and Sound, Dolby Laboratories, and Audio Mechanics. Special thanks to: the Academy Film Archive, Edward Beckett, Nicole Brenez, Les Éditions de Minuit, Evergreen Review, David Gray, Shawn Jones, Jonathan Lee, Irène Lindon, Bruce Mazen, the Pacific Film Archive, Barney and Astrid Rosset.

1.22GB | 22 min 0 s | 964×720 | mkv

https://nitroflare.com/view/0C06479274994CF/Film.1965.720p.BluRay.FLAC.x264.part1.rar
https://nitroflare.com/view/6F70EE1B0962059/Film.1965.720p.BluRay.FLAC.x264.part2.rar

Language:Silent
Subtitles:English

An Icon Film Distribution (in Australia/U.K.) release of a Screen Australia, Little Gaddelsden presentation of a Sixteen Films/See-Saw Prods. production, in association with Fulcrum Media France, EM Media, South Australian Film Corp., Deluxe, Screen NSW, BBC Films. (International sales: Icon Entertainment, London.) Produced by Camilla Bray, Emile Sherman, Iain Canning. Executive producers, Rebecca O’Brien, Arnab Banerji. Directed by Jim Loach. Screenplay, Rona Munro, based on the book”Empty Cradles” by Margaret Humphreys.With: Emily Watson, David Wenham, Hugo Weaving, Richard Dillane, Lorraine Ashbourne, Kate Rutter, Greg Stone, Tara Morice, Stuart Wolfenden, Federay Holmes.
Auds may well be in tears just minutes into “Oranges and Sunshine,” a deeply moving study of emotionally scarred adults who were illegally deported as children to Australia from Britain in the 1940s and ’50s. Toplining a superb Emily Watson as Margaret Humphreys, the British social worker who brought the shameful secret to world attention in the late ’80s, this standout debut by British helmer Jim Loach, son of director Ken Loach, will make a strong claim for arthouse berths everywhere. World preemed at Pusan, pic is skedded for April 2011 release in Blighty and Down Under.
Co-produced by Loach Sr.’s Sixteen Films company and scripted by Rona Munro, who wrote “Ladybird, Ladybird,” pic has all the grit and integrity of a Ken Loach movie. What’s immediately clear is that Jim Loach, an experienced TV director, is no pale imitation of his highly respected father.

Munro’s finely chiseled adaptation of Humphreys’ 1996 book “Empty Cradles” astutely avoids flashbacks of youngsters being herded onto boats. Set entirely in the 1980s, the movie opens with Margaret (Watson) more or less stumbling onto the life-changing story when confronted in Nottingham by Charlotte (Federay Holmes), an Australian woman who wants “to find out who I am.”

Supported by loving husband Merv (Richard Dillane), also a social worker, Margaret discovers Charlotte is one of thousands of British youngsters who were unlawfully removed from children’s homes and “unfit” (i.e., unwed) mothers and sent to Australia “for their own good.”

Undaunted by unhelpful British and Australian officials, Margaret reunites Charlotte with her mother. She then travels to Perth with Englishwoman Nicky (Lorraine Ashbourne) to meet the latter’s long-lost deportee brother, Jack (Hugo Weaving). Soon, she is swamped by enquiries from hundreds of Jacks and Charlottes, many of whom were told their parents were dead.

The heartbreaking stories Margaret hears will bring tears to most eyes. Without a hint of sensationalism or manipulation, deportees discuss the emptiness of never having felt a proper sense of identity. Others confess to feeling worthless after years of mental and physical abuse in orphanages, many of them church-run. One can practically see the frightened children in the eyes of these wounded adults.

The exception is Len (David Wenham), a brusque type who appears unscarred by his time at Bindoon, a remote Catholic orphanage where unspeakable acts were said to have taken place. Now a benefactor of the institution, he takes Margaret to his former home and exacts revenge with a quiet, beautifully controlled fury.

While touching on growing media interest in the explosive story and anonymous threats of physical harm to Margaret, the pic remains firmly focused on the terrible personal cost of political decisions kept hidden from public view.

Watson is perfect as the upright, compassionate and fiercely determined champion of victims’ rights. Weaving has rarely been better than as the empty Jack, and Wenham brings a sharp edge as the prickly Len. Thesping right down to the bit players is excellent.

In the best tradition of British social realism, Denson Baker’s largely handheld camera is steady and unobtrusive; Lisa Gerrard’s lovely score is discreetly applied. All other technical aspects are top-notch.

1.31GB | 1h 40mn | 720×304 | avi

https://nitroflare.com/view/0E6632A17C5489A/Oranges_and_Sunshine_%282010%29.part1.rar
https://nitroflare.com/view/637C4D830B5DDA9/Oranges_and_Sunshine_%282010%29.part2.rar

Language(s):English
Subtitles:English

Summary:
1668. The jihad is in its heat in the Southeastern Europe. A corps of janissaries is commissioned to the Rhodope Mountains under the command of Karaibrahim. At the time, he was, as all the janissaries were, kidnapped from his Bulgarian family, raised as a Muslim, trained to be a ferocious warrior and convert infidels to Islam in a most brutal way. His cruelty stuns even local Ottoman ruler. He stops at nothing but the resistance of some of the locals is invincible. The struggle is half a success, there are many converts, the death toll is heavy, but all the Bulgarian keep their language and traditions on.

3.14GB | 4h 30m | 720×310 | mkv

https://nitroflare.com/view/0ABC9013596B29A/Vreme_na_nasilie_aka_Time_of_Violence.part1.rar
https://nitroflare.com/view/6FE42110ADFA13F/Vreme_na_nasilie_aka_Time_of_Violence.part2.rar
https://nitroflare.com/view/36F9BCD31A1B7E5/Vreme_na_nasilie_aka_Time_of_Violence.part3.rar
https://nitroflare.com/view/1CF1EFF61DD8BBD/Vreme_na_nasilie_aka_Time_of_Violence.part4.rar

Language(s):Bulgarian
Subtitles:English Russian

Quote:
I am pretty sure Chagan Irmak was aware of the fact that the movie is completely different than what people was expecting. He is brave enough to discuss the issues like freedom of speech, military coups in his movies explicitly. But this time, he was indirect and he makes people to think. In most of the Turkish movies, it is a tradition to give the message in a direct way. But this makes Ulak special .. Irmak breaks those traditions. The photography, costumes are were great. Throughout the movie, I tried where/when the story takes place. What is their religion? I liked that disturbance in my mind. which make me to think and I enjoyed my mind trip!

1.55GB | 1h 41mn | 1036×432 | mkv

https://nitroflare.com/view/B2B669177DCD151/Ulak.AKA.The.Messenger.2008.DVDRip.x264.part1.rar
https://nitroflare.com/view/4E5A90844AA9322/Ulak.AKA.The.Messenger.2008.DVDRip.x264.part2.rar

Language(s):Turkish
Subtitles:English French German Turkish

Quote:
In a remote mountain village, the teacher must leave for a month, and the mayor can find only a 13-year old girl, Wei Minzhi, to substitute. The teacher leaves one stick of chalk for each day and promises her an extra 10 yuan if there’s not one less student when he returns. Within days, poverty forces the class troublemaker, Zhang Huike, to leave for the city to work. Minzhi, possessed of a stubborn streak, determines to bring him back. She enlists the 26 remaining pupils in earning money for her trip. She hitches to Jiangjiakou City and begins her search. The boy, meanwhile, is there, lost and begging for food. Minzhi’s stubbornness may be Huike and the village school’s salvation.

1.51GB | 1 h 42 min | 977×550 | mkv

https://nitroflare.com/view/A48952043FEEDFD/Not.One.Less.1999.DVDRip.x264-HANDJOB.part1.rar
https://nitroflare.com/view/F1C45D12E9E00DB/Not.One.Less.1999.DVDRip.x264-HANDJOB.part2.rar

Language(s):Mandarin
Subtitles:English Spanish Arabic Brazilian Portuguese Czech Danish Dutch Finnish German Greek Hebrew Hindi Hungarian Icelandic Italian Norwegian Polish Swedish Turkish

Quote:
1920s. Vitalino, a small farmer from São Vicente sees his father die of the epidemic which decimated the country. Some years later, of all the brothers, Vitalino is the strongest and takes his father’s place in the house. But the village is too small for his aspirations and he decides to head to Brazil, leaving his sisters in charge of the household. In parallel with Vitalino’s story, If I Were a Thief… I’d Steal portrays the world of Paulo Rocha rummaging through his films and ghosts over the years.

1.51GB | 1h 27mn | 1024×576 | mkv

https://nitroflare.com/view/B973A458A4EDA81/Se.Fosse.Ladrao.Roubava.2013.APH.DVDRip.x264-MaZ.part1.rar
https://nitroflare.com/view/1D952836AFF138F/Se.Fosse.Ladrao.Roubava.2013.APH.DVDRip.x264-MaZ.part2.rar

Language(s):Portuguese
Subtitles:Portuguese (for non Portuguese Dialogue), English

Synopsis
Mimmi lives with her mother in an apart-ment on the edge of town. They won’t be living together for much longer because Mimmi is about to take her final exams at school and will soon move out. Mimmi’s mother is still young and sometimes wish-es Mimmi didn’t need her so much and yet, at other times, that she needed her more, like before. But Mimmi herself doesn’t say very much and it’s often hard to tell what thoughts preoccupy her. She sees her girlfriend, goes out with her boyfriend; she also has the odd flash-in-the-pan relationship with other men. She is often alone – perhaps just waiting for the time to pass, or for a new life to begin. On a school trip to Paris she meets and sleeps with a young man. When she gets back to Berlin she discovers that she is pregnant. She heads for Paris again where she spends two days trying to find the father of her child. She has no money and doesn’t even know where she can sleep. She begins to daydream – and gets more and more tired.

1.24GB | 1:55:14 | 656×416 | avi

https://nitroflare.com/view/19CD91F3B53E1EA/Schanelec_-_places_in_cities_%281998%29.part1.rar
https://nitroflare.com/view/D0FC988E57F57BA/Schanelec_-_places_in_cities_%281998%29.part2.rar

Language(s):German
Subtitles:English (hard)

Quote:
The 7th century is the time of the Great Migration of the Peoples. Under the pressure of the invaders the proto-Bulgarian tribes of Khan Kubrat are forced to split in four parts in the hope that one would survive. For twenty long years Kubrat’s youngest son Khan Asparoukh led his people across many foreign lands to find eventually a new homeland on the Balkan Peninsula and this time forever. The story is told by Byzantine Velisarius, a hostage with the Bulgarian who witnesses the whole of their difficult march. He sees the suffering of the people whom he already feels close to his heart and the personal drama of their Khan Asparoukh. In 681, in alliance with the local Slav tribes, the proto-Bulgarian deal a decisive blow on numerous Byzantine army, thus 13 centuries ago the foundations of the Bulgarian state and nation were laid down. -imdb summary

1.17GB | 1h 48mn | 720×288 | avi

https://nitroflare.com/view/C8B923076C62801/Han_Asparuh_%281981%29_2_English.part1.rar
https://nitroflare.com/view/CA67DE01B84B375/Han_Asparuh_%281981%29_2_English.part2.rar

Language(s):Bulgarian
Subtitles:English

Ramprasad is a recent college graduate who finds a job with a finicky man, Bhavani Shankar, who believes that a man without a mustache is a man without a character. Bhavani Shankar is also against any of his employees indulging in recreation of any kind. When Ramprasad is caught by his boss at a soccer match, he has to invent a twin brother, the clean-shaven Laxman Prasad, to save his job. When Bhavani’s daughter falls in love with the clean-shaven Laxman Prasad, and insists on marrying him, and Bhavani insists she should marry Ramprasad, things take a whacky turn. A fake mother and a hilarious chase are other enjoyable features involved in this comedy.

2.96GB | 2 h 24 min | 784×576 | mkv

https://nitroflare.com/view/A3C0A34A7E42032/Gol.Maal.1979.part1.rar
https://nitroflare.com/view/698E353306774E8/Gol.Maal.1979.part2.rar
https://nitroflare.com/view/2DAB9E905DB0359/Gol.Maal.1979.part3.rar

Language:Hindi, some English
Subtitles:English

An Englishman with a grudge against an insurance company for a disallowed claim fakes his own death in order but an insurance investigator starts snooping around.

Quote:
Sorely underrated and dismissed at the time of its release, THE RUNNING MAN can now be seen for what it it: a highly effective thriller. Director Carol Reed was said to be shaken after being dismissed from MUTINY ON THE BOUNTY, but it really doesn’t show. He conducts us deftly through a nicely conceived intrigue, with no time wasted. If a viewer can forgive a small handful of plot contrivances, this movie delivers in suspense, interesting characters, acting, and pleasing use of locations. The cast is superb: Laurence Harvey might look underfed, but his character is richly drawn he seems to have a great time. Lee Remick has never been better: a woman who sees her husband for what he really is when he assumes a new identity. And Alan Bates, an actor who radiated charm, brings a lot of substance to his part. Watch for Fernando Rey and Fortunio Bonanova (the singing teacher from CITIZEN KANE–“Impossible! Impossible!”) as a bank manager. The script has a good helping of humor along with the suspense. And William Alwyn’s music score enhances the film as well. It may not be THE THIRD MAN, but THE RUNNING MAN is likely to satisfy most fans of thrillers, the director and the estimable cast.

2.76GB | 1 h 44 min | 1024×430 | mkv

https://nitroflare.com/view/806F900462670FE/The.Running.Man.1963.part1.rar
https://nitroflare.com/view/E8A23FBD867B7C8/The.Running.Man.1963.part2.rar
https://nitroflare.com/view/80A4CEE1AE1D2D4/The.Running.Man.1963.part3.rar

Language:English, some Spanish
Subtitles:English

Synopsis: This is a sad and beautiful story about a father who is a popular comedian and a son who suffered by an incurable disease.

1.80GB | 1 h 48 min | 858×464 | mkv

https://nitroflare.com/view/EE0F6F743272FEA/Kanashii.Kibun.de.Joke.1985.DVDRip.x264.part1.rar
https://nitroflare.com/view/F797D3A3A4132B2/Kanashii.Kibun.de.Joke.1985.DVDRip.x264.part2.rar
https://nitroflare.com/view/81C5F575274A1FB/Joke_with_a_Sorrowful_Heart.rar

Language:Japanese
Subtitles:English

Quote:
There is a good theory that explains why Agnes Varda’s Jane B. for Agnes V. was never officially distributed in the United States. Apparently, the few distributors that saw it after Varda completed it in 1988 concluded that it was too abstract and therefore too risky to sign. So until recently, it had been screened only a few times at festivals and retrospectives.

Having just viewed Jane B. for Agnes V. for the first time ever, I can agree that it is different. It is a fluid experimental project that matches the audacity of Jean-Luc Godard’s early films and the quiet elegance of Eric Rohmer’s best films, but feels distinctively modern. There is a side of it that easily could have been envisioned by the late Chantal Akerman as well. There was a script for it, but once Varda started shooting the film evolved and actually expanded in different directions. (Le Petit Amout aka Kung-Fu Master! emerged as a natural continuation of this expansion).

The basic idea behind Jane B. for Agnes V. was to sum up Jane Birkin, the legendary actress and singer whose work and relationship with Serge Gainsbourg defined an entire era, but not in a conventional manner. So its foundation would be similar to that of a traditional documentary feature, but because Birkin’s persona was so complex it was agreed that it would be best if the film explored it from a variety of different angles and without any restrictions. In other words, Varda and Birkin were free to experiment and mix facts with ideas which would also recreate the environment in which Birkin emerged.

In a long and very informative interview included on this release, Varda describes Jane B. for Agnes V. as a fictional portrait. It is a good description if one focuses only on the fact that the film attempts to understand Birkin and deconstruct her legacy. But it is also a slightly misleading description because it ignores the fact that Varda is an integral part of it. Indeed, the visual style and tone of the film, both of which are essential to understanding Birkin the artist and Birkin the dreamer, also allow one to explore Varda’s creative genius. So when the final credits roll one walks away not only with a much richer mental image of Birkin, but also of Varda and her art.

There are a couple of unexpected cameos. Jean-Pierre Léaud (Bed & Board) pops up and instantly makes an impression with some typically excellent facial expressions. Alain Souchon (One Deadly Summer) is a quiet charmer. The iconic Italian actress Laura Betti (Novecento) becomes Lardy. A very young Charlotte Gainsbourg (Nymphomaniac) also quickly steps in front of the camera.

Varda did not have a big budget to work with, but many of the dream sequences look strikingly stylish. She was assisted by award winning production designer Olivier Radot, whose credits include such visually impressive films as Queen Margot, Gabrielle, and Coco Before Chanel.

2.15GB | 1h 38mn | 960×576 | mkv

https://nitroflare.com/view/7D750BD44163E0E/Anges_Varda_-_%281988%29_Jane_B._for_Agnes_V.part1.rar
https://nitroflare.com/view/3DE2CC0B3662695/Anges_Varda_-_%281988%29_Jane_B._for_Agnes_V.part2.rar
https://nitroflare.com/view/03A2FCA94B19986/Anges_Varda_-_%281988%29_Jane_B._for_Agnes_V.part3.rar

Language(s):French
Subtitles:English

IMDb wrote:
“I do not care if we go down in history as barbarians.” These words, spoken in the Council of Ministers of the summer of 1941, started the ethnic cleansing on the Eastern Front. The film attempts to comment on this statement.

Ştefan Dobroiu @ cineuropa wrote:
After Aferim!, Scarred Hearts and The Dead Nation, Romanian director Radu Jude consolidates his fame as an explorer of darker episodes in his country’s history with “I Do Not Care if We Go Down in History as Barbarians”. In spite of a rather overly comfortable length and unnecessary repetitiveness, the film succeeds in delivering a harsh commentary on how Romanians deal with the past.

In the present day, we watch theatre director Mariana Marin (Ioana Iacob) as she devotes herself to an elaborate re-enactment of the Odessa massacre. In 1941, the leader of the Romanian army, Ion Antonescu, orders the execution of Jewish civilians after a surprise attack on his troops. Thousands of innocent people are killed, and Mariana wants to stage it all in a square in the centre of Bucharest. She will soon come up against unexpected, ridiculous difficulties, as both the amateur actors in the show and the representatives of the town hall have rather strong opinions not only about what happened in reality, but also about how that reality should be staged and presented to the masses.

“…Barbarians” packs an extremely powerful punch, although it may prove more effective with Romanian audiences than with foreigners. The film is expected to spark wide controversy at home, as this dark episode in Romanian history was carefully redacted during the communist regime, and nowadays only a few people acknowledge the horrific extent of the Romanian Holocaust, with the number of victims, including members of the Roma community, rising as high as 380,000. Through its supporting characters, Jude’s screenplay uses a plethora of negationistic arguments, commenting on how some prefer to believe in a lie, even when shown proof that runs counter to their beliefs.

But “…Barbarians” is not only a film about the Holocaust and the way in which Romanians acknowledge it; it is also about racism and antisemitism today. And even for those who are not exactly interested in this area of history or social studies, the film is still relevant, as it is eager to explore the psychology of post-truth – that “I know better” mentality that destroys any chance of a healthy debate. Watching the characters state their categorical opinions, it is easy to understand how populism and illiberalism have gained traction in the former communist countries, where truth is more often than not an appealing, but misleading, construct.

The film is weighed down by an avalanche of quotes, some from ultra-relevant voices, such as Hannah Arendt, others from more obscure sources. It is obvious that Mariana’s arguments are actually the director’s and that his intention is not only to give rise to a debate, but also to put forward a position, before the actual debate begins. A subplot involving Mariana’s unexpected pregnancy with her married lover (Şerban Pavlu) is probably meant to humanise this fierce protagonist, but unfortunately this is less than convincing.

7.90GB | 2 h 13 min | 1920×1080 | mkv

https://nitroflare.com/view/613B0E7F0EC6170/Imi_este_indiferent_daca_in_istorie_vom_intra_ca_barbari_%282018%29_1080p_HDTV-MAN.mkv

Language(s):Romanian
Subtitles:None

Clara, a lonely nurse from the outskirts of São Paulo, is hired by mysterious and wealthy Ana as the nanny for her unborn child. The two women develop a strong bond, but a fateful night changes their plans.

6.56GB | 2 h 15 min | 1280×688 | mkv

https://nitroflare.com/view/DC613015C1D9E37/good.manners.2017.720p.bluray.x264-usury.mkv

Language(s):Portuguese
Subtitles:English, French (Soft Subs)

Synopsis:
A girl, a boy and an old cinema technician tell stories every night in a small theater. Before each story, the boy and the girl decide, in accordance with the old technician, they will play the characters in the story they will interpret, they also choose a time and a country as well as costumes through documentation the technician brings them, and make clothing and accessories with a computer-controlled machine. They then perform the story on stage.

700MB | 1:20:23 | 624×336 | avi

https://nitroflare.com/view/331D6E7EF6D1459/Les_Contes_de_la_nuit.avi
Eng srt:
https://subscene.com/subtitles/tales-of-the-night-les-contes-de-la-nuit

Language(s):French
Subtitles:English

Synopsis:
Filmed entirely on location in New Orleans, Panic in the Streets stars Richard Widmark as a city medical officer, racing against time to stop a plague epidemic. The carrier was an illegal alien, who has been murdered by criminals Jack Palance and Zero Mostel. At first facing opposition from rule-bound police captain Paul Douglas, Widmark is finally able to work hand-in-glove with Douglas in tracking down Palance and Mostel, who have themselves become plague carriers. Many of the actors in Panic in the Streets are local nonprofessionals, selected by director Elia Kazan because of their “rightness” within the framework of the story; the rest of the cast is peopled by such film veterans as Barbara Bel Geddes, Tommy Cook, Emile Meyer and H.T. Tsiang. Widmark’s son is played by an uncredited Tommy Rettig, four years before he starred on the Lassie TV series. Though Elia Kazan liked to claim that much of Panic in the Streets was improvised, there was a script, adapted by Richard Murphy and Daniel Fuchs from a story by Edward Anhalt and Edna Anhalt.
— Hal Erickson

2.02GB | 1 h 36 min | 806×576 | mkv

https://nitroflare.com/view/DF356250B013482/Panic.in.the.Streets.1950.576p.BluRay.AAC.x264-HANDJOB.part1.rar
https://nitroflare.com/view/C4AA04BD01A740A/Panic.in.the.Streets.1950.576p.BluRay.AAC.x264-HANDJOB.part2.rar
https://nitroflare.com/view/67AE06ECA95365B/Panic.in.the.Streets.1950.576p.BluRay.AAC.x264-HANDJOB.part3.rar

Language:English
Subtitles:English, Greek (muxed)

This is a good movie in the Hitchcock vein, in which small details form the key to intense pathos. Will the husband notice the thing she mentioned in passing? Will her child inadvertently play with the wrong toy? Will the best friend keep the story straight? It takes a tangled web of lies and omissions to keep silent an impulsive affair–and a possible murder–when everything is so interconnected. No real villains here, but faulted humans trying to be happy, and not upset the house of cards that comprise their private lives. Good performances by Honor Blackman and Jean Seberg. You will be on the edge of your seat, and clutching a hankie at the same time.

699MB | 1:45:01 | 464×352 | avi

https://nitroflare.com/view/87EE5D0721249F6/Moment_to_Moment.avi

Language(s):English
Subtitles:None

Quote:
A personal study of Japan at the time of the 1964 Olympic Games in Tokyo, as seen through the eyes of a Japanese girl.

884MB | 46mn 19s | 1416×1080 | mkv

https://nitroflare.com/view/BD0353A4C05EECC/Le.Mystere.Koumiko.1965.1080p.WEB-DL.AAC2.0-pirata00.mkv

Language(s):French
Subtitles:English, Brazilian Portuguese

Synopsis:
A male Parisian driving school owner who goes to see his doctor and complains of feeling run down is pronounced four months pregnant. When the diagnosis is confirmed by a specialist, the result is an international media frenzy.

Review:
When The Pied Piper proved to be a commercial failure (no wonder considering how many kids it must have traumatized), Demy returned to France again for one of his lightest and most commercial films, the fluffy comedy A Slightly Pregnant Man (released in France under the far more cumbersome title of L’Événement le plus important depuis que l’homme a marché sur la lune, or “The Most Important Event Since Man Walked on the Moon”). Beauty salon worker Irene (Deneuve) is more than a little confused when her driver’s ed teacher fiance, Marco (Mastroianni, her real-life beau at the time), is told by his physician that he’s actually four months pregnant. Paris is thrown into an uproar and the scientific community is flipped upside down as Marco contends with his growing celebrity.

Extremely light on plot, this was the first of the odd pregnant man subgenre (followed by uneven efforts like Rabbit Test and Junior) and, like those followers, can’t quite come up with a satisfactory solution to its provocative story hook; however, Demy manages to casually bat around issues of religion, abortion, feminism, and sexual orientation with ease, and even some musical content slips through with Mirielle Mathieu belting out the catchy theme song a couple of times. Of course, the usual eye-popping colors and wild production design choices (check out that big gold thumb!) are still present throughout.

1.41GB | 1h 35mn | 960×576 | mkv

https://nitroflare.com/view/44D95DB07DFFDFC/A_Slightly_Pregnant_Man_%281973%29_–_Jacques_Demy.part1.rar
https://nitroflare.com/view/CDB51C5F4CA628B/A_Slightly_Pregnant_Man_%281973%29_–_Jacques_Demy.part2.rar
https://nitroflare.com/view/E5D14C9DDF1DFD9/A_Slightly_Pregnant_Man_%281973%29_–_Jacques_Demy_revised.srt

Language:French
Subtitles:English

Quote:
Not a good movie, though a prime example of audacious, rule-breaking cinema. It’s an early seventies French film shown almost entirely in negative exposure, which in itself makes it worth a watch.

The Package
LE GRAND DEPART (THE GRAND DEPARTURE; 1972) was the only feature directed by the famed French painter and sculptor Martial Raysse. In keeping with the revolutionary spirit of the time, LE GRAND DEPART has no plot to speak of and appears to have been largely made up on the spot. It shares a kinship with such films as BEGOTTEN (1990) and the X-rated short THE OPERATION (1995), both of which experimented with negative exposure (and far more effectively).
For decades LE GRAND DEPART was thought a “lost” film, but in late 2008 it made its DVD debut (in France), to alternately enchant and disappoint viewers anew.

The (Non)Story
The opening credits are spoken over pictures of an idyllic beachfront landscape–but then the camera pulls back to reveal those pictures as designs on a guy’s shirt. Said guy is watching footage of political demonstrations on his TV, while outside a weird dude in a cat mask rides by on a bike.
We follow the cat man into a bizarre fantasy universe presented in negative exposure that reverses color values (black is white and vice versa) and written words. The cat man steals a car and then picks up a young girl he promises to take to “Heaven.” Heaven turns out to be a country chateau inhabited by several more animal mask wearing weirdoes.
There’s also a hippie cult frolicking in the woods nearby. The cult’s leader is an intense English speaking guru who prophecies a “Grand Departure” that will liberate his followers from their Earthly concerns.
Somewhere in here we learn the cat man represents death, as everyone he meets dies soon afterward–if he doesn’t do the killing himself. An example of this occurs when he callously molests a woman on a country road and leaves her for dead.
The cat man winds up on a “raft of freedom” manned by the guru and his followers. The raft becomes a sort of interstellar flying carpet that whisks them all through the cosmos. The trip is fun at first, with the cultists frolicking and playing ball with the Earth(!), but it eventually degenerates into a mass orgy…and the film finally returns to normal exposure.

The Direction
This dull, formless film is far from the magical phantasmagoria Martial Raysse appears to have been striving for, but it does have its moments. The negative exposure works wonders, transforming drab Parisian locations into exotic dreamscapes. Of course it can’t do much for the camerawork, which is loose and amateurish; without the visual heightening this would likely play like a crappy home movie. Nor is the acting anything much; the only performer who makes any impression is Sterling Hayden as the cult leader (how Raysse convinced Hayden to appear in this film I’ll never figure out).
Yet those interested in the unusual will definitely want to check out LE GRAND DEPART. It provides an eye-opening look at just how staid and predictable most movies are (comparatively speaking) and suggests a tantalizing possibility: imagine how this film might play were it made by a real filmmaker!

Vital Statistics

LE GRAND DEPART (THE GRAND DEPARTURE)
Sunchild Productions

Director/Screenplay: Martial Raysse
Cinematographer: Jean-Jacques Flori
Editing: Monique Giraudy, Martine Kalfon
Cast: Sterling Hayden, Anne Wiazemsky, Gilles Raysse, Lucienne Hamon, Alexandre Raysse, Jackie Raynal

883MB | 1h 10mn | 688×528 | avi

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Language(s):French
Subtitles:English