IMDB Review:
Roads Scholar, 20 September 2004
Author: writers_reign

Quite simply this is one of the Best French films of the last fifty years. The relatively unknown Jean-Loup Hubert has produced the kind of film that the overrated Godard could not turn out if you gave him a hundred years (to be fair to the semi-Amateur Godard he would probably have no interest in addressing the Human Condition in such a refreshing straightforward fashion). In terms of story it would be difficult to find something more basic – at one end of the spectrum a married couple living in rural Brittany have slowly grown apart since losing a child, at the other end is nine year old Louis, a city boy from Paris sent to spend a summer with the couple so that his mother (an old friend of the wife) may have her second child without the encumbrance of her first. In other words this is our old friend the bildungsroman/coming-of-age/rites-of-passage movie, the one we’ve seen so many times before but, as I’ve said before, it’s all in the wrist. The tone is set from the first with a wistful, haunting music track leading us into a nineteen fifties French countryside preserved in amber as Christine Pascal (billed only as the mother of Louis) entrusts her son (Antoine Hubert) to the care of her friend Marcelle (Anemone) and her husband Pelo (Richard Bohringer).This is a French film and French film in a rural setting so we meet Marcelle as she is removing the eye of a rabbit with a knife as a prelude to skinning it. It’s a great metaphor for the changes Louis will experience in the next few weeks (you don’t see this in Paris, kid) and it also prepares us, the audience, for an arguably alien lifestyle embracing outside privys and indoor chamber pots. Writer-director Hubert (he adapted his own autobiographical novel for the screen) bravely cast his own son, Antoine, in the key role of Louis, despite the boy’s complete lack of acting experience and the experiment paid off handsomely. Nor can we argue that he found it easy to coax a performance from his own flesh and blood because he has coaxed an even better performance from Vanessa Guedi as Martine, the ten-year-old tomboy who teaches Louis so much in such a short time. Matching the performances of the two children are those of the two principal adults Anemone and Richard Bohringer, both more than deserving of the Cesars they won as respectively Best Actress and Best Actor. I have been aware of this film for several years but have never been able to track it down until now when I finally located the DVD. On the initial viewing I was overwhelmed and I know it is one I will return to again and again.

http://www.nitroflare.com/view/BDC0CA2207E6C1C/Le_grand_chemin_%281987%29.avi
http://www.nitroflare.com/view/DC96BAAFE17336A/Le_grand_chemin_%281987%29.srt

Language(s):French
Subtitles:English

Synopsis
In August 1991 a failed coup d’e´tat attempt (known as Putsch) led by a group of hard-core communists in Moscow, ended the 70-year-long rule of the Soviets. The USSR collapsed soon after, and the tricolour of the sovereign Russian Federation flew over Kremlin. As president Gorbachev was detained by the coup leaders, state-run tv and radio channels, usurped by the putschists, broadcast Tchaikovsky’s swan lake instead of news bulletins, and crowds of protestors gathered around Moscow’s White House, preparing to defend the stronghold of democratic opposition led by Boris Yeltsin, in the city of Leningrad thousands of confused, scared, excited and desperate people poured into the streets to become a part of the event, which was supposed to change their destiny. A quarter of a century later, Sergei Loznitsa revisits the dramatic moments of August 1991 and casts an eye on the event which was hailed worldwide as the birth of “Russian democracy.” What really happened in Russia in August 1991? What was the driving force behind the crowds on the Palace Square in Leningrad? What exactly are we witnessing: the collapse or the regime or its’ creative re-branding? Who are these people looking at the camera: victors or victims?

Quote:
Following Maidan, last year’s impeccable the-revolution-is-live bulletin from Ukraine, Sergei Loznitsa returns to the found-footage format with which he first came to international prominence. The Event is in many respects a logical follow-up to Maidan, and attentive viewers will detect certain formal and ideological echoes. Centred on the military coup that represented the death rattle of the USSR, The Event is composed of footage from independent documentarians in the heart of what was Leningrad. As is Loznitsa’s method, we are witnessing seismic history from the street, and as with Maidan this means several things. First, we are thrust into the middle of the crowd, buffeted hither and thither, and this often makes it difficult to get our bearings. This is entirely intentional, and goes hand in hand with the second element of The Event: we are witnessing confusion in action. “Is Gorbachev dead?” “Why is the TV only showing the Bolshoi Ballet?” “We have to seal the records,” etc. The situation is one of constant change, even as the Soviet coup leaders try in vain to establish normalcy. Granted, we know how the story ends. But Loznitsa’s editing and choice of material—passages separated by black leader and the main theme from Swan Lake—depicts both the chaos and the raw power of mass demonstration, people gathering in the street to demand their rights. Of course, The Event is also a prelude to a tragedy, since we all know (and Loznitsa knows we know) that the bold experiment in Russian democracy ends with oligarchs and Gazprom and Old You-Know-Who. But given that The Event is constructed as honest, humble heroism without a trace of irony, clearly Loznitsa is implying that it’s time to hit the streets again. – Michael Sicinski for CinemaScope

http://www.nitroflare.com/view/F943FCA91A9FC22/Sobytie.AKA.The.Event.2015.DVDRip.x264-pirata00.mkv

Language(s):Russian
Subtitles:English (hardcoded)

A romantic comedy about right, wrong and everything in between

A Chinese-American surgeon, living in Manhattan, is shocked when her single mother shows up on her doorstep pregnant. To help her mom save face and avoid the taboo in the Chinese community of an unmarried woman pregnant, the doctor helps her mom find Mr. Right. Cultures clash in this film that explores culture shock.

http://www.nitroflare.com/view/AB5DE7D5A5A2708/alliance-saving.face-xvid.avi
http://www.nitroflare.com/view/ABA6A41D6C8A94E/saving_face.XviD.english.rar
http://www.nitroflare.com/view/D56EF3F87903EAB/saving_face.XviD.francais.rar

Language(s):English / Mandarin / Shanghainese
Subtitles:english,French

In a small lakeside town in the French countryside, young women are disappearing without a trace. The superstitious locals blame “The Lake of Ghosts,” but the town’s mayor (Howard Vernon) seems reluctant, or powerless, to take any action. When another girl is found with her throat ripped out, a Paris reporter begins to uncover the deadly secrets of the lake and the dead, green-faced Nazis who are aroused to action!

http://www.nitroflare.com/view/B692F1BE5C34D89/Zombie.Lake.1981.Dvdrip.Xvid.avi

Language(s):English
Subtitles:included: None

A retired orchestra conductor is on holiday with his daughter and his film director best friend in the Alps when he receives an invitation from Queen Elizabeth II to perform for Prince Philip’s birthday.

Peter Bradshaw, The Guardian

Paolo Sorrentino’s new movie set in a Swiss sanatorium is a diverting, minor work, tweaked up with funny ideas and images and visually as stylish as ever. There are brilliant flourishes here that could only have come from Sorrentino: superb swooping camera moves, grotesque faces and angular perspectives, and it always watchable. But it’s beset with Sorrentino’s occasional fanboy weakness for pop-star cameos — Paloma Faith appears here, playing herself and not earning her keep.Youth has a wan eloquence and elegance, though freighted with sentimentality and a strangely unearned and uninteresting macho-geriatric regret for lost time, lost film projects, lost love and all those beautiful women that you never got to sleep with. The title has literary resonances with Conrad and Tolstoy, but the youth evoked is mostly that of young women and young women’s bodies, whose allure never fades for men as they get older.

It is all incarnated in Michael Caine, whose face here is an inscrutable mask of worldly disillusion, breaking occasionally into a droll smile: he plays retired British composer Fred Ballinger, currently fending off requests from the Palace to conduct a special Royal Command performance of his early masterpiece Simple Songs. (Fred is supposed to have been an intimate of Stravinsky’s — but this music sounds more like Britten pastiche.) He is undergoing a health check-up at this luxurious state-of-the-art sanatorium, although as he says: “At my age, getting in shape is a waste of time.”

Fred is there with his best buddy Mick (Harvey Keitel) an ageing movie director, here with his production team, brainstorming a new film set to star his old diva friend, played by Jane Fonda. Mick’s son is married to Fred’s daughter and assistant Leda (Rachel Weisz) who actually shares her dad’s bedroom. There is also an LA movie actor Boyle (Paul Dano), another sufferer from that popular condition: self-congratulatory cynicism, who is preparing for a certain historical role, and astonishes everyone at the spa by appearing one morning in full costume and makeup. The two old guys, Mick and Fred, go into a kind of arthouse version of Statler and Waldorf, and they stroll around the grounds, grumping away, torturing themselves by whingeing about their prostate worries and perving over the current Miss Universe (Madalina Diana Ghenea) who has won a stay here as part of her prize and turns out to be smarter than anyone thought.

There has already been much comment online to the effect that Caine is playing the kind of role that might otherwise have gone to Sorrentino’s longtime collaborator Toni Servillo, and it’s true that Caine’s air of sticken ennui does remind you of Servillo. But actually Caine is very good in the role, he brings something different, a distant fatherly charm.

If only the film was not so (mostly) marooned in that single location. When the action cuts to memories and fantasies of Venice, where Fred conducted an orchestra, the film suddenly comes alive with power and movement: there is a stunning tableau of St Mark’s Square underwater. Even a very quick scene with Jane Fonda losing her temper on a plane frees things up a bit: but mostly we are drifting around the handsome facilities and grounds of this sumptuous but weirdly soulless open prison with its massages and its heated pools.

There is a poetic richness in Youth which occasionally emerges as Mick and Fred talk about what they can remember of their lives, and Mick’s realisation that there are huge stretches of his own life that he can simply no longer remember: his own youth is more or less a complete blank. It is an idea which is more terrifying than piquant: more disturbing, arguably, than anything Mastroianni’s director faced in 8 ½ — though he himself had youth more or less on his side.

Sorrentino has a basic level of fluency and verve. Anything that this film-maker places in front of his camera is always arresting to some extent: there is a superb shot in which Fred and Mick spy on an elderly couple having sex in a forest: a shot replete with comedy, absurdity and alienation. I am already looking forward to another more substantial Sorrentino film, though there is pathos here, and sweetness.

http://www.nitroflare.com/view/3DD279250254CB6/Paolo_Sorrentino_-_%282015%29_Youth.mkv

Language(s):English, Spanish, Swiss German
Subtitles:none

Synopsis:
Dino Romani (Ben Gazzara) is an American cartoonist who sees a beautiful woman named Nicole (Ornella Muti) being saved from drowning while he draws on the beach. He offers her a blanket, beginning a strange relationship with the disturbed Nicole, who strips for bellboys, exposes herself to passing tourists, hallucinates insects in her bathroom, and receives a severous treatment in a mental institution.

http://www.nitroflare.com/view/FC7BDE724036675/La_ragazza_di_Trieste.DVDRip.VTG-CC.avi
http://www.nitroflare.com/view/8E7DF48AA46C705/La.ragazza.di.Trieste.1982.EN.srt

French srt.
https://www.sous-titres.eu/films/la_ragazza_di_trieste.html

Language(s):Italian
Subtitles:English,French

EAI writes:
Made in 1976, TVTV’s close-up look at Hollywood’s annual awards ritual mixes irreverent documentary with deadpan comedy. TVTV’s cameras go behind the scenes to follow major Hollywood figures (including Steven Spielberg, Michael Douglas, Lee Grant, Jack Nicholson, and many others), capturing them in candid moments—inside their limousines, dressing for the ceremony, backstage at the awards. Lily Tomlin appears as a fictional character watching the televised Oscar ceremony in her suburban home. Tomlin, nominated for best supporting actress in Robert Altman’s Nashville in 1975, is also seen as she attends the actual awards ceremony. With Tomlin serving as a fulcrum between Hollywood’s insiders and outsiders—the adoring fans, the workers who serve the stars, those overlooked by the awards—TVTV records the lead up to and letdown after the ceremony, revealing the vagaries of fame and stardom.

tvtvnow.com writes:
Starts with young wunderkind Steven Spielberg in his office as he learns that he didn’t get nominated for “Jaws” and ends with Lily Tomlin, as middle American housewife Judy Beasley, falling asleep at home as the Star Spangled Banner plays at the end of the telecast. Ms. Tomlin is also a nominee for best supporting actress and plays the Hollywood glamour queen to the hilt. TVTV is in the limo with Goldie Hawn and Lee Grant on the way to the big night and goes skiing with Michael Douglas as relaxes before winning a slew of Oscars for “One Flew Over The Cuckoo’s Nest.” Given TVTV’s sly, unobtrusive style of video verite, you see many of these celebs as they really are, with little pretense. It’s a fun night for all, except the losers.

http://www.nitroflare.com/view/2E1B10D591D45BB/TVTV_-_The_Oscars_540p.mkv

Language(s):English
Subtitles:None

Quote:
In common with many of Benoit Jacquot’s films, Pas de scandale is an intensely sombre character study centred around one person experiencing a mid-life crisis. This time, his subject is a company executive who is attempting to rebuild his life after serving a prison sentence which has destroyed not just his public reputation but his self confidence.

http://www.nitroflare.com/view/48C8130BEC8C778/Benoit_Jacquot_-_%281999%29_Keep_It_Quiet.mkv

Language(s):French
Subtitles:English

Quote:
An unsual thriller with gialloesque themes Andrea Rispoli a desperately poor Genoese sailor, Anna, the sick wife (Ewa Aulin) needs an expensive treatment to escape death.
The only way ‘exit for the poor Andrea is yielding to the proposal of a rich and bored businessman played by Philippe Leroy which suggests under lavish compensation of victims to participate as a fierce fighter all’ man from the hills to the port of Genoa where a group of ruthless killer hinder him in every way.

http://www.nitroflare.com/view/CC6243513AAC679/Una.Vita.Lunga.Un.Giorno.1973.DVDRip.x264-CG.mkv

Language(s):Italian
Subtitles:English (muxed)

In the last days of WW2, women are volunteering from all over Germany to serve in the front lines by having sex with the brave Nazi soldiers. But when they start having sex with each other, things get complicated. Especially with the increasing danger from the revengeful Soviet army!

http://www.nitroflare.com/view/1FA3DB8ADD06461/Fraulein_in_Uniforme.avi

Language(s):English dub
Subtitles:None

THE FAREWELL PARTY is a compassionate dark comedy about friendship and knowing when to say goodbye. A group of friends at a Jerusalem retirement home build a machine for self-euthanasia in order to help their terminally ill friend. When rumors of the machine begin to spread, more and more people ask for their help, and the friends are faced with an emotional dilemma

http://www.nitroflare.com/view/691034FE914014F/Mita.Tova.AKA.The.Farewell.Party.2014.DVDRip.x264-HANDJOB.mkv

Language(s):Hebrew
Subtitles:Optional English!

A magical surrealist journey of Asa, daughter of a shaman, who confronts her own mother, fighting for her own life and freedom.

In fairy tales, legends and myths that spread throughout Indonesia; especially in the land of Java, there are many stories that depicts the crucial role of women having an important position in life and also in the circle of the authority; however many of them are portrayed weak, low and dominated by something beyond their control.
In the tradition of Islam, I understand that in front of God, human are represented as women. God is the only ‘man’ that created our life, and human is ‘the women’ created by Him.
Here, we have understood two keywords; women and human.
Many people in Indonesia lived and grew together with these traditions, fairytales, legends and myths, in its various forms and versions. Its influences has led generations that positions women as object; which are being lead not the one who leads their own life. These women have no strong position in Indonesia’s patriarchal way of life.
I want to make this film with the intention of breaking those traditions. This film will break the established social relations by making and building new relations inside the film, putting the women’s position as the center, as the story driver.
This film will tell a story about a young woman, Asa. Her fight to own and to control her own life against the confrontation with other authorities and dominations around her; which affects her life and her way of living. I also interpret this film as a film about a human; about the fight to be free with our own choice; to be ourselves.
This film will adapt and make representations of fairytales, legends and myths in Indonesia, not all, only a notable few. I want to look and learn from these traditional stories and structures by making a brave research on the past, and making adaptations or even corrections from these stories.
For example; a story about Dayang Sumbi. In the fairytales it is said that a Prince from heaven is falling in love with a human, her name is Dayang Sumbi. The Prince and Dayang Sumbi gets married, and then have a son named Sangkuriang. Since the day Sangkuriang is born, The Prince must become a dog named Tumang, as a condition from The Prince’s father to be permitted to marry Dayang Sumbi.
One day, Tumang and Sangkuriang went to the forest to hunt upon Dayang Sumbi’s wish, they found nothing inside the forest. An evil plan strikes Sangkuriang and he murders Tumang the dog, he then gives his heart to Dayang Sumbi. She then realizes and banishes the evil Sangkuriang. She lives alone. After many years since Sangkuriang disappeared, accidentally he came back to his village and meets a very beautiful woman, then he proposes to marry her, without knowing that this woman is Dayang Sumbi, his own mother.
In my story, I borrow these relations among Dayang Sumbi, Tumang and Sangkuriang. From them I will create a completely new relation. In this film those relations become; Asa’s Mother (The Shaman), Black Dog and Asa which has totally different relations than the original one. Of course there will be many more, which we will show in this film.
You will see everything that I find inside this film. I will adapt and manage it without decreasing the true intention of this story to be made; to be a complete human, to be free from all kind of fears, we need to face and fight our own fear. Here we have the third keyword; fear, just like the quote brilliantly written by Jim Morrison above.
In the simplest phrase, this film is about the trip of a woman, fighting and confronting her deepest fear; to be a human which is completely free. Watching this film will give you a personal spiritual, magical and poetic experiences, in the form of fairytale like dramatic storytelling.

http://www.nitroflare.com/view/BE8FADF65ADFE58/ANOTHER_TRIP_TO_THE_MOON.mkv

Language(s):none
Subtitles:no need

Quote:
It’s time for hockey! There’s no telling what will happen when the Winnipeg Maroons’ own star player Guy becomes embroiled in the twisted lives of Meta, a vengeful Chinoise, and her hairdresser/abortionist mother Liliom. Innocent Veronica, caught in the middle, is treated to both services! Meanwhile poor, dithering, cowardly Guy can only stand by and watch.

http://www.nitroflare.com/view/C60B806E2506774/Guy_Maddin_-_%282003%29_Cowards_Bend_the_Knee.mkv

Language(s):English
Subtitles:None

Adapted from the novel by Paolo Giordino, The Solitude of Prime Numbers is the third feature film from the Italian director Saverio Costanzo (Private, In Memory Of Me) and is, to my eyes anyway, a really bold and engaging work that demands conversation and a wider audience. I heard almost nothing about this film from my colleagues here in Toronto, only mild jeers from a few people and one vocal supporter who shared my enthusiasm after the mostly empty Press and Industry screening. Given that I can only cover so many films as a programmer and a blogger, I have been waiting until the end of the festival to decide which movie would need my support the most (as if it meant anything, but still…) and for me, The Solitude of Prime Numbers has been the movie that has stayed with me, the silence surrounding it a baffling consequence of unfortunate inattention.

Costanzo has made what is essentially a horror story about personal isolation between two young people; Alice (Alba Rohrwacher, as brilliant here as she was in I Am Love) and Mattia (Luca Marinelli) are attracted to one another, orbiting the periphery of one another’s lives as they each battle their own suffering. Alice’s suffering is physical, having injured her leg and hip in a skiiing accident as a young child, she walks with a severe limp and endures physical pain as a constant in her life. Mattia carries a dark secret from his childhood that has left him a devastated, guilt riddled soul; he turns away from his emotions and into himself, using his own body as a canvas for dealing with his almost unconscious need to rid himself of his torment. Costanzo builds the film around these two characters and three specific phases of their lives; their childhood, when tragedy befalls each of them, their adolescence, when they meet and begin an unlikely courtship, and their adult lives, which focuses on their struggle to connect with one another. Throughout the film, Costanzo uses references to other films (for example, the music of György Ligeti used by Stanley Kubrick in The Shining shows up once again, Lynchian dream logic is utilized sparingly, etc.) to evoke a sense of dread, an almost relentless feeling of isolation and sadness that is betrayed by the beautiful 35mm CinemaScope images and dreamscapes that Costanzo creates to visualize his characters’ desires.

At the heart of the film are two sequences which are among the most thrilling things I’ve seen at the movies this year. First, right in the middle of the film, Costanzo presents a teenage house party (I have a thing for them, I guess) set to techno music where Alice declares her feelings for Mattia and suffers rejection and humiliation. The scene features disorienting strobe and laser lights and thumping bass, sending the film (and the onscreen party) into a state of ecstasy that seems to come from nowhere and only deepens our feelings for Alice and Mattia; they are unable to share the moment with their peers and unable to connect with one another. While the collective energy of pure youthful enthusiasm swirls around them, dizzy and drunk on possibility, you just know that these two people, even so young, will never be a part of this community of happy oblivion. The scene, which lasts maybe 15 minutes, really pulled me in with the authenticity of teenage isolation and a very familiar feeling of being an outsider and wishing it weren’t so.

The second sequence is the film’s coda, where the adult Alice (now skin and bones, with Alba Rohrwacher pulling a Machinist and losing what seems to be a dangerous amount of weight) and Mattia (now corpulent, with Luca Marinelli carrying off his own Raging Bull weight gain routine) finally meet as adults and seek reconciliation. There is a really great moment when Alice, clearly dreaming, walks through a tropical forest and into Mattia’s childhood apartment; she is carrying his secret, thinking of him, trying to find a way to connect again. I have not seen such a lovely visual representation of the quest to discover another person’s soul and there is something very special about Alba Rohrwacher that draws an immediate connection out of me; she is as convincing an actress as any I’ve seen, a truly gifted performer who makes you believe in the absolute reality of her feelings. Costanzo for his part keeps things moving by cutting back and forth through time, and while Mattia’s secret is revealed a little late in the game (and a little slowly, anyone with a brain knows where this is going from the moment he makes a fatal mistake), it is by keeping us close to Alice that it becomes tolerable, even interesting; she is learning about the man who could never connect with her and even though we have a good idea of the information, it is compelling cinema to watch the two actors reveal their suffering at last and, finally, offer real consolation.

Much will be made of the film’s narrative strategy, but that is easily forgiven; all this mathematical mumbo jumbo about “prime numbers” equating to personal isolation is irrelevant to the movie, in my opinion (it is not even deployed symbolically!), as is the idea that it is a horror film—sure, the director may say so, but don’t let the press conference distract you from the work itself, folks. Have we learned nothing from Casey Affleck? (*ha*) But honestly, watching the actors work and thrilling to the ambitious cinematography (this is a movie for a big, big screen) and sound design, I found all of the pretense to fall away and the experience of the characters to bring me my own comforts. While the movie is by no means perfect, I really don’t want to live in world where it has to be for it to be of value; there is plenty to love about The Solitude of Prime Numbers, plenty to discuss and admire, and it is heartening to see a filmmaker in his early 30’s taking on big ideas with delicious visual bravura that still makes way for powerful performances. Costanzo’s film strikes a balance between ideas and feelings that echoes my own inner conflicts, so maybe it struck a chord in me, but I hope that eventually, the world will catch up with The Solitude of Prime Numbers and give this flawed, exciting movie the chance it deserves with American audiences.
*do not know source of above*

http://www.nitroflare.com/view/E73A86C33886159/La_solitudine_dei_numeri_primi.mkv

Language(s):Italian, German, English
Subtitles:English, Deutsch

Synopsis:

Cult director Jean Rollin’s first film was this 12-minute, black-and-white short inspired by a poem by Tristan Corbiere. Filmed on weekends in 35mm on an old Maurigraphe camera borrowed from Rollin’s job at a newsreel company, the short contains footage of Rollin’s friends at the cliffs of Dieppe, readings of Corbiere’s poem, and some Fabien Loris drawings. Rollin made a few more shorts and false starts over the next decade before completing his first narrative feature, Le Viol du Vampire, in 1968. ~ Robert Firsching, All Movie Guide

http://www.nitroflare.com/view/F36F6A9EC5892C6/Les_Amours_Jaunes_%281958%2C_Jean_Rollin%29KG.avi
http://www.nitroflare.com/view/9E73155524E659D/Les_Amours_Jaunes_%281958%2C_Jean_Rollin%29KG.idx
http://www.nitroflare.com/view/59EABAE53013AA0/Les_Amours_Jaunes_%281958%2C_Jean_Rollin%29KG.sub

Language(s):French
Subtitles:English – idx

Review from the Criterion website :
A spectacle of magnificent proportions, Kon Ichikawa’s Tokyo Olympiad ranks among the greatest documents of sport ever committed to film. Utilizing glorious widescreen cinematography, Ichikawa examines the beauty and rich drama on display at the 1964 Summer Games in Tokyo, creating a catalogue of extraordinary observations that range from the expansive to the intimate. The glory, despair, passion, and suffering of Olympic competition are rendered with lyricism and technical mastery, culminating in an inspiring testament to the beauty of the human body and the strength of the human spirit.

Extras :
Audio commentary by film historian Peter Cowie.
Interview with Kon Ichikawa.

http://www.nitroflare.com/view/4424CFD757B89AC/Tokyo_Olympiad.mkv
http://www.nitroflare.com/view/DA4649BA0DD4F75/Tokyo_Olympiad_-_Extras.rar

Language(s):Japanese, English Commentary
Subtitles:English

Iranian Director Tamineh Milani was arrested and faced execution for making The Hidden Half, a film that had been approved by government censors. Milani has been released, but the charges have not been dropped.. A change in the political winds could land her back in jail.

Milani’s films are worth watching even without the political stirIn The Hidden Half, a judge (Mohammad Nikbin) prepares for a trip to the provinces to hear the case of a condemned woman accused of unspecified political crimes. His wife Fereshteh (Niki Karimi) tries to convince him to be lenient, but he dismisses her. What could a woman possibly know?

Fereshteh writes him a letter about her own past and packs it in his suitcase. The judge reads the letter, starting the flashback that tells Fereshteh’s story. Fereshteh makes two troubling confessions. When she was a student in the late 1970s, before the Islamic Revolution, she fell in love with an older, married man. She was also involved in the Communist party. In post-revolutionary Iran, Communist sympathizers are denied access to universities, and some are imprisoned by people like her husband.. Fereshteh ends her story with a plea for her husband to be lenient, because the people he’s judging are human beings, just like her. by Marty Mapes

http://www.nitroflare.com/view/C984279C7E03742/The_Hidden_Half.avi

Language(s):Persian
Subtitles:English hardcoded

Quote:
Tracy, a lonely college freshman in New York, is rescued from her solitude by her soon-to-be stepsister Brooke, an adventurous gal about town who entangles her in alluringly mad schemes. Mistress America is a comedy about dream-chasing, score-settling, makeshift families, and cat-stealing.

http://www.nitroflare.com/view/0A6E5A360EB2718/Noah_Baumbach_-_%282015%29_Mistress_America.mkv

Language(s):English
Subtitles:English

Synopsis by Sandra Brennan
This German psychodrama looks into the events that lead an introverted woman into taking extreme action against her oppressors. Poor Maria has spent her life being ignored and pushed around by men. First there was her invalid father whom she waited on hand and foot. Then there was her cold and emotionally distant husband. Maria has been internalizing her rage for years. Her anger finally erupts when her husband takes the little bit of money she’d been secretly saving over the last few years. She kills both her husband and her father. The film ends with her new boyfriend’s distressed facial expression as he learns of her murders.

Extras in german with no subtitles
1. Making of
2. Storyboard
3. audio commentary from Tom Tykwer and cinematographer Frank Griebe

http://www.nitroflare.com/view/747560633CFE66E/Die_toedliche_Maria_%281993%29_XVID.DVDRIP.KG.avi
http://www.nitroflare.com/view/E3A63D32A4657E1/Die_toedliche_Maria_%281993%29_XVID.DVDRIP.KG.idx
http://www.nitroflare.com/view/E1C483487938719/Die_toedliche_Maria_%281993%29_XVID.DVDRIP.KG.srt
http://www.nitroflare.com/view/6F4D03E35F7D57E/Die_toedliche_Maria_%281993%29_XVID.DVDRIP.KG.sub
http://www.nitroflare.com/view/78F65EF396B9473/Die_toedliche_Maria_%281993%29.subs.by.zendenker.srt
http://www.nitroflare.com/view/0A695CDAC2382DE/Extras.rar

Language(s):German
Subtitles:english srt (rip of dvd) Deutsch HOH, English (VobSub format) english fansub srt

Synopsis
Departures follows Daigo Kobayashi (Masahiro Motoki), a devoted cellist in an orchestra that has just been dissolved and who is suddenly left without a job. Daigo decides to move back to his old hometown with his wife to look for work and start over. He answers a classified ad entitled “Departures,” thinking it is an advertisement for a travel agency only to discover that the job is actually for a “Nokanshi” or “encoffineer,” a funeral professional who prepares deceased bodies for burial and entry into the next life. While his wife and others despise the job, Daigo takes a certain pride in his work and begins to perfect the art of “Nokanshi,” acting as a gentle gatekeeper between life and death, between the departed and the family of the departed. The film follows his profound and sometimes comical journey with death as he uncovers the wonder, joy and meaning of life and living.

– Acadamy Award Winner : Best Foreign Language Film
– 10 Academy of Japan Cinema Awards (including best film and best director)

http://www.nitroflare.com/view/B3D0260417D582A/Departures_-_CD1.avi
http://www.nitroflare.com/view/D77F2ACC033C33A/Departures_-_CD2.avi
http://www.nitroflare.com/view/D0DDFA141A12E12/Departures_Subs.rar

Ebglish srt:
http://www.opensubtitles.org/es/subtitles/3472981/okuribito-en
Spanish srt:
http://www.opensubtitles.org/es/download/sub/3478063

Language(s):Japanese
Subtitles:Japanese (sub/idx),Eng srt,Spanish srt