Synopsis wrote:
The tale of a dancer rejected by her lover and forced to endure other indignities in order to support her child is shown in avant garde style and traditional narrative techniques, with camera angles and architectural design defining the emotional states of the characters. Featuring Eve Francis, Jaque Catelain and Marcelle Pradot.

acinemahistory.com wrote:
El Dorado is the fifth film directed by Marcel L’Herbier for Gaumont’s prestige collection ‘Pax’ which was characterised by high production quality. Its most striking aspect is the invention of new elements of the cinematographic language. L’Herbier uses distortions of the images to convey different messages or impressions: the faces of drinkers become distorted as they become drunk, Sibilla’s face becomes blurred as she thinks about her sick child, or photographs of the Alhambra are distorted to express the artistic vision of the painter intending to represent them.

In German expressionist films such as Das Cabinet des Dr. Caligari or Von Morgen bis Mitternacht distortions were also used, but they were only applied to the sets, which could also be done in a theatre. Here, it is done by optical means which is specifically cinematographic and opens a whole new range of possibilities. A new technique also pioneered by L’Herbier is the Point of view shot to put the spectator in the middle of the action: he shares for example Sibilla’s feelings when she is thrown out of the house by the servants of her son’s father, or those of characters locked at night in the Alhambra. Point of view shots are also used to show various characters remembering what they have experienced.

The editing is very modern. Crowd scenes are filmed from different points of view, alternating very rapidly wide shots and close-ups focusing on the expression of some of the characters: an old man, a group of women with their children. Sequences are linked in an original way e.g. by fades to white, white masks, or by blurring out.

L’Herbier innovates also with camera movements, using tracking shots or panning, sometimes very fast, to follow characters. By contrast, shots with a static camera are very carefully composed and lit. L’Herbier fully uses the opportunity he had to shoot the film on location in Spain, in Granada, Seville and the Sierra Nevada, to realise beautiful pictures of landscapes and indoor scenes, in particular in the Alhambra Palace in Granada, often with unusual camera angles and lighting. He also includes some footage of Semana Santa (Easter week) celebrations in the streets of Sevilla.

Lights, shadows and transparency create a very original atmosphere in the last scene in the cabaret with cross-cutting between on-stage and backstage, separated by a curtain which partially reveals what is happening on the other side.

The story, presented as a melodrama by L’Herbier, is an original variation on the common theme of the woman seduced and betrayed and has a rather unexpected ending. It is interpreted in a convincing way notably by Eve Francis as Sibilla, and Jaque Catelain and Marcelle Pradot, already seen in L’homme du large.

The film met with immediate success in France both with the public and the critics, notably Louis Delluc who summarised his impression in one sentence ‘This is cinema!’ It was restored in 1995 in a tainted version with the original soundtrack composed by Marius-François Gaillard which is an important component of the film. It is available on DVD.

http://nitroflare.com/view/5C6961E44CC2DA3/El_Dorado_%281921%29.mkv

http://uploadgig.com/file/download/a1baF3BDeeb159B9/El Dorado 1921.mkv

Language(s):Silent (French intertitles)
Subtitles:English

Quote:
Jacques Demy was arguably the greatest romantic of the French New Wave, and Lola was one film in which he proved how vital both sides of that equation were to his vision. While Lola exists within the same workaday France of Jean-Luc Godard and François Truffaut’s early films, Raoul Coutard’s cinematography allows Demy to find a beauty and poetry in the most ordinary circumstances; Coutard’s moving camera brings the grace of a dancer to the film’s visual proceedings, no matter how shabby some of the characters’ circumstances may be. The narrative is so fluffy it threatens to blow away at any moment, but Demy primarily uses it as a device to focus on the emotional lives of his characters, and it is their common search for love that moves the story and keeps the film compelling. Demy’s casting is nothing short of superb: Anouk Aimée is joyously radiant in the title role, and her every word and movement convey such a seductive charm that it’s no wonder three men are vying for her hand; Marc Michel, Alan Scott, and Jacques Harden all resister in their own way as Lola’s suitors; and Annie Duperoux is spot-on as Lola’s teenage counterpart. Lola is a film whose goal is obviously to touch the heart rather than the mind, but Demy tells his simple story with such a rare blend of passion and intelligence that he’s able to please the intellect as well. The result remains one of the most purely pleasurable products of the French Nouvelle Vague.

http://nitroflare.com/view/190A41C913A7FDC/Jacques_Demy_-_%281961%29_Lola.mkv

http://uploadgig.com/file/download/46c72a3578A9145f/Jacques Demy – 1961 Lola.mkv

Language(s):French, English
Subtitles:English

Synopsis:
The Poor Ones tells the semi-melodramatic story of three poor friends who met in prison where have been sent to on various offenses. These three friends do not want to get out when they are released. What are Abuzer, Haci and Arap going to do when they will be out? They have no one, no jobs… Apart from Haci and Arap, everything will be the same for Abuzer, who doesn’t know where to go. He will still be alone, starving on the streets of the big city.

Review:
Although steeped in earnest melodrama, it’s still hard to dismiss The Poor Ones as a lesser film within Yilmaz Guney’s canon because it’s surprisingly daring for its vivid, utterly grim depiction of the grungy stratum where Istanbul’s poor survive by finding whatever niche role they can exploit for food, shelter, and a little love.

Co-writer / director / co-star Yilmaz Guney was arrested and sent to jail early into production for ‘harboring anarchists’ in his home, resulting in several compromises with his character of career loser Abuzer – one of three criminals reflecting on the events that led them to being incarcerated. The original script likely showed the three characters as adults committing their heinous crimes before incarceration, and additional material as they struggle to find some food and shelter after they’re released in the middle of winter, with no skills or prospects whatsoever.

To save a reported half hour of completed footage, the compromise, as devised by Guney and co-writer / new co-director Atif Yilmaz was to expand the flashbacks of Guney’s character, Abuzer. The first material shows Abuzer as a child, witnessing his mother’s murder of his abusive stepfather after the brute attempts to make money off her through prostitution. The event dooms the boy to a life of crime and misery, and the character is later shown as a teen, trying to impress a pretty girl at the carousel where he works, only to lose his job for almost causing a riot. The sympathetic girl arranges a job for him at the factory where he works, but with a criminal record, the door of opportunity and salvation is slammed in his face.

The actor who plays teenaged Abuzer mimics the same hunched over posture and hungry look to maintain continuity with Guney’s performance, and Guney’s retention of a beard camouflages the nuances of his face, which also helps in muting any dissimilarities between the actors.

The flashback sequences of the other newly released inmates – Arap (Guven Sengil), and Haci (Yildirim Onal) – feel more natural, but the child and teen episodes of Abuzer provide some variation, since there is an inherent structural monotony when the other characters sit and begin their tales in a kind of ‘I remember when…’ pose prior to a rare optical dissolve (signaled by a sudden darkening and poor focus in the footage).

Arap’s backstory is the most compact: smitten with a pretty girl whose mother forbids any private activities until they’re married, Arap presumes he’s going to receive a tea business promised to him by a landlord for working gratis as a security guard during the building’s construction. When the greedy oaf reneges, he smacks him in the head and takes a chunk of money for wages owed – a foolish act that undoubtedly sends the police to the door of his beloved, where he’s promptly arrested. Haci’s past is more grim: after saving a prostitute he loved from the abuse by a hood and his moll, he turns against his love when she takes on a John. Woven in between is the hood’s revenge for striking him, with the final payback being arrested for assaulting the prostitute.

Not unlike Yilmaz’ Yol [M] (1982), the script focuses on three male characters who’ve sinned because of moments of weakness or circumstances that arose because of their poverty, and the look and feel is almost neo-realist, filming the actors in filthy sections of the city, an surrounding them with peers and colleagues in similarly awful circumstances. Everyone is greedy, few show fidelity to each other, and the film’s ending is punctuated by a sudden break of a friendship that was supposedly iron-clad among the ex-convicts (although whether the finale was improvised or always intended in the script is unknown).

Like Yol, there’s also a regard for women as rubbish, and it makes Poor Ones tough to digest. Yilmaz may have wanted to inject grave social commentary in his film, but he also chose the format of the popular Italian crime thriller, mimicking the grungy cinematography and a largely monothematic score orchestrated with synths, guitar, and percussion reminiscent of Ennio Morricone’s contributions to the genre. (The association with the Italian police or crime thriller isn’t accidental; in a scene near the end, the teenage Abuzer gazes at various movie posters, including The Sicilian Clan (1969) starring Alain Delon.)

In the Italian crime film, women are seductive, sleazy, victimized, and in Guney’s film they’re similarly victims (Arap’s fiancée), whores (Haci’s love interest, turning up to 20 tricks per day), and cheats (the tarty flirty-bird teenage Abuzer desires, but is clearly involved with another and wealthy man). Men call women whores, mothers call daughters whores, women call each other whores; it’s a weird worldview that’s either an attempt to show the dog-eat-dog selfishness that runs through the impoverished world of the ex-cons, or it’s a reflection of an attitude which, similar to the Italian crime films, was acceptable to Guney. It’s also easy to theorize all the foul behaviour and language is part of the mirror Guney was holding up to his audience, but it’s strangely monochromatic.

The Poor Ones foreshadows the deeper social commentary Guney would apply in Yol, a film far outside of a popular, heavily codified genre, but it’s much less resonant. The documentary footage within Poor Ones is compelling, but it also functions as padding: in the prologue we’re introduced to the grubby subdivisions of Istanbul, and a group of kids stealing wares from itinerant street peddlers. Guney’s editors nevertheless created compelling montages of a city that was for western audiences was seen only in period dramas, touristy travelogue romances, or in its best-known role as a backdrop for James Bond in From Russia with Love (1963).

Although he acted in more than a 100 films, Guney would star in one more film – Friend / Arkadas (1975) before stepping exclusively behind the camera, writing films for others to direct because of his periods of incarceration due to legal troubles. Even though he’s infrequently onscreen, he’s fascinating to watch for creating a physical portrait of a wounded soul. Whether he’s crouched like a dog, waiting for a warden to drop a cigarette butt, or approaching an eatery’s window with the combination of hunger and embarrassment for his state as a criminal with no worthwhile past, no discernible future, and an ambiguous present, Guney is wholly compelling, and it’s a tragedy this dynamic artist wasn’t able to continue his career as one of Turkey’s top actors.

— KQEK.com [Mark R. Hasan]

http://nitroflare.com/view/257EF3B2C91FECB/The_Wretched_Ones_%28Zavallilar%29_%281975%29_–_Yilmaz_Guney.mkv

http://uploadgig.com/file/download/cbB049816a09823C/The Wretched Ones Zavallilar 1975 — Yilmaz Guney.mkv

Language(s):Turkish
Subtitles:English

Synopsis:
The life of an overweight, unhappy cook is forever changed after a kind, beautiful college drop-out comes to work as a waitress at he and his mother’s roadside restaurant.

Quote:
Heavy is not the kind of film to view when you’re looking for something upbeat. It’s too real, and, as a result, potentially too painful. On the way out of the theater, I heard someone remark, “Why did I just sit through that film? I’ve lived that story, and I don’t need to be put through it again!” Mangold captures the nuances of life perfectly, and, by never cheapening his vision through facile resolutions, he fashions a memorable cinematic portrait.

http://nitroflare.com/view/503F23585AAEC2E/Heavy.%281995%29.DVDRiP.XviD-KG.avi

https://uploadgig.com/file/download/52f2054c96061b59/Heavy.1995.DVDRiP.XviD-KG.avi

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

Language(s):English
Subtitles:None

Quote:
The bold feature debut by French filmmaker Eva Husson explores the sexual exploits and awakenings of a group of teenagers on the beaches (and in the beds) of Biarritz.

http://nitroflare.com/view/5DA4A75E0A6FD3A/Eva_Husson_-_%282015%29_Bang_Gang_%28A_Modern_Love_Story%29.mkv

http://uploadgig.com/file/download/d8c012E687d9437a/Eva Husson – 2015 Bang Gang A Modern Love Story.mkv

Language(s):French
Subtitles:English

Quote:
The film is about two teenage girls, Behiye and Handan, with contrasting characteristics and backgrounds, forming a close relationship with sexual implications. As they become closer and closer the relationship becomes more fragile, and the impossibility of the survival of their relationship becomes more evident over time. Economic, social, psychological, and sexual problems come in the way. Behiye is angry and rebellious, but her frequent outbursts cut little ice with her conservative family. Handan is trapped in a different way, in a love-hate relationship with her single mother Leman. Although Leman is willing to turn tricks to raise Handan’s college fees, she’s otherwise hopeless with both men and money. When a mutual friend introduces Behiye and Handan they immediately hit it off, and despite the differences in their backgrounds they embark on an intense relationship, and with it a secret plan to escape their dysfunctional families.

http://nitroflare.com/view/76BC0015BF6CBE8/Kutlug_Ataman_-_%282005%29_2_Girls.mkv

http://uploadgig.com/file/download/98a4691296236cF5/Kutlug Ataman – 2005 2 Girls.mkv

Language(s):Turkish
Subtitles:English

A paranoid prison guard moves into a village flanked by a state motorway. He befriends his new neighbour, an unemployed hypochondriac supported by his wife, working in the local grocery. Weary of life and caring for her two sons, she develops an attraction to the nightclub bouncer, but he is in love with the club stripper, who is in turn waiting for the father of her child to return from the same prison where our prison guard works. A story about the demons of our day.

http://nitroflare.com/view/05EB3ECE7B7BEA4/We_Are_Never_Alone.mkv

http://uploadgig.com/file/download/00ff1a65DD6ecfcb/We Are Never Alone.mkv

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

imdb summary
Mauro, a judge, is worried about his older sister Marta, who took care of him since he was a boy, and is now affected by psychic problems and suicide fantasies. She seems to recover from her depression when Mauro acquaints her with Giovanni, a brilliant actor at the edge of legality. Mauro become unconsciously jealous of this relationship, and try to get Giovanni arrested.

http://nitroflare.com/view/65DF18351DB5115/Marco_Bellochio_-_Salto_nel_vuoto.avi
http://nitroflare.com/view/BC949A92F14B282/Salto_nel_vuoto.srt

http://uploadgig.com/file/download/88f1D08696263d2b/Marco Bellochio – Salto nel vuoto.avi
http://uploadgig.com/file/download/2bd366456104638f/Salto nel vuoto.srt

Language(s):Dual audio Italian (stream 1) / French (stream 2)
Subtitles:English

Movie director Jo Moon-Kyeong (Kim Sang-Kyung), who recently decided to immigrate to Canada, takes a trip down to the small sea-side town of Tongyeong, South Korea. There he meets acquaintance Bang Jong-Sik (Yu Jun-Sang) who is a movie critic. The film director and movie critic sits down to have drinks and talk about their past.

They also come across Yang Seong-Wook (Moon So-Ri), who is an amateur poet and cultural guide in Tongyeong and a charming young woman (Kim Gyu-Ri).

http://nitroflare.com/view/BFE848F836409DE/Hahaha_PAL_DVD_DD2.0_x264-RR.mkv

http://uploadgig.com/file/download/aA8191890F3Eb7e0/Hahaha PAL DVD DD2.0 x264-RR.mkv

Language(s):Korean
Subtitles:English

Quote:
Korean maestro and Festival favourite Hong Sang-soo (Right Now, Wrong Then) embarks on an intriguing foray into the uncanny with this ingenious spin on Luis Buñuel’s final masterpiece That Obscure Object of Desire.

Quote:
Painter Youngsoo (Kim Joo-hyuk) hears secondhand that his girlfriend, Minjung (Lee Yoo-young), has recently had (many) drinks with an unknown man. This leads to a quarrel that seems to end their relationship. The next day, Youngsoo sets out in search of her, at the same time that Minjung—or a woman who looks exactly like her and may or may not be her twin—has a series of encounters with strange men, some of whom claim to have met her before.

http://nitroflare.com/view/887E5933B7FADC2/Yourself.and.Yours.2016.720p.HDRip.H264.AAC-WHD.mkv

https://uploadgig.com/file/download/2B1ef41437d5ffb1/Yourself.and.Yours.2016.720p.HDRip.H264.AAC-WHD.mkv

Language(s):Korean
Subtitles:None

Quote:
August 1914. As his regiment sets sail for France, an army captain is sent back to India on a secret mission. He averts a tribal revolt by winning the love of a girl whom the tribe regard as a goddess.

http://nitroflare.com/view/58383C367FA3239/The_Black_Watch_1929_720p_WEB-DL_AAC2.0_H.264-alfaHD.mkv

https://uploadgig.com/file/download/5d448Dac0B38a70e/The Black Watch 1929 720p WEB-DL AAC2.0 H.264-alfaHD.mkv

Language(s):English
Subtitles:English

Quote:
Here are some ways that Bettrand Tavernier, in production notes for his new film ”A Week’s Vacation,” describes his film: ”A portrait of a woman against the background of almost murmured questions that concern us all, approached without didacticism.” ”A laughing fit before you realize it’s going to snow.” ”An old man who knows a lot.” ”A motorcycle engine more familiar than a Moliere play.” ”A letter you read at the end of summer.”

As this may indicate, ”A Week’s Vacation,” which opens today at the Paris theater, is something quite diffuse. It begins when a Lyons schoolteacher, Laurence Cuers, suddenly finds herself dissatisfied with her life, and decides that she needs a rest. She takes a week off from school and devotes the time to brooding, seeing old friends, making new ones, visiting relatives and wandering around town. She re-examines her work, her family and her romance with the demanding, wise-cracking man with whom she lives. At the end of the week, nothing startling has happened, but she does feel better and understand herself anew.

Although Philippe Noiret makes a brief appearance here as Michel Descombes, the character he played in Mr. Tavernier’s ”The Clockmaker,” this new film doesn’t much resemble the one with which Mr. Tavernier made his impressive 1972 debut. Mr. Tavernier’s recent films have grown ever more pleasantly anecdotal, and ever more mild. They reveal everything and nothing about their characters. In ”A Week’s Vacation,” the portrait of Laurence is a detailed one, but it isn’t full. We watch Laurence endlessly, but there’s no real unity to either the character or to the director’s observations about her.

As in Mr. Tavernier’s previous ”Spoiled Children,” about a number of different things that happen in an apartment building, this film feels compiled from a number of unrelated experiences. Only three writers are credited with the screenplay – Mr. Tavernier, Colo Tavernier and Marie-Fran,coise Hans – but it could just as well have been the work of many contributors. While no one episode stands out in dramatic terms, many of them have the richness of somebody’s favorite reminiscence on a given subject, and they have been stitched together with more attention to comprehensiveness than to coherence.

There’s a scene between Laurence and her friend Anne (Flore Fitzgerald), for instance, that is warm and funny without fitting particularly well into the film. Anne has a new lover and wants Laurence to sit at the next table in a cafe, incognito, and observe the man. When he arrives, he immediately begins wooing Anne with the most obscene of love-calls, and Laurence gigglingly overhears it all. This is fine, except that another key scene between Laurence and Anne has Anne discovering her friend quietly vomiting in the middle of the night, racked with some anxiety that she cannot explain.

A third key moment between them has the two women discussing their professional futures. Outside of this, they don’t appear together much in the film, so that the audience must piece together their friendship from individually intriguing, but largely unrelated, episodes.

Slight as it may be, the movie has its charms. The smaller roles are skillfully cast with vibrant, interesting actors comfortably suited to the vignette format. Philippe Leotard has only one scene, as Laurence’s doctor, but he plays it memorably. Michel Galabru is particularly ingratiating as Mancheron, the restaurateur father of one of Laurence’s pupils, a friendly, understanding older man with whom she shares many helpful conversations during her weeklong sabbatical. Mr. Noiret’s Descombes is worked into the film when he turns up as a dinner guest of Mancheron’s one evening.

And Gerard Lanvin, as Pierre, makes Laurence a lively, witty suitor – perhaps a livelier one than she deserves. As played by Miss Baye, Laurence is a pensive, uncommunicative woman with a sad-eyed smile. Though she is at her best when reacting to bolder, more outspoken players, Miss Baye spends much of the film in solitary scenes, just brooding. The film works most successfully when its director makes a virtue of Miss Baye’s quiet responsiveness by gently orchestrating the world around her.

For instance, it is raining hard when she initially leaps out of Pierre’s car one morning, deciding that she simply cannot go to work that day. After visiting her doctor, she steps outside to discover that the rain has stopped, that the sun is beginning to shine, and that the world feels better, as she does. At this, there is the first glimmer of contentment in Miss Baye’s otherwise impenetrable smile.

http://nitroflare.com/view/57017AA8EC37A2F/Bertrand_Tavernier_-_%281980%29_A_Week%27s_Vacation.mkv

https://uploadgig.com/file/download/19EebdDB7bf00dF1/Bertrand Tavernier – 1980 A Weeks Vacation.mkv

Language(s):French
Subtitles:English

Quote:
Costa-Gavras might be the European filmmaker most influential on American directors of the 1970s. Although this honor often goes to Jean-Luc Godard and other compatriots of the Nouvelle Vague, films like The French Connection, The Parallax View, or Blow Out are most clearly engaged with a clamorous mode of political cinema that’s as fundamentally enraged as it is delicately assembled. Typically, Costa-Gavras’s Z is credited as the key film in this regard, not simply for its humanistic, injustice-as-thriller construction, but also for the way it “opened up critical perceptions,” as Armond White states it, for filmmaking’s lasting cultural effects. Such an assessment is backed by historical fact, but one would be remiss to overstate the terrain for Costa-Gavras, since none of the director’s subsequent films received a similar degree of accolades, either from filmmakers or critics. The neglect is easier to ascertain once it’s understood just how different The Confession is from its predecessor, a nearly two-and-a-half-hour film that shirks the frantic chase sequences of Z by dialing back its proceedings to a nearly singular setting, literally within the confines of Czechoslovakian torture camp, but more figuratively within the mind and body of Anton Ludvik (Yves Montand), a high-ranking communist official held prisoner by Stalinist extremists.

Despite efforts to conciliate his captors, Ludvik remains confined to a single cell, made to march and remain upright at all times, with little breaks for rest or nourishment. When he tries to give his name, he’s told he’s now a number, one that he’s expected to spout upon demand. He’s forced to wear welder’s glasses as he’s shuttled from space to space, keeping him both blinded and tormented throughout. The head Stalinist, Kohoutek (Gabriele Ferzetti), explains that he’s out to “finish what the gas chambers started,” while Ludvik, trying to offer rebuttals to his innocence, can barely stand from exhaustion. Costa-Gavras shoots these interior sequences with the visual palette resembling Army of Shadows, made the year prior. Jean-Pierre Melville’s work seems a clear reference point for Costa-Gavras, but then so do the films of Robert Bresson and Chris Marker. In fact, The Confession begs comparison with A Man Escaped for its very premise, with Ludvik’s psychological confinement measured against the physical space that he’s trapped within. Nevertheless, Costa-Gavras allows Ludvik reveries which thread his thoughts both into the past and, impossibly, the future, in a manner that lends the film a broadly science-fiction dimension. Marker actually served as still photographer during production, which could help explain Costa-Gavras’s more radical formal inclinations, with the use of freeze frames and essayistic montage, perhaps in direct allusion to La Jetée.

The movements in time, then, are less flashbacks in the narrative sense of that term than jumps in memory, with Costa-Gavras illustrating Ludvik’s evolving detachment from himself and insanity due to sleep deprivation. A mid-film inquisition is the most virtuoso instance of this, as Ludvik is tormented through a series of verbal and physical constraints. Costa-Gavras films pieces of the sequence in slow motion, as Ludvik has a bowl of water thrown in his face and, subsequently, falls while attempting to sit in a chair. Between these actions is a cutaway to Mme. Ludvik (Simone Signoret) some years in the past, explaining Stalinist philosophy over dinner, prompting another cut to archival footage of Stalin, waving from the door of a jet. The sequential logic of these images, then, isn’t actually one of a single character’s memory, but a collective “reassemblage,” to use the title of a Trinh T. Minh-ha film. Minh-ha’s said her film intended not to speak about a place or people, but “nearby,” in proximity rather than asserting mastery, and Costa-Gavras seems in pursuit of a similar aesthetic.

At its core, The Confession is suspicious of the tenets of all political ideologies, not simply communism or Stalinism. In fact, though several communist party members castigated the film upon release, Costa-Gavras remained adamant that it was more critical of Stalinist tactics and dogmatisms than communism as a whole. That insistence is well taken for a film that lacks facile polemics in favor of sensorial evocations of trauma and nationalistic pride, especially in scenes depicting the Prague trials of 1952, where a moment of widespread laughter among an entire courtroom suggests only those pleasures bred from basic human contact can momentarily assuaging unthinkable acts of wrongly forged persecution. To call The Confession a political film is something of a misnomer and a disservice to what could have been a starker, more hard-edged direction for art-house cinema to take, fusing the formal capabilities of narrative cinema with the dialogic capabilities of the avant-garde. Ultimately, The Confession makes Z look like a warm-up, even a naïve grappling with the unfortunate particulars of a torrid human condition.

http://nitroflare.com/view/2CA2E3A4E921BCF/Costa-Gavras_-_%281970%29_The_Confession.mkv

https://uploadgig.com/file/download/4d0dc0881726fbf2/Costa-Gavras – 1970 The Confession.mkv

Language(s)French
Subtitles:English

Synopsis:
‘Anne-Marie goes south with her childhood friend Jean-Paul instead of hitting the books at home. The friends join up with artist-types in Saint Tropez, and though the ambiance is carefree and casual, Anne-Marie manages to survive the hijinks and the ardor of would-be admirers. In the end, she starts to fall for one man in particular.’
– Eleanor Mannikka

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http://nitroflare.com/view/32A321FCF5F6642/Saint-Tropez.Blues.1961.TVRip.x264.AC3.English.srt
http://nitroflare.com/view/EC51C6CB5C598B7/Saint-Tropez.Blues.1961.TVRip.x264.AC3.French.srt
http://nitroflare.com/view/8F113812A3475D4/Saint-Tropez.Blues.1961.TVRip.x264.AC3.German.srt
http://nitroflare.com/view/D9DC737F07A9DF4/Saint-Tropez.Blues.1961.TVRip.x264.AC3.Dutch.srt

https://uploadgig.com/file/download/82D41d746511Acb2/Saint-Tropez.Blues.1961.TVRip.x264.AC3.mkv
https://uploadgig.com/file/download/4cd03c82393f6a98/Saint-Tropez.Blues.1961.TVRip.x264.AC3.Dutch.srt
https://uploadgig.com/file/download/dFa7Dc71822784ec/Saint-Tropez.Blues.1961.TVRip.x264.AC3.English.srt
https://uploadgig.com/file/download/CA87c918663daf13/Saint-Tropez.Blues.1961.TVRip.x264.AC3.French.srt
https://uploadgig.com/file/download/45a73d546651d0A9/Saint-Tropez.Blues.1961.TVRip.x264.AC3.German.srt

Language(s):French
Subtitles:English, French, German, Dutch (srt)

Quote:
Middle-aged lawyer Thomas assists Leyla, an attractive blonde, when she drops her things at the pool. After their paths keep crossing, he picks up the courage to ask her out for a date. Somewhat to his surprise she agrees, but arrives late, just as the restaurant is closing. They go back to his apartment for an impromptu pizza and, after a few drinks, she falls asleep on the couch.

The next morning Thomas awakes to find Leyla and his laptop, which contains vital case files, missing…

An expertly constructed thriller in the tradition of Hitchcock and Chabrol, writer/director Christian Petzold’s Something To Remind Me keeps the viewer enthralled throughout.

Utilising a deliberately cold and clinical mise-en-scene and drawing subtle, finely nuanced performances from Nina Hoss and Andre Hennicke in the Novak and Stewart roles, Petzold manipulates us as skilfully as Leyla does Thomas. He knows exactly when to deploy each signifier, be it the leitmotif of Burt Bacharach’s What The World Needs Now Is Love or – a rather more German specific reference unfortunately – Wolfgang Kautner’s Under The Bridges, and the precise moment and way to reveal each new piece of the puzzle.

Take this sequence midway through: Leyla and one of Thomas’s cases, Blum, have, obviously not coincidentally, taken up work at the same factory. From Leyla’s apparent point of view, we observe Thomas and Blum talking. Then Petzold cuts to a reverse angle of Leyla, seen from behind the two men, with an extremely startled look on her face. In an instant Petzold establishes one set of audience expectations, confounds them and puts the film on a different track. From Vertigo to Que La Bête Meure in a matter of seconds…

Remarkably assured for a second feature that originated as a TV movie, Something To Remind Me marks Petzold as a name to watch.

http://nitroflare.com/view/5F200AB859E2859/Christian_Petzold_-_%282001%29_Something_to_Remind_Me.mkv

https://uploadgig.com/file/download/F9a182ced156e262/Christian Petzold – 2001 Something to Remind Me.mkv

Language(s):German
Subtitles:English

,Quote:
Carlos (Andre Argaud), a well-do-do publisher and family man, receives a severed hand in the mail at work and buries it before going home but once there, his beautiful wife (Theresa Gimpera) reads him a telegram asking if he’d like a forearm. Carlos makes up a lame, work-related explanation but now suspicious, she follows her husband and spots a mysterious woman in black following him as well. That woman is Parker (Capucine), whose lesbian lover, Esther (Judy Matheson), was once Carlos’ mistress who never got over being cast aside. Esther committed suicide but Parker kept the body and, holding Carlos responsible, devises a complicated plan to have him framed for Esther’s murder…

THE EXQUISITE CADAVER is a slick, stylish, and very strange Spanish soap-opera with a decidedly Feminist agenda. Some unusual directorial touches, lyrical cinematography, and a somber jazz score by Marco Rossi give the film an Art House air that blends easily with the glossy grisliness of a few grind-house plot elements. The beautiful Capucine is coolly elegant as the enigmatic avenging angel and the secret bond all women share can turn the tables on a “common, ordinary Romeo not worth the pain he caused”. A very unusual but not uninteresting film if one goes in with no expectations but it’s usually marketed and sold as either a Giallo or horror film, so there’s bound to be disappointment in some quarters. (From IMDB, by melvelvit-1)

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https://uploadgig.com/file/download/54982642887e9dE5/cadaver exquisito.avi

Language(s):Spanish
Subtitles:none

Quote:
The flirtatious title of Milos Forman’s breakthrough comedy Loves of a Blonde says a lot about the film without even trying. Everybody in Forman’s bittersweet film thinks about sex constantly but only in terms of hypothetical scenarios that almost never come to pass. The funny thing about these daydreams of coitus is that they’re not strictly sexy. In fact, most of the time characters in Loves of a Blonde are wringing their hands about sex, even the trio of homely soldiers licking their lips at the thought of seducing a table of bored blondes at a local dance. First they send alcohol to the wrong table and are subsequently unsure of how long they should smile at the girls they plan on getting drunk and taking to the woods (they aren’t even sure if the idea of taking girls to the woods for sex is just a euphemism or not). Sex is comedy here because it breeds nothing but the kind of anxiety that the title of Forman’s film teems with.

And yet in spite of its name, Loves of a Blonde is comically deliberate in how it pokes at the fact that its protagonists spend more time hemming and hawing and not actually, y’know, doing it. The one time that Andula (Hana Brejchová), the eponymous blonde, acts on her impulses and allows herself to be seduced by Milda (Vladimír Pucholt), it seems like the thing will never come off. As the surest scene of impending action is some skin-on-skin tactility, Forman teases us by having Andula and Milda only stare at each other briefly and never directly until they finally actually bump into each other and even then they only get together inadvertently. Andula and Milda only really cross paths when Andula is attempting to abscond with her friends from the aforementioned trio of oafish soldiers (being romantics, they believe that the key to a woman’s heart is alcohol). While her friends wind up returning to the guys, Andula tarries with Milda and lets him read her palm and later show her how to fend off prowlers with a swift kick to the shins. Even before the big event, Forman has Milda pantomime his way through a Tati-esque battle with his window shade before he can pounce on Andula, who looks on with an unreadable stare from behind her bare right shoulder (the way she provocatively lies on her side will surely trigger a response with Lost in Translation fans). Any kind of physical action but the dreaded one that’s on everyone’s minds.

The cagey nature of Andula’s tentative romance with Milda is also what gives the film a quietly stifled melancholic tone. Andula works at a shoe factory in a small town while he plays piano in a touring group based in Prague. A lasting partnership is impossible but that’s why Forman immerses the viewer in what a plot synopsis on the back of the Criterion Collection’s new Essential Arthouse DVD erroneously calls “largely real-time” pacing. We’re meant to see events not as they transpire but as they will later be remembered—absurdly sluggish and lush with hyper-real detail when it comes to the buildup to sex but a complete blackout when it comes to the act itself.

The meticulousness of regular cinematographer Miroslav Ondricek’s compositions betray the protagonists’ desperate need to focus on what actually is happening in light of the fact that it can’t last for long. Of the film’s three vignettes, the film’s hilariously distended final one, where Andula waits for Milda at his family apartment with his parents, stands out. It provides an enlightening and very true-to-life explanation as to why the couple will never really have more than a one-night stand: While Milda’s folks quibble over whether or not it’s proper for Andula to spend the night at their place, Andula, the object of their son’s desire, waits patiently to be told whether she can stay or if she’s got to go. Forget the rebellious protagonists of Forman’s later movies: Just by sitting through that kind of torment for the fleeting promise of carnal happiness, Andula is the most free-spirited of Forman’s radicals.

http://nitroflare.com/view/8066688CD380A49/Milos_Forman_-_%281965%29_Loves_of_a_Blonde.mkv

https://uploadgig.com/file/download/d64246Aa3c6f1bE9/Milos Forman – 1965 Loves of a Blonde.mkv

Language(s):Czech
Subtitles:English

Based on Peter DeVries’ novel Witch’s Milk, Pete ‘n’ Tillie stars Walter Matthau and Carol Burnett in the title roles. Middle-aged when they first meet, eternally joking Pete and repressed “old maid” Tillie don’t immediately hit it off. Gradually, their friendship deepens into love and culminates (reluctantly, on Pete’s part) in marriage, eleven years of which is explored in this film. Throughout the funny and tragic moments, and despite the many breakups, their love endures. Oscar nominations went to screenwriter Julius J. Epstein and supporting actress Geraldine Page

A disarming, touching “little” film, Pete ‘n’ Tillie is far from perfect, but it has a heart and soul that for many will make up for its deficiencies. Pete is one of those films that mixes comedy and drama, not always in an easy manner and not always successfully, and that fact alone will deter many. But if one can look past the “bumpiness” of its style, one can find a wistful, somewhat melancholy picture that is at times quite affecting. Julius J. Epstein’s screenplay may have its ups and downs and its share of lurches, but when it is “on,” it is quite good; even when it’s not “on,” it’s still at least partially engaging. Martin Ritt directs with subtlety when called for, and occasionally when it’s not, and he’s also unsuccessful at blending the comedy and drama seamlessly; yet he brings a reality and a sensitivity to the proceedings that helps to provide a little magic. Walter Matthau and Carol Burnett both play down their comedic leanings, Burnett especially so; if that denudes the film of some possible laughs, it pays off in the creation of characters that are a bit deeper than one would have expected. Geraldine Page is a riot, and Barry Nelson and Rene Auberjonois do well as well.

AWARDS

Academy Awards 1972
Nominee Best Adapted Screenplay
Nominee Best Supporting Actress – Geraldine Page

British Academy of Film and Television Arts 1973
Winner Best Actor – Walter Matthau

Golden Globes 1972
Nominee Best Actor – Musical or Comedy – Walter Matthau
Nominee Best Actress – Musical or Comedy – Carol Burnett
Nominee Best Supporting Actress i- Geraldine Page

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https://uploadgig.com/file/download/535510dd7e974de7/PETE N TILLIE – 1972.avi

Language(s):English
Subtitles:None

Features Dukes Of Hazzard’s Daisy Duke only nude scenes!

Crazed features a fully-nude lesbian scene between Daisy Duke herself Catherine Bach and critically acclaimed character actress Leslie Caron (Chocolat, Gigi)! Because of this notorious scene, Crazed has become one of the most sought-after movies on the cult film collector’s circuit. Nicole (Leslie Caron), a reclusive widow who lives alone in her mansion with only her housemaids and butlers to keep her company, leads a decadent and lustful life. Using her voluptuous body and her vast fortune to manipulate those around her, Nicole is obsessed with controlling all the people in her life. However, as she finds love with a dashing suitor and friendship with a young aspiring dancer (Catherine Bach), Nicole begins to change for the better…that is until she suspects her new lover may be cheating on her. As her crazed suspicions begin to spin her life out of control, Nicole weaves a devious web of deception and betrayal, all leading up to bloody murder!

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https://uploadgig.com/file/download/60e1fbce51f9f843/Crazed 1978_aw.4.KG.avi

Language(s):English
Subtitles:NA

Synopsis wrote:
Clara, a 65 year old widow and retired music critic, was born into a wealthy and traditional family in Recife, Brazil. She is the last resident of the Aquarius, an original two-story building, built in the 1940s, in the upper-class, seaside Boa Viagem Avenue, Recife. All the neighboring apartments have already been acquired by a company which has other plans for that plot. Clara has pledged to only leave her place upon her death, and will engage in a cold war of sorts with the company. This tension both disturbs Clara and gives her that edge on her daily routine. It also gets her thinking about her loved ones, her past and her future.

Geoff Andrew @ timeout wrote:
A retired music critic fights to keep her beachfront apartment in this satisfyingly adult drama.

The premise of this second feature from Kleber Mendonça Filho, the Brazilian writer-director of Neighboring Sounds, sounds like a recipe for sentimentality and hollow triumphalism. When Clara, a 65-year-old widow and retired music critic, refuses to sell the beloved beach apartment she’s lived in for most of her life, she finds herself under attack not only from a powerful property company but from former friends; even members of her own family question her judgment. Happily, Mendonça Filho avoids the pitfalls of feelgood cinema, creating a drama that’s credible, complex and very satisfying.

Key to his successful sidestepping of cliché is the casting of Sonia Braga, whose evident strength, intelligence and vitality are essential to the character of the embattled but stubborn Clara. Despite having been stricken by breast cancer back in the 1980s (the setting for a brief prologue that reveals her attachment to the same apartment) and lost her husband, she has raised a family, made a name for herself as a writer and retained her enthusiasm for music in particular and life in general. Braga’s charismatic performance ensures that we never pity Clara but merely hope that she’ll manage to survive the increasingly aggressive tactics of the company determined to buy her out—or, perhaps, prove to her just how unsafe it can be for a person of her age to live alone in a run-down building almost anybody can walk into.

As the story unfolds, it also expands; besides being a study of a woman under duress, the film is a portrait of a society where many traditional values, like its buildings, are at risk of being annihilated simply for the sake of modernity and money. The virtue of Aquarius—the title, incidentally, alludes to the name of the block Clara lives on—is that it never feels the need to sermonize. Its ethical, political and psychological insights are carefully contained within a consistently compelling narrative that feels fluid, relevant and true.

http://nitroflare.com/view/1A937370FB8D7B8/Aquarius_%282016%29.mkv

https://uploadgig.com/file/download/1125a9adE79e1fDf/Aquarius 2016.mkv

Language(s):Portuguese
Subtitles:English