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Kon Ichikawa – Shokei no heya AKA Punishment Room (1956)

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Kon Ichikawa’s study of gang-related violence among the youth, ‘Punishment Room’, is a brutal and nihilistic work utterly barren of hope! Yes, just the way I like a movie to be. ‘Punishment Room’ is far from the same league as Ichikawa’s masterpiece ‘Nobi’, but it is a film I better would be able to say I enjoyed watching. Though it is not much less powerful and at the release in the 50’s it were met with angry protests from parent-groups, the Japanese government and even Shintarô Ishihara, the writer of the novel ‘Punishment Room’ is based on! Plot is centered on a disgruntled university student whose disrespect and ruthlessness against authorities finally lead to his doom. He humiliate his sick, but hard-working, father at the bank in order to get a loan to fiancé a huge party. The party scene features a cool jazz band and the camera often zoom in on the girls legs. While the party goes on our hero leaves in order to beat up some members of a street gang in a pool hall. Later he drug two girls together with a pal and they bring them to an apartment and rape them! This scene was pretty notorious even though it mainly is off-screen. But of course, the film is from the 50’s and should be seen as such. The rape can hardly shock many today. As a matter of, the scene that lead to the rape where the two guys are trying to get the zapped girls all the way up the stairs seems way more humorous. Istead there is the final climax which the title ‘Punishment Room’ refers to. After having floating in a sea of dirt for some time, and gone more and more mad of his own existence, our hero finally meet his faith in the back-room of a bar. His rivals from the gang tie him to a chair, blind him with booze and let him face the girl he raped who put a knife in him! Very ugly stuff with a surprising high amount of on-screen bloodshed! He still do his best to play it tough and it all culminate very gripping and nasty. ‘Punishment Room’ is a dark and grimy tale that put most US-made teen angst films to shame. The photographing by Yoshihisa Nakagawa is top notch with a brilliant use of lighting contrasts dislocated compositions which suits the dramatic moments. A surprising and astonishing work. Worth seeking out.







http://keep2s.cc/file/dd0084071aade/Punishment.Room.1956.DVDRip.x264-SMz.mkv
http://keep2s.cc/file/f37fdf8eab72d/punishment_room.srt

http://www.nitroflare.com/view/BD4FE11A6B8EC8E/Punishment.Room.1956.DVDRip.x264-SMz.mkv
http://www.nitroflare.com/view/B03939FFDF1383F/punishment_room.srt

Language(s):Japanese
Subtitles:English, Chinese


Rasool Mollagholi Poor – Safar be Chazabeh AKA Journey to Ghazabeh (1995)

Carlos Saura – La Prima Angélica AKA Cousin Angelica (1974)

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Quote:
The initial idea for the film came from a specific reference to a cousin Angélica, in a scene from Ana and the wolves (Spanish: Ana y los lobos), director Carlos Saura’s previous work. In Ana and the wolves there is an inconsequential bit of dialogue that occurs in the private conversation between the family matriarch and the title character. The old woman speaks of a certain cousin Angélica who, as a small child, coquettishly played with one of her sons. Building on that allusion, Saura and writer Rafael Azcona developed a script about the childhood memories of a man now in his mid forties and his flirtatious cousin, Angélica, on whom he had a crush when he was ten years old. These memories become the lure for the protagonist’s reencounter of his long suppressed past.

The film is told as a labyrinthine montage of recreated memories that surface in the waking consciousness of the vanquished past that the protagonist cannot bring himself to confront. The problem for Saura was how to integrate past and present in a coherent narrative. A character who will continuously and seamlessly move form one period of time to another without resorting to the habitual flashback, but rather showing a past which is constantly being recaptured and lived as a present. The idea for this came from a phrase from Ramón del Valle-Inclán : ” Things are not as we see them, but as we remember them ”

Saura described Luis, the main character in the film a someone who was profoundly touched by the Civil War. Personally, Saura explained, “ I never agreed with the widespread idea that childhood years are the golden years of one’s life – maybe because of my own experiences. On the contrary, it seems to me that childhood is a particular uncertain period because, among other reasons, one’s childhood is lived almost entirely in an in-between world, and unfolds in a world of great fears and great needs of all kinds. And all of that leaves profound, indelible scars, particularly when one has to live in a hostile environment, like the main characters in the film.

The theme of interdicted history, the Spanish Civil War years as remembered by a child of Republican parents, Saura confronted the censors. The film’s sense of liberation comes from its directness in depicting a number of scenes in which the Nationalist cause is either ridiculed or presented as inspired more by petty animosity than by patriotic or religious fervor.

Given its political subject matter, the first two versions of the script were rejected outright by the censors. A third version was finally approved and, after some delays, the finished film was accepted for distribution without cuts.

Reception
Upon release, the film confronted a violent press reaction from the Spanish Right; La prima Angélica was to enter the public consciousness in ways no other Spanish film had.[5] It was to cause a national furor as well, which surpassed in its scope and intensity any of the previous scandals surrounding Spanish film during the Franco years. The Madrid opening was the occasion for violent audience reactions at a number of sessions. Newspapers reports of booing and shouting during the screening and of menacing protest in front of the theater only seemed to fan the flames of public controversy. It was about this time that the film was selected to be shown in the Cannes film festival to represent Spain. In the middle of the Cannes film festival, news came that the Madrid run of La prima Angélica had been further marred when masked youths broke into the projection booth and stole two reels of the film. This kind of notoriety created sympathy for the film at Cannes, yet the festival judges chose not to award Angélica any of the regular prizes. Instead, a special award was given to Saura. The Spanish conservative press attacked the award as part of a foreign conspiracy against Spain’s honor by praising the detractors of the heroic struggle for National liberation.

The producer, Elías Querejeta, was pressured to make some cuts, in particular to a scene in which a character who breaks his arm has it set in plaster in a fascist salute. Querejeta emphatically refused: ”Legally, I am the only one who can cut the film and I refuse to delete even a single frame”. The failure to persuade Querejeta to authorize cuts made the head of the information Ministry resign his post.

The film eventually returned to a more or less normal distribution in Spain, although newspapers attacks and protests at screenings continued. The Barcelona Theater where the film was having a successful run was firebombed in July 1974, and thereafter, domestic distribution of Cousin Angélica was suspended. Though never officially banned, the film posed a risk to theater owners fearful of repetitions of the incidents that hampered the Madrid and Barcelona showings. The controversy in Spain only intensified the interest of foreign audiences. Despite the climate of hostility that surrounded it, fueled by the notoriety of the scandal, La prima Angélica was Querejeta and Saura’s first formidable box office success, grossing eighty million pesetas by the end of 1975.

The film was also selected as the Spanish entry for the Best Foreign Language Film at the 47th Academy Awards, but was not accepted as a nominee.







http://keep2s.cc/file/0bfc2aa9dfa8e/Carlos_Saura_-_%281974%29_Cousin_Angelica.mkv

http://www.nitroflare.com/view/7134D75963C2DCE/Carlos_Saura_-_%281974%29_Cousin_Angelica.mkv

Language:Spanish
Subtitles:English

Bob Rafelson – Head (1968)

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Running in from seemingly nowhere, Micky Dolenz, Davy Jones, Michael Nesmith & Peter Tork – better known collectively as The Monkees – disrupt a bridge opening ceremony. From where and why did they come to disrupt the proceedings? They were filming a series of vignettes in several different genres, including a wild west sequence, a desert war sequence, a Confederate war sequence, and a science fiction sequence. They disagree with much of what is happening around them, and try to figure out how to escape the oppression they feel – symbolized by a big black box in which they are seemingly imprisoned – by the forces around. That oppression is often shown in the form of “The Big Victor Mature”.







http://keep2s.cc/file/ac3da9d11a2f0/Head_-_1968_-_Bob_Rafelson.m4v

http://www.nitroflare.com/view/974C63488B6CDB3/Head_-_1968_-_Bob_Rafelson.m4v

Language(s):English
Subtitles:None

Ahmad Reza Darvish – Kimia AKA Alchemy (1995)

Kanu Behl – Titli (2014)

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Synopsis
In the badlands of Delhi’s dystopic underbelly, Titli, the youngest member of a violent car-jacking brotherhood, plots a desperate bid to escape the ‘family’ business.
IMDb.com

Reviews
…Set within the claustrophobic confines of a criminal family in a downtrodden section of Delhi, the film plunges into this pitiless milieu with headstrong assurance, presenting a paternalistic world where corruption seeps into people’s pores and women need backbones of steel to survive.
Jay Weissberg, Variety

…The film is particularly reminiscient of Italian neorealism (especially the later grittier, more violent interpretations such as early Pasolini) and the films of Iranian director Asghar Farhadi – of complex, impossible moral situations between a series of intermingled characters…
Brad Mariano, 4:3

…This first feature directed by documaker Kanu Behl strikes a nice balance between irony and social realism…
Deborah Young, The Hollywood Reporter






http://keep2s.cc/file/3060394640dda/Titli_%28Kanu_Behl%2C_2014%29.mkv
http://keep2s.cc/file/5f854ef25c844/Titli_%28India%2C_2014%29.Greek.rar

http://www.nitroflare.com/view/A2FCA388C4507BA/Titli_%28Kanu_Behl%2C_2014%29.mkv
http://www.nitroflare.com/view/38EE7D143805BB2/Titli_%28India%2C_2014%29.Greek.rar

Language(s):Hindi
Subtitles:Greek (vobsubs)sorry yet no english subs

Sarah Polley – Stories we tell (2012)

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In this inspired, genre-twisting new film, Oscar®-nominated writer/director Sarah Polley discovers that the truth depends on who’s telling it. Polley is both filmmaker and detective as she investigates the secrets kept by a family of storytellers. She playfully interviews and interrogates a cast of characters of varying reliability, eliciting refreshingly candid, yet mostly contradictory, answers to the same questions. As each relates their version of the family mythology, present-day recollections shift into nostalgia-tinged glimpses of their mother, who departed too soon, leaving a trail of unanswered questions. Polley unravels the paradoxes to reveal the essence of family: always complicated, warmly messy and fiercely loving. Stories We Tell explores the elusive nature of truth and memory, but at its core is a deeply personal film about how our narratives shape and define us as individuals and families, all interconnecting to paint a profound, funny and poignant picture of the …

Written by The National Film Board of Canada



http://keep2s.cc/file/12d5aa998af27/ams-stories_we_tell-x264.mkv
http://keep2s.cc/file/38ad5783c85c5/Subs.rar

http://www.nitroflare.com/view/E9102CF5A5D3D40/ams-stories_we_tell-x264.mkv
http://www.nitroflare.com/view/07601455E523D2E/Subs.rar

Language(s):English
Subtitles:English, Spanish

Quentin Dupieux – Réalité AKA Reality (2014)

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Quote:
Quentin Dupieux is stuck in a time warp. His new film “Reality” has a texture so washed out that it looks like it was shot in 1974 and has just been unearthed from some film vault in Paris. This is no accident. “Reality,” just like his hilarious killer tire movie “Rubber,” is an unapologetic tribute to B-movies — especially those with a high-concept plot, a dash of science fiction and actors determinedly chewing up the set.

There are several plot strands that come together like elegantly crafted origami. It’s only by watching each fold intertwine that we arrive at the beautiful final product.

A young girl named Reality (Kyla Kenedy) witnesses her hunter father gut a hog and from the animal’s innards she spots a blue video cassette (remember those). She believes the cassette holds some big secret. Her wacky parents think she’s imagining things.

Jon Heder (“Napoleon Dynamite”) plays Denis, a television presenter who wears a big rat suit when hosting a cookery show. Why? As fans of “Rubber” will surely have guessed, there is no reason. He’s performing badly because he’s got a big itch. He believes it to be caused by eczema. His doctor, and everyone else, think it’s something coming out of his mind.

A cameraman named Jason (Alain Chabat), who works on the cooking show wants to cast Denis in a movie he is planning to make. Called “Waves,” the project centers on television sets that kill people. Why? Because television makes people stupid. By placing the story in a video cassette age, the world of the movie has not moved on from the media targets of “A Face in the Crowd” or “Network.”

“Steak” actor Jonathan Lambert reunites with Dupieux to play television producer Bob, whose office looks like it was designed by the architects of “Zabriskie Point.” Bob agrees to greenlight “Waves,” but only if Jason can with an Oscar-winning groan — the sound humans will make when they are being killed by their TV sets. He has 48 hours to achieve the impossible task — but that doesn’t stop him trying. There is also a fine cameo from Tim and Eric star Eric Wareham, and John Glover plays a genius director, which could well be self-aggrandizement on the part of Dupieux. But credit where it’s due: The directors, both real and fictional, brilliantly interweave each off-beat strand without detracting from the quirky humor.

There is nothing new in the idea of making a film about the merging of fact and fiction in the filmmaking practice: There were two others at the recently concluded Venice Film Festival (“Birdman” and “The Humbling”), and these arrived hot on the heels of Cannes competition entry “Clouds of Sils Maria.”

But the beauty of Dupieux’s latest — which some viewers may find grating — is that it’s guaranteed to leave audiences scratching their heads over which events are fact or fiction. There are no simple answers. The French-born, Los Angeles-based director has structured the action so that the different strands of the story collapse into themselves, as dream characters meet with television characters and the seemingly real ones later turn out to be movie characters. Confused? That’s how Dupieux wants it. For those willing to play along, the experience offers plenty of rewarding surprises.

There is more than a hint of “Eternal Sunshine of a Spotless Mind” in the film’s structure, particularly the way dreams and reality merge. Indeed, although aesthetically quite different, Dupieux and “Sunshine” director Michel Gondry share a playfulness in approach and brazen self-confidence that can be folly when it goes wrong — but here they flounder momentarily rather than end in car crashes.

There are some jokes that require knowledge of Dupieux’s previous work and trends in cinema to work. One of the more obvious examples is a movie theater showing “Waves,” “Rubber 2″ and “Wondrous State.” There is also the moment that Chabat realizes the film he intends to write has already been made and with the same title. Was this Dupieux’s reaction to seeing the similarly-themed Matteo Garrone film “Reality” at Cannes two years ago? Regardless, Dupieux’s “Reality” is the most fun and eclectic of the plethora of movies that have been made on this potent theme.








http://keep2s.cc/file/d41a4470ccfaa/Quentin_Dupieux_-_%282014%29_Reality.mkv
http://keep2s.cc/file/28e6cdc530319/Quentin_Dupieux_-_%282014%29_Reality.srt

http://www.nitroflare.com/view/C63B0EAF118F43F/Quentin_Dupieux_-_%282014%29_Reality.mkv
http://www.nitroflare.com/view/22A62F050FDFBC1/Quentin_Dupieux_-_%282014%29_Reality.srt

Language(s):French,English
Subtitles:English


Lasse Hallström – ABBA: The Movie [+Extras] (1977)

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Quote:
Movie detailing ABBA’s mega-successful tour of Australia during mid-1977. While it mostly contains back-stage footage and as well as ABBA’s famous songssuch as Dancing Queen, Tiger, Name Of The Game and Eagle among others sung filmed during their concerts in Sydney, Melbourne, Perth and Adelaide, it has the sub-plot of young country and western radio disc-jockey, Ashley, whose boss orders him to have a deep interview with ABBA and the problems he has trying to reach them as he forgets his press pass and ABBA’s main bodyguard, (Tom Oliver) is determined to stop him… Written by Lee Horton

40 minute film (‘Looking Back – Abba the Movie’) with Lasse Hallström, Benny Andersson and Björn Ulvaeus in conversation with Carl Magnus Palm, New York City, June 12, 2005.


Theatrical trailer for ‘Abba – the Movie’.
TV ads for ‘Abba – the Album’.



http://keep2s.cc/file/6bdbc7fdc887e/abba_the_movie.avi
http://keep2s.cc/file/0ac707d6fe1e2/abba_the_movie_looking_back.avi
http://keep2s.cc/file/5b625daca6cbe/abba_the_movie_looking_back.srt
http://keep2s.cc/file/a87df6dddd479/theatrical_trailer.avi
http://keep2s.cc/file/2b6b2a8a5d01e/abba_the_album_2_TV_ads.avi

http://www.nitroflare.com/view/AC726E89B70AF24/abba_the_movie.avi
http://www.nitroflare.com/view/5E3A4C524D013F4/abba_the_movie_looking_back.avi
http://www.nitroflare.com/view/7862624CA3CE817/abba_the_movie_looking_back.srt
http://www.nitroflare.com/view/C1C40D5E9E95C96/theatrical_trailer.avi
http://www.nitroflare.com/view/53D9E56D53ED90B/abba_the_album_2_TV_ads.avi

Language(s):English (plus interview in Swedish)
Subtitles:English .srt (interview only)

Carlos Saura – Elisa, vida mi­a AKA Elisa, My Life AKA Elisa, My Love [Uncut] (1977)

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Elisa, vida mía is a 1977 Spanish drama film written and directed by Carlos Saura. The film stars Saura’s long-term companion and frequent collaborator, Geraldine Chaplin. She stars alongside, Fernando Rey who won the Best Actor award at the 1977 Cannes Film Festival for his performance.

Quote:
‘ELISA, VIDA MIA’ By Vincent Canby Published: March 11, 1983

NEAR the end of Carlos Saura’s ”Elisa, Vida Mia,” Fernado Rey, in the role of an aging ascetic named Luis, talks movingly to his daughter, Elisa (Geraldine Chaplin), about his youthful artistic pretensions. He recalls that he used to spend hours and days polishing a letter, getting the syntax right, refining the thoughts and elevating the tone. Now, he admits, he prefers the spontaneous letter, unrefined, natural, with crossed-out words. Luis has no interest in Art.

Yet Art is mostly what ”Elisa, Vida Mia” seems to be about.

There is, at its heart, a small, coherent story about the reunion of Luis and Elisa after a 20-year separation. The principal setting is Luis’s remote farmhouse in an extremely photogenic part of Castile, where he works on what seems sometimes to be his autobiography and sometimes a novel. The autobiography-novel consists mostly of Luis’s fantasies about Elisa’s life, her failed marriage and her recollections of her childhood, including the day he walked out on the family.

Sometimes we see these events as they are remembered or imagined by Luis, sometimes as Elisa’s very own fantasies. In between we see scenes of their week together at the farm.

Mr. Saura’s cross-cuts between reality and fantasy exemplify the sort of Art Luis says he so abhors. ”Elisa, Vida Mia” is a mostly passionless, intellectual sort of puzzle, with clues provided by classy literary and musical references.

The main reasons to see the film are the two leading performances. Mr. Rey is always an interesting presence, and Miss Chaplin, as in all of her Saura films, reveals qualities of feeling, control and beauty that no other directors have ever found.

Young Ana Torrent, of ”The Spirit of the Beehive,” is seen briefly as Elisa as a little girl. In the fantasies and flashbacks, Miss Chaplin also plays her own mother, which leads to a certain amount of intentional confusion about the relations of the father and the daughter.





http://keep2s.cc/file/2e8474a71a2c5/Elisa%2C_vida_m%D1%86%E2%95%9Ca_%281977%29-KG.mkv
http://keep2s.cc/file/2762c27215cc9/Elisa%2C_vida_mia_%281977%29-KG.srt

http://www.nitroflare.com/view/17B315A039DE062/Elisa%2C_vida_m%C3%ADa_%281977%29-KG.mkv
http://www.nitroflare.com/view/4B65A5673D087C4/Elisa%2C_vida_mia_%281977%29-KG.srt

Language(s):Spanish, English
Subtitles:English

Walerian Borowczyk – Docteur Jekyll et les femmes AKA The Strange Case of Dr. Jekyll and Miss Osbourne (1981)

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The film takes place before, during and immediately after the engagement party of Dr.Henry Jekyll and Miss Fanny Osborne, attended by numerous highly respectable guests (a general, a doctor, a priest, a lawyer), the last of which informs the company that a child has been murdered in the street outside. While the others watch a young dancer perform, Dr.Jekyll instructs the lawyer to alter his will, leaving everything to a certain Mr.Hyde. Shortly afterwards, the dancer is found murdered, and the guests realise that one of their number must be a maniac with a prodigious sexual appetite…








old version here

http://keep2s.cc/file/4bdcd6b08c35e/The_Strange_Case_of_Dr._Jekyll_and_Miss_Osbourne.mkv

http://www.nitroflare.com/view/25F91FAACE22140/The_Strange_Case_of_Dr._Jekyll_and_Miss_Osbourne.mkv

Language(s):English, French Dub, English commentary
Subtitles:English for French Dub

Arthur J. Bressan Jr. – Forbidden Letters (1976)

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Synopsis: Erotic, explicit letters between a young man and his incarcerated lover recall happier (and hotter) times. The story of 2 lovers, one in jail (Richard Locke), the other, younger one (Robert Adams), still living in the San Francisco apartment they shared. A series of letters and remembrances to and of each other, but primarily from the point of view of the younger Robert who’s anxiously awaiting the release of Richard, and they’re reunion.

Parts of the movie were actually filmed in Alcatraz. The film begins in black-and-white and later changes to color. Overall, the film is very experimental and concludes in a very unconventional fashion with director Bressan narrating the credits juxtaposed with behind-the-scenes footage of the making of the film, including the cutting and editing of the film reels! Aside from the exception of Wakefield Poole’s Bijou, Forbidden Letters is probably the most artful and idiosyncratic American gay hardcore flick ever made.

Quote:
Forbidden Letters (1976)

Wow. It’s difficult for me to call this a porn movie, because it’s really a great gay love story. Yes, there is explicit sex – fucking, sucking, cum-eating. Beautifully filmed, partially in black and white, it’s the story of 2 lovers, one in jail, the other, younger one (Robert Adams), still living in the San Francisco apartment they shared. A series of letters and rememberances to and of each other, but primarily from the point of view of the younger lover who’s anxiously awaiting the release of Richard Locke from jail, and they’re reunion. With a heavy reliance on voice-over for the narration, and some original, sorta hokey sounding folk songs (original score by Jeffrey Olmstead), this film may not be for everyone, especially if you are just interested in a quick whack off. But if you like love stories, and are more into quality gay films, this is a good one. Parts were actually filmed in Alcatraz! Also starring Victoria Young (Robert’s good friend), Willie Bjorn, and John Gustavson.

ABOUT THE DIRECTOR:

Born in New York City, Bressan moved to San Francisco, joined a commune, and began making Super8 and 16mm sex films. His first, Boys, only about 20 minutes in length, was made in 1970 about a kid who cruises johns, but is unhappy with this empty life. This is when he met Richard Locke, who was impressed with his film, and opened a small theatre in order to show it. Years later they worked together on several films. As far as I’ve been able to discern, he only made the following 5 gay male porn films, but also worked making documentaries for PBS, as well as 3 non-porn, gay-themed films.

Bressan died of an AIDS-related illness on July 28, 1987.

Quote:
Larry (Robert Adams) is a cute, young, and innocent gay man whose lover Richard (Richard Locke) is in prison. Richard writes to Larry about the emptiness of prison life. As we hear Richard’s letters, we see him jerking off behind bars. Larry writes to Richard, but his true feelings are written in letters that he cannot send because they will endanger his lover. The non-linear narrative of “Forbidden Letters”, which skips back and forth in time, is told with these letters. They tell how Richard changed his life, causing him to discover the joy and pain of love with an older father-figure. Larry lives in San Francisco, just a stone’s throw away from Alcatraz Prison where Richard is incarcerated, and he walks the streets in search of pick-ups. Two of his tricks, where Larry is a top, include Willie Bjorn in a tin-walled room and John Gustavson in a hippie pad. We see them walking through Land’s End, hugging, kissing, and having sex.

The opening sequences are filmed in black-and-white, appropriate for the jail scenes and the metaphor of separation. Although the sex scenes are explicit, this is more of a love story than a porn film. It’s a timeless display of the human condition, loss, fulfillment, and the search for and discovery of real love. There is a heavy reliance on voice-over narration, with some original corny-sounding folk songs. The music score is by Jeffrey Olmstead. Arthur J. Bressan Jr. wrote the screenplay and directed. Parts of the movie were actually filmed in Alcatraz. Jeffrey Olmstead composed the original music, and Arthur J. Bressan Jr. wrote the screenplay and directed. This film is no longer available.

Quote:
Reviewed Jan 01st, 1990 00:00 AM by Sid Mitchell

Bressan is one of the only directors to produce X-rated and R-rated titles under the same name. (Chuck Vincent another). Ironically, his X-rated titles are invariably his better work. Forbidden Letters is his unquestioned masterpiece, for it creates an atmosphere that is both romantic and realistic. The plot centers on a young man (Robert Adams) whose older lover (Richard Locke) is in prison; the title derives from the censorship imposed on their correspondence. Using both black and white and full color footage, Bressan makes his characters come to life with unforgettable clarity. Bressan also wrote the screenplay, which gives Adams and Locke ample opportunity to display acting abilities that equal the best, X-rated or mainstream.










http://keep2s.cc/file/b9b7c4e0f00e8/Forbidden_Letters_%281976%29_Arthur_J._Bressan_Jr..mkv

http://www.nitroflare.com/view/AF6C632774E8372/Forbidden_Letters_%281976%29_Arthur_J._Bressan_Jr..mkv

Language(s):English
Subtitles:None

Max Ophüls, Stuart Heisler, Mel Ferrer, Preston Sturges, Paul Weatherwax – Vendetta (1950)

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Max Ophuls’ first American film. Fired by Howard Hughes after falling behind schedule, Ophuls was replaced by Preston Sturges, who had written the script. Sturges was then fired also. Over the next four years, Hughes tinkered incessantly with the project, and an array of writers and directors had their way with it. Finally editor Don Siegel attempted to put the thing together and make sense of it.

So the movie is messy but with stunning sequences. Most sources credit Mel Ferrer with directing the ending, but it’s clear he only shot the leaden coda. The actual climax is a beautifully orchestrated, stunningly lit stalking scene with the principal characters hunting each other through a misty wood. Absolutely beautiful, and if this is what made Ophuls go over schedule, as seems likely, he was right to take the time to get it looking this amazing.

Print is murky and sometimes speckly.



http://keep2s.cc/file/7e510724160a9/vendetta.avi

http://www.nitroflare.com/view/47217B89E90D842/vendetta.avi

Language(s):English
Subtitles:none

Lita Stantic – Un muro de silencio AKA A Wall of Silence (1993)

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A Wall of Silence (1993 ) , the debut of the famous film producer Lita Stantic , is an episode of collective biography of the generation of 68 in Argentina who lived optimism of the sixties and seventies brutal repression and now remakes his life in a democracy based on oblivion. Unlike many Argentine films that address the issue of missing persons, ‘A Wall’ leans more towards the historical and political approach, which also adopted in this article , analyzing the references to optimism of El Cordobazo and around Peron dictatorship and the development of democracy since 1983. We consider the contributions of filmmakers Lita Stantic and Maria Luisa Bemberg – members for a decade – to the Argentinian film and end with a question about the importance of the recovery of the memory in the current Argentina society.






http://keep2s.cc/file/531a9c8289d7b/Lita_Stantic_-_%281993%29_A_Wall_of_Silence.mkv

http://www.nitroflare.com/view/B6E45E5833039C3/Lita_Stantic_-_%281993%29_A_Wall_of_Silence.mkv

Language(s):Spanish, English
Subtitles:English, Spanish

Roger Vadim – Barbarella (1968)

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29f7c043f76a2bde437fd0d52a185152

Sexy Barbarella roams 41st-century space with her blind guardian angel, Pygar. Directed by Roger Vadim; actors Jane Fonda, John Law, Anita Pallenberg, Milo O’Shea, David Hemmings, Marcel Marceau, Claude Dauphin

In this notorious film version of the popular French comic strip by Jean-Claude Forest, Jane Fonda plays a sexy yet innocent space-age heroine in the year 40,000 A.D. who never gets herself into a situation that requires too much clothing. BARBARELLA opens with the titular heroine stripping down to nothing in zero gravity among strategically placed credits. From there Barbarella embarks on a mission to find a peace-threatening young scientist named Duran Duran (Milo O’Shea) by order of the president of Earth. En route, she’s attacked by killer dolls, is strapped into a contraption known as the Excessive Machine, and falls in love with a blind angel.

Remaining true to its comic book origins, Barbarella’s adventure unfolds in a series of dramatic difficulties and unlikely solutions, making for a galloping pace and never-ending opportunities for Mario Garbuglia’s hallucinatory set design to dazzle. With guest appearances by 1960s icons Anita Pallenberg, Marcel Marceau, and David Hemmings, and featuring dialogue by novelist Terry Southern, among others, BARBARELLA is not only a comic sci-fi sex romp but also a sly, tongue-in-cheek portrait of the legendary debauchery of that era.






http://keep2s.cc/file/8bf44b776eb46/Barbarella.mkv

http://www.nitroflare.com/view/1C13744A3FCB70F/Barbarella.mkv

Language(s):English
Subtitles:English


Joanna Hogg – Exhibition (2013)

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29f7c043f76a2bde437fd0d52a185152

Synopsis(bfi)
Joanna Hogg (Unrelated, Archipelago) brings her distinctly minimalist brand of comedy into the ultra-modernist home of artists D and H. This troubled but brave-faced couple have decided to sell their much-loved apartment, but as the sale begins to inch ever closer to reality, submerged anxieties, resentments and second-thoughts spring to the surface.
Starring Viv Albertine, guitarist of influential punk group The Slits, and Turner-prize-nominated artist Liam Gillick, Exhibition is as sleekly designed and uncompromisingly arch as the house itself – the film’s commanding central character. It’s also a deftly observed comment on the uncontrollable property obsession that characterises modern Britain.

http://keep2s.cc/file/05004ca321564/Exhibition_SD.mkv

http://www.nitroflare.com/view/65170D49D4B6F8D/Exhibition_SD.mkv

Language(s):English
Subtitles:None

Peter Higgins – Secret Life of Japan – Manga Erotica (2000)

Todd Solondz – Fear, Anxiety & Depression (1989)

Nae Caranfil – Filantropica AKA Philanthropy (2002)

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ALLMOVIE:
Nae Caranfil’s Filantropica (Philanthropy) is a comedy about a man attempting to live beyond his means. Ovidiu (Mircea Diaconu) is a teacher and struggling writer who still resides with his parents. He falls in love with Diana (Viorica Voda), the sister of one of his students. In order to impress her he agrees to a scam thought up by the roguish Pepe (Gheorghe Dinica). The scam involves Ovidiu pretending to be married to Miruna (Mara Nicolescu). — Perry Seibert

IMDB:
Charity Theme Too Close to Home, 25 January 2003
Author: (sjwegg@sympatico.ca) from St. Catahrines, Ontario

Director Nae Caranfil wasn’t short of Romanian anecdotes and stories before the screening of his fourth feature film when I saw it at the Palm Springs International Film Festival: Q: What’s the difference between a Romania pessimist and optimist; A: “The pessimist says, ‘Things couldn’t possibly get worse;’ the optimist says ‘Oh yes they can.'” And when those attending revealed their knowledge of his native country was confined to the birthplace of Dracula, we were assured, with a knowing grin, that the film to follow would be “a dark, hopeless, miserable comedy.” Well, three out of four isn’t bad!

Using stray dogs as metaphorical bookends the film purports to send up greed, education, governments and a host of social ills using charitable scamming as its glue. Unfortunately, in today’s climate of real stories of charities making front page news through scandal or mismanagement the plot’s major joke (fake married couple on the 10th anniversary in expensive restaurant, have no cash, big scene with on-the-take-waiter, do-gooder patrons pay off the inflated bill) seems more of a documentary than fiction, thus killing the satire.

But the hero as failed writer provides a much better vehicle for black humour that sets up the funniest moments: the railway poet who recites for vodka, only to reveal that he has just two poems and neither of them are his; and wonderfully believable Philanthropy Foundation where writing the lines the for percentage-based fund-beggars on the cash-only payroll brings in a steady flow of charitable donations. Their motto is bang on: “An outstretched hand with no story to tell doesn’t work.”

And so its savvy chairman (Gheorghe Dinica) writes the scripts that include a violinist (who’s never played a note but has been coached on how to hold the instrument) that has given up playing in his despair (best to beg near government culture institutions) and climaxes with the beating literature teacher by day Ovidu (played with charming naivety by Florin Calinescu) which leads to a television appearance where a special account is set up for the public to contribute to this unfortunate couple whose only crime was to try and have one night out for their anniversary. Even the sub-plot of the literature teacher trying to seduce one of his most belligerent student’s sister is filled with false fronts shallowness. But, it forces him to agree to the scamming so as to have the cash to artificially improve his lifestyle and attempt to bed her when, inevitably, his deception is revealed just on the point on entry. But like the too-forgiving Philip in Of Human Bondage Ovidu keeps going back for more, finally stealing from the foundation to pay the debts of his wayward student only to discover he’s given the dough to the sister that wasn’t (quelle suprise!). Oh well, at least he gets to keep the girl he’s been fictitiously married to for the past decade, forever proving that lies can be lived into reality!

Still, the film does provoke thought and is blessed with a knowing camera and a gypsy-esque score composed and performed by Marius Mihalache that adds much to the pace.






http://keep2s.cc/file/6e08b8f6eff92/Filantropica_%28Philanthropy%29_-_2002_-_Nae_Caranfil.mkv

http://www.nitroflare.com/view/41B4AD36B787486/Filantropica_%28Philanthropy%29_-_2002_-_Nae_Caranfil.mkv

Language(s):Romanian
Subtitles:English,French,Italian

Grzegorz Królikiewicz – Na wylot AKA Through and Through (1973)

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Quote:
“Through and Through” is a legendary feature focusing on radicalization of cinematic language. The film transgresses traditional methods of narrative construction, which is characteristic of its genre. This non-conentional treatment of the cinematic form places this film somewhere between experimental art and cinema, in a domain that does not properly belong to either field. Krolikiewicz’s radical debut is representative of his parallel pursuits – as a filmmaker as well as film theorist – and employs his crucial theory of “out – of – frame cinematographic space.” The first film in his trilogy (together with Dancing Hawk and Endless Claims), which portray typical Polish anti-heroes imprisoned by reality, “Through and Through” criticizes the nihilism and depravity created by the socio-political system.






http://keep2s.cc/file/89fbd5d503f40/Grzegorz_Krolikiewicz_-_%281973%29_Na_wylot.mkv

http://www.nitroflare.com/view/F530EFD64F0D4C5/Grzegorz_Krolikiewicz_-_%281973%29_Na_wylot.mkv

Language(s):Polish
Subtitles:English

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