Tehran is a large village near the city of Rey, full of gardens and fruit trees.  Its inhabitants live in anthill-like underground holes.  The village’s several districts are constantly at war.  Tehranis’ main occupations are theft and crime, though the king pretends they are subject to him.  They grow excellent fruits, notably an excellent pomegranate, which is found only in Tehran.
– Asar-o-Lblab, 1241 A.D
Tehran Has No More Pomegranates! is a postmodern documentary that is as witty and engaging as it is informative.  The style of the film is fun and very visual, with the director, Massoud Bakhshi, using incredible archival footage, an original visual approach and terrific soundtrack that takes us through 150 years of Tehran’s history. Onscreen, Bakhshi may fail to complete his film, but he succeeds in both documenting Tehran’s history and entertaining us with its poignant contradictions.
About The Filmmaker
Massoud Bakshi was born in Tehran, Iran and is part of the new generation of Iranian filmmakers. He earned his high school diploma in photography and cinema in 1990 and his BS in Agriculture Engineering in 1995. He later studied filmmaking in Italy and cultural sector financing in France. He has worked as a film critic, screenwriter, and
producer.  His films have won many international prizes.
Filmography
Bagh Dad Bar Ber (2008)
Tehran Has No More Pomegranates! (2007)
Lost Windows (2004)
Praying for the Rain (2003)
When Behrang Meets Ayoumi (2001)
Festivals
36th Rotterdam International Film Festival, The Netherlands
20th International Documentary Film Festival of Amsterdam IDFA 2007
51st Cork International Film Festival, Ireland
30th Sao Paulo International Film Festival, Brazil
1001 Istanbul Documentary Film Festival, Turkey 2007
Drake International Film Festival, Italy 2007
13th Boston Festival of films from Iran, USA
CINEMA-VERITE International documentary film festival, Iran 2007
Cinema East Film Festival, NY, USA 2007
Doc Point Helsinki International  Film Festival 2007
Ecocinema International Film Festival, Greece 2008
Human Rights International Film Festival, Switzerland 2008
UCLA Iranian Film Festival, USA 2008
Hot Docs International Documentary Festival, Canada 2008
Planete Doc Review International Film Festival , Poland 2008
“Jeu de pomme” International film festival,France 2007
“Well-played” Iran-Arab Film Festival,Germany 2008
Full Frame International Documentary Film Festival USA 2008
“Flandres” International Film Festival Gent-Belgium 2008
15th Alt?nkoza Film, Culture and Art Festival, Turkey 2008
Santiago International Film Festival SANFIC 2008 “Jewels of Middle- East,” Chile
Morelia International Film Festival 2008, Mexico.
San Luis Cine International Festival Competition, Argentina, November 2008
Move Media Right Festival. Thailand, December 2008
Edinburgh: Filmhouse Cinema, January 2009
Portland International Film Festival, Competition, 2009
All Roads International Film Festival, USA, Competition, 2009
Awards
Winner: Best Director, 11th House of Cinema Film Festival, 2007, Iran;
Winner: Best Director, 25th Fajr Int. Film Festival, 2007, Iran;
Winner: AVINI Prize for Best Documentary of the year 2007, Iran;
Winner: Audience Award, CINEMA VERITE International Documentary Film Festival, 2007 Iran.
Nominated for: Cinema Eye Award for Best Documentary Film, IFC 2009

http://nitroflare.com/view/9C704698849E6A7/Tehran_Has_No_More_Pomegrantes%21.avi

https://uploadgig.com/file/download/2d0d86afE3f78f55/Tehran Has No More Pomegrantes.avi

Language(s):Persian
Subtitles:English

Quote:
Though Jacques Rivette’s Out 1 is often described as a time capsule, it hardly functions as a medium for concrete historical research. The 1971 film takes place in a major global city (Paris in the late ’60s) for all of its 13 hours, but it’s notable for how radically disconnected it is from the quotidian texture of metropolitan life—from matters like what any of its characters do to make a living, how they get around, what their typical routine is, what they eat or drink, or what they do in their downtime.

Instead, it carves its own peculiar universe out of a cluster of people existing in marginal relationships to conventional daily reality, orbiting around the living, breathing Paris caught in the backgrounds of Rivette’s camera according to their own eccentric priorities and senses of time. In this way, its emblematic image is one in which Jean-Pierre Léaud—as a shapeshifting loner, Colin, who’s by turns a panhandler, a journalist, a hopeless romantic, and an amateur sleuth investigating a nebulous conspiracy—paces through the streets and loudly delivers poetic oratories to no one in particular, all while confused civilians attempt to go about their business around him.

As the architect behind the organization of this peripheral world, Rivette promptly goes about establishing a cinematic time-flow that reflects that of his characters. In the first installment of this eight-part, freely improvised epic, we’re introduced to the two experimental theater troupes that form the film’s primary ensemble, both of which are workshopping texts by the Greek playwright Aeschylus, in a pair of marathon sequences. The first documents a collective led by the spunky and outspoken Lili (Michèle Moretti) in the midst of acrobatic rehearsals for the frontlines tragedy Seven Against Thebes, and the second finds impassioned ringleader Thomas (Michael Lonsdale) guiding his colleagues through a more outré take on the canonical Prometheus.

Neither performance articulates a particularly discernible narrative, nor do they look especially show-ready. Rather, process is key for these actors, and Rivette’s long, observational takes savor their spontaneous energy. The latter scene, in particular, offers one of the more arresting displays of movement and form in the entire film, a protracted record of writhing, moaning bodies intermingling with furious intensity that recalls the kinetic quasi-dance filmmaking of Carolee Schneemann or Amy Greenfield.

Despite these early bursts of dynamism, however, Out 1 is largely a film of conversation, as its prolonged rehearsal vignettes regularly give way to even lengthier scenes of verbal self-analysis. Thomas’s group of players, especially, has a penchant for dwelling in great detail on the beat-to-beat impulses behind their improvisations, discussions that muddy the distinctions between performance and authentic involvement. It gradually becomes evident that the collectives are more interested in working through psychological bewilderments for their own sake than they are in carrying their work into the public sphere, though their reasons for craving this outlet become part of the mystery around which Out 1 dances.

After hours of seemingly arbitrary intercutting between these theater activities and more mundane business in the streets, a chain of enigmas starts to usher the film toward something resembling a plot. After spending the first few episodes as a harmonica-tooting mute annoying café patrons until they slip him money, Colin stumbles upon, then obsesses over, a series of cryptic letters during one of his afternoon wanderings. Meanwhile, Frédérique (Juliet Berto), who busies herself with her own form of vagabond mooching (feigning interest in men before robbing them), ends up on an analogous mission after interacting with an ostensibly benign fellow (Jacques Doniol-Valcroze) who’s the current holder of similar letters.

Much of Out 1’s midsection, therefore, consists of Léaud and Berto reclusively practicing oddball investigative tactics: counting exercises, dress-up acts, and zombified brainstorms that find them, for instance, crossing busy intersections like they’re peaceful poppy fields. Against all odds, these methods lead them to “The Thirteen,” a curious secret society—or is it?—that seems to be on the tip of everyone’s tongue yet whose exact nature is never disclosed. More recognizable New Wavers—Bulle Ogier, Barbet Schroeder, and Françoise Fabian, among others—enter the mix as characters who may or may not have connections to this network of possible significance, though none are easy to get a handle on, as their personas often shift from wide-eyed obliviousness to devious hints of large-scale criminality.

Even the ostensible main characters aren’t to be blindly trusted: Colin arhythmically slithers in and out of frame as if trying out some variation on Inspector Clouseau and only deviates from his default blankness during one memorable laughing fit in a hippy den; Berto’s baby-faced gentleness is complicated by her all-too-casual commitment to underhanded petty offenses, not to mention an animalistic tussle with a guy on a sidewalk; and Thomas, whom Lonsdale plays as part political extremist, part randy philanderer, and part tender patriarch, is the slipperiest of all.

Even less graspable, though, is the vague conspiracy that binds them all. In a hushed sequence in the penultimate installment where one character begins to explain the “dangerous things” Colin has gotten himself into, Rivette discreetly reverses the dialogue track when it seems crucial revelations are on the horizon. The result is an unintelligible, uncanny garble (one imagines David Lynch had this effect on his mind when he conceived of the Red Room dialect in Twin Peaks) that singlehandedly puts to rest any and all expectations that this mounting mystery will be “solved.”

In doing so, Out 1 subtly pivots into a more reflective mode for its final hours, one that officially dissolves the concrete details into ciphers and red herrings and redirects attention to the sources of the anxieties driving them. It’s here that the film most deeply fascinates, where it digs into the hitherto unclear connections between its various wandering souls and insinuates the faiths and fears that either brought them together or drove them apart.

Unfortunately, this progression does little to shed new light on the preceding hours, which remain roundabout distractions from the core collective psychology that eventually surfaces. It doesn’t help that Rivette’s mise-en-scène is often crushingly one-note: A typical setup consists of a frontal, nonchalantly framed master shot that places anywhere from two characters to an entire cluster of folks against sparse backgrounds, many of which play little to no role in the drama playing out in front of them.

In addition to praising Rivette’s improvisatory emphasis on actor agency, Adrian Martin’s recent book, Mise en Scène and Film Style: From Classical Hollywood to New Media Art, is instructive in this regard. Martin discusses the director as someone who’s sensitive to the many atmospheric variables and contingencies in a given scene, and who ideally finds ways to encourage those elements to interact with and inform the dramatic artifice. Rivette’s images, meanwhile, feel segregated from one another (the blips and bumps of the direct sound recording go a long way to augmenting this impression) and hermetically sealed off from the world beyond the production space. Indeed, there’s even a moment when the unseen end of a phone line is represented by the cues of an actor just off screen.

Combined with Rivette’s utter, radical disregard for narrative compression (sometimes hours pass before a thread started in one scene gets continued), this aesthetic distance often makes the film itself feel as provisional as the Aeschylus adaptations Out 1 depicts. And when characters are more or less talking in what amounts to a highly coded language about things that may or may not even exist, alienation can be a natural response.

It’s with some consolation to the frustrated viewer, then, that Out 1 features a cameo from Eric Rohmer (whose current standing as a more controlled and rational-minded director than Rivette would probably have come to neither man’s surprise or shame) in which he eloquently and comprehensively chides Colin’s “poor grasp of reality.” Thankfully, Out 1 is good for an occasional chuckle, and this little nugget provides droll evidence that Rivette intends the film more as an experiential exploration than a statement in stone.

http://nitroflare.com/view/DB89F875CCA8C56/Episode_1.mkv
http://nitroflare.com/view/1F266F8E101B584/Episode_2.mkv
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http://nitroflare.com/view/086969ADF850A6B/Episode_6.mkv
http://nitroflare.com/view/0501D7D0BDBD70D/Episode_7.mkv
http://nitroflare.com/view/332DA90B3089A77/Episode_8.mkv

https://uploadgig.com/file/download/10a07645e8103C07/Episode 1.mkv
https://uploadgig.com/file/download/d8aAb4bb076E920B/Episode 2.mkv
https://uploadgig.com/file/download/85b0491504137b42/Episode 3.mkv
https://uploadgig.com/file/download/bc2300147Cd4c4F1/Episode 4.mkv
https://uploadgig.com/file/download/016938c90e144548/Episode 5.mkv
https://uploadgig.com/file/download/9913f18dA457036E/Episode 6.mkv
https://uploadgig.com/file/download/4bfd0cc0d7ff196c/Episode 7.mkv
https://uploadgig.com/file/download/45c532cBb837a401/Episode 8.mkv

Language(s):French
Subtitles:English

Character and dialogue are the driving forces in writer-director John Sayles’ movies. In Passion Fish, Sayles delivers a quality screenplay, and Mary McDonnell and Alfre Woodard do his script justice with some of the most accomplished work of their careers. McDonnell — who also stood out in the director’s Matewan — brings surprising originality to the role of the haggard, self-pitying accident victim, and Woodard never becomes a stereotypical provider of “tough love.” Vondie Curtis-Hall and Sayles regular David Strathairn offer colorful supporting turns. Passion Fish was the director’s simplest, most elegant work since his second feature, 1983’s Lianna. McDonnell and Sayles would be nominated for Academy Awards, and Sayles would also be nominated for his screenplay. ~ Brendon Hanley, All Movie Guide

http://nitroflare.com/view/5B8C329D74C333A/Passion_Fish.avi
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Language(s):English
Subtitles:English, Spanish, French

Mimi is a Sicilian dockworker who loses his job when he votes against the Mafia candidate in what he thinks is a secret ballot. He leaves his wife behind and goes to Turin, where he meets and moves in with Fiore, a street vendor and Communist organizer. They have a child, he works non-union jobs, and again he comes to the Mafia’s attention. This time they’re impressed, promoting him to a supervisor’s job back in Sicily. He must keep Fiore and the child a secret, which is fine with Fiore, as long as he never makes love to his wife. He doesn’t, and when she becomes pregnant, he knows he’s a cuckold. His personal revenge and the Mafia’s tentacles then intertwine in tragicomic ways. (IMDb)

http://nitroflare.com/view/F00340A930E3F27/The_Seduction_of_Mimi.mkv

https://uploadgig.com/file/download/4543795b61f890e7/The Seduction of Mimi.mkv

Language(s):Italian
Subtitles:English

Several short films about love.

http://nitroflare.com/view/0FC0F6B67D0F8A7/Kalik.Ljubit.1968.1992.avi
http://nitroflare.com/view/13C442D50587EEF/To_Love_-_Director%27s_Cut_%28Mikhail_Kalik%2C_1992%29.srt

https://uploadgig.com/file/download/Ec6479126169fc95/Kalik.Ljubit.1968.1992.avi
https://uploadgig.com/file/download/6c1dd9cb8fdf7fB7/To Love – Directors Cut Mikhail Kalik 1992.srt

Language(s):Russian
Subtitles:English

Quote:
With the innocuously titled Sweet Dreams (Fai bei sogni), Italian director Marco Bellocchio stages a gentle, eminently watchable return to some of the key themes that have haunted his 50 years of filmmaking, particularly the scarring left by a dysfunctional family and maternal love gone awry. The story of a 9-year-old boy who loses his beloved mother is a much simpler, more direct film than the thematically rich My Mother’s Smile (2002), and has none of the churning family anger of Fists in His Pocket (1965). But based on journalist Massimo Gramellini’s best-selling autobiographical novel, it has an emotional unity and urgency that holds the attention, only flagging in the last innings of a surprisingly compact drama running well over two hours.

Perhaps its underlying simplicity is what kept it out of Cannes competition and sent it to open the Directors Fortnight. Yet that is exactly the quality that should foreshadow strong art house sales for Match Factory. Valerio Mastandrea and Berenice Bejo headline a graceful cast, whose understated and ultimately moving performances give viewers a strong hook onto the story.

Yet even in such an intimate and apparently mono color drama, Bellocchio’s social outlook is never far away. As the story unfolds and young Massimo grows into a man, Italy changes radically before his eyes. The mass emotions of the rowdy soccer crowds in 1969 Turin and the innocent pleasure of watching Raffaella Carra’s daring dances on TV describe an entire universe outside the rambling apartment where little Massimo (the wonderfully expressive Nicolo Cabras) lives with his pretty mom (an appealing, slightly off-kilter Barbara Ronchi) and handsome if distant dad (Guido Caprino). In the first scenes the boy and his mother are shown alone with each other in a close, symbiotic relationship, as though they were a couple. She sings a love song to him and they dance to the latest twist music, play hide and seek and cuddle. And they share a passion for late-night horror movies like Cat People and The Cabinet of Dr. Caligari, not to mention a cult serial featuring the powerful figure of the demonic Belphegor, who will become Massimo’s imaginary guardian angel after his mother’s sudden death in the film’s first act.

The odd thing is that no one tells him how she died, and he grows up believing it was a “sudden heart attack,” which becomes a screen memory his psyche erects to keep the pain at bay. The emotional scarring goes deep, however. As a solemn-eyed teen (Dario Dal Pero), he tells his schoolmates that his mother lives in New York. This, despite the expert warning of a wise priest and science teacher (Roberto Herlitzka), that he has to face his demons and acknowledge his mother’s death. Instead his friendship with rich boy Enrico (Dylan Ferrarrio) gives him a chance to bask in Enrico’s physically close relationship with his aristocratic, over-protective but loving mom (Emmanuelle Devos in an eccentric, eye-catching role.)

When we find him as a young man (Mastandrea) breaking into journalism as a sports writer, he is sad-eyed and distant and short-circuiting with girlfriends. One night he gets his big break on the national daily La Stampa when he happens to be on the spot of a major breaking news story.

Though his star is rising, a stint as a war correspondent in Sarajevo shows how detached and uncompassionate he is. Daniele Cipri’s dense cinematography captures the atmosphere of the wartime city in a few deft strokes: a radical fashion show, people filling water tanks under the protection of a UN tank; foreign reporters in camouflage vests crossing the street at a run to avoid snipers. When Massimo’s dare-devil photographer makes an ethically questionable judgment call about a traumatized boy and his mother, his cold-blooded decision to embellish the photo is so cynical, and familiar, it gets a nervous laugh.

Back in Turin, his editor promotes him to his own daily column in a funny editorial meeting that contrasts cynicism with emotional honesty. The film’s biggest pay-off is around the corner, as Massimo rises to the challenge of answering a letter from a reader who hates his domineering mother. It’s the high point and turning point rolled into one, yet typically, Bellocchio deflects its sentimentality with a bit of ironic humor.

Finally Dr. Elisa is introduced, a Roman medic who more than anyone else understands, or guesses, the source of Massimo’s anguish. Bejo is a ray of pure sunlight in the role compared to Mastandrea’s sunken gloom, and her eyes express everything not said in her spare dialogue. Still her character feels awfully last-minute, despite Francesca Calvelli’s fine editing job that intercuts the various time periods.

The director has always had a fondness for scary things onscreen, as was evident in his recent vampire yarn Blood of My Blood, which premiered at the last Venice festival. Here Massimo’s grief and solitude find visual correspondences not only in various Belphegor, Nosferatu and Caligari figures, but in the creepy atmosphere of the mother’s at-home funeral service, her coffin in the middle of the living room, surrounded by black-garbed mourners.

Carlo Crivelli’s beautiful orchestral score coolly alternates with lively pop songs of the day.

http://nitroflare.com/view/6EE64B137CB403F/Marco_Bellocchio_-_%282016%29_Sweet_Dreams.mkv

https://uploadgig.com/file/download/59a3Cb0B6786b456/Marco Bellocchio – 2016 Sweet Dreams.mkv

Language(s):Italian
Subtitles:English

Elektro Moskva is an essayistic documentary about the Soviet electronic age and its legacy. The story begins with the inventor of the world’s first electronic instrument, Leon Theremin, unveiling the KGB’s huge pile of fascinating devices, some of which were musical. They all came into existence as a by-product of a rampant defense industry. Nowadays, those aged and abandoned ‘musical coffins’, as solidly made as a Kalashnikov, are being recycled and reinterpreted by the post-Soviet generations of musicians, sound collectors and circuit benders. The story of the Soviet synthesizers as an allegory to the everyday life under the Soviet system: nothing works, but you have to make the best out of it. An electronic fairy tale about the inventive spirit of the free mind inside the iron curtain- and beyond.

* The archival footage with Leon Theremin was shot by Sergey Zezjulkov in 1993, a few months before Theremin’s death. However, the planned documentary about the great Russian inventor was never completed and Zezjulkov stored the rushes underneath his bed for almost twenty years. Now these scenes can be seen for the first time.

Quote:
ELEKTRO MOSKVA tells the strange but true story of the evolution of electronic music against a backdrop of revolutionary politics, social upheaval, and totalitarian control.
From the invention of the world’s first electronic instrument by Leon Theremin in 1928, to avant-garde musicians of the 1970s scavenging contraband parts from KGB spying equipment, to modern day circuit-benders in cramped Moscow flats turning discarded toys into bizarre instruments, ELEKTRO MOSKVA chronicles almost a century of freethinking musicians, artists, and inventors who turned the economic hardships of the Soviet system into some of the strangest and most mind-expanding sounds and instruments ever devised.
Meet gregarious junk peddlers who specialize in scouring the countryside for long-forgotten analog synths from the days of Sputnik. Learn about the bizarre ANS synthesizer, which is “played” by scratching images onto glass plates that are then turned into music. Hear some of the weirdest and most haunting music ever electrified into existence.
ELEKTRO MOSKVA is the story of the Soviet synthesizer turned into an allegory of everyday life under the Soviet system: nothing works, but you have to make the best of it. – Maurice Moore

This film sketches a portrait of the experimental scene in Moscow and also includes rare footage of the godfather of electronic music, Leon Theremin. There are two types of machines. Western ones that always work and Russian ones, which you never know if they are going to work or not. So it is said in the documentary Electro Moscow, which takes us back to a fabulous piece of musical history that will surprise even true music buffs. The Austrian filmmakers Tikhonova and Spritzendorfer managed to track down some of these musical devices and tell the often bizarre stories behind them. Electro Moscow is a lively documentary that puts a big smile on your face. – IFFR

“The Shrewish Taming of the Current” would be an appropriate subtitle of Elektro Moskva. This documentary by Elena Tikhonova and Dominik Spritzendorfer provides nothing less than the first concise analysis of Russian electronic music from the early 1910s to the present, and is much more than just a music film: Embedded in discourses about everyday matters, technology and philosophy, Elektro Moskva portrays these musical experiments as an allegory for sociopolitical terrain that has remained unexplored until now.
With a trove of archival material and location shots, this is the story of how the current was brought under control, to the accompaniment of synthesizers and drum machines, since the birth of the Soviet Union under Lenin. The history of Russian electronic music has always been a story of privations and appropriation. No two synthesizers are identical; instead, they´re “living organisms” in the sound of which oscillate inventiveness, political influence and Communist fantasies of what´s doable. The futuristic furor continues into the ´60s with projections of space colonization, and when such groups as Notchnoi Prospekt made New Wave compatible with the USSR in the ´80s. Today, these machines are in great demand, with collectors going to the country´s most remote corners to perform interactive historical research. Three protagonists of contemporary Russian experimental electronic music, Alexey Borisov, Richardas Norvila a.k.a. Benzo, and Dmitriy Morozov a.k.a. Vtol are given a chance to speak.
This “electromagnetic fairytale” tells of an intellectual curiosity whose poetry turns nothing into something, in spite of, or because of, repression. Elektro Moskva fills in the map of music production in the past in an equally informative and entertaining way, at the same time making a passionate call for autodidactic creativity: sonic utopias. – Heinrich Deisl

http://nitroflare.com/view/170B4F30922B081/Elektro.Moskva.mkv

https://uploadgig.com/file/download/5078c8891F0e2e03/Elektro.Moskva.mkv

Language(s):Russian
Subtitles:English hardsub

Quote:
Gritty journey through the sexual underbelly of Buenos Aires, with graphic depictions of the highs and lows in one man’s quest for intimacy.

The story tells, from an accentuated hyper-realistic aesthetic, the life of Martin, a man in his forties who is desperately lonely and seeks, through sex, some company, to spend that time of which nothing seems to be expected. Under this constant desolation, he finds in cocaine, alcohol and in some other orgy a state of momentary pleasure every night.

Martin moves around Buenos Aires at night, picking up guys, going to clubs, scoring drugs and having sex. Sometimes he’s paying and sometimes his trans sex-worker friend or another woman takes him along for a threesome. With this matter-of-fact premise, first-time director Edgardo Castro (who also stars as Martin) takes us through the sexual underworld of the city. His film perfectly – and painfully – captures the feeling of being totally messed-up and of coming down, humiliated, and heading homeward in the early hours of the morning. It’s bleak and uncompromising yet compelling. Its grungy shooting style matches the graphic material and there is something of Gaspar Noé to La Noche’s provocation. If the film refuses to question Martin’s motivations, or enquire as to the reason for his out-at-sea emotional state, surprising moments of tenderness offer a glimpse of intimacy and connection, accentuating the film’s incredible power.

A dizzying, endless and unique way all night setbacks. Sex, drugs and drinks alternate between meeting and encounter, creating a continuous openly, in front of a camera as bold as curious, who dares to cross it all.

http://nitroflare.com/view/3144AFB4FC8CA5A/Edgardo_Castro_-_%282016%29_La_Noche.mkv

https://uploadgig.com/file/download/8784d9f3C4ed1357/Edgardo Castro – 2016 La Noche.mkv

Eng srt:
https://subscene.com/subtitles/la-noche/english/1538701

Language(s):Spanish
Subtitles:English

Brief Synopsis from TCM:
Zani is an unusual young man who has spent his entire life in a zoo in Budapest. His only true friends are the zoo’s animals. When Zani meets Eve, a young orphan girl, they fall in love. To be together Eve must somehow escape from her strict orphan school. When she does she and Zani must hide overnight in the zoo – where everyone is looking to find them.

http://nitroflare.com/view/C76679BE1121376/Zoo_in_Budapest_Rowland_V._Lee_1933.avi

https://uploadgig.com/file/download/4FC7cB81db97c59a/Zoo in Budapest_Rowland V. Lee_1933.avi

Language(s):English
Subtitles:french hardsubs

Synopsis:
It’s a peaceful day in Japan when a strange fountain of water erupts in the bay, causing panic to spread among government officials. At first, they suspect only volcanic activity, but one young executive dares to wonder if it may be something different; something alive. His worst nightmare comes to life when a massive, gilled monster emerges from the deep and begins tearing through the city, leaving nothing but destruction in its wake.

As the government scrambles to save the citizens, a rag-tag team of volunteers cuts through a web of red tape to uncover the monster’s weakness and its mysterious ties to a foreign superpower. But time is not on their side – the greatest catastrophe to ever befall the world is about to evolve right before their very eyes.

Review:

It’s been 12 years since the last Japanese-produced Godzilla movie (though Gareth Edwards’ 2014 American effort in no way disgraced the franchise), and reportedly Toho Studios wanted to shake things up for their 29th effort. In hiring Hideaki Anno (creator of anime Neon Genesis Evangelion), who writes and co-directs Shin Godzilla with Shinji Higuchi (the live action Attack On Titan films) they definitely achieved that, though probably not in the way many expected. With the 2011 Tohoku earthquake and associated Fukushima nuclear disaster providing prime metaphorical material for Godzilla – originally created as a metaphor for the atomic bomb – this takes the giant monster genre in directions that may take a little getting used to.

To wit: when what seems to be a steam explosion floods a motorway tunnel running under Tokyo Bay, much of the next 30 minutes takes place in various meeting rooms as elements of the Japanese government hold meeting after meeting as they try to formulate a response (any similarity to the Japanese response in 2011 is no doubt purely intentional). Every government member has their full name and title come up on the screen even if we never see them again; one meeting has a cut to black in the middle of some underling’s speech as “following abbreviated” flashes up. Yet it’s never boring, as while all these people are trying to figure out whose responsibility the as yet-minor disaster is, slowly footage is coming in that confirms the out-of-nowhere suspicion from Deputy Chief Cabinet Secretary Rando Yaguchi (Hiroki Hasegawa) that what’s causing all the commotion is some kind of giant creature.

Anno takes his time revealing his monster, instead having it wade up ever narrower rivers, a solid wall of crushed boats and debris pushed ahead and spilling out onto surrounding streets. When it finally does make land, it doesn’t look much like a Godzilla we (but not the characters in the film – Shin Godzilla takes place in a world where Godzilla has never appeared before) would recognise. It turns out this version is capable of directing its own evolution, and the initially almost rat-like, bug-eyed, blood gushing creature is not its final form.

Yes, long stretches of this film are about government ministers trying to figure out whether they even have the authority to call in the military on what they initially see as a pest control problem. But in this context all the rule-following and political jockeying – Yaguchi eventually leads an ad-hoc committee of governmental misfits (nerds and biologists mostly) who come up with the only possible solution to the ever-widening destruction that doesn’t involve the US dropping a nuke on Tokyo – shows humanity as something that can only match Godzilla when acting as a group. Individuals simply don’t matter, and pretty much the entire cast are barely sketched in; when you’re up against what’s basically a god, you hang together or you hang separately.

Those used to more US-levels of movie carnage may be slightly disappointed that this doesn’t wrap up with insane levels of climactic destruction, especially after a middle sequence featuring Godzilla displaying both his ability to survive massive levels of military ordinance and his power to deal out devastation on a jaw-dropping scale. On the other hand, there are train bombs (like car bombs, only trains), and while the special effects aren’t amazing, they’re always up to the task of getting across the fact that when you get in Godzilla’s way you are going down.

The political commentary and allegory in Shin Godzilla is in no way subtle – there are actual photos of Hiroshima used at one stage – and the anti-US rhetoric is slightly hamstrung by casting the not even slightly American-seeming Satomi Ishihara as US Special Liaison Kayoko Ann Patterson. But as a giant monster movie this is gripping viewing from start to finish. Its vision of Godzilla as a remote, incomprehensible creature that barely even notices humanity, its blood-red atom heart pulsing through black rolling clouds of destruction as Japan burns, is not easily shrugged off.

http://nitroflare.com/view/9501865413C019D/Hideaki_Anno_%26_Shinji_Higuchi_-_%282016%29_Shin_Godzilla.mkv

https://uploadgig.com/file/download/93d8c4bc6c7f5547/Hideaki Anno Shinji Higuchi – 2016 Shin Godzilla.mkv

Language(s):Japanese
Subtitles:English

ingmarbergman.se wrote:
The Misanthrope

Bergman took one of his favourite plays to Copenhagen for a guest performance, which was even broadcast on Danish TV.

In his Copenhagen The Misanthrope, Bergman maintained a dual approach. On the one hand, a production of Molière’s play as a theatrical game performed in style and intellectually conceived; on the other hand, an exposure, through physical and psychological intensity, of the emotional tragedy in which Alceste and Celemine are both victims.

Expectations were high prior to Bergman’s production of The Misanthrope. A reviewer wrote, ‘For the first time Molière’s connection to the Danish stage is intercepted by a director whose forte is physiological tragedy, Strindberg over Holberg’.

Many reviews had expected Bergman to put his very personal stamp on the production. Instead they experienced ‘a clean Molière’ and were struck by Bergman’s faithfulness to the original mise-en-scene and to the classical rhythm of Molière’s text.

http://nitroflare.com/view/1271B058B8C9180/Misantropen_%281974.Danish.Ingmar_Bergman%29.FIXED.x264.DVBrip.mkv

https://uploadgig.com/file/download/31719d3d11d16Bc0/Misantropen 1974.Danish.Ingmar Bergman.FIXED.x264.DVBrip.mkv

Language(s):Danish
Subtitles:None

Synopsis:
Inspired by Fyodor Dostoyevsky’s The Idiot and intended as “a homage to the great writer,” this film is set in modern France rather than 19th century Russia. This is a story of Léon (Francis Huster), who has been recently released from a mental asylum and claims to be a descendant of a Hungarian prince. On his way from Hungary to France, he meets Mickey (Tchéky Karyo), a hood who has committed a successful bank robbery and plans to take brutal revenge on the brothers Venin for what they did to his girlfriend Mary (Sophie Marceau). Léon can hardly understand what Mickey is up to but he follows him everywhere and soon falls in love with Mary. This odd love triangle resolves in a tragic ending. The frantic pace of the film’s action can be compared to that of a runaway, hell-bound train. The colors and sounds go out of control, and violence abounds — all of which is intended to convey to a viewer the craziness of the time.
— (allmovie)

Review:
In “L’Amour Braque”, Étienne Roda-Gil has known how to find words, and Andrzej Zulawski the images, which revive in us a strange resonance which has the sweetness of a dream and the familiarity of a memory. And, whatever the story is that these words and images tell, the important thing is this resonance, this healthy tremor that simply tells us that a world without emotions is a world without meaning.
— Michèle Halberstadt (1985)

Product Description
ANDRZEJ ZULAWSKI’S L’Amour Braque (Limpet Love) is the story of a hideously bloody vendetta, of bonds of friendship between two men from opposite backgrounds and of love within an eternal triangle. Intended as homage to Dostoyevsky and loosely based on his novel ‘The Idiot’, L’Amour Braque is a mad love-triangle: Léon (The Prince Of Idiots), Marie (The Virgin Whore), and Mickey (The Immoral Gangster). Zulawski’s postmodern existentialist adaptation is presented with an intense sense of visual style suggestive of the hyper-realistic and chaotic world of Bande-Dessinée. Abundant with images that persist and last in memory, from start to finish the screen is filled with outbursts of energy and eruptions of emotional violence where “notions of ‘performance as madness’ are choreographed into a perverse, bloody ballet.” L’Amour Braque displays craftwork of originality and imagination in which “moments of brilliance happen under the watchful eye of a knowing master.”

AWARDS:
NOMINATIONS:
Fantasporto International Film Festival, Portugal
International Fantasy Film Award, Best Film: Andrzej Zulawski

http://nitroflare.com/view/3F74C6EAA72AA81/L%27Amour_braque_%281985%29_–_Andrzej_Zulawski.mkv
http://nitroflare.com/view/8C785A48C479724/L%27Amour_braque_%281985%29_–_Andrzej_Zulawski.srt
http://nitroflare.com/view/F6EB17ACFBAE743/L%27Amour_braque_%281985%29_–_Andrzej_Zulawski.ita.srt

https://uploadgig.com/file/download/bb5F0ad301D2e866/LAmour braque 1985 — Andrzej Zulawski.mkv
https://uploadgig.com/file/download/8C19F1a07fad7518/LAmour braque 1985 — Andrzej Zulawski.srt
https://uploadgig.com/file/download/14f1aD532a566310/LAmour braque 1985 — Andrzej Zulawski.ita.srt

Language(s):French & English (commentary)
Subtitles:English (muxed), English, Italian (srt)

Plot Summary
Already in his childhood, Pablo Picasso shows talent for painting and is sent to the Academy of Arts in Madrid. He becomes a painter but has to live in Paris in poverty. But one day he is discovered by a rich American millionaire and starts to earn money. But he wastes his talent by painting plates. He meets the famous people of the 1920s; Gertrude Stein, Alice B. Toklas, Appolinaire, Hitler and Churchill.

http://nitroflare.com/view/CA02DFE6822A005/Picassos.%C3%A4ventyr.1978.SWEDiSH.CD1.DVDRip.XviD-iNFLUENCE.avi
http://nitroflare.com/view/73D4A1365369BBA/Picassos.%C3%A4ventyr.1978.SWEDiSH.CD1.DVDRip.XviD-iNFLUENCE.srt
http://nitroflare.com/view/A52CDCD8A67E12B/Picassos.%C3%A4ventyr.1978.SWEDiSH.CD2.DVDRip.XviD-iNFLUENCE.avi
http://nitroflare.com/view/F31A14A64208E70/Picassos.%C3%A4ventyr.1978.SWEDiSH.CD2.DVDRip.XviD-iNFLUENCE.srt

https://uploadgig.com/file/download/3dBAc49f893E0a87/Picassos.äventyr.1978.SWEDiSH.CD1.DVDRip.XviD-iNFLUENCE.avi
https://uploadgig.com/file/download/286379d97867536d/Picassos.äventyr.1978.SWEDiSH.CD1.DVDRip.XviD-iNFLUENCE.srt
https://uploadgig.com/file/download/f59919146CF0aE99/Picassos.äventyr.1978.SWEDiSH.CD2.DVDRip.XviD-iNFLUENCE.avi
https://uploadgig.com/file/download/8Ce1052639738D0b/Picassos.äventyr.1978.SWEDiSH.CD2.DVDRip.XviD-iNFLUENCE.srt

Language(s):Swedish and Other
Subtitles:English Separate (narration) srt

Marya finds herself penniless after her art dealer husband, Stephan, is convicted of theft. Marya accepts the hospitality of a strange couple, H.J. and Lois Heidler, who lets her live in their house.

http://nitroflare.com/view/79DEA16463FF375/Quartet.NTSC.DVD.DD1.0.x264-UioP.mkv

https://uploadgig.com/file/download/D1ced79428378A07/Quartet.NTSC.DVD.DD1.0.x264-UioP.mkv

Language(s):English, French
Subtitles:English

Synopsis:
A gentle, shy woman who is industrious at work and pleasant with her colleagues, Anna M. convinces herself that a happily married doctor is in love with her.
From then on, every move this man makes, the slightest word, even his most virulent denials, will be interpreted by Anna as evidence of his love.
Possessed by this imaginary love, Anna starts to glow… and respond to the doctor’s “advances.”

http://nitroflare.com/view/A167C4EABAD31FA/Anna_M.%282007%29.avi
http://nitroflare.com/view/44606CB50A79198/Anna_M.srt

https://uploadgig.com/file/download/dA3372302516dcEc/Anna_M.2007.avi
https://uploadgig.com/file/download/9cf56cf1b8977E68/Anna_M.srt

Language(s):French
Subtitles:English

Synopsis:
Udaka is a new, post-war city where corruption has already taken hold. A persistent district attorney wants to arrest and convict Katsumata, a laughing, self-confident thug. The D.A. gets an anonymous letter about the suicide five years’ before of a city council member. Evidence about the case leads the D.A. to Tachibana, struggling to go straight after involvement with the mob and a prison sentence for killing the man responsible for the rape and suicide of his fiancée. One of Tachibana’s friends is Keiko, the daughter of the dead councilman and the ward of another powerful official. How do these stories connect?

Review:
Rusty Knife was the first smash for director Toshio Masuda, who would go on to become one of Japanese cinema’s major hit makers. Top Nikkatsu stars Yujiro Ishihara and Akira Kobayashi play former hoodlums trying to go straight, but when the authorities come looking for their help the pair realize the past isn’t so easy to shake.

Rusty Knife is set in Udaka, a newly born post-war city that’s always corrupt to the core. It’s as harsh and stark as any film noir city you’ve ever visited on screen, and the outcomes are harsh too. Like all good noirs, there’s one man – in this case a perisistent district attorney – intent are restoring order to his own little corner of a chaotic universe. When he insists on dragging former thugs into his investigation of the local crime syndicate things go sideways for all involved. As Robert Mitchum said about his gallows in Out of the Past, “Build ’em high, baby.”

As a celebration of Nikkatsu, Rusty Knife could be the poster child for the studio’s effort in the late fifties. It’s jazzy, it’s cool, it’s gritty and it is straight-up film noir. It was also rewarded at the box office. For good reason, director Masuda went on to direct a fifty-two features for Nikkatsu in ten years, many of them box office hits. If you’re looking to see a different side of Japanese cinema, do not miss Rusty Knife.

— Brandy Dean (Pretty Clever Films)

http://nitroflare.com/view/263F5C833C39E93/Rusty_Knife_%281958%29_–_Toshio_Masuda.mkv

https://uploadgig.com/file/download/7c6aAD6d3A95565f/Rusty Knife 1958 — Toshio Masuda.mkv

Language(s):Japanese
Subtitles:English, Russian (muxed)

Quote:
It’s a non-traditional black and white film based on the 1894 novel by Theodor Fontane. It’s for an audience that is more aware and welcomes something addressed to the intellect, rather than the way the average casual moviegoer sees a film expecting a story handed to him on a silver platter with a beginning, a middle and an end (usually a happy ending). This is not a film for the casual moviegoer or the critic chasing down blockbusters. Director-writer Rainer Werner Fassbinder has said “It’s a film that really only works in the German language.” What makes the film so difficult for an outsider, is that much of Fontane is nuanced only for the German and therefore someone unfamiliar with the finer cultural points or historical facts will have a tough time of it. Fassbinder based the film on the parts of the novel by Theodor Fontane he agreed with (discarding the parts of the book he disagreed with) and did not make it into a topic about a woman as the title would suggest (a debate grew between the film’s star Hanna Schygulla, who wanted to play it as a story about the titular character; thankfully she couldn’t budge Fassbinder off his intended aim to keep it as a societal moral play and as a result we have a film that is full of conviction and as faithful to a book as you can possibly be).

It’s a late 19th-century (sometime in the 1880s) drama set in a conformist and repressed Germany. The story is unimportant, as are the characters. What’s important is that Fassbinder confirms that Fontane critiques his society for its failings but still recognizes it as a society that is valid for him, and Fassbinder hopes to make his attitude toward the society he lives in clear by keeping the film about Fontane and not Effi Briest–whom he considers inconsequential. Fassbinder will also keep his feelings out of the film and let Fontane do the talking for him, which indicates he accepts the author’s words and his attitude. Fassbinder will maintain he has always challenged society but nevertheless hasn’t dropped out and accepts its conditions just by living in it.

If viewed in this light, one can see what Fassbinder is driving at and how the film can be appreciated as a brilliant mindfuck, uniquely filmed as only someone as gifted as Fassbinder can with such superb technical skill. It is much like reading a book and the reader (viewer) has to be always thinking or the story will never come into place. To make sure the viewer cranks up his brain cells, there is the use of the fade-in throughout that turns white rather than the usual black (a device that actually inhibits thought). The white glare of the screen is a jolting wake-up call to stay mentally alert–an alarm that thinking is required. Fassbinder uses the white in the same way one reads a book and turns a page to a new chapter, giving the reader a chance to catch his breath and visualize what he just read.

Effi Briest (Hanna Schygulla) is an inexperienced but ambitious 17-year-old from a bourgeois middle-class family in Berlin. Her folks welcome a marriage for her with a comfortable middle-aged Prussian baron from the country named Geert von Instetten (Wolfgang Schenck). Previously he sought the hand of Effi’s mother Luise (Lilo Pempeit), but was not that well-fixed financially at the time to seal the deal. Even though Effi’s the outdoor type and he’s an art effete and she’s somewhat afraid of him, she respects him as a man of culture, substance, reserve and good breeding, and agrees to the marriage after her mother says she will already have what a 40-year-old woman can only hope to attain. The couple live in the small town of Kessel (a population of 3,000, whose inhabitants are either pious or dull). Her hubby is a mid-level political careerist, holding an elective office as a Deputy Councillor. Effi gives birth to a daughter Annie and hires a lapsed Catholic, Ursula Strätz, to be her nanny and confidante. The Baron’s uppity housekeeper Johanna (Irm Hermann) is an icicle who resents Effi and treats her with scorn, especially resenting her lavish spending on clothes. Bored silly and left alone with her hubby working the campaign trail, the trophy wife of ease takes up with smooth womanizer Major Crampas (Ulli Lommel), stationed in the town, in what seems like an innocent relationship. Some six years after the couple moved back to Berlin, as hubby moved up the political ladder to a post in the ministry, he discovers a number of love letters the Major wrote to his wife and takes the appropriate action one expects a gentleman from that period to do to retain his honor in society–challenges the Major to a shooting duel. It leads to exposing how cruel Effi’s society can be for those who break its rules, as her daughter is taken away from her and she’s ostracized by society and forced to live alone in a boarding house.

It’s a highly stylized period piece with no room for emotion and many breaks throughout with Fontane’s exact words scrawled on the screen. The performances are all rigid and lifeless (but oddly effective), as the characters act with a certain reserve rather than raw emotion. It’s an outstanding film that tells in a literary way about a long gone society and while I’m not literate in German, it still is compelling viewing for the delicate way it unfolds and leaves a tingling feeling there’s a lot more going on than it seems.

http://nitroflare.com/view/0366E7307AB44F2/Rainer_Werner_Fassbinder_-_%281974%29_Effi_Briest.mkv

https://uploadgig.com/file/download/A1a10a38d37f2ddc/Rainer Werner Fassbinder – 1974 Effi Briest.mkv

Language(s):German
Subtitles:English

Synopsis:
A harrowing documentary of the Stones’ 1969 tour, with much of the focus on the tragic concert at Altamont.

Review:

Gimme Shelter documents the last ten days of the Rolling Stones’ 1969 North American tour, from the ecstatic appearances at Madison Square Garden on Thanksgiving weekend to the disastrous free concert on December 6 at the Altamont Speedway near San Francisco. An estimated three hundred thousand people flocked to Altamont, and four of them were killed there. Among the dead was Meredith Hunter, an eighteen-year-old black man. Hunter was stabbed by one of a group of Hells Angels, who were acting as security guards. The stabbing and subsequent beating of Hunter’s near-lifeless body occurred within feet of the Stones, who were midway through their set at the time. As Mick Jagger launched into “Under My Thumb,” the Angels, out of control for hours, assaulted Hunter, who had pulled out a gun. He was quickly disarmed and killed.

The event was captured on film by Gimme Shelter’s camera crew. Shooting from the stage, the filmmakers couldn’t make out exactly what was happening, but they sensed it was dire.

“It looked like a scuffle,” says Jagger, as he sits with David Maysles at the editing table, watching an early cut of Gimme Shelter, a film that began life as a concert tour documentary but turned into something more complicated and disturbing. It weaves together the before and after of Altamont, opening with an electrifying performance of “Jumpin’ Jack Flash”—Jagger gleefully vamping and taunting the Garden crowd—and then immediately shifting to the editing room, where a kind of postmortem is taking place. A worried Jagger smiles wanly at his own image on the small flatbed screen and listens with consternation to tapes of rock-radio news about Altamont.

By the time Gimme Shelter was released in 1970, the media coverage of Altamont was beyond saturation. Although some cultural critics teased out the contradictions, the dominant tendency was to mythologize the event as the nail in the coffin of the sixties, and Jagger as the Lucifer who called it into being.

Gimme Shelter, on the other hand, is a masterpiece of restraint and understatement. It begins with a single moment of innocence—the Madison Square Garden performance. What we see on Jagger’s face is not merely insolence but joy—the joy that extraordinary performers experience when they surprise themselves in public. The joy went out of the Stones years ago, and more than their wrinkled skin and stiffened knees, its absence makes them seem old as performers. But with that Garden performance, the Stones earned the right to their arrogance. That arrogance (if Gimme Shelter were a Greek tragedy, we’d call it hubris) would act as a blinder in the days ahead, as they plunged into preparations for a free concert, impulsively conceived and shoddily planned.

In the next scene—in which, weeks later, Jagger watches the film on the editing table—the fall from grace has already occurred. The time frame of this scene is complicated because what Jagger is watching is a version of the film we’re about to see. Gimme Shelter is constructed as a film within a film, and more importantly, as a series of flashbacks. We know, almost from the beginning, what happens at the end. And this advance knowledge creates an undercurrent of dread that pervades even the most carefree sequences.

Running a taut ninety-one minutes, Gimme Shelter devotes its entire second half to the Altamont concert. Here the drama takes precedence over the music. The first half of the film, however, contains at least three songs, shown in their entirety, that demonstrate why the Stones deserved the title they bestowed on themselves: the World’s Greatest Rock-and-Roll Band. In the stage performances of “Jumpin’ Jack Flash” and “Satisfaction,” the sound (thanks to the new mix) is as crisp—not to mention as overwhelming—as I remember it being at Madison Square Garden, and Albert Maysles’s handheld camera work is fluid and incredibly sensitive to the music.

The film portrays the Stones as workaholics and perfectionists. There’s no sex, no drugs, just rock and roll on this tour. (Maybe that’s really the way it was, or maybe the filmmakers knew what they had to leave out in order to get the Stones to sign a release.) Between concerts, the Stones fit in a recording session at Muscle Shoals, where we see them playing back a fresh recording of “Wild Horses.” Just a bunch of rock stars listening to themselves, trying to fight off the self-consciousness they feel when the camera gets close. Some of the most revealing moments occur not when Jagger lets down his guard (he almost never does) but when he tries to project an image of himself as he thinks he should be. Jagger is never as comfortable inside his own skin as when he’s performing, which, in part, is why he’s a great performer. The release he experiences onstage is palpable to the audience. And so is his sense of control—of himself and the thousands who hang on his every gesture and sound.

The most extraordinary moment in the film occurs during the Altamont concert, when Jagger loses control of the crowd and realizes that he has failed to give the devil his due. He’s barely gotten out the first line of “Under My Thumb” when a look of bewilderment mixed with recognition comes over his face, as if he’s hearing the lyric for the first time—hearing it from the outside, as the three hundred thousand assembled fans are hearing it—and we see it dawn on him that he may be complicit in the violence that has crossed the line from collective fantasy to reality.

Gimme Shelter neither blames the Stones nor lets them off the hook, although compared to the Angels and the kids crowding the stage, stoned on bad acid and speed, they seem like the good guys. “It’s so horrible,” says Jagger toward the end of the film, watching the shot of Hunter’s murder running forward and backward in slow motion on the editing table, as if—as was believed of the Zapruder film—it could show us the truth. There is a multiplicity of truths in Gimme Shelter; putting them together is up to us.

http://nitroflare.com/view/6539F51F3E7B7FA/David_Maysles%2C_Albert_Maysles_and_Charlotte_Zwerin_-_%281970%29_Gimme_Shelter.mkv

https://uploadgig.com/file/download/5175bA63391A7639/David Maysles Albert Maysles and Charlotte Zwerin – 1970 Gimme Shelter.mkv

Language(s):English
Subtitles:English

Quote:
In a picturesque country house in Buenos Aires, Fernando gathers his mates for a boys-only vacation. Free from work, responsibilities and their girlfriends, this close-knit gang of bros kick back by the pool, sunning their impeccably toned bodies and sharing pot-fuelled stories of sexual conquests. The guys have known each other for years, only this time Fernando has brought with him newcomer Germán, a friend from his taekwondo class, who neglects to tell the group that he’s gay. As the lazy summer days disappear, the connection between Fernando and Germán grows and slowly the boundaries of their relationship begin to blur. A veritable masterclass in will-they-won’t-they suspense, this gloriously protracted, beautifully nuanced tease is both wantonly titillating and disarmingly sweet. Working with co-director Martín Farina, Marco Berger’s inquisitive camera luxuriates in the homoerotics of this male-centric milieu, lingering longingly over the semi-clad bodies with unapologetic gay abandon.

http://nitroflare.com/view/B923FA80D3F488A/Marco_Berger_%26_Martin_Farina_-_%282016%29_Taekwondo.mkv

https://uploadgig.com/file/download/1484627D6449716F/Marco Berger Martin Farina – 2016 Taekwondo.mkv

Language(s):Spanish
Subtitles:English

Quote:
Disillusioned with his life in Paris, Pierre Tomas drops everything to travel through France. Via phone numbers written in bathroom stalls, coincidental rendezvous, and Grindr, a smartphone app, Pierre never ceases to find a parking spot for the car he so dearly maneuvers. As he wanders the country for four days and four nights, his lover, Paul, will try to find him, using the same app that compasses Pierre. In a game of absurdist cat and mouse, these two lovers try, in their own ways, to find their way back to one another.

http://nitroflare.com/view/F2509394558E72D/Jerome_Reybaud_-_%282016%29_Four_Days_in_France.mkv

https://uploadgig.com/file/download/e40e219815941a11/Jerome Reybaud – 2016 Four Days in France.mkv

Language(s):French
Subtitles:English