Kongo is writing a book on the subject of immigrants but while his editor wants a kind of traveler’s book in which ethnic exotic ingredients are offered to a European audience, Kongo has more ambitious ideas – he conceives of the idea of writing a book that follows the paths of Congolese history and its many ghosts. A brave and powerful film, made with single-mind integrity. Filmed mainly in the Congo, the film also provides a slice of life of the contemporary Congolese community in Brussels.

1.42GB | 1 h 33 min | 1002×564 | mkv

http://nitroflare.com/view/383D434E54EAC67/Juju.Factory.2007.DVDRIP.x264.AC3.KJNU.part1.rar
http://nitroflare.com/view/B37C12DC0C623D0/Juju.Factory.2007.DVDRIP.x264.AC3.KJNU.part2.rar

Language(s):French
Subtitles:English Hardsubbed

1933, the bosses of a large German chemical concern pave the way for Hitler’s rise to power: Thus begins the story line of the feature film Der Rat der Götter (The Council of the Gods), which deals with the history of I.G. Farben. The film adheres throughout to the Communist theory of fascism. Hitler is largely unidimensional: a creature of capital. Thus the story continues: While the directors assist Germany’s military buildup, they continue to cultivate their business dealings with the U.S. company Standard Oil in order to have joint control of the world market. Some directors now carve out careers with the Nazis, while the engineer Dr. Scholz, who comes from a working-class family, has nothing but scientific progress in mind. His discoveries in the field of so-called hydrazine research make it possible to develop a new poison gas. Father Karl warns his son of the consequences of this production, but Dr. Scholz refuses to believe what he sees. The chemical corporation delivers crate after crate of the poison to Auschwitz. Not until the war’s end are Scholz’s eyes opened. Now the Allies entrust him with the resumption of civilian production, while the directors and board members are brought before the court in the I.G. Farben Trial in Nuremberg. The trial is a farce, however, as the film seeks to make clear with its satirically exaggerated devices. In the process, not much remains of the true gravity of the Nuremberg prosecutors. In the end, the old elites assume power at the plant once again, assisted by their American friends of old, and start producing explosives for the next war. A powerful explosion shakes the plant and claims numerous victims. This time the workers do not let themselves be deceived. The shot of their demonstration dissolves into newsreel photos of mass concentrations of troops defending the “world peace camp” of the Warsaw Pact against aggression from the West.

1.63GB | 1 h 46 min | 706×529 | mkv

http://nitroflare.com/view/C68F5952EE672FE/Council.of.the.Gods.1950.DVDRIP.x264.AC3.KJNU.part1.rar
http://nitroflare.com/view/FEF2E41AC93A5A2/Council.of.the.Gods.1950.DVDRIP.x264.AC3.KJNU.part2.rar

Language(s):German
Subtitles:English

Quote:

Undeniably one of Hollywood’s greatest actresses, Katharine Hepburn nonetheless only had one voice. She used it to massive effect but anything that really warranted an utterly different accent tended to make her look horribly miscast. Of all the great actors she was the one who seemed to be horribly miscast most often, whether it be as a Chinese peasant girl, a queen of Scotland or a backwoods hillbilly. Here, playing the nineteenth century pianist and composer Clara Schumann, I expected another horrible miscasting, but found that the film’s very human story utterly engaging regardless what accents are brought to bear.

It doesn’t hurt that Hepburn is utterly believable in the opening scene performing virtuoso piano music at the Royal Opera House in Dresden, something that requires her to act but not speak.It’s 1839 and she’s still Miss Clara Wieck, building a powerful career as a pianist through the teaching and guidance of her father, sheer unbridled talent and no doubt an appreciation of how good she looks in a concert gown. It can’t hurt that the performance we see is a command performance for the King of Saxony with people as important as Franz Liszt accompanying the royal family. This story of her life and those of other prominent composers with which it interwines is told with the usual adjustments to literal truth but it is at least honest enough to admit it from moment one. ‘Certain necessary liberties have been taken with incident and chronology,’ it tells us, and even though I’m not well enough acquainted with the real versions to know which scenes are real and which are liberties, it’s not difficult to work them out, at least some of them. For instance, I’d bet that the real showdown between Professor Wieck and young Robert Schumann for Clara’s hand doesn’t come on the stage at a command performance. Wieck wants his daughter to play, to go on to a great career. Schumann, who had studied with them for years, wants to marry her, and Clara is all in favour, even though she’s ten years younger. She even changes her encore to play a piece of Schumann’s, impressing the young prince no end but surprisingly not furthering the composer’s career too much. It takes Liszt’s intervention in court for the judge to rule in favour of their marriage and that’s unfortunately it for Leo G Carroll’s part as her father. It all rings of Hollywood script manipulation, but done by a Hollywood that knew how to do this sort of thing without making us throw up our hands in disgust. Unless we knew the history, of course.

The years fly by and a decade later the Schumanns are struggling by with seven kids and living on Robert’s meagre earnings as a music teacher. Into this madhouse comes Johannes Brahms to study, picking not just New Years Eve but the night that Bertha the housekeeper quits to make his entrance. The conveniences continue throughout, Schumann tottering on the brink of melancholia just as his opera comes back with a rejection letter, prompting some notably Hollywood shenanigans to be set in motion by Brahms and Liszt, not always just a favourite in Cockney rhyming slang. It’s all as sweeping and grandiose as much of the music is tender and romantic, but it’s done capably and professionally and while these seams show they don’t feel glaringly obvious. They may be liberties, but they’re crafted as such.

It would be strange for a story all about musicians to not be full of music and Song of Love doesn’t skimp on that front, as much as the title is as much about the relationship of the Schumanns as it is the music they compose and play. It’s wonderful music too, of course, and the majesty of the production does justice to it, wisely treating us to a number of scenes of discovery, always the best emotional scenes in my book. To my mind the emotion when the Schumanns first hear Brahms play is the same emotion as when Jeff Goldblum first sees the dinosaurs in Jurassic Park. It’s real swell in the throat stuff because we don’t just see or hear what’s there but the possibility and promise of what will follow, the magic of a lifetime and a moment all at once. ‘I wish I could write something like that,’ says Schumann, the master speaking to the student and the would be student at that.

All the names involved live up to the lofty challenges they’re tasked with, playing these historical characters in the way that so characterised golden age acting, less as people and more as themes. Kate Hepburn is excellent, though she fails utterly to look 71 years old at the finale. I don’t know how adept she was on the piano but she really appears to be playing this often difficult material and that’s certainly not through the fakery of CGI or split screen or some other cinematic device, it’s real. If it’s acting it’s very capable acting indeed, if it isn’t then it suggests that she would at least have been worth listening to as a pianist. The same goes for Robert Walker as Brahms, in many ways the opposite of Robert Schumann. Brahms is utterly in control of his musical genius while Schumann struggles with his, yet Schumann has a grip on love that in turn Brahms has to struggle with.If Hepburn and Walker are pianists, at least believably so, it would seem that Paul Henreid and Henry Daniell, who play Schumann and Liszt, aren’t. They get plenty of opportunity at the keyboard but while we watch fingers play we don’t pan back to see these actors attached to them. They’re both excellent, all four of these actors playing off each other with appropriate warmth to keep such a song of love being sung until the very end of the film. There’s not much opportunity given to supporting actors, the story being woven closely around these four, but Carroll is spot on and Else Janssen impresses as Bertha, however much Brahms can wrap her round his little finger. With music like this to conjure with, that’s often what the filmmakers do to me, historical accuracy or no historical accuracy.

1.29GB | 1:58:16 | 640×480 | avi

http://nitroflare.com/view/5EA6E477FB1A733/Song.of.Love.1947.DVDRip-OwL.part1.rar
http://nitroflare.com/view/AF43704795A87D9/Song.of.Love.1947.DVDRip-OwL.part2.rar

Language(s):English
Subtitles:None

Quote:
After returning home from being a prisoner of war, Captain Viktor Aaltona (Jussi Jurkka) get a job from his friend, Rolf Bergas (Tauno Palo) with whom he had served. The men trust each other until Viktor meets Rolf’s wife Astrid (Elina Pohjanpää).

William Markus’s adaptation of a short novel by Mika Waltari, generally considered one of the weakest of the many films based on literary works and original screenplays by Waltari. Like Markus’s previous film, Mirjam (1957), Blood on Their Hands suffers from the near-constant use of overemphatic background, usually without much relation to what’s happening in the scene. The melodies composed by noted Finnish composer Einar Englund are nice in themselves, however, and somewhat reminiscent of Nino Rota’s music for Fellini around the same time. The film also features a cast of excellent but underused actors, four of whom (Jussi Jurkka, Leo Riuttu, Elina Pohjanpää and Pentti Siimes) went on to play memorable roles in the vastly superior Waltari adaptation made two years later, Inspector Palmu’s Error. Mikko Niskanen, the later actor-screenwriter-director of the noted television drama Eight Deadly Shots (1972), has a small part as a painter.

1.60GB | 1 h 21 min | 768×576 | mkv

http://nitroflare.com/view/FC3F4D000824ECF/Blood_on_Our_Hands_(1958).part1.rar
http://nitroflare.com/view/250ACBF59C8FEE7/Blood_on_Our_Hands_(1958).part2.rar

Language(s):Finnish
Subtitles:English

The first sequel to KILINK ISTANBUL’DA picks up right where the 1st installment left off. Superman manages to locate Kilink’s hideout on a remote island where his fiancé and her father are being held behind bars. Meanwhile, Kilink’s scientists finally manufacture a lethal destructive canon-like weapon that is able to blast away even portions of mountains. Superman arrives there not flying but as an ordinary man and after becoming a target for the weapon is captured and locked up with his woman and his future dad-in-law. Of course, Superman triumphs but, fortunately, Kilink gets away. The film ends with a separate episode that has nothing to do with the island and the weapon. This time Kilink murders a rich foreign woman and steals her jewels. But Superman is still around for the final conflict. Sadly, the part with this conflict was destroyed decades ago. At least, the producers saved many stills from this segment and incorporated them in the film together with a narration on the action so viewers can still capture those magic moments. Written by omayra73

http://nitroflare.com/view/FB413FBB33D1EC2/Kilink_vs_Flying_Man.f66.DVDRip.XviD.avi
http://nitroflare.com/view/9E06014AB8BA9A7/Kilink_vs_Flying_Man.f66.DVDRip.XviD.srt

Language(s):Turkish
Subtitles:English, srt.

‘John Huston and the Dubliners” is a valentine to the late director and a relatively standard production film about his making of ”The Dead.” Much time is devoted to the actors’ understandably admiring comments about Mr. Huston, and to the disposition of the prop department’s fake snow. The film has the potential to seem ordinary, but it becomes touched with magic whenever the director makes his presence felt. Mr. Huston displays his characteristic gallantry and his keen attention to seemingly unimportant touches (”Don’t worry about what you say, just keep talking,” he tells one actor, and gives precise instructions for reading the line ”Would you please pass the celery?”). He describes ”The Dead” as ”lacework,” and this film makes the aptness of that description very clear.

When one player complains jokingly that ”the most action we’ve had is breaking a wishbone,” Mr. Huston replies: ”Yes, that’s true. But it depends what your idea of action is.” Lilyan Sievernich’s portrait of the artist reveals how very subtle Mr. Huston’s own such ideas could be.

http://nitroflare.com/view/5CD8294799BD77B/John_Huston_and_the_Dubliners.avi

Language(s):English
Subtitles:None

“IMDb” wrote:

Johnny gets ready for work as his wife gives him his lunch and stays behind to look after their newborn baby. Johnny drives to a factory where he works. The factory owner happens to be the father of Johnny’s wife. Johnny meets with his co-workers Bob and Joe where they get laid off. But Johnny, thanks to his father-in-law, keeps his job. Desperate for money, Bob and Joe meet with Johnny at a local bar where they decides to rob a gas station to support themselves. Johnny reluctantly joins them out of friendship.

That night, the three friends hold up a Gulf filling station in their neighborhood. But the robbery goes wrong and all three are arrested.

Three months later, Johnny is shown returning to work at the factory while two of his co-workers discuss how Johnny’s father-in-law used his money and influence to keep Johnny out of jail, while Joe and Bob receive prison sentences.

http://nitroflare.com/view/8811B6E932981C0/The.Hold.Up.DVDRIP.Xvid.CG.avi

Language(s):English
Subtitles:none

A documentary about the history of the Free Cinema movement, made by one of it’s greatest proponents, Lindsay Anderson, to commemorate British Film Year in 1985.

Produced by Kevin Brownlow and David Gill.

Unlike Richard Attenborough’s celebratory episode of the same series, or Alan Parker’s more aggressive show, which was balanced between celebrating the greats and attacking Parker’s bugbears, Greenaway and Jarman and the BFI, Anderson’s show accentuates the negative, painting an image of a British cinema in terminal artistic decline and trashing the ambitions and approach of British Film Year itself. It’s mordantly funny and very savage.

Anderson’s guided tour of the Free Cinema movement, from its source of inspiration in the documentaries of Humphrey Jennings, through its short sponsored docs, and into feature films, is very good. His attitude could be depressing except you feel that he sort of enjoys his grumpiness.

http://nitroflare.com/view/FAE64BD8C2C1FA8/freecin.avi

Language:English

from allmovie:
One of the more cinematic entries in the mid-1970s American Film Theatre series, In Celebration is adapted from the play by David Storey. Lindsay Anderson, who directed the original stage version, reassembles his cast for this filmization. Alan Bates, James Bolam and Brian Cox play Andrew, Colin and Steven, the well-educated sons of roughhewn coal miner “Mr. Shaw” (Bill Owen) and his wife (Constance Chapman). On the occasion of their parents’ wedding anniversary, the three sons return to their dank little home village. All three boys have become successful, but only Bolam is comfortable with his success. To his parents’ dismay, Andrew announces that he has given up his law practice to become an artist; he also confesses to harboring homosexual inclinations. Prompted by the embittered Andrew, the other sons churn up memories of their childhood that they–and their parents–had hoped to keep buried. — Hal Erickson

1.37GB | 2h 09mn | 672×384 | avi

http://www.nitroflare.com/view/826C80A1E97AF4E/In_Celebration.cd1.avi
http://nitroflare.com/view/C3DD703FCEB601C/In_Celebration.cd2.avi

Language(s):English
Subtitles:None

The final film of Vincente Minnelli

Quote:
Vincente Minnelli’s final film, A Matter of Time (1976), is both a love letter to the prodigious talents of his daughter Liza, and a fond farewell to the Golden Age of Hollywood–the era during which he did his best work, long gone by 1976. The film is based on the Maurice Druon novel, La volupté d’être (Film of Memory, 1954), which in turn was loosely based on the life of early 20th century art patroness and muse Marchesa Luisa Casati. The Contessa Sanziani (Ingrid Bergman) is a Belle Epoque courtesan who, like the real-life Casati, has fallen on hard times and is living in a shabby Roman hotel. Half-mad and enveloped in memories, the Contessa recounts her past triumphs to an impressionable hotel maid, Nina (Liza Minnelli), who imagines herself playing out the Contessa’s fabled life. As the Contessa fades, Nina blossoms….

http://nitroflare.com/view/A2A1A5CB5D7E1ED/A_Matter_of_Time_(Minnelli,_1976).avi

Language(s):English
Subtitles:none

From IMDB’s user comments:

THE HAPPY ENDING might not seem special today, and may well seem very dated in some ways, but we must remember this is the pre-DIARY OF A MAD HOUSEWIFE era. I’m sure the film seemed pioneering in its day, questioning the role of the traditional housewife and demanding that women are entitled to the same satisfaction and autonomy that men expected. Writer-director Richard Brooks often dealt with social issues and political themes–that he took on women’s issues is no surprise. The film is especially an acting tour-de-force: Jean Simmons as the unsatisfied woman; John Forsythe as the non-understanding but well-meaning husband; Teresa Wright as Simmons’ mother; Dick Shawn and Tina Louise as a miserable couple; Shirley Jones as the woman who survived by having affairs with married men; Lloyd Bridges as a married man with Jones as his mistress; Bobby Darin as a lost and lonely gigolo looking for that one big score. I was also impressed by the film’s structure–with two parallel stories a year apart and various flashbacks all presented in such a way that the details of the relationship’s coming apart are given to us a little at a time, and we are gradually brought to the point where we understand WHY the present state has become what it is. It’s quite well-paced and creates tension throughout. Also, the unexpected and non-traditional ending is perfect. It’s tempting to wonder what these rich people are whining about when people in the same community are working two jobs, sixteen hours a day, or starving, or dying of cancer, but Ms. Simmons’ performance makes us care about and sympathize with her character. The film would perhaps also be of value as an educational tool for future generations who want to understand the ending of the pre-feminist era. Those who enjoy the teaming of stars Jean Simmons and Shirley Jones and director Richard Brooks should also check out his excellent film version of Sinclair Lewis’ ELMER GANTRY. Those who know Shirley Jones only from The Partridge Family might be shocked to see what a fine dramatic actress she is!

http://nitroflare.com/view/1286833CFE138AB/The_Happy_Ending_(1969).avi

Language(s):English
Subtitles:None

A man sits alone in his apartment. Why does he watch as his goldfish washes down the drain? Why does he blow up balloons then release them out the window for no one to see? And for whom does he take out his clarinet to play ‘Quartet for the End of Time’?.

Shot in 16mm, while Alfonso Cuarón was a film student, Cuarteto Para El Fin Del Tiempo is a meditation on isolation and a young man’s withdrawal from the outside world. Using very few words, Cuarón relies on the power of the image to narrate the film, for which there was no written script:

‘It was an emotion rather than an idea that drove the process, it was about improvising and trying different things every day, trying to blend the character and the location with this emotion.’

Now, despite having achieved international recognition for his widely acclaimed features Y Tu Mamá También, Harry Potter and Children of Men, Cuarón still likes to submit his work to a second critical eye.

‘Even now I have great people guiding me through the filmmaking process. Even now I cannot complete a film without people like Guillermo del Toro or Alejandro Gonzalez Iñarritu putting their touch on my work.’

Commentary by Alfonso Cuarón, recorded in London, England. (CINEMA 16 – World Short Films)

http://nitroflare.com/view/58879F696A850C6/12-Alfonso_Cuarón-Cuarteto_para_el_fin_del_tiempo_(‘Quartet_for_the_End_of_Time’)_(1983).avi
http://www.nitroflare.com/view/F13C14AE277D18B/12-Alfonso_Cuar%C3%B3n-Cuarteto_para_el_fin_del_tiempo_%28%27Quartet_for_the_End_of_Time%27%29_%281983%29.idx
http://www.nitroflare.com/view/51EC24881AA2C55/12-Alfonso_Cuar%C3%B3n-Cuarteto_para_el_fin_del_tiempo_%28%27Quartet_for_the_End_of_Time%27%29_%281983%29.sub

Language(s):Spanish
Subtitles:English, German, Japan (all optional)

A series of interviews with Woody Allen interlaced with clips from his films.

IMDB review by Alex V.:

This feature-length Woody Allen interview sees him plough through his films at almost breakneck speed, giving little primers and insights into his intentions with each one. If you’ve seen the films it’ll interest you, if you haven’t I wonder whether these soundbites will entice you to check them out…

The problem is lack of time – you get a couple of minutes on each movie when perhaps you’d like a lot longer on perhaps a lot fewer of his films. On Interiors his fascinating explanation of the film really made me want to seek it out again, whereas feeble and rather pointless references to other films just to ‘get them in somewhere’ (Broadway Danny Rose, Zelig, Radio Days, Mighty Aphrodite) just frustrated me.

But the sense I got from the interview above all is how much films and art in general belong to the audience and not their creators – he seems almost dismissive at times of works regarded as among his best. And Allen will not watch his old material, as most directors don’t, yet we as the audience are supposed to be endlessly fascinated by it – I got the sense that we could probably tell him a few things about his own films that he hadn’t considered, but I also sense that he wouldn’t be particularly interested to hear them. It leaves me wondering what the director’s viewpoint matters at all to all but the film buff, surely we would all agree that his films speak more to more people than this talking head.

http://nitroflare.com/view/B169A57839AF910/2002_-_Woody_Allen_-__A_Life_in_Film.avi

Language:English

Short polish TV film made in 1967 by Andrzej Zakrzewski upon the story of Ludwik Niemojski of the same title. It was a part of the “Opowiesci niezwykle” (Incredible Stories).
It tells a story of Bartolomeo, brilliant chess player, who had ruined his private life because of his passion for chess.

1.31GB | 28 min 49 s | 944×720 | mkv

http://nitroflare.com/view/C9A27608E81A36C/Szach.I.Mat!.1967.HDTV.PL.720p_-_03.part1.rar
http://nitroflare.com/view/CF15D883C3DFED3/Szach.I.Mat!.1967.HDTV.PL.720p_-_03.part2.rar
http://nitroflare.com/view/FBB761DB45E983B/Szach.I.Mat!.1967.HDTV.PL.720p_-_03_-_eng.srt

Language(s):Polish
Subtitles:English

Bo Widerberg’s one and only comedy!

Young Roland wants to write. In desperate need for money, he takes job at an advertising agency. He ends up in a department that advertise cosmetics. He is commissioned to do market research of a new remedy for pimples.

1.46GB | 1 h 31 min | 858×572 | mkv

http://nitroflare.com/view/BB3E379ABEA3F66/Heja.Roland.1966.part1.rar
http://nitroflare.com/view/94B51F16A455E36/Heja.Roland.1966.part2.rar
http://nitroflare.com/view/E903DC2C7EA6B67/Heja.Roland.1966.DVDRip.x264-KG.en.srt

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

A young woman named Miyuki returns to her hometown, camera in hand, after a difficult breakup. As she walks and takes photographs, she meets a variety of people and begins to realize she doesn’t have to go through this painful time in her life all alone.

1.28GB | 1 h 13 min | 853×480 | mkv

http://nitroflare.com/view/0E5A6A8D4F0A9C2/Bokura.wa.aruku.tada.soredake.2009.part1.rar
http://nitroflare.com/view/D0E2DB2245D6A27/Bokura.wa.aruku.tada.soredake.2009.part2.rar
http://nitroflare.com/view/D4CDE58E1D35BBA/Bokura.wa.aruku.tada.soredake.2009.DVDRip.x264.srt

Language(s):Japanese
Subtitles:English

1933, the bosses of a large German chemical concern pave the way for Hitler’s rise to power: Thus begins the story line of the feature film Der Rat der Götter (The Council of the Gods), which deals with the history of I.G. Farben. The film adheres throughout to the Communist theory of fascism. Hitler is largely unidimensional: a creature of capital. Thus the story continues: While the directors assist Germany’s military buildup, they continue to cultivate their business dealings with the U.S. company Standard Oil in order to have joint control of the world market. Some directors now carve out careers with the Nazis, while the engineer Dr. Scholz, who comes from a working-class family, has nothing but scientific progress in mind. His discoveries in the field of so-called hydrazine research make it possible to develop a new poison gas. Father Karl warns his son of the consequences of this production, but Dr. Scholz refuses to believe what he sees. The chemical corporation delivers crate after crate of the poison to Auschwitz. Not until the war’s end are Scholz’s eyes opened. Now the Allies entrust him with the resumption of civilian production, while the directors and board members are brought before the court in the I.G. Farben Trial in Nuremberg. The trial is a farce, however, as the film seeks to make clear with its satirically exaggerated devices. In the process, not much remains of the true gravity of the Nuremberg prosecutors. In the end, the old elites assume power at the plant once again, assisted by their American friends of old, and start producing explosives for the next war. A powerful explosion shakes the plant and claims numerous victims. This time the workers do not let themselves be deceived. The shot of their demonstration dissolves into newsreel photos of mass concentrations of troops defending the “world peace camp” of the Warsaw Pact against aggression from the West.

1.63GB | 1 h 46 min | 706×529 | mkv

http://nitroflare.com/view/AD95AC394D3A7C0/Council.of.the.Gods.1950.DVDRIP.x264.AC3.KJNU.part1.rar
http://nitroflare.com/view/A18D99FB9AA8E52/Council.of.the.Gods.1950.DVDRIP.x264.AC3.KJNU.part2.rar

Language(s):German
Subtitles:English

This art-film is an imaginary documentary film about a man who sets off from Paris to Siberia in search of his father’s past: His father was a communist who had voluntarily gone from France to the Soviet Union to work on a big engineering project in Magadan. Now his adult son travels by train from Paris, through the Ukraine into the depths of Russia, in search of the values and ideas that had been so relevant to his father. The title of the film alludes to Lenin’s definition of communism: communism equals Soviets plus electricity. (Soviets are councils).

The movie is a collage of sounds and images, a conceptual salad of emotions and perceptions during this trip: Conversations are followed by a voice reading Lenin’s works, pictures of Ukrainian peasants enjoying an eclipse, and classic images of Eastern European train travel are all part of the film. This movie was supposedly filmed on Soviet film rolls, which is why the color is slightly reddish – the films had been stored in a fridge somewhere in the Former Soviet Union for several years until the director decided to use them.

This film is most enjoyable if you have had some previous experience traveling in Eastern Europe, and/or if you like conceptual art. This film is not recommendable for those who prefer straightforward narrative and a clear plot. I personally enjoyed this film very much, I think it is a remarkable artistic experiment. (IMDB)

http://nitroflare.com/view/73A86A1A21D8343/Les_Soviets_plus_l’électricité_(Nicolas_Rey,_2002).part1.rar
http://nitroflare.com/view/59AF174C8A3D5E1/Les_Soviets_plus_l’électricité_(Nicolas_Rey,_2002).part2.rar
http://nitroflare.com/view/00E7AD95926C5D0/Les_Soviets_plus_l’électricité_(Nicolas_Rey,_2002).part3.rar
http://nitroflare.com/view/02A24C81EA2D09D/Les_Soviets_plus_l’électricité_(Nicolas_Rey,_2002).part4.rar
http://nitroflare.com/view/E23456A218E7B94/Les_Soviets_plus_l’électricité_(Nicolas_Rey,_2002).part5.rar

DVD extras: DVD5
DVD Format: PAL
DVD Audio: Stereo
Program: Unknown
Menus: Untouched
Video: Untouched
Audio: Untouched
DVD extras: None

Language(s):French, Russian
Subtitles:English, German

Hashem (Zakariya Hashemi) is a cab driver who finds an infant child in the back seat of his cab one night after he gives a ride to a young woman. Hashem and his girlfriend, Taji (Taji Ahmadi), try to cope with this unwanted child. Hashem insists on getting rid of the child, Taji on keeping him.

2.21GB | 2 h 04 min | 1280×720 | mkv

http://nitroflare.com/view/9D5727D04D53972/Mattone_e_specchio.part1.rar
http://nitroflare.com/view/9BF497F6E2771FB/Mattone_e_specchio.part2.rar
http://nitroflare.com/view/9B520F25B39B2F6/Mattone_e_specchio.part3.rar

Language(s):Persian
Subtitles:Italian Hardsub

About a girl growing up in a big city in the seventies. She cultivates her artistic ambitions. After a series of relationships, she gets a small part in a play and becomes pregnant. (from IMDB)

849MB | 1h 41mn | 720×466 | mkv

http://nitroflare.com/view/310944F96D41549/Hallo_Baby.mkv
http://nitroflare.com/view/CA46BD0B453339A/Hallo_Baby.srt

Language(s):Swedish
Subtitles:Swedish,English