Alone and self-sufficient since childhood, Tony shuns emotions as illogical and immature. After finding his true vocation as a technical illustrator, he becomes fascinated with Eiko, whom he marries. His life changes, he feels vibrantly alive, and for the first time, he understands and fears loneliness. But when Eiko’s all consuming obsession for designer clothes ends in tragedy, Tony finds himself alone again, sitting in his wife’s closet, gazing at her treasured couture pieces, the whispering ghosts of her soul. Finally, Tony places an ad in the paper searching for a woman who fits Eiko’s measurements perfectly.

Voted as one of the best Japanese movies of last year by Midnight Eye, and one of the few Japanese arthous movies that reached European and American cinema screens in 2005, deservingly so. A brilliant movie about loneliness and consumer culture.

Quote:
An adaptation of a short story by Haruki Murakami, even at only 75 minutes Tony Takitani feels laboriously over-protracted. Despite his impressive track record with films such as Tokyo Lullaby (Tokyo Yakyoku, 1997) and Osaka Story (Osaka Monagatari, 1999), Ichikawa’s primary career as an advertising commercials director is most in evidence here, in this tale featuring Ogata as the eponymous middle-aged technical illustrator whose solitary childhood (his mother died when he was young, and his father was busy touring with his jazz band) resulted in his emotionally introverted personality. When he meets Eiko (Miyazawa), a beautiful and refined female client, he becomes besotted and ends up marrying her, but it is not long before her obsession with expensive haute couture designer clothing ends in disaster. Soon Tony finds himself left with nothing but an en suite wardrobe full of expensive fineries and no one to wear them. Out of desperation and loneliness, he places an advert in the paper for a perfect size 7 woman.

Tony Takitani plays out with the ersatz sophistication of a glossy commercial for cars or perfume, composed of delicate images, slow-motion sequences, and a muted greyish colour palette. Soft breeze rustles through every scene, with the camera panning seductively from left to right to the evocative tinkle of Ryuichi Sakamoto’s continuous piano score through a variety of chic interiors ranging from Tony’s minimalist design studio to smoky lounge bars and fashionable boutiques. A comment on the shallowness of Japan’s consumer culture and obsession with the exotic allure of the West, perhaps, but the approach taken here is too subdued to stress the point, as shot after shot, the camera seems content merely to linger on the emaciated beauty of Miyazawa, whose role amounts to little more than that of a clothes horse, while an aloof third person narration from Nishijima further serves to keep us distant from the characters. Beauty is, after all, only skin deep, and boredom sets in even before Tony’s back-story, relayed through an atmospheric montage of old photos and film stocks, is over. (Midnight Eye)

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https://uploadgig.com/file/download/004aA7f548e22D28/tony.takitani.2004.dvdrip.xvid-imbt.srt

Language(s):Japanese
Subtitles:English

Quote:
In Nerven, writer-director-producer Robert Reinert tried to capture the “nervous epidemic” caused by war and misery which “drives people mad”. This unique portrait of the life in 1919 Germany, filmed on location in Munich, describes the cases of different people from all levels of society: Factory owner Roloff who looses his mind in view of catastrophies and social disturbances, teacher John who is the hero of the masses and Marja who turns into a radical revolutionary. Using different fragments the Munich Film Museum could reconstruct this forgotten German classic which is a historic document and anticipates already elements of the Expressionist cinema of the 1920s.

Quote:
Having a more complete version of Nerven available is a wonderful contribution to our understanding of film history. The standard version was known to very few students of cinema, and though it was impressive, it was somewhat incoherent. We are still lacking a lot of footage, but Stefan Droessler and his team have added what they could and arranged the sequences into a more intelligible order. The quality of the restoration, moreover, makes the film’s visual style even more vivid and unsettling.

Released shortly before The Cabinet of Dr. Caligari, Nerven ought to have entered the Expressionist canon. Its themes echo the movement’s post-Romantic attack on capitalism and the modern conception of the anguished soul. Its narrative plays out the implications of such icons of Expressionist art as convulsive crowds and men’s homicidal urges toward women. Just as important, the film’s pictorial design finds an original way to convey the tale’s emotional tenor, the sense of nervous anxiety strung ever tighter. Significantly, Reinert achieves a unique look without recourse to the painted sets of Caligari, but through a unique use of other cinematic resources. David Bordwell

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Language(s):German intertitles
Subtitles:english, french (idx/sub + srt)

“The Elephant’s Journey”, in which Saramago narrates the adventures and antics of an elephant transported from the court of King John III of Portugal to that of the Austrian Archduke Maximillian, is the starting point of José and Pilar.

It shows us their day to day life in Lanzarote, at home and on work trips around
the globe. José and Pilar is a surprising portrayal of an author throughout the
creative process and of the relationship of a couple dedicated to changing the
world, or at least trying to make it a better place.

José and Pilar shows us the hidden Saramago, unravels any preconceived
ideas we may have about the man and proves that genius and simplicity are
indeed compatible. José and Pilar is a glimpse into the life of one of the great
creators of the Twentieth Century and shows us that, as Saramago says, “there
is always another way to say everything.”

http://nitroflare.com/view/D90E286E3E965D3/Jos%C3%A9_e_Pilar.2010..DVDRip.XviD-MakingOff.Org.avi
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http://nitroflare.com/view/ABEAE7502EA2D21/JosePilar.en.srt

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https://uploadgig.com/file/download/ceCBa857E4b412bd/JosePilar.en.srt

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

Plot (Babelfish translation):
Antonio goes to Rome, the great city center of the ” dolce vita”, with the money collected from the fellow countrymen, in order to spend them on a project: To construct a freeway for the home town. But the countrymen do not have more news and they send Peppino to search for him. But when Peppino meet Antonio he is also dragged into metropolian habits and the sweet roman life, between beautiful actresses, cocaine exchanged for borotalco (?) and orgies. The town folks impatiently await news…

http://nitroflare.com/view/3751C1288870CC4/Toto%CC%80_Peppino_e_la_Dolce_Vita.avi

https://uploadgig.com/file/download/0a4f93b41f158fA2/Toto Peppino e la Dolce Vita.avi

Language(s):Italian
Subtitles:None

Quote:
Oliveira returned to the center of Portugal’s film scene in the 1960s with Acto da Primavera (Rite of spring; 1963), a work that marks a significant change in the director’s trajectory and that initiates some of the cinematic strategies that he would develop more fully in later films. In Acto da Primavera, Oliveira offers a version of a popular representation of the Passion of Christ, enacted by members of a rural community in northern Portugal, derived from the Auto da Paixão de Jesus Cristo (1559), by Francisco Vaz de Guimarães. He came across the annual Easter drama in the small town of Curalha when he was looking for locations for “O Pão,” and he was so taken by it that he wanted to return and register it on film.

Quote:
Acto has often been referred to as a documentary. While it includes documentary elements, Oliveira did not simply record the popular drama as it took place. Rather, he staged a reenactment in many of the same locales and with the same nonprofessional actors as its “real” representation. In this sense it is a re-presentation of a representation, In documentary fashion, the film includes scenes of townspeople preparing for their roles, shots of flyers announcing the spectacle, and other aspects of the town’s daily life. It also inserts additional fictional elements into the narrative, as when a family of middle-class tourists stops to gawk condescendingly at the rural people engaged in their religious reenactment, Oliveira also turns the camera on himself and his small crew as they prepare to film. Acto is thus neither exclusively fiction nor documentary, but both at the same time, Jose Manuel Costa has written that the film’s “modernity lies not in the creation of a space between ‘documentary’ and ‘fiction’—as was to a certain extent the case of [Jean] Rouch’s ‘improvised’ or ‘spontaneous’ fictions—but rather in the exact opposite: the deliberate choice of the extremes of these two areas, constructing its essence in the juxtaposition of two irreducible zones” (“Acto”).

Quotes from “Manoel de Olivera” by Randal Johnson

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https://uploadgig.com/file/download/1E1905d37700Cbc8/Acto.da.Primavera.1963.WEBRip.x264-MaZ.en.srt

Language(s):Portuguese
Subtitles:English

Synopsis:
French essay film focusing on global political turmoil in the 1960s and ’70s, particularly the rise of the New Left in France and the development of socialist movements in Latin America.

Part 1, Fragile Hands





Part 2, Severed Hands

Review:
An off-screen narrator (speaking in first-person narrative for the filmmaker) recalls early memories of Battleship Potemkin as a series of images from the film converge towards the moment of the sailors’ call to arms – and revolution – with the singular word “Brothers!” before the order to fire from the bridge of the battleship is given. A complex montage of protest, defiance, mourning, solidarity, procession, and riot control provides, not only distilled visual summary of the inevitable fate of the New Left, but also a global context to the images of struggle as left-wing activists and intellectuals (such as Chris Marker) sought to achieve a “universal standard of civilization” that would elevate the human condition beyond the societal illusion of an improved quality of life afforded by material gain and competitive economy. To this end, the filmmaker juxtaposes footage from a contemporary television commercial to underscore the delusive irony and false panacea of created demand and consumerism, as a pleasantly surprised elderly couple receives a second television – an anniversary present from their family – and proudly boasts, “We’re a two set family now!”. However, for Marker and the socialist movement, the sentimental war resided away from these disposable, saccharin images of “advanced” civilization and was, instead, waged in the distant fields of Vietnam: a campaign for national self-determination that plays out against an intrusive, international politics of an escalating Cold War. In an archive footage, a French communist party official remarks, “Never before has history placed a nation at such a point of convergence for all the world’s modern contradictions. And it’s because people around the world felt concern for the Vietnamese struggle that they are fighting now for independence, for socialism, and for peace.”

Tracing the seeds of May 1968 to an ideological synchronicity among several global events, the film examines the evolution of the counter-culture movement from a philosophical, armchair intellectualism to a more aggressive and militant approach to demonstration and political resistance of the New Left: a willingness to endure personal sacrifice for a greater cause that was instilled in Paris during the protracted Saint-Lazare workers’ strike in 1967, the June 2, 1967 student protests in Berlin against the repressive regime of visiting dignitary, the Shah of Iran, the revolutionary campaign of Ernesto “Che” Guevara in Bolivia, the Bolivian arrest (while following Guevara’s troops) of French journalist Régis Debray, author of the seminal publication, Revolution Within Revolution? (a work inspired by Fidel Castro that served as a manual for conducting guerilla warfare), the Cultural Revolution of Mao Zedong in 1966 and the birth of the Black Panther movement later in the same year.

The themes of historicity and temporal and international convergence are also explored within the context of contemporary German Olympics history: first, in a modern-day encounter with a South Korean Olympian who, in 1936, had been filmed by Leni Riefenstahl in the propaganda documentary Olympia as (then) a Japanese Olympian competing for the empire in the Berlin Games, then subsequently, in the (repeated) politicization of the 1972 Munich Games, this time, by Palestinian terrorists who kidnapped members of the Israeli Olympic contingent in a hostage crisis that ended in the athletes’ death. For each point of reference, the film becomes a cogent reminder of the transience of history, (collective) memory, and identity. Visually, Marker reinforces the incestuous (and inseparable) interrelationship within the sphere of international politics, global commerce, human exploitation, and the conduction of the Olympics by juxtaposing archival footage of the games with a morbidly wry, tongue-in-cheek art exhibition of skeletal sculptures posed in various forms of athletic competition.

For the European New Left, away from the bastardization of socialist ideology under the repressive, totalitarian regimes of notorious political figures such as Joseph Stalin (and the continued paranoid, ingrained threat of a Red Scare in the U.S.), the great (and perhaps, last) hope for a national transformation into a true socialist democracy (and political model for laying the groundwork for a relevant socialist party within democratic states) lay in the election of physician Salvador Allende in Chile. However, the inevitability of a Marxist democracy under an Allende administration would immediately come into the crosshairs of the Nixon administration who sought to undermine the democratically elected Allende’s incoming government by initially attempting to stage an unsuccessful coup in order to prevent his inauguration (in a botch operation that would lead to the kidnapping and assassination of General Rene Schneider on September 11, 1973, and whose family would seek to make Henry Kissinger and other members of the Nixon-era administration accountable by filing a lawsuit on the fateful day of September 11, 2001), then sought to destabilize the Allende government by instituting crippling economic embargoes even as it provided financial and tactical support for the (Allende opposed) military that would ultimately lead to Augusto Pinochet’s successful coup in 1973. A subsequent footage of Allende’s daughter, Tati, delivering news of her father’s death to Fidel Castro, post-processed through a monochromic blue filter, reinforces the image of mourning and death – the dissolution of an embodied ideological hope and political progress reflected through the aural breakdown of distorted, down phased sound of the audience clapping, and subsequently punctuated with the solemn postscript of Tati’s own death on October 12, 1977 in Havana – not in the throes of armed struggle by an archetypal Che Guevara revolutionary, but from suicide – her death seemingly representing the collective despair and figurative collapse of the ideological dream.

http://nitroflare.com/view/6D0AE7CC9A956B4/Chris_Marker_-_%281977%29_A_Grin_Without_a_Cat_-_Part_1%2C_Fragile_Hands.mkv
http://nitroflare.com/view/6C8DA944D950B06/Chris_Marker_-_%281977%29_A_Grin_Without_a_Cat_-_Part_2%2C_Severed_Hands.mkv

https://uploadgig.com/file/download/74086c9b6B620b43/Chris Marker – 1977 A Grin Without a Cat – Part 1 Fragile Hands.mkv
https://uploadgig.com/file/download/D93196c962609782/Chris Marker – 1977 A Grin Without a Cat – Part 2 Severed Hands.mkv

Language(s):English
Subtitles:French, English, German, Portuguese, Spanish

Two ecologists (played by Veronica Ferres and Gael Garcia Bernal) are sent to South America as part of a U.N. investigation into an ecological disaster. They are quickly kidnapped by the villainous CEO (played by Michael Shannon) of a large company held responsible for the ecological disaster. But when a supervolcano nearby begins to show signs of erupting, they must unite to avoid a disaster.

Salt and Fire is a 2016 internationally co-produced thriller film directed by Werner Herzog. It had its premiere at the Shanghai International Film Festival. It was selected to be screened in the Special Presentations section at the 2016 Toronto International Film Festival. – wiki

Quote:
Eco Thriller with Twist
Being afraid of the dark is one thing, yet being afraid of the light is far worse. A United Nations delegation composed of three scientists, Laura, Krauss and Fabio (Gael Garcia Bernal), visits the Uyuni salt flats of Bolivian in order to help draw attention to an environmental tragedy taking place. However, as soon as the delegation lands its members are kidnapped by a militia controlled by businessman Matt Riley (Michael Shannon). As in paintings where the images change depending on the angle from which they are viewed, what Riley wants with the scientists gradually comes into focus in a thrilling and ingenious way.

The film’s location practically steals the show; an immense salt flat with a looming super volcano. Fortunately the setting is not the only aspect of the film that is thrilling. Capable acting and directing, and an intriguing environmental theme, combine with other elements to make Salt and Fire a compelling picture. I love the intellectual candy including great quotes from Alexander the Great and Ecclesiastes. Sometimes, however, it is a little too awkward and slow moving. More oomph/depth is needed at critical points. Gael Garcia Bernal is wonderful and funny, but he has just a minor part. There is a fantastic twist at the ending. – by raven-64-833785, imdb.com

Quote:
Yet even after 70-odd films, Herzog continues to push himself – and his collaborators — to extreme places, and “Salt and Fire” is no exception. A meditative and at times surreal thriller starring Michael Shannon and Veronica Ferres, it was shot in the remote high-altitude salt flats of Bolivia.

“Salt and Fire” is a kidnap drama set against a vague but ominous ecological disaster Herzog contrived called El Diablo Blanco. A multinational conglomerate headed by Shannon’s character has inflicted some unspecified havoc on the Bolivian landscape, causing the salt flats to multiply with terrifying speed; Ferres, playing a scientist, has been sent as head of a U.N. investigatory unit. – by Julie Makinen, Los Angeles Times

http://nitroflare.com/view/0AD6CCEAA66A08F/Salt.and.Fire.2016.1080p.WEB-DL.DD5.1.H264.mkv

https://uploadgig.com/file/download/cb0894Eb082DD15e/Salt.and.Fire.2016.1080p.WEB-DL.DD5.1.H264.mkv

Language(s):English
Subtitles:English

Quote:
Nathalie teaches philosophy at a high school in Paris. She is passionate about her job and particularly enjoys passing on the pleasure of thinking. Married with two children, she divides her time between her family, former students and her very possessive mother. One day, Nathalie’s husband announces he is leaving her for another woman. With freedom thrust upon her, Nathalie must reinvent her life.

http://nitroflare.com/view/2470714A526EF4D/Mia_Hansen-Love_-_%282016%29_Things_to_Come.mkv

https://uploadgig.com/file/download/1f8241b00176Ab76/Mia Hansen-Love – 2016 Things to Come.mkv

Language(s):French
Subtitles:English

Quote:
Authentically ‘New’ German Cinema, and, simultaneously, an archaeology of narrative film itself, Wyborny’s avant-garde landmark defines cinema as a ‘nation’ that has perversely acquired rulers, laws and hierarchies before it has even been physically mapped out. At first appearing to spin an elementary yarn of social organisation (the predictably fraught establishment of a rudimentary commune in the Moroccan desert of 1911) in the ‘authoritative’ film language of DW Griffith, Wyborny proceeds to break down that language to its constituent elements and produce fragmentary hints of alternatives. Structural film-making of a rare wit and accessibility results, with flashes of appropriate absurdity highlighting the redundancy of closed systems, whether social or cinematic.

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http://nitroflare.com/view/FC4DF6F937C87E1/The_Birth_of_a_Nation_Disk_1_Part_2.mkv
http://nitroflare.com/view/75CF652CB59CF28/The_Birth_of_a_Nation_Disk_2_Part_1.mkv
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https://uploadgig.com/file/download/7769dfD5729b0737/The Birth of a Nation Disk 1 Part 1.mkv
https://uploadgig.com/file/download/96A7a96806c9e602/The Birth of a Nation Disk 1 Part 2.mkv
https://uploadgig.com/file/download/c04c1f8edc6a5c2D/The Birth of a Nation Disk 2 Part 1.mkv
https://uploadgig.com/file/download/63Adb15A6303bba5/The Birth of a Nation Disk 2 Part 2.mkv

Language(s):German, English
Subtitles:None

Quote:
A wife finds her life transformed after a torrid affair in this story of murder. Katia is a rather dull young woman who types manuscripts for Irina, her husband’s mother and successful writer of romance novels. Katia’s husband is a real momma’s boy. They go to Irina’s summer house to work. There Katia encounters the intense and sexy Serguei who creates passionate longings with in her. Overcome she and Serguei engage in vigorous love-making upon a windowsill where Irina sees them. Irina has a weak heart. Quiet Katia, having rediscovered the joys of sex, changes and becomes more assertive and flighty. Serguei quickly loses interest in her. Strange and deadly things begin happening at the summer house which calls the attention of a judge who is extremely familiar with Irina’s writing. ~ Sandra Brennan, Rovi

Extra:
Interview with Director Valery Todorovsky

http://nitroflare.com/view/19B8ACAFC1664E3/Katya.Ismailova.1994.dvdrip.x264.catrogers.mkv
http://nitroflare.com/view/EFF52050F0F9FEA/Katya_Ismailova.extra.mkv

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https://uploadgig.com/file/download/c8e3e8B732dA7d85/Katya Ismailova.extra.mkv

Language(s):Russian
Subtitles:English, French

Quote:
Hana Doda, still a girl, escapes from her destiny of being wife and servant which is imposed on the women in the inhospitable mountains in Albania. She appeals to the old law of the Kanun and swears her eternal virginity thus becoming a “sworn virgin”. She turns into a man, takes up a rifle and becomes Mark, Mark Doda. It is in exchange for this sacrifice that Hana is allowed to be considered at the same level as other men. Her battle does not only mean that she must rebel against what destiny has been writing on her body for centuries, but she must also reject, in name of this rebellion, every form of love. A refusal that becomes her prison. After more than ten years spent in solitude in the mountains as a man, she becomes brutish and she transforms to survive the hardship, the cold and misery, until something returns to awaken her again… Hana decides to change life and painstakingly regain her body.

http://nitroflare.com/view/1395D88FEC5B68D/Laura_Bispuri_-_%282015%29_Sworn_Virgin.mkv

https://uploadgig.com/file/download/952e71bF8B887a30/Laura Bispuri – 2015 Sworn Virgin.mkv

English srt:
http://www.subtitleseeker.com/Download-movie-4140628/Vergine+giurata+2015+1CD+23+976-FPS+-SUB

Language(s):Albanian, Italian
Subtitles:Dutch, French, Russian, English

After refusing big and prestigious awards all over the world, Mr. Mantovani, Literature Nobel Prize winner, accepts an invitation to visit his hometown in Argentina, which has been the inspiration for all of his books. It turns out that accepting this invitation is the worse idea of his life. Expect the unexpected when you have used real people as characters in your novels!

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Language(s):Spanish
Subtitles:Italian

Quote:
The official British Palme d’Or entry at the 1974 Cannes Film Festival, Symptoms is a sophisticated modern gothic horror film exploring the themes of sexual repression and psychosis.

Larraz’s dark and stylish film tells of a young woman (Lorna Heilbron) who is invited by her girlfriend (Angela Pleasence) to stay at her remote English country mansion. Events take a disturbing turn when a menacing groundkeeper (Peter Vaughan) interrupts their time together, and a woman’s body is found in the mansion’s lake.

Other than a limited theatrical release and a late-night screening on British television in the early 80s, Larraz’s film has slipped into obscurity, and the original negative was long thought lost, assuring it a place in the BFI’s ‘Most Wanted’ list. Following the rediscovery of the original negatives in 2014, the dark delights of Symptoms can finally be experienced again in this new restoration, undertaken by the Belgian Cinematek.

Made by a Spanish director working for an English company, with Angela Pleasence running mad in an old dark house and giving murderous vent to her sexist grievances, this is the finest British horror movie from a foreigner since Polanski’s Repulsion. The comparison is inevitable, because thematically the films have a good deal in common, charting the gradual mental dissolution of their spectral heroines. Symptoms imitates, but also improves on its original in a multiplicity of ways. The muted love affair between Pleasence and Lorna Heilbron is etched with enormous suggestiveness, and Larraz’s eye for visual detail is mesmerising.

Symptoms, usually only available in very poor quality prints, has had a recent restoration and gets a pleasing transfer to Blu-ray from BFI. It’s solidly in dual-layered territory and has a max’ed bitrate for the 1.5 hour feature. Trevor Wrenn’s cinematography has some impressive moments. Colors are muted but consistent. The 1080P even exports some minor depth in the 1.33:1 frame (IMDb states the AR is 1.85:1). It’s reasonably clean showcasing very watchable visuals. Aside from some contrast flickering in the opening – it’s quite strong overall. This Blu-ray represents a breath of fresh air for the limited digital representations that have surfaced including analog bootlegs.

http://nitroflare.com/view/60283DED62EEE6F/Jose_Ramon_Larraz_-_%281974%29_Symptoms.mkv

https://uploadgig.com/file/download/a356865C7dB54390/Jose Ramon Larraz – 1974 Symptoms.mkv

Language(s):English
Subtitles:English

Synopsis:
Dorothy Segda essays three roles in the Hungarian-made My 20th Century. The film begins with the birth of twin girls to a Budapest mother (Dorothy Segda) in 1880. Orphaned early on, the girls are forced to sell matches on the streets until both are adopted by two separate families. Flash forward to 1900: Having lost track of one another, the grown-up twins take separate compartments on the Orient Express. One of the girls (Segda again) has become the pampered mistress of a wealthy man; the other (Segda yet again) is a bomb-wielding anarchist. Director Ildiko Enyedi evidently intended My 20th Century as an allegorical statement concerning the status of women in the modern mechanical age. The experiences of the twins are interspersed with shots of Thomas Edison (Peter Andorai), whom we see at the beginning of the film perfecting his incandescent light bulb on the very day that the sisters are born. The more technological advances made by Edison, the more confused the twins become in establishing their own roles in an advancing civilization. Adroitly avoiding cut-and-dried symbolism, Ildiko Enyedi keeps the audience wondering what she’s up to by including such surrealistic vignettes as a caged chimpanzee recounting the day of his capture!

Extra Director’s commentry track included.
(In Hungarian with no subs)

http://nitroflare.com/view/14732EFFC45F469/My_Twentieth_Century_%281989%29_–_Ildiko_Enyedi.mkv

https://uploadgig.com/file/download/f51340E6954f48aA/My Twentieth Century 1989 — Ildiko Enyedi.mkv

Language(s):Hungarian
Subtitles:English (muxed)

Zoltai (Andras Balint) is a Hungarian professor who returns home after a visit to the United States. Following a television interview, he commits suicide and leaves a note for his longtime friend Dr. Bardocz (Gyorgy Cserhalmi).The doctor and Zoltai’s colleague Komindi (Jozsef Madaras) join the police in investigating what drove the man to suicide in this surrealistic drama.

http://nitroflare.com/view/273D61ACE7ACC17/Season_of_Monsters.mkv

https://uploadgig.com/file/download/26B0395eed346112/Season of Monsters.mkv

Language(s):Hungarian
Subtitles:English

From Reel Film Reviews:
The Mosquito Coast, based on the novel by Paul Theroux, manages to do the impossible: It makes Harrison Ford come off as a jerk. But despite this (or maybe because of this), The Mosquito Coast is a compelling little movie.

Ford stars as Allie, a brilliant inventor who’s never really put his talents to good use. He spends much of his time lamenting the current state of America, which is chock full of fast food joints and welfare leeches. Along with his wife and three kids, he lives a fairly comfortable life – taking odd jobs repairing things. In his spare time, he just happens to invent things like a machine that can instantly make ice using fire as fuel. But one day, he gets sick of the American way of life and convinces his family to move to a place called the Mosquito Coast somewhere in South America. He’s actually purchased a small area of land in that vicinity, which basically makes him mayor with a constituency of around 20 people. Allie and family proceed to turn the villagers lives upside down, initially for the better (they build quite an impressive little town, complete with a gigantic ice-making machine), but eventually, Allie begins to relish the power a bit too much and it’s all downhill from there.

It really is an intriguing concept, and Ford’s never been better. Though he tends to be the sort of actor that basically plays himself in every movie, here he shows a side of himself we’ve never seen before – the obnoxious side. This isn’t a guy that you’d want to know in real life, and if you did know him, you’d spend a lot of time trying to stay out of his way. He spouts lengthy diatribes on the way he thinks the world should be, which basically consists of as little government intervention as possible and no big companies. So, when he moves his family to this remote spot, he figures he’s going to have it made in the shade. It’s a testament to Ford’s talent that we actually care what happens to him, because in a lesser actor’s hands, we’d be hoping that some cannibalistic natives would eat him.

Director Peter Weir doesn’t exactly keep the pace brisk, but that works here. We need time to get used to Allie before we’re thrust into the congo, and Weir’s steady direction allows for that. Also worth mentioning is River Phoenix’s work as Allie’s loyal but skeptical son. As was the case in Stand by Me, Phoenix was an exceptionally capable young actor. In The Mosquito Coast, he really had his work cut out for him playing this conflicted kid but he certainly proved he could hold his own against a heavyweight like Harrison Ford.

The Mosquito Coast is just the sort of intelligent, risky fare that’s sorely missing from today’s theaters. Check it out.

http://nitroflare.com/view/6E486E7BA78BA4B/The_Mosquito_Coast.mkv

https://uploadgig.com/file/download/e018188457Cb8a8a/The Mosquito Coast.mkv

Language(s):English, Spanish
Subtitles:English

Amidst the impersonal hubbub of Paris’ Orly Airport, strangers meet, secrets are revealed, and sudden intimacies develop in this beautifully observed mosaic of lives in transit.

Quote:
Loosely-linked scenes in the hall of Paris’ Orly airport. A man and a woman, both French but living abroad, meet each other by chance. He has just decided to move back to Paris and she longs to return there. A mother and her almost adult son are going to the funeral of her ex-husband, his father. A young couple is embarking on its first big trip. And a woman reads a letter from the man she has recently left. They are all waiting for their flight.

The departure hall is a place of transit. People are between the here and there, between the “not yet” and the “no more”. Schanelec places four couples amid the crowds of waiting passengers; the camera observes them, often from a distance. But their conversations can be heard; the ear is closer than the eye. Intimate islands of dialogue amid hectic activity. The tremendous background noise does them no harm until the music comes and infects the whole room. Cat Power sings “Remember Me”, reinforcing the atmosphere of longing, separation and transitoriness that already lingers in the air. Later, the off-screen monologue of a dying, loving man adds to it. “Love Will Tear Us Apart” – that’s what’s written at the beginning on a record cover. A farewell film.

http://nitroflare.com/view/9A1C69DD5C32701/Orly.2010.DVDRip.x264.AC3.mkv

https://uploadgig.com/file/download/025558d5e4943ecc/Orly.2010.DVDRip.x264.AC3.mkv

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

In Majdal Shams, the largest Druze village in Golan Heights on the Israeli-Syrian border, the Druze bride Mona is engaged to get married with Tallel, a television comedian that works in the Revolution Studios in Damascus, Syria. They have never met each other because of the occupation of the area by Israel since 1967; when Mona moves to Syria, she will lose her undefined nationality and will never be allowed to return home. Mona’s father Hammed is a political activist pro-Syria that is on probation by the Israeli government. His older son Hatten married a Russian woman eight years ago and was banished from Majdal Shams by the religious leaders and his father. His brother Marwan is a wolf trader that lives in Italy. His sister Amal has two teenager daughters and has the intention to join the university, but her marriage with Amin is in crisis. When the family gathers for Mona’s wedding, an insane bureaucracy jeopardizes the ceremony.

**Second Audio track is Commentary**

http://nitroflare.com/view/CA9B56B00483EF3/The_Syrian_Bride__2004__by_Eran_Riklis.DVDRip.x264-INDY.mkv

https://uploadgig.com/file/download/805662495518c00f/The Syrian Bride 2004 by Eran Riklis.DVDRip.x264-INDY.mkv

Language(s):Arabic, English, Hebrew, Russian, French
Subtitles:English

FOR THOSE WHO WANTS LOVE AND FREEDOM
In Search of UIQ unfolds the story of Félix Guattari’s lost science-fiction screenplay, Un Amour d’UIQ. Conceived during the 1980s, this unmade film imagines the discovery of the Infra-quark Universe (UIQ), an alien intelligence from a parallel dimension that falls in love with one of its human hosts, an event which has catastrophic consequences for the whole planet. Moving between documentary, fiction and essay, through the deployment of video, film and sound archives, letters and other documents that are enmeshed in a series of fabulations, In Search of UIQ explores what the cinema of the Infra-quark might have been (and may still become) and considers its rapport with key social and political transformations of our time from autonomist struggles to the digital recoding of life.

http://nitroflare.com/view/67DF34872FED640/In_Search_of_UIQ.mkv

https://uploadgig.com/file/download/0bbB733cF0446771/In Search of UIQ.mkv

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

Quote:
Albert Finney stars in this 1964 psychological thriller, as a psychotic killer who murders a woman then becomes the handy man at a local house where his girlfriend works. Once there he proceeds to slowly torment the old lady who owns the house and attempts to seduce her granddaughter.

Allmovie.com:
“Albert Finney stars in this second film version of Emlyn Williams thriller about an innocent looking but psychopathic killer named Danny. Danny is a Welsh hotel bellboy who commits an axe murder near the home of Mrs. Bramson (Mona Washbourne), a well-to-do widow. Danny disposes of the body in a nearby lake and charms Mrs. Bramson and her maid Dora (Sheila Hancock) into allowing him to stay with them. At Mrs. Bramson’s home, Danny plays psychological games with Mrs. Bramson while seducing her daughter Olivia (Susan Hampshire).”

http://nitroflare.com/view/87BA3D4E672534D/Night_Must_Fall.1964.Karel_Reisz.mkv

https://uploadgig.com/file/download/Ab0e7ee849aa4CAe/Night Must Fall.1964.Karel Reisz.mkv

Language(s):English, German
Subtitles:None