Summary
Sylvia is seemingly a quiet, reserved, saintly person living on a quiet, reserved well-manicured street in upper-middle class suburbia. However, Sylvia is hiding a secret – she has a multiple promiscuous personality disorder. However, one of her other personas is about to cross the line.
http://www.nitroflare.com/view/456A52426B25C66/Sylvia.1977.DVDRip.XVID-CG.avi
http://keep2share.cc/file/523edd7f13129/Sylvia.1977.DVDRip.XVID-CG.avi
no pass
Isaac, a young yeshiva student, an only child to born-again orthodox parents. Trapped in a dysfunctional family and a failing body, Isaac finds refuge in wandering. Tormented by his newfound infertility, Isaac looks for answers in his father’s dubious past. Wandering through the backstreets of the city, he seeks deliverance.
http://www.nitroflare.com/view/B2D44396EDC1A9E/The.Wanderer.%28Hameshotet%29.2010.DVDRip.avi
http://www.nitroflare.com/view/03A7D376962742E/The.Wanderer.%28Hameshotet%29.2010.DVDRip.srt
http://keep2s.cc/file/bab6d4148d2b8/The.Wanderer.%28Hameshotet%29.2010.DVDRip.avi
http://keep2s.cc/file/49ed1cf9cd766/The.Wanderer.%28Hameshotet%29.2010.DVDRip.srt
turkish srt:
http://www.turkcealtyazi.org/sub/546834/hameshotet.html
Language(s):Hebrew
Subtitles:English
Synopsis
Si Tous Les Gars du Monde is an entertaining tribute to the ham radio operators of the world. The story begins when a French shipping boat takes on an Arab passenger. While on the high seas, the Arab becomes seriously ill with a communicable disease that threatens the lives of everyone on board. Unable to reach the proper medical authorities, the boat sends out a desperate S.O.S., whereupon several amateur-radio enthusiasts of different nationalities spring into action…
Quote:
Si tous les gars du monde / Devenaient de bons copains / Et marchaient la main dans la main / Le bonheur serait pour demain… Paul Fort’s celebrated poem is powerfully expressed in this cinematic hymn to fraternity, a heart-warming depiction of what might be achieved if mankind could set aside its differences and work for the common good of humanity. Whilst not immune from schmaltz and fanciful naivety, the film delivers its message with considerable charm and vigour. Absurd as its plot contrivances are (the episode in which American and Soviet officers temporarily suspend the Cold War and arrive at an improbable entente cordiale is hard to take seriously), it manages to work both as a gripping suspense drama and as an effective morality tale. The film’s obvious shortcomings (a tendency to stretch credulity to breaking point and a somewhat superficial treatment of racism) are easily forgiven, such is the warmth and sincerity with which the film is crafted.
Quote:
The striking naturalism of the exterior location sequences and the total lack of big name actors give the film a touch of New Wave authenticity – which is odd given that it was directed by Christian-Jaque, one of the great standard-bearers of the quality tradition which the directors of the Nouvelle Vague were so keen to distance themselves from. Christian-Jaque is more closely associated with lavish period dramas such as Fanfan la Tulipe (1952) and Lucrèce Borgia (1953) than contemporary dramas such as this. Equally surprising is the fact that the screenplay was written by Henri-Georges Clouzot, whose own films show a far less rosy assessment of human nature. Prior to this, Clouzot had just made Les Diaboliques (1955), his most viciously cynical portrait of human frailty. Unlikely as it may seem, Clouzot shared something of Christian-Jaque’s unshakeable belief in the inherent goodness of mankind and initially wanted to direct the film himself.
Quote:
One of the most striking things about Si tous les gars du monde, for a major French film of this time, is the absence of a star actor. This was a conscious decision on the part of the production team – a celebrity actor would have stolen the focus and undermined what the film is meant to be about, which is to celebrate the resourcefulness and compassion of the anonymous individual. The cast does include a few recognisable faces – Andrex, a once popular comedic actor reduced to minor supporting roles by the 1950s, Jean-Louis Trintignant, very early in his career, and Georges Poujouly, the child star of René Clément’s Jeux interdits (1952) – but, as in a good war film, it is the ensemble that matters, not individual contributions. Just as we are anxious over the desperate plight of the Breton fishermen (convincingly played by André Valmy and Jean Gaven), we are also moved by the dedication of those who seek to help them, moved and easily inspired to follow their example.
http://www.nitroflare.com/view/F24D699D3B5D7E3/Si.tous.les.gars.du.monde.1956.TVRip.XviD.avi
http://keep2s.cc/file/ba25fdf54d536/Si.tous.les.gars.du.monde.1956.TVRip.XviD.avi
Language(s):French
Subtitles:French hardcoded for non-French parts,No english subs
Quote:
Oscar-winning documentary covering the performers who are often overlooked when people go to the opera. “In the shadow of the stars” is basically referring to the people performing their jobs, hoping for their big breaks while not getting that much attention in their current positions. There’s no question that this is a pretty interesting documentary but I think the people are going to be most effected by it are those actual opera fans or those who are in the same position as the people here and can connect with them. I think the best thing that the film has going for it is that it actually makes you familiar with some of the lesser known people who work. I thought it was fascinating hearing from people who have been waiting years for their big break and we get to hear the daily drama that goes on. This could be rehearsals where they’re not working out as well as they hoped or it could be in their personal lives where the stress is simply making things bad at home. Throughout the picture we’re introduced to several people and all of them discuss their careers and lives. Some of the stories get repeated to the point where you feel as if you’re hearing it over and over but for the most part the film keeps you drawn in and entertained.
Language(s):English
Subtitles:None
WIki says
Austeria takes place during the opening days of World War I, in the Austro-Hungarian province of Galicia. Tag (Franciszek Pieczka) is a Jewish innkeeper whose inn (austeria means inn in the local Polish dialect) is located near the border with Russia. War has broken out and local civilians are fleeing the advancing Russian Army, and several groups of refugees have taken shelter in Tag’s inn for the night. A group of Hassidic jews from the neighboring village arrive, followed by an Austrian baroness on and a Hungarian hussar cut off from his unit…
The film is based on a 1966 novel of the same name by Julian Stryjkowski, who collaborated with Kawalerowicz on the screenplay.
Kawalorowicz interview HERE
http://www.nitroflare.com/view/D222A7B82EB0A7D/Jerzy_Kawalerowicz_-_Austeria.avi
http://keep2s.cc/file/4786a5ec81e17/Jerzy_Kawalerowicz_-_Austeria.avi
english srt:
http://www.opensubtitles.org/fr/download/sub/3143599
French srt:
http://www.opensubtitles.org/fr/download/sub/3143514
Language(s):Polish
Subtitles:english,French
Conducting the first comprehensive study of films that do not move, Justin Remes challenges the primacy of motion in cinema and tests the theoretical limits of film aesthetics and representation. Reading experimental films such as Andy Warhol’s Empire (1964), the Fluxus work Disappearing Music for Face (1965), Michael Snow’s So Is This (1982), and Derek Jarman’s Blue (1993), he shows how motionless films defiantly showcase the static while collapsing the boundaries between cinema, photography, painting, and literature.
Analyzing four categories of static film–furniture films, designed to be viewed partially or distractedly; protracted films, which use extremely slow motion to impress stasis; textual films, which foreground the static display of letters and written words; and monochrome films, which display a field of monochrome color as their image–Remes maps the interrelations between movement, stillness, and duration and their complication of cinema’s conventional function and effects. Arguing all films unfold in time, he suggests duration is more fundamental to cinema than motion, initiating fresh inquiries into film’s manipulation of temporality, from rigidly structured works to those with more ambiguous and open-ended frameworks. Remes’s discussion integrates the writings of Roland Barthes, Gilles Deleuze, Tom Gunning, Rudolf Arnheim, Raymond Bellour, and Noel Carroll and will appeal to students of film theory, experimental cinema, intermedia studies, and aesthetics.
Series: Film and Culture Series
Ebook: 216 pages
Publisher: Columbia University Press (February 24, 2015)
Language: English
eISBN: 9780231538909
Quote:
Around 1900, the issues of poverty and poor relief were the source of heated controversy. This DVD illustrates in seven chapters how examinations of the ‘Social Question’ were presented in magic lantern slide sets and early films. On the screens of auditoriums, Sunday schools, music-halls, cinemas and churches, visitors could witness orphans freezing to death in the snow, drunkards plunging their families into misery and helpless old people begging for a scrap of bread. Audiences experienced poignant moving pictures in performances with music, singing and recitations. The photographic and film industries delivered glass slide sets and films in very large runs on a variety of themes relating to poverty.
This DVD recalls the forgotten art of projection and presents it anew on the modern electronic screen: drawing on original images and using authentic projection equipment, Ensemble illuminago shows enchanting Victorian slide shows and films in a live musical performance at the Munich Film Museum. Digital slideshows reconstruct the interaction between slide sets und text recitals, and early silent films are accompanied with music as they were a century ago: piano and violin underscore the moods that find visual expression in the films.
Nowadays it is rather unusual to find both films and slide sets presented on one DVD. Around 1900 it was common knowledge that the “moving pictures” in a film had evolved from photographic slide sets. Showmen, touring lecturers, music-hall entrepreneurs and cinema operators often used both projection media alternately in their live shows.
Quote:
Magic Lantern: The Magic Wand (GB 1889). Producer: York & Son, Text: George R. Sims. Reconstructed by Ludwig Vogl-Bienek, Speaker: Mervyn Heard. – During an excursion through the slums of London, an author hears the story of an 8-year-old girl who discovers a magical way to cope with her mother’s death.
http://www.imdb.com/title/tt0002336
Quote:
Film: Comment les pauvres mangent à Paris / How the Poor Dine in Paris (FR 1910). Producer: Pathé. Score by Günter A. Buchwald (piano) – The first film reportage about the ‘clochards’ of Paris: it is difficult to distinguish the extras acting in the film from the real homeless people.
http://www.imdb.com/title/tt2194533
Quote:
Film: Le Violoniste della carità / The Two Violonists (IT 1910). Producer: Cines. Score by Günter A. Buchwald (piano & violin) – Two elegant young ladies embark on a slumming adventure: they swap their clothes with two poor sisters and perform as street musicians in their place.
http://www.imdb.com/title/tt1709678
Quote:
Film: La Tournée des Grands Ducs / Seeing the Real Thing (FR 1910). Producer: Pathé, Director: Yves Mirande, Cast: Armand Numès, Gaston Sylvestre, La Polaire. Score by Günter A. Buchwald (piano ) – This film parodies the slumming trips made by members of Paris high society. An acting troupe satisfies the demand for entertainment by playing ‘real Apaches’.
http://www.imdb.com/title/tt0438507
Quote:
Magic Lantern: Ora pro nobis (GB 1897). Producer: Bamforth, Text: A. Horspool, Music by M. Piccolomini. Live Performance: illuminago – Karin Bienek, Ludwig Vogl-Bienek, Piano: Judith Herrmann – Ignored by passing churchgoers, an orphan girl freezes to death at her mother’s grave – an appeal to the Christian duty to provide help and alms to the poor.
http://www.imdb.com/title/tt0339476
Quote:
Film: Le Bagne des gosses / Children’s Reformatory (FR 1907). Producer: Pathé. Score by Günter A. Buchwald (piano & violin) – An orphan boy flees from a correctional institution in which children aged between eight and twelve are mistreated in the manner of prisoners in a penal colony.
http://www.imdb.com/title/tt1736600
Quote:
Film: Bébé veut imiter St. Martin / Baby Pantomimes St. Martin (FR 1910). Producer: Pathé, Director: Louis Feuillade, Cast: Clément Mary. Score by Günter A. Buchwald (piano) – Cinema’s very first child star gives a freezing girl half of his overcoat and learns that half a coat is of little help against the cold.
http://www.nitroflare.com/view/E7E00E061A57E92/DVD_1.rar
http://www.nitroflare.com/view/1263EF0E00993FE/DVD_2.rar
http://keep2s.cc/file/7b18d436566d6/DVD_1.rar
http://keep2s.cc/file/7520e812b3532/DVD_2.rar
Language:Silent, English, German
Subtitles:English subtitles or intertitles, assorted other intertitles
Christian Petzold’s drama deals with a woman, who leaves her hometown for a promising job and a new life,
but is haunted by the truths of the past. As her marriage to Ben broke and her professional career has no future
in her native town in the Eastern part of Germany, Yella has decided to search for a job in the West. When she gets
to know Philipp, a smart executive at a private equity company in Hanover, she becomes his assistant and gets involved
into the world of ruthless and big business. Realizing her dreams could come true with Philipp’s help, she starts hearing
voices and sounds from her past, which menace her new and better life…
http://www.nitroflare.com/view/43B1FE0E54CC549/Yella.2007.W13.mkv
http://keep2s.cc/file/023c8dd491979/Yella.2007.W13.mkv
Language:German
Subtitles:English – French – Dutch – Spanish – Brazilian Portuguese (in mkv)
Synopsis
RACETRACK is about the Belmont Race Track, one of the world’s leading race tracks for thoroughbred racing. The film highlights the training, maintaining and racing of thoroughbred horses. Everyday occurrences are shown: in the backstretch — the grooming, feeding, shoeing, and caring for horses and the preparation for races; at the practice track the various aspects of training, exercising, and timing the horses; at the paddock — the pre-race presentation of the horses; and in the grandstand — betting and watching the races. The film also has sequences showing the variety of work done by trainers, jockeys, jockey agents, grooms, hot walkers, stable hands, and veterinarians.
“The New York Times” wrote:
by John Corry
”RACETRACK,” two hours, black and white, no narration, is Frederick Wiseman’s vision of horse racing. Mr. Wiseman, perhaps our best-known documentary maker, has made a career of recording the American experience, filming subjects as diverse as the criminally insane and the customers at Nieman-Marcus. The results can be downright boring; they can also be enthralling. ”Racetrack,” on Channel 13 at 9 o’clock tonight, is one of Mr. Wiseman’s better works.
For one thing, it’s hard to beat a racetrack for richness of images. Here we get Belmont Park: barns, grandstand and track, grooms, bettors and owners. And, of course, we get horses: giving birth, under surgery, mating. This last is entirely unromantic; a trainer and stable employees hold a grunting stallion in place.
Mr. Wiseman’s intention, I think, is to suggest that a racetrack is a hermetically sealed world, or perhaps a whole series of worlds, each sharing some time and space with the others.Grooms, jockeys and owners come together and then draw apart, retreating to separate corners. The larger world is the racetrack and racing.
Whatever his intention, however, Mr. Wiseman posts no conventional markers. ”Racetrack” opens at a breeding farm – mares, foals and grassy fields – although which breeding farm and in what state we do not know. Presumably, Mr. Wiseman is after essence, not specifics, and the essence of one breeding farm is the essence of all breeding farms.
Go then down a rural four-lane highway, and finally past urban apartments. We are at Belmont Park. Into a barn then; stablehands are at work. We hear fragments of music from a radio and snatches of racetrack conversation. ”He beat the best horses in France – he might come around again,” a man, presumably a trainer, says about a horse that has not been doing well. ”He might, he might,” his companion replies.
There is nothing linear about Mr. Wiseman’s presentation, except for the rhythm of racing. The film begins with a mare giving birth at the breeding farm; it ends, effectively, with a littered and empty post-race grandstand. Mr. Wiseman, as always, won’t tax us with specifics (journalism does that) but the horse they’re draping with the blanket of flowers toward the end of the film appears to be Summing, who won the Belmont Stakes in 1981. The jockey (”Hey, Georgie,” photographers shout) is George Martens. Under Mr. Wiseman’s terms, this doesn’t matter. One race is the same as another, and it is the feeling of all races that counts.
In fact, Mr. Wiseman is onto something here: the feeling, the essence, is more enduring than the specifics. On the other hand, the most captivating part of ”Racetrack” is as specific as can be: a testimonial dinner to John A. Morris, then 89 years old, and a pillar of the racing establishment.
The dinner takes place at Roseland, attended by people loosely and imprecisely called ”socialites.” Look carefully. You see Mr. and Mrs. Hugh Carey and other recognizable folks. On film, the sequence, one of the longest in ”Racetrack,” is charming, like a Life magazine spread from the 1950’s. It is there because Mr. Wiseman wants to say something about the social texture of the racing world, but we enjoy it apart from that. It exists by itself, very specifically, and it makes ”Racetrack” a richer film.
http://www.nitroflare.com/view/2ECC44D2B357395/RACETRACK.avi
http://keep2s.cc/file/c07a7aa283e36/RACETRACK.avi
Language(s):English
Subtitles:None
No No Sleep’ sees Taiwanese director Tsai Ming-liang revisiting Lee Kang Sheng’s walking monk, this time in Tokyo. But rather than spend all his time on the city streets, Tsai eventually transplants the anonymous monk to a Japanese ‘onsen’ (a public bathhouse), where he’s joined by an equally anonymous Japanese man.
http://www.nitroflare.com/view/DB47335C49FE46B/No_No_Sleep_%282015%29.mkv
http://keep2s.cc/file/1bdd7ab4350af/No_No_Sleep_%282015%29.mkv
Language(s):Mandarin
Subtitles:No dialogue.
In the heat of the summer. A lonesome house in the countryside between woods and corn fields. Nine-year-old twin brothers are waiting for their mother. When she comes home, bandaged after cosmetic surgery, nothing is like before. The children start to doubt that this woman is actually their mother. It emerges an existential struggle for identity and fundamental trust.
http://www.nitroflare.com/view/94C1A6F6ED68FC4/Ich_Seh%2C_Ich_Seh.mkv
http://keep2s.cc/file/4a5e86a1c0ded/Ich_Seh%2C_Ich_Seh.mkv
Language(s):German
Subtitles:English Dutch
“The White Widow” is a psychotropic visual arts film representing the themes of mythology, mysticism, and the existential struggle. The realm is that of the subconscious, the alterations of perception, in the other-worldly than the worldly. Once upon a time the white widow at the edge of a path.
http://www.nitroflare.com/view/32CBC552BF437DD/The_White_Widow_%282015%29.mkv
http://keep2s.cc/file/ee2f664e6b51a/The_White_Widow_%282015%29.mkv
Language(s):None
Subtitles:None
Bipolar (2014)
Film by Fred L’Epee
In collaboration with Kenneth Gentry and Ed Alvarado.
“The theme of bipolarity is seen through various means: the natural and the man-made; production and destruction; energy and adynamia; peace and apocalypse; equilibrium and disequilibrium — from the beginning to the end. This emerging view of a complex “bipolar climate machinery” urgently calls for a major research effort in order to decipher and quantify the interplay of atmospheric and social processes. When the world is in no accordance with all the cyclic combinations, a more or less bipolar world cannot be inevitable”
http://www.nitroflare.com/view/3EE95BDA0B492CD/Bipolar_%282014%29.mkv
http://keep2s.cc/file/f9c34ba4c2c82/Bipolar_%282014%29.mkv
Language(s):None
Subtitles:None
Der Sieg des Glaubens (English: The Victory of Faith) is the first documentary directed by Leni Riefenstahl, who was hired despite opposition from Nazi officials that resented employing a woman — and a non-Party member too. Her film recounts the Fifth Party Rally of the Nazi Party, which occurred in Nuremberg from August 30 to September 3 in 1933.
Like her Nazi documentaries of 1935, the short Tag der Freiheit (Day of Liberty) and the classic propaganda feature Triumph of the Will, Der Sieg des Glaubens has no voiceover commentary and few explanatory titles. The activities captured by Riefenstahl’s cameras include the welcoming of foreign diplomats and other politicians at the Nuremberg train station; Adolf Hitler’s arrival at the airport and his meeting with important party members; massive Nazi troop parades; and Hitler’s speech on the tenth anniversary of the National Socialist movement.
Language(s):German
Subtitles:English, hardsubs
Cosmotropia de Xam is back with more “arthouse horror” with his latest feature, MALACREANZA: FROM THE DIARY OF A BROKEN DOLL.
JASON COFFMAN wrote:
This film, his follow-up to DIABOLIQUE, is touted as both “arthouse horror” and “experimental giallo,” and while it is similar in tone to DIABOLIQUE, it is even further removed from standard narrative than that film. MALACREANZA only features one actor on screen during its entire running time, and features imagery more traditionally associated with experimental film than narrative features.
Anna (Shivabel) wakes up, nude, near what appears to be an abandoned factory. She wanders around and hears voices that seem to control her. These voices are the only other presences in the film—other than Anna, no actors appear on-screen. The voices taunt and command, as Anna wanders from one bizarre nightmare world to the next, similarly to how the characters in DIABOLIQUE would float from one place to another, but even more abstract in both its narrative structure and visual style.
That’s where the “experimental giallo” part comes in. MALACREANZA has lengthy passages that bring to mind experimental filmmakers such as Stan Brakhage. This sensibility is represented most notably in a section of the film made up of rapid-fire frames of photographs damaged with acid, displayed one after another and set to match the pounding of the soundtrack. The soundtrack and sound design for MALACREANZA is often haunting and ominous, and the film’s narrow focus on a single subject makes it a frequently hypnotic viewing experience.
However, one man’s “hypnotic” is another man’s “unwatchable,” and any viewer not ready to be completely immersed in a visual and aural experience with almost no narrative may find themselves frustrated. Even more than DIABOLIQUE, MALACREANZA is an exercise in style as substance. Cosmotropia de Xam is interested in creating a very particular atmosphere above all else, and that is where MALACREANZA succeeds most. There are a number of unsettling images here that will remain in your subconscious for a long while.
http://www.nitroflare.com/view/6A65EDC720EE55E/Malacreanza.2014.DVD.AC3.2ch.x264.mkv
http://keep2s.cc/file/a65cd9d20f60b/Malacreanza.2014.DVD.AC3.2ch.x264.mkv
Language(s):Italian
Subtitles:Hardcoded English
Plot Synopsis [AMG]
Completed in mid-1930, Scarface, based on Armitage Trail’s novel of the same name, might have been the first of the great talkie gangster flicks, but it was held up for release until after that honor was jointly usurped by Little Caesar and Public Enemy. Paul Muni stars as prohibition-era mobster Tony Camonte, a character obviously patterned on Al Capone (whose nickname was “Scarface”). The homicidal Camonte ruthlessly wrests control of the bootlegging racket from his boss, Johnny Lovo (Osgood Perkins), and claims Lovo’s mistress, Poppy (Karen Morley), in the bargain. But while Poppy satisfies him sexually, Tony has a soft spot in his heart only for his sister Cesca (Ann Dvorak). The film’s finale is one of the longest and bloodiest of the 1930s, maintaining suspense and concern for the characters involved even though Muni has deliberately done nothing to make Tony likeable to audience.The grimness of Scarface is leavened by a few choice moments of black humor. Forced to leave a stage production of Rain in order to commit a murder, Tony returns to his theater seat and anxiously asks his buddies how the play came out. Some of the film’s funniest moments belong to Vince Barnett as the mentally deficient, illiterate gangster secretary, who at one juncture gets so mad at a caller on the phone that he shoots the receiver. Scarface features a famous “‘X’ Marks The Spot” logo, inspired by news photos of gangland murders: whenever a character is killed, the letter “X” appears on screen in one form or another. Example: When a rival gangster (played by Boris Karloff) is killed at a bowling alley, the camera cuts to his bowling ball knocking down all the pins — a strike, denoted, of course, by an “X.” Producer Howard R. Hughes couldn’t release Scarface until he toned down some of the violence, reshot certain scenes to avoid libel suits, added the subtitle “The Shame of the Nation” to the opening credits, and shoehorned in new scenes showing upright Italian-Americans banding together to wipe out gangsterism. After its first run, Scarface was completely withdrawn from distribution on Hughes’ orders; the film would not be seen again on a widespread basis until it was reissued by Universal in 1979, shorn of 8 of its original 99 minutes.
http://keep2s.cc/file/f52f916677a9d/Scarface.avi
http://keep2s.cc/file/a5a524a06ebe4/Scarface.srt
http://keep2s.cc/file/c9accaa65dc97/scareface_extras.rar
http://www.nitroflare.com/view/790022161C74700/Scarface.avi
http://www.nitroflare.com/view/D4A759C6E3D9BE1/Scarface.srt
http://www.nitroflare.com/view/CD711B775210DE1/scareface_extras.rar
Spanis srt:
http://titles.box.sk/xsubt.subt.link.php?dd=Scarface1932-Spanish%5BXsubt.com%5D%5B0183175721%5D.rar
Language(s):English, Italian
Subtitles: English .srt,Spanish
Quote:
Jennie (Susan Strasberg) travels to San Francisco to locate her hippie brother Steve (Bruce Dern). She meets Stoney (Jack Nicholson) in a coffeehouse and he helps her look for Steve, who Stoney has seen in his various attempts to start a rock & roll band. Stoney and his pals transform the square girl into a swinging hippie chick, complete with a mod miniskirt. Along with their buddy Dave (Dean Stockwell), they search for Steve amidst the psychedelic splendor of the Haight-Ashbury hippie haunts. Dave is killed by a car when he wanders around in an STP-induced stupor. LSD, marijuana, and the good and the bad sides of hippie life are illustrated with non-judgmental accuracy. The soundtrack of the movie is a musical gem, complete with the international smash “Incense and Peppermints” by The Strawberry Alarm Clock. (The group reached the top of the charts with the song in October 1967.) Also on hand are the Seeds, although they don’t get to perform their best-known song, “Pushin’ to Hard.” (Seeds lead singer Sky Saxon would gain as much notoriety as an acid casualty as he would from his musical ability.) Also adding music are the Storybook and Cryque Boenzee. The latter group contained Rusty Young and George Grantham, who would join with former Buffalo Springfield members Richie Furay and Jim Messina from the legendary, long-lived country-rock band Poco. This time-capsulized gem was produced by Dick Clark, the world’s oldest teenager. (Allmovie)
http://keep2s.cc/file/336794d277ece/Psych-Out_-_1968_-_Richard_Rush.m4v
http://www.nitroflare.com/view/AF983EE12597198/Psych-Out_-_1968_-_Richard_Rush.m4v
Language(s):English
Subtitles:None
from imdb,
“This film is a snapshot of the life of Fred Frith, an English-born multi-instrumentalist, composer, and improvisor. It finds him in Europe, Japan, and the US, working and playing with a variety of avant garde artists.
There is no narrative, or narrator. The images blend with his music, and visa versa, creating a narrative all their own. His performances, widely varied, reveal a light hearted intensity. In one scene, he uses his violin to ‘sing’ with seagulls and, in another, he conducts a quartet. Most of all, it shows him as a human being whose being is infused with music. It pours out of him in all its varied forms, and he welcomes it all.
Just prior to its west coast screening, I saw an elegant older woman at one of Mr Frith’s solo performances. She seemed completely out of place, and so I asked her why she was there. Turns out that she was Sheila Benson, LA Times Film critic. She said that she’d seen the film on VHS, and felt so intrigued that she had to come and see him in person. ” Author: lbcsrw (lbcsrw@hotmail.com) from Long Beach, CA, US
Also included is a bonus from the dvd. 28 minutes of rare footage from various artists.
http://keep2s.cc/file/29aeae9c908f7/Fred_Frith___Friends_-_Step_Across_The_Border_%28DVD_Bonus%29.mpg
http://keep2s.cc/file/c6ce3e36d7257/Fred_Frith___Friends_-_Step_Across_The_Border.mpg
http://www.nitroflare.com/view/775CDF0DB066F50/Fred_Frith_%26_Friends_-_Step_Across_The_Border.mpg
http://www.nitroflare.com/view/6FBA6C78FCEBC65/Fred_Frith_%26_Friends_-_Step_Across_The_Border_%28DVD_Bonus%29.mpg
Language(s):English
Subtitles:none
A man walks, step by step, through the grass, first in black-and-white, later in pale colour. We see nothing of his face, just his boots and legs, clad in camouflage trousers and filmed from above. In the background we can hear machine guns rattling, a squawking walkie-talkie, the drone of an airplane attacking, a long beep and a chord played on the piano. The boots continue to stomp over grass, sand, rock, rusty metal and loose planks. Sometimes they come to a halt before walking on through clear, shallow water. More planks, metal, broken household items, rubble, a blanket, a bicycle, an air duct and a doll. Suddenly, the man’s boots are standing in front of the naked feet of a girl holding a cuddly toy in her hand. An atmospheric, experimental piece, from a country ravaged by catastrophes.
http://keep2s.cc/file/ad0eab4386f19/Soliton_%5B720p%5D.mkv
http://www.nitroflare.com/view/14E42EDF82D230E/Soliton__720p_.mkv
Language:None
Subtitles:None
Bitcoin: The End Of Money As We Know It traces the history of money from the bartering societies of the ancient world to the trading floors of Wall St.
The documentary exposes the practices of central banks and the dubious financial actors who brought the world to its knees in the last crisis. It highlights the Government influence on the money creation process and how it causes inflation. Moreover, this film explains how most money we use today is created out of thin air by banks when they create debt.
Epic in scope, this film examines the patterns of technological innovation and questions everything you thought you knew about money.
Is Bitcoin an alternative to national currencies backed by debt? Will Bitcoin and cryptocurrency spark a revolution in how we use money peer to peer? Is it a gift to criminals? Or is it the next bubble waiting to burst? If you trust in your money just as it is – this film has news for you.
(Written by Torsten Hoffmann)
http://keep2s.cc/file/dcf470728b316/Bitcoin.The.End.of.Money.as.We.Know.It.2015.1080p.WEB-DL.x264.mkv
http://keep2s.cc/file/eee69a7d9f59a/Bitcoin.The.End.of.Money.as.We.Know.It.2015.1080p.WEB-DL.x264.srt
http://www.nitroflare.com/view/7580977A499BAAB/Bitcoin.The.End.of.Money.as.We.Know.It.2015.1080p.WEB-DL.x264.mkv
http://www.nitroflare.com/view/52354814D4050C8/Bitcoin.The.End.of.Money.as.We.Know.It.2015.1080p.WEB-DL.x264.srt
Language(s):English
Subtitles:English