A character study as well as a meditation on communication, creativity, and physical space, Take What You Can Carry is a picture of a young woman seen through the interiors she occupies and the company she keeps. A North American living abroad, Lilly aspires to shape an intimate and private place of her own while connecting to the world around her. When she receives a letter from home, it provides the conduit she needs to fuse her transient self with the person she’s always known herself to be.

http://www.nitroflare.com/view/21DFCFBC6C3EAAD/Take_What_You_Can_Carry_%28Matt_Porterfield%2C_2015%29.mkv

Language(s):English
Subtitles:None

Quote:
An outrageous collection of surreal, short attention span non-sequiturs largely revolving around Guitar Brother, his randy older sibling, and the pair’s portly Caucasian brother.

http://www.nitroflare.com/view/C3D602883991DDD/Funky.Forest.The.First.Contact.%28Ishii%2C.Ishimine%2C.Miki.-.2005%29.mkv

Language(s):Japanese, Mandarin, English
Subtitles:English, French, Spanish

A woman whose son has been estranged from her for years travels to visit him in Paris. Despite offers of money and position, he would prefer to remain a petty thief, gigolo, and paid dancer rather than have anything to do with his mother. She has factories in Indochina which, despite political reverses, still run under her direction, and they could have been put under his control. The lad is happy enough to steal the jewels and money she has left lying around for just that purpose, knowing that he is too proud to accept gifts. His unhappy childhood in Indochina has left him too bitter to be approached.

Based on her novel and prior to directing a film version of the novel, Duras had already modified it into a stageplay that had enjoyed a theatrical run.

– – – – – – – – – – – – –

Une vieille femme quitte les colonies pour venir à Paris quelques jours retrouver son fils, qu’elle n’a pas vu depuis des années.
Ce fils, objet de l’amour exclusif, aveugle et dévorant de sa mère, n’est qu’un séducteur vieilli, égoïste, minable flambeur qui vit avec une entraîneuse pitoyable mais attachante. Rien à attendre, donc, de celui qui, enfant, passait des journées entières dans les arbres à dénicher les oiseaux.
Rien à attendre de celui qui ne changera plus jamais. Rien à attendre, sinon un amour fou, incompréhensible, qui ne cessera jamais de lier mère et fils, au-delà de tout.

http://www.nitroflare.com/view/31361908613AC66/Des_journees_entieres_dans_les_arbres.1977.mkv

Language(s):French
Subtitles:None

Sara prepares a surprise for her wife Katarina’s birthday with the help of their daughter Johanna and their friend Fredrik. But on this early summer day, Katarina has something to tell her that will change their lives forever.

http://www.nitroflare.com/view/F0486D233268650/Fodelsedag__Birthday__%282010%29_by_Jenifer_Malmqvist.avi

Language(s):Swedish
Subtitles:hardcoded English

Synopsis
Veteran bounty-hunter Morg Hickman rides into a town in danger. The sheriff has been killed, and young inexperienced Ben Owens named a temporary replacement until a permanent can be found. Ben wants to be that permanent replacement, so needs to impress the townspeople with his skill. When he finds that Morg was a sheriff for a long time before he became a bounty-hunter, he asks the older man to teach him. Morg thinks that being a sheriff is a foolish goal, but agrees to instruct Ben in handling people, more important to a sheriff than handling a gun.

Review:
In “Tin Star,” the western begins with bounty hunter, Morg Hickman (Henry Fonda), arriving in town with his latest human catch. The townspeople react coldly to Hickman and demand that he wait to get his money until the identity of the wanted man can be verified.

While waiting for his reward, Hickman finds out some interesting things about the small town. First of all, they have trouble keeping their sheriffs alive.

Secondly, the current wearer of “The Tin Star” is a young and inexperienced man named Ben Owens (Anthony Perkins). At the rate he is going, Sheriff Owens is probably going to be the next casualty of the badge.

When the newly appointed Sheriff Owens learns that Hickman used to wear “The Tin Star,” he approaches the older man to ask him if he would teach him how to be a good sheriff. Hickman hesitantly agrees because he doesn’t understand why the young man would want to risk his life in this way.

What unfolds are a series of life lessons about people, fighting and how to maintain law and order in the Old West.

http://www.nitroflare.com/view/5A52B18ACC8203F/The_Tin_Star_%281957%29_–_Anthony_Mann.mkv
http://www.nitroflare.com/view/C896BF46C91814B/The_Tin_Star_%281957%29_–_Anthony_Mann.srt

Language(s):English
Subtitles:English (muxed,srt)

Quote:
Multi-millionaire Horace Woodruff Vendig (Zachary Scott) shows himself to the world as an ambitious philanthropist, but that’s far from the case. Even as a young man he starts to exhibit an obsessive and selfish urge to make more and more money, loving and leaving women at will to further this end. Vendig steps on and rolls over anyone who stands in his way, including his lifelong friend Vic Lambdin (Louis Hayward), utilities executive Buck Mansfield (Sydney Greenstreet) and various women, among them his first and only love, Martha Burnside (Diana Lynn), socialite Susan Duane (Martha Vickers) and Buck’s wife, Christa Mansfield (Lucille Bremer). It is a tribute to the acting skills of Scott that he makes his despicable character somehow likeable and sympathetic. The stellar cast includes Raymond Burr, Edith Barrett, Dennis Hoey and Joyce Arling. One of the few big-budgeted projects helmed by cult director Edgar G. Ulmer (Detour).

http://www.nitroflare.com/view/9E2EB4B9AF5A7EE/Edgar_G._Ulmer_-_%281948%29_Ruthless.mkv

Language(s):English
Subtitles:none

Synopsis:
André Chatelin is a restaurant owner in Les Halles in Paris. One morning, a girl named Catherine asks to see him. She happens to be the daughter of his estranged wife, Gabrielle, that André left more than twenty years before. As Gabrielle has just died, André accepts to accommodate Catherine first, then gives her a job in his restaurant before finally marrying her. But the angel-faced young lady might well be a devil in disguise.

Review:
THE top-level combination of actor Jean Gabin and film producer-director Julien Duvivier is unmistakably conspicuous, in “Deadlier Than the Male,” French drama known in France as “Le Temps des assassins,” which came to the Baronet yesterday. But the sharply outstanding personality in this pre-World War II-type of tragedy is the sensitive and skillful French actress Danièle Delorme.

To look at this fetching young lady with her doll’s face, her slightly crossed eyes and her air of innocent enjoyment that made her “Gigi” a pleasure to recall, you would hardly suspect she had in her the capacity to convey a female with the venom, the sang-froid and the contrivance of a Charlotte Corday. Yet that’s what she gives us in this picture—a beguilingly beautiful girl with an utterly ruthless aggression against the whole category of males.

First on the clip-parade of victims for this shamelessly disarming dame is a nice Parisian restaurant-owner, played by M. Gabin. She insinuates herself into his graces by presenting herself as the destitute orphan of his ex-wife, presumably born out of wedlock after the two were divorced. But she hasn’t even got him around to thinking she’s hopelessly in love with him before she’s telling lies and sneaking amorous goodies to a young medical student, his best friend.

So it goes for the first half of the picture, with Mlle. Delorme playing a plainly deceitful but not too vicious game of trickery between the two men. And during this half of the picture, M. Duvivier takes time to build up an abundance of his excellent French atmosphere.

With M. Gabin playing a restaurateur and famous Parisian chef, he works in a lot of tasty business pertaining to French cuisine. There’s the redolent kitchen of the restaurant, with its bubbling pots and pans, its chefs and M. Gabin in white high-bonnet, presiding over the back and the front of the establishment. There is a warm sense of epicurean enjoyment, and there are pre-dawn trips to Les Halles, with M. Gabin marketing for his viands among the venders of meats and vegetables.

Then, right at the peak of this build-up, M. Duvivier fires the blow: the young lady, now married to her protector, is caught by him in her deceit.
quote
He discovers that she has not only lied to him about her mother being dead (the old lady is a dope fiend in Paris) but that she is two-timing him with his best friend.

And from here on the drama develops along classically passionate lines—the young lady, ruthless and desperate, aims for the jugular of both men. From a moderately shifty little teaser she becomes a coldly determined murderess, bent upon working the situation to a point where she can somehow save herself. At the same time, ice forms quickly over the eyeballs of M. Gabin, and it is simply a cold-blooded question of which one gets which one first. quote

It’s a taut and compelling drama, even if it never is explained (except by implication) why the girl is so ruthless toward men. And, despite an undeveloped complication, which has M. Gabin still dangling on a silver cord, it ties up its main threads very nicely and leaves one satisfied at the end.

In addition to the two main performers, Gerard Blain is excellent as the younger man, Germaine Kerjean is razorsharp as M. Gabin’s mother, and Lucienne Bogaert is a sodden mess as his ex-wife. M. Duvivier has plainly made it as candid as the censors will allow.

— New York Times.

http://www.nitroflare.com/view/BEB8DFEA4D91257/Deadlier_than_the_male_%281956%29_–_Julien_Duvivier.mkv
http://www.nitroflare.com/view/4F3170B37640669/Deadlier_than_the_male_%281956%29_–_Julien_Duvivier.srt

Language(s):French
Subtitles:English (srt)

Quote:
An artist spends his or her existence examining life through their art, so why is it often so hard to use art to examine the artist’s life in turn? We’ve all seen biopics that merely scratch the surface of a creative existence, either spending too much time focusing on the travails of the individual and leaving their creations by the wayside, or flat studies of the work alone that seemingly forget that there was a person behind the words or images.

Isaac Julien’s new documentary Derek tries to have the best of everything in its portrait of painter and visionary filmmaker Derek Jarman, and for the most part, it succeeds. As a tribute to the man, Julien and his collaborators, producer Colin MacCabe and actress Tilda Swinton, let the viewer behind the curtain to see who Jarman was and what fueled his inspired works; at the same time, we see pieces of that work, and we learn what it meant to him as a person and to the culture at large.

Jarman made a variety of films through the ’70s, ’80s, and early ’90s that broke the boundaries between the fine arts and cinematic language. He also blazed a trail for new queer cinema, adopting the gaudy style of rebels like Ken Russell (who hired the young artist to build sets for The Devils) and the in-your-face, ramshackle production of the punk rock movement. At the same time, movies like Sebastiane and The Tempest display an understanding of a more classical model, finding subversive elements in the old that spoke to the newness of a more open, contemporary world. As a maverick in art and in life, Jarman always walked it like he talked it, adding his voice to political outcries and openly living with HIV. Even as his health dwindled, leading to his death in 1994, he still challenged conventions, making his final epic, Blue, which asked audiences to stare at a blue screen and listen to various monologues that would conjure images within the blank color. His musings touched so many that, to this day, people still travel to Derek’s home in Dungeness to look at the rock garden he sculpted in his private hours.

Julien’s film is constructed as a collage, using old super-8 home movies from all the periods of Jarman’s life, news footage of his activities, and clips from his films to create a cinematic object that is as interesting to look at as it is informative–something its subject could certainly appreciate. As the running backbone of Derek, the director uses two main sources: a 1991 interview Jarman gave to MacCabe in anticipation of HIV and AIDS sapping his strength and new footage of Swinton, a regular Jarman collaborator, visiting important places in his life while her voiceover reads from a tribute she wrote to her friend. Derek may be a short 76 minutes, but in that time, these devotees get closer to the essence of the man they seek to honor than most bloated puff pieces do in twice the time.

Derek should play just as well to Jarman’s fans and the uninitiated alike. I first became aware of his work via his music videos for bands like the Smiths, Pet Shop Boys, and Suede, and I’m ashamed to admit that I’ve been remiss in seeking out his more personal endeavors. Having now watched Derek and gaining a newfound respect for its hero, it’s a situation I’m going to quickly remedy.

Quote:
“It has snowed since you were here and your tracks are covered,” says actress Tilda Swinton at the beginning of Derek, a documentary/love letter to filmmaker Derek Jarman. “Fortunately, you made them on hard ground.” It’s been almost fourteen years since Jarman passed away from an AIDS-related illness, and though he left us with some utterly unique, indispensable films like Sebastiane, Caravaggio, and Edward II, Swinton is right — a lot of snow has fallen since then in the annals of queer cinema. Some of it has been fierce and independent, but much of it has been safe and middlebrow. To watch a film like Derek is to be reminded how much of the former we need — and how rarely we get it.

The film is directed by Jarman’s friend Isaac Julien (Young Soul Rebels) and draws much of its power from three indispensible sources: Swinton’s narration (recorded from a “letter to Derek” she wrote for the Edinburgh Film Festival in 2002), a daylong interview with Colin MacCabe that shows Jarman to be cheeky and relaxed in the face of illness, and Jarman himself, who made countless short, experimental films at his Warhol-like Bankside Studio. Many of them are glimpsed for the first time in Derek, and so, too, do we get glimpses of the man and mind who produced some of these indisputably original works of art. To hear about his schooling — which he dubs “a real crash course in Catholic brainwashing” — or to learn about his strained relationship with his father will no doubt open up new footnotes in some of Jarman’s most-used themes. But to get valuable face time with the filmmaker is to wonder what he’d make of today’s film world — and whether anyone now will make of it what he once did.

http://www.nitroflare.com/view/79167012DF52E31/DEREK.avi
http://www.nitroflare.com/view/0A7CC8C393012DA/Derek_EXTRAS.rar

Language(s):English
Subtitles:None

Story
Set in early 19th century Wallachia, when a local policeman, Costandin, is hired by Iordache, a boyar (local noble), to find Carfin, a Gypsy slave who had run away from the boyar’s estate after having an affair with his wife, Sultana. Costandin sets out to find the fugitive, beginning a journey full of adventures. Gypsy slavery lasted from the 14th century up until the middle of the 19th century, a situation which is very little known and almost nonexistent in the public debate today, although its impact continues to influence Romania’s social life.

http://www.nitroflare.com/view/C8FBF26973D6B13/aferim.2015.bdrip.x264-lap.mkv
http://www.nitroflare.com/view/D8F0E6A8BAC24C3/Aferim.2015.BDRip.x264-LAP.srt

Language(s):Romanian, Turkish, Romany
Subtitles:English

On a sudden whim Goli decides to return to Iran after 20 years of living in France. She lands in Rasht, her home town, located in the north of the country. Farhad, a frame maker by trade, comes to welcome her. He seems to know her well, but the young woman has absolutely no recollection of him.

Director’s statement: I wanted to make a love story slightly different from those we are used to seeing. Farhad, the main character, is a man in love who demands nothing of that love to whom he has devoted all his life and who, like a sort of guardian angel, is content just to follow his beloved Goli’s life from afar.

The film considers what both parties bring to this love equation and reflects on what they gain and what they lose. To what extent can one maintain a sense of belonging when one lives outside one’s homeland and how does a revered image of home correspond to a concrete reality? What is more desirable, a world of one’s imaginings, the world as it is, or a mixture of the two?

http://www.nitroflare.com/view/FED6F34E1B3BDFD/What%27s_the_Time_in_Your_World.mkv

Language(s):Persian, French
Subtitles:English, French

Synopsis:
Young New York cop Dan falls in love with waterfront waitress Helen. Helen’s sister Kate falls for gangster Duke. Dan must do in Duke.

http://www.nitroflare.com/view/497B143810A7715/Me_and_My_Gal.mkv

Spanish srt:
http://www.opensubtitles.org/en/subtitles/6029682/me-and-my-gal-es

Language(s):English
Subtitles:English

Synopsis by Hal Erickson
This 1959 version of Lew Wallace’s best-selling novel, which had already seen screen versions in 1907 and 1926, went on to win 11 Academy Awards. Adapted by Karl Tunberg and a raft of uncredited writers including Gore Vidal and Maxwell Anderson, the film once more recounts the tale of Jewish prince Judah Ben-Hur (Charlton Heston), who lives in Judea with his family during the time that Jesus Christ was becoming known for his “radical” teachings. Ben-Hur’s childhood friend Messala (Stephen Boyd) is now an ambitious Roman tribune; when Ben-Hur refuses to help Messala round up local dissidents on behalf of the emperor, Messala pounces on the first opportunity to exact revenge on his onetime friend. Tried on a trumped-up charge of attempting to kill the provincial governor (whose head was accidentally hit by a falling tile), Ben-Hur is condemned to the Roman galleys, while his mother (Martha Scott) and sister (Cathy O’Donnell) are imprisoned. But during a sea battle, Ben-Hur saves the life of commander Quintus Arrius (Jack Hawkins), who, in gratitude, adopts Ben-Hur as his son and gives him full control over his stable of racing horses.Ben-Hur never gives up trying to find his family or exact revenge on Messala. At crucial junctures in his life, he also crosses the path of Jesus, and each time he benefits from it. The highlight of the film’s 212 minutes is its now-legendary chariot race, staged largely by stunt expert Yakima Canutt. Ben-Hur’s Oscar haul included Best Picture, Best Director for the legendary William Wyler, Best Actor for Heston, and Best Supporting Actor for Welsh actor Hugh Griffith as an Arab sheik.

http://www.nitroflare.com/view/0D540E952E210BF/_William_Wyler___1959__Ben-Hur_CD1.avi
http://www.nitroflare.com/view/1AC56AEC2C4219D/_William_Wyler___1959__Ben-Hur_CD1.srt
http://www.nitroflare.com/view/72CF810B383300B/_William_Wyler___1959__Ben-Hur_CD2.avi
http://www.nitroflare.com/view/DC0A7380E31692A/_William_Wyler___1959__Ben-Hur_CD2.srt
http://www.nitroflare.com/view/27EA2C229DA622C/_William_Wyler___1959__Ben-Hur_CD3.avi
http://www.nitroflare.com/view/089558EEF4ABEF4/_William_Wyler___1959__Ben-Hur_CD3.srt

Language(s):English
Subtitles:english easy subs

Sienna Farall and Summer Bishil, star in this hilarious short film about a miserable Hollywood assistant who finds romance when her sexy New York counterpart arrives in town. A funny, fresh take on growing up – and getting laid!

http://www.nitroflare.com/view/E9EF79FCFED8C2B/Public_Relations_%282010%29_by_Gianna_Sobol.avi

Language(s):English
Subtitles:none

In a dystopian near future, single people, according to the laws of The City, are taken to The Hotel, where they are obliged to find a romantic partner in forty-five days or are transformed into beasts and sent off into The Woods.

http://www.nitroflare.com/view/131F561771939BD/The.Lobster.2015.HDRip.XviD.AC3-EVO.avi

Language(s):English, French
Subtitles:None

The meanest, heaviest, most unrelentingly grim hunk of American cinema you’re likely to see– at least prior to 1950– Brute Force is an explosive hybrid mixing aspects of the string of stark prison melodramas that stretch back to the silent era, and the broodingly dark crime dramas that sprung up in the postwar 1940’s that we’ve since come to identify as Film Noir.

One of my personal favorite ‘noir’s of all time, Brute Force features a young, highly flammable Burt Lancaster (in his second film role, his followup to Siodmak’s The Killers, another crime drama produced by Mark Hellinger) in the role of inmate Joe Collins, a part that seems to fit him like a glove. A seething prisoner barely able to contain his rage over his incarceration and the vicious machinations of the warden, Joe dominates the men in his cellblock by the raw power of his presence.

Very much similar to Rififi in that it renders the psychological dynamic of the comraderie among doomed men out on the fringes of the world, trying to navigate the sharp angles of a desperate, last ditch enterprise, Brute Force is– despite the powerful presence of Lancaster–very much an ensemble piece, featuring excellent performances from the entire cast from start to finish. Brilliantly cast against type, Hume Cronyn as Captain Munsey puts in a characterization and performance you’re not likely to forget as the sadistic leader of the prison guards. He fleshes out the awful image rendered in screenwriter Richard Brooks’ excellent script of the petty tyrant gone haywire via his perception of his authority, of the impulse in men and government to oppress and dominate, to divide and conquer; of the tendency of the neccessary checks and balances to fail to restrain those impulses, believing it’s better to err on the side of ‘order’ and ‘safety’… resulting in crimes committed daily by authority that exceed the petty acts committed in the first place by those serving out their stretch. A small scale portrayal of the recipe that leads to fascism– a common reading of the film’s subtext.

Absolutely obligatory viewing for anyone remotely interested in American cinema– or at bare minimum in the American crime drama styling we’ve come to know as “Film Noir.” You simply won’t believe how amazing this film is. Another classic where an XviD rip simply won’t do!

http://www.nitroflare.com/view/0A091DB1DFAA290/Brute_Force.mkv
http://www.nitroflare.com/view/A5369EACA4D8780/Paul_Mason.avi

Language(s):English
Subtitles:English

‘heima’ is sigur rós’s first ever film, filmed over two weeks last summer when the band undertook a series of free, unannounced concerts in iceland. they hauled 40-plus people round 15 locations to the furthest flung corners of their homeland for their debut venture into live film, to create something, well, inspirational.

on their way they went to ghost towns, outsider art shrines, national parks, small community halls and the absolute middle-of-nowhere-ness of the highland wilderness, as well as playing the largest gig of their career (and in icelandic history) at their homecoming reykjavik show.

‘heima’ (icelandic for “at home” or “homeland”), truly, shows sigur rós as never before. whereas seeing the group live is normally a large-scale and sometimes overwhelming experience, making full use of lights and mesmeric visuals, ‘heima’ was always intended to reveal more of what was actually going on on stage. it does this via long-held close-ups and a rare intimate proximity, without ever once breaking the spell.

loosely based on a documentary format – and including personal reflections from the band – ‘heima’ also serves as an alternative primer for iceland the country, which is revealed as less stag destination-du-jour and more desolate, magical place where human beings have little right to trespass.

‘heima’ features performances of songs from all four sigur rós albums, many radically reworked, as well as two exclusive new songs in ‘guitardjamm’, which was filmed inside an abandoned herring oil tank in the far west of the country, and the traditional ‘a ferd til breidarfjardar 1922’, performed with poet steindor andersen.

‘heima’ was directed by dean deblois, a long-time fan of the band and director of the oscar-nominated animated feature ‘lilo & stitch’, using an icelandic crew.

http://www.nitroflare.com/view/D07AACE558BF35F/Heima.2007.720p.x264.DTS.WEB-DL._%2BCommentary_.mkv

Language(s):English, English (Commentary)
Subtitles:English, Turkish, Arabic, Br-Portuguese, Czech, Danish, Dutch, Finnish, French, Greek, Hungarian, Indonesian, Italian, Polish, Portuguese, Romanian, Russian, Spanish, Swedish

Alan Zweig investigates the wacky world of record collecting. An odd film made by a Toronto filmmaker who interviewed record collectors in their homes and in their favourite haunt – the record store. For those who enjoyed High Fidelity and thought that Nick Hornsby’s novel was a rip off of their life story, wait until you see this one! The director’s thesis is that record collectors are obsessive compulsive and are using this pursuit to make up for something that is inherently missing from their lives.

http://www.nitroflare.com/view/CCE42C19DAC1B79/Vinyl_%282000%29_Alan_Zweig.mkv

Language(s):English
Subtitles:English

LES PAYS LOIN was Jean Rollin’s second short film. It was never screened in the cinema-or even film festivals- until years after it was made and, even then, on extremely rare occasions. This Encore release is the first opportunity that almost anyone has had to see this early work. The film is a science fiction piece in which a man and a woman are lost in a maze of streets and can’t remember how they got there. When they do make it out onto the busy, populated streets, things are no better. The landmarks are unfamiliar and the people speak a strange language. Even at this very early stage, one can already see the themes of loneliness and melancholy, and a yearning for release that are trademarks of Rollin characters throughout his entire body of work.

http://www.nitroflare.com/view/9A9E5A455DC10A2/Les.Pays.Loin.1965.DVDRIP.XVID-CG.avi

Language(s):French
Subtitles:English [hardcoded]

from imdb:
A rather incoherent post-breakup Sex Pistols “documentary”, told from the point of view of Pistols manager Malcolm McLaren, whose (arguable) position is that the Sex Pistols in particular and punk rock in general were an elaborate scam perpetrated by him in order to make “a million pounds.” Silly and hard to follow at times, but worth seeing for some excellent Pistols concert footage, some wickedly amusing animated sequences, and Sid Vicious’ eerily prophetic performance of “My Way.”

http://www.nitroflare.com/view/7359835F52311A1/The_Great_Rock_%27n%27_Roll_Swindle.mkv

Language(s):English
Subtitles:nope

Quote:
Oingo Boingo fans and midnight movie mavens will love this bizarre black-and-white feature packed with music, madness, and members of the Elfman clan. The story revolves around the Hercules family, who live in a house that just happens to hide a secret entrance to the Sixth Dimension in the basement. When daughter Frenchy (Marie-Pascale Elfman) skips school one afternoon, she finds herself irresistibly drawn to the forbidden door, and winds up a prisoner in this alternate world. King Fausto (Herve Villechaize), the diminutive leader of the Sixth Dimension, is enamored with the beautiful young Frenchy and keeps her in the same cell as his favorite concubines, despite the disapproval of Queen Doris (Susan Tyrrell).
Frenchy’s brother, Flash (Phil Gordon), follows her into the Forbidden Zone with Gramps (Hyman Diamond) in tow, intending to save her, but they too are captured and must call school chum Squeezit (Toshiro Baloney, aka Matthew Bright) for help. Squeezit tries to assist, but ends up captured and decapitated by Satan (Danny Elfman), though this development doesn’t keep his disembodied noggin from flying about and informing King Fausto that the Queen is planning to dispose of his beloved Frenchy. The appearance of the King’s first wife and the kidnapping of his topless daughter further confuse matters, but everything is wrapped up neatly with an elaborate song and dance number at the conclusion.

http://www.nitroflare.com/view/8649545D3C898C1/Richard_Elfman_-_%281980%29_Forbidden_Zone.mkv

Language(s):English, French
Subtitles:English