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After eighteen years of marriage, Alice finds herself confronted with the fact that her husband Frank feels more and more attracted to men. Not only Frank, but also she and their three children undergo an irreversible change.
http://nitroflare.com/view/44D20D86A6E2F88/Claudia_Lorenz_-_%282015%29_What%27s_Between_Us.mkv
Language(s):Swiss German
Subtitles:English
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From the visionary mind of François Ozon (8 WOMEN, SWIMMING POOL) comes this one-of-a-kind gender-bending melodrama, which both shocks and delights in equal measure. Steeped in suspense and indebted to the eye-popping visuals of Pedro Almodóvar, Alfred Hitchcock and Brian De Palma, THE NEW GIRLFRIEND blends the macabre with a heartfelt romance in the tale of soft-spoken Claire and her love affair with a mysterious stranger. After mourning the loss of Laura, Claire comes across Laura’s husband David (Romain Duris) dressed head-to-toe in his wife’s clothes. Unsure whether his new guise is the result of foul play, she threatens to reveal David to Laura’s family. But the more time she spends with him, the more Claire becomes seduced by his beautiful new incarnation. As the two become inseparable, Claire wonders whether she is falling for David’s alter ego, or perhaps a part of Laura’s resurrected soul. THE NEW GIRLFRIEND pays homage to classic cinema – from REBECCA to ALL ABOUT MY MOTHER – while injecting its own brand of sensual, sometimes sinister, eroticism.
http://nitroflare.com/view/83EE926362EAEC5/Francois_Ozon_-_%282014%29_The_New_Girlfriend.mkv
Language(s):French
Subtitles:English
In this documentary about the exile of two famous French actors in Argentina during and after World War II, the director Cozarinsky returns to Argentina after many years in France and recalls places and events from his childhood, particularly the celebration of the liberation of Paris on in August of 1944, in Buenos Aires’s Plaza Francia. Featuring testimony from various authors and acquaintances of Maria (Renee) Falconetti and Robert Le Vigan, the film explores their lives and final years in Argentina.
http://nitroflare.com/view/68E366572EFE300/Sunset_Boulevards_%281992%29.avi
Audio in french/spanish. Subtitles hardcoded in french for spanish speaking parts.
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This film focuses on an ex-Foreign Legion officer as he recalls his once glorious life, leading troops in Africa.
http://nitroflare.com/view/5CC7E49BD3CCE36/Claire_Denis_-_%281999%29_Good_Work.mkv
Language(s):French, Italian, Russian
Subtitles:English, Spanish
Quote:
Jarman is a tough filmmaker to recommend, but he occasionally rewards. As we’ve seen from practically the first film on, he sets out to make pictures entirely for himself; with each one intellectually structured, creatively shot, but almost always a reflection of his personal thoughts and feelings, his sexuality, and England in decline. Here we have a film that combines all of these preoccupations, told in a combination of wordless images and narrated prose, with little or no clarification given as to what is actually going on. Jarman has said that he wanted the film to feel like a visual poem, but really, this is far from poetic. Instead, this seems more like something that Godard would have directed in the 1970’s; angry, venomous and always seething with contempt. The images here are violent to the extreme and the approach that Jarman brings to the editing room is visceral and heavily kinetic. Here we see the use of various colour filters, tints and distortions used alongside a multitude of film stocks and spliced-in video footage. The images of middle-class households rounded up, driven into the depths of a post-apocalyptic wasteland and detained at gunpoint must have had a shocking relevance at the time, when terrorist attacks and IRA bombings were as common as they were incomprehensible.
Other notable images depict a couple of soldiers dressed for manoeuvres copulating on the Union Jack; a naked tramp rummaging around a land-fill, with his bare feet barely missing the scattered syringes and shards of broken glass, and most effectively; Tilda Swinton as a young bride, ripping off her wedding dress under an acidic skyline whilst a parade of well-wishers cheer and applaud. Often the film can become a chore, especially when it becomes obvious that the director is preaching as opposed to suggesting, however, it must be said that images throughout speak volumes. Nonetheless, the real problem here, or at least, for the majority of viewers, is the fact that from a 21st century perspective, Jarman’s message will seems somewhat obvious, and indeed, overstated. An hour and a half of alienating, shocking and largely episodic rambling mixed with poetic ruminations is a lot to ask when your ultimate message seems to be “England is in decline, and it’s getting worse”. It’s a real shame too, especially considering the extent that Jarman has gone to in crafting this abstract and almost post-apocalyptic landscape.
A film like this makes you wonder what Jarman would have made of Britain twenty years on. Acceptance of sexuality, race and the roles of gender seem to have become more widely accepted, however, even here, it is often fragmented and approached (in the media at least) with a sense of irony. It would also be interesting to see how Jarman would interpret the rise in anti-social behaviour, teen violence and vandalism, terrorist attacks and the asylum issue, the dominance of advertising and the rise of the “new-lad” culture. I suppose you could easily interpret Jarman’s feelings on subjects of this nature from his past work, though it’s obvious from the treatment of these subjects in films like The Last of England, as well as his subsequent works, The Garden (1990) and Edward II (1991), that the director saw darker, more troubling issues still on the horizon. Ultimately, The Last of England is a hard film to recommend to an audience, as it isn’t intent on offering entertainment, but rather, expressing a personal opinion and a sense of feeling within fixed theme. However, it is an entirely original experience, filled with thought and some incredibly astounding images that are sure to appeal to anyone with a taste for Jarman’s work or a fondness for the more extreme side of the avant-garde.
http://nitroflare.com/view/93D78829E05A6FB/Derek_Jarman_-_%281988%29_The_Last_of_England.mkv
Language(s):English
Subtitles:none
Quote:
Duelle seems to have been instantly cursed just by being the follow-up to Celine and Julie Go Boating, to this day the only Rivette film that the average buff concerns himself with ( and oh, how wrongly. ) Having finally gotten a chance to watch the film, I can see why. Where Celine and Julie could furnish a thousand college students with thesis papers on feminine play vs. masculine order, and the construction of meaning through the assumption of various roles associated with gender, and so forth, Duelle drops the intellectual ballast completely. Rivette outs himself as a mystic with this film, closer to charlatan-geniuses like Stockhausen or Rasputin than to Godard. This movie is almost like a Rosetta Stone, more dense and concentrated than anything else he’s done, that the future expert will be able to use to decode his work.
Rivette’s overt and unmistakable belief in the eternal presence of God and Satan on earth makes this film unfashionable to the materialistic tastes of the cultured liberal brute. If it were less sincere, this film could have been one of Rivette’s most popular. There is always something special about the first collaboration between a cinematographer and a director who would later go on to make a more-or-less permanent team — such as Ballhaus and Fassbinder with the equally undervalued Whity — and Duelle marks the first time Rivette worked with William Lubtchansky, who has been his right arm all the way up until Marie and Julien. Lubtchansky takes Rivette out of the scratchy 16 mm. ghetto and right into glossy, bejewelled Eurotrash, complete with a gliding Ophuls camera and Sternberg lighting. Only Harry Kumel made more stylish, elegant movies in the 70’s than Duelle, though they are lesser in terms of content. But Rivette still takes pains, as always, to make the film feel deliberately antique, faded, so that it will be perfect for revival in the interplanetary silent movie theatres of the future.
This movie is so attuned to my mental state that I felt like I was writing it as it proceeded, but most people will probably just find it incomprehensible. Rivette revels not in contradictions but in SEEMING contradictions. Bulle Ogier, apparently playing God, counts backwards all the time, kills the hero’s girlfriend and attacks another important character with flames, yet she is still God, and still perfect good. There are many lines that will probably annoy non-devotees of French poetry, such as “The dream is the night’s aquarium.” And what does it mean when Jean Babilee, outdoing Travolta, raises his arm and smashes a dancehall mirror through telekinesis? Why does he wake up in the bottom of a parking garage and talk about killing a sister we’ve never seen ( not incidentally named Sylvie, like the innocent Sandrine Bonnaire in 1998’s Secret Defense? ) Why does he become graceful and muscular, almost superhuman, when Bulle Ogier counts backwards and changes the universe to black-and-white? Why does Juliet Berto keep changing her costume? How do you escape the dancehall? If you know the answers to these questions, then it’s time for you to assume the role of Sphinx, and maybe one day join Rivette in the stars.
Subtitles:English
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With I Killed My Mother, writer-director Xavier Dolan makes a grandiose show of his pain and narcissism. The 20-year-old Canadian filmmaker appears in his own film as Hubert Minel, a 16-year-old cutie whose endless spats with his mother are like volleying razorblades; their volcanic fights are so richly and sensitively attuned to how insecurity informs his character’s rage that you don’t doubt the material was based on personal experience. Dolan has Jenny Lumet’s rare talent for cannily transplanting to paper how people use language as ammunition—how words ricochet during squabbles in unpredictable ways and reveal the best and worst in us all. But I Killed My Mother is a film best heard than seen, as the earnest, nimble scrubbiness of Dolan’s screenplay is ill-served by his conceited visuals, an aesthetic mode that feels insecurely borrowed from perfume commercials and the work of Jean-Luc Godard and Wong Kar-wai.
Dolan’s baby-faced hipster has a boyfriend, Antonin (François Arnaud), whose relationship to his libertine mother represents for Hubert the ideal parent-child dynamic: The woman, given her frankness of expression and appetite for men and décor (she enlists her son, and Hubert, to paint the walls of her office in the style of a Jackson Pollock drip painting), represents the opposite of Hubert’s mother, Chantale (Anne Dorval), an ugly eater with an uglier affinity for animal prints. Chantale is, at worst, boring, impatient, and emotionally detached, but it’s easy to see how her erratic behavior, like her promises, infuriates Hubert to the core of his being (he frequently and screamingly accuses her of having Alzheimer’s), and how it prevents him from coming clean about his sexuality.
Dolan understands that wall that separates every gay person from his or her parents at one point or another, and how their struggle to topple it, climb over it, or do nothing at all but stare at it and resent its cruel, seemingly ever-growing thickness, can become an obsession. I Killed My Mother’s best scene begins as just another fight between Hubert and Chantale, and one in which Hubert comes terribly close to fulfilling the promise—or threat—of the film’s title. His cruelty toward her is matched only by her own, as she responds to his abuse by admitting that she found out about him and Antonin (from Antonin’s mother no less), and when Hubert softens, overcome by an obvious mixture of fear and relief, she rejects his embrace, not because she objects to his sexuality, but because she resents him for not telling her.
The honest, cyclone-like emotional power of that scene is matched only by a later one in which Hubert, after being sent to a boarding school by Chantale and his absent father, returns by night to his mother’s home to express his love for her while high on ecstasy. It’s a painful acknowledgement of how people use drugs as a truth serum, a means of assessing desired states of consciousness; it’s also the best scene of its kind since the drug-tripping sequence from Dead Man’s Shoes, through which Shane Meadows hauntingly expressed his character’s pasts and presents as being interlocked in crisis.
But if the attention Dolan pays to his character’s struggle with the paradox of loving his mother without actually liking her feels remarkably honest, his style of shooting feels anything but: a conversation between Hubert and his teacher (Suzanne Clément) inside a restaurant feels ripped from a ’60s Godard film; the boy’s black-and-white bathroom confessionals (in which the camera, though mounted on a tripod, inexplicably pans around, abstracting his pretty face) suggest Calvin Klein ads; and inexplicably throughout the film, Chantale is shown walking through hallways in slow-motion, some Mike Galasso-like composition prettily filling the soundtrack, expressing nothing at all but Dolan’s obvious fondness for In the Mood for Love. These aesthetic flourishes don’t feel like projections of Hubert’s mood or interests, only the anxious flailings of a young artist still struggling to hone a visual vocabulary as remarkable and distinctive as his ear for language.
http://nitroflare.com/view/5F141747B2CD858/Xavier_Dolan_-_%282009%29_I_Killed_My_Mother.mkv
https://filejoker.net/u1ntv1ck6kdj/Xavier Dolan – (2009) I Killed My Mother.mkv
Language(s):French
Subtitles:English
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It’s Christmas Eve in Tinseltown and Sin-Dee (newcomer Kitana Kiki Rodriguez) is back on the block. Upon hearing that her pimp boyfriend (James Ransone, STARLET, “Generation Kill”) hasn’t been faithful during the 28 days she was locked up, the working girl and her best friend, Alexandra (newcomer Mya Taylor), embark on a mission to get to the bottom of the scandalous rumor. Their rip-roaring odyssey leads them through various subcultures of Los Angeles, including an Armenian family dealing with their own repercussions of infidelity. Director Sean Baker’s prior films (STARLET, PRINCE OF BROADWAY) brought rich texture and intimate detail to worlds seldom seen on film. TANGERINE follows suit, bursting off the screen with energy and style. A decidedly modern Christmas tale told on the streets of L.A., TANGERINE defies expectation at every turn.
http://nitroflare.com/view/1F0813C5362290D/Sean_Baker_-_%282015%29_Tangerine.mkv
https://filejoker.net/0hy0ulzsbch9/Sean Baker – (2015) Tangerine.mkv
Language(s):English
Subtitles:English
Stud Life takes the viewer into a slice of life of an urban gay scene where casual sex, and drug taking is not treated as deviant behaviour. Where gender is up for grabs but desire follows very strict rules. Where violence can be part of sex as well as random attacks on the street. JJ and Seb inhabit a world where white queers are familiar with Black street culture and reject the mainstream “G.A.Y” world. This is Stud Life.
http://nitroflare.com/view/DF4C355083ECF06/Stud_Life%28Campbell_X%29.avi
https://filejoker.net/pg8ralz3dh2l/Stud Life(Campbell X).avi
Language(s):English
Subtitles:None
The story takes place in Yugoslavia at the end of the 19th century, in an isolated village near the Adriatic sea. Because of the extreme patriarchal culture there is a superstition that families without male heirs are cursed. When the wife of a farmer gives birth to their fourth daughter, father decides that the child will be brought up to become a so-called “Virgina” and that she will live as a man, so that she can work and be the family heir. This heartbreaking story of Virginas life is told with strong words, augmented with harsh inviroment.
http://nitroflare.com/view/2F088BE4A267BEF/Virdzina.avi
http://nitroflare.com/view/CE59D7AC500A023/Virdzina.srt
Language(s):Serbo-Croatian
Subtitles:homebrew english .srt
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Kiss Of The Spider Woman takes place in an un-named, fascist country in South America. It is, essentially, a two-actor drama featuring two men, of vastly different demeanors and ideologies, who share the same cell in a brutal prison. Louis Molina (William Hurt) is a flamboyant homosexual window dresser who is imprisoned for corrupting a minor. His cellmate is Valentin Arregui (Raul Julia), a journalist jailed for his leftist political activities. To alleviate the day-to-day drudgery, Molina entertains Valentin by retelling the stories of his favorite movies.
Kiss Of The Spider Woman is quite possibly the most unusual buddy movie ever made. It is an exceptional character drama of two men who would have little use for each other if they met on the street but, locked together in a prison cell, their relationship deepens – despite their differences – from mutual distrust to understanding and respect. It is a brilliant study of worlds in collision. The black and white codes of straight vs. gay, masculine vs. feminine, reality vs. fantasy, and power vs. submission erode until nothing is left but myriad shades of gray.
The film begins, not unlike Un Chant d’Amour (Jean Genet’s classic, homoerotic, 1950 prison short), with the camera fixed on the wall of their jailhouse cell. We hear Molina’s voice, rapturously describing the star of his movie. “She’s not a woman like all the others,” he utters, along with the assertion that she is waiting for a “real man” like none she has ever met before. A circular camera pan slowly reveals the setting; we see the prison bars, a clothesline with feminine garments, pictures of glamorous movie stars on the wall, and finally Molina – wrapping a towel around his head to suggest a turban. He is dressed in a kimono, his feet, lady-like, step gracefully across the floor as he mimes the heroine stepping into her bath. Molina is exotic and sensual, and completely out of place in the grim prison setting.
His cellmate, Valentin, is masculinity personified. He is rugged, his face is bearded, he shows the scars of his interrogations. He is obsessed with revolution; he might as well be Che Guevara. A man like Valentin would find a man like Molina to be ineffectual and ridiculous, but he listens to his cellmate’s movie to pass the time. It soon becomes apparent to Valentin that the romantic melodrama Molina describes is, in fact, an old Nazi propaganda film. But Molina isn’t concerned with the movie’s politics; all he sees are two dazzling and beautiful people in love on a big screen. “I embroider a little,” Molina croons, “So you can see the movie like I do.” He responds to Valentin’s taunts that “fantasy is no escape” by saying “If you’ve got the keys to that door, I will gladly follow. Otherwise, I will escape in my own way.” Valentin snaps back, “Then your life is as trivial as your movies.”
Molina’s descriptions of the movie are accompanied by lushly filmed, sepia toned images that stand out in contrast against the gray prison photography. This film within a film is beautifully realized kitsch. Everything about it is a cliche-fest from the plot to the deliberately hammy acting; but substance be damned, everything about it is fabulous. We are seeing this “trivial” film through Molina’s eyes as he fulfills the role that many gay men played throughout history; identifying with the glamorous leading lady, the downtrodden female.
Molina will test Valentin’s patience but he will also break through the Leftist’s armor. As they grow closer, Valentin is able to see that Molina, a homosexual, is another oppressed victim of Big Brother’s regime. They find common ground because both are enemies of the state, even if for very different reasons. Still, when angered, he calls Molina a faggot, tells him to “be a man,” and then finds his pre-conceived notions of masculinity challenged again and again. Molina undergoes his own transformation when he is forced to look below the surface as Valentin violently reminds him that the Nazis who made his romanticized film also shoved Jews, Marxists and homosexuals into the ovens. But spinning the movie’s tale benefits both of them as each is a Romantic in his own way; for Molina it’s a silver screen goddess, for Valentin it’s the idea of revolution.
Valentin finds that he’s not immune to fantasy’s lure. He will admit to Molina that, when he was being tortured, the only thing that saved him was thinking about Marta. The idealized Marta is a good example of the layers and the depth that original novelist Manuel Puig gave to his characters. The one woman that this child of the revolution loved was “upper class, pure Bourgeois,” and he feels like a hypocrite because of it. We will see her in flashback, she is played by Sonia Braga. The same actress also plays the heroine in the Nazi film and the Spider Woman in Molina’s final tale – blurring further the line between fantasy and reality.
The lines between masculine and feminine are blurred as well. Look at their names; which of the two sounds more like a woman’s name? The questions of what makes a man weave throughout the film. “I take it like a woman. Always.” Molina tells Valentin; he wants a “real man” to take control. Valentin, who believes in the equality of women, cannot accept this and he tells Molina that “what really makes a man has to do with not humiliating anybody. It’s not letting the people around you feel degraded.” Molina embraces his role as a woman, and as a victim, while Valentin angrily asks “What’s this between your legs?” But, at times, Molina proves stronger than his revolutionary comrade. It is Valentin who, after being poisoned by the prison food, cries when he soils himself. He feels humiliation, and then gratitude, as Molina cleans him up. This is a love story like no other and it is, at its core, a love story.
Kiss Of The Spider Woman is an amazing film. Gritty and realistic, some of the prison scenes are the stuff of nightmares. Director Hector Babenco had previously filmed 1981’s Pixote, a dark story about street kids. The cinematography deftly exploits the claustrophobic confinement in the geography of their cell. The contrast of the prison and the old movie clips is one of the ways in which the film remains visually arresting throughout. Hurt and Julia have a marvelous chemistry as Molina and Valentin; their scenes together on screen are pure magic. Some have called Hurt’s acting over-the-top but I disagree. (Puig said that Hurt was so bad that he would probably win an Oscar.) His humanity is always there beneath the artifice and his performance is heartbreaking. The late Raul Julia is also unforgettable as Valentin.
The film version is, in many ways, more accessible than the original novel. The film is more tightly constructed because Molina tells the stories of several different movies in the book, beginning with Val Lewton’s classic 1942 Cat People. Only one of these films was emphasized in the movie and that was the Nazi film, whose central theme of betrayal mirrors Molina and Valentin’s situation, making Spider Woman a model of effective film adaptation. To be honest, it’s easy to lose interest in Molina’s long monologues when reading the book; in the film his monologues come to life when illustrated by those campy clips.
Vito Russo was very critical of Kiss Of The Spider Woman in The Celluloid Closet and so were many other queer reviewers. Most of their criticisms however aren’t valid unless, like them, you refuse to see the film as anything but just another portrayal of a stereotypical screaming queen who dies in the last reel. Yes, Molina does die at the end, in much the same way as the heroine of the Nazi film, but it is all too probable that he won’t be alone and that Valentin will share the same fate. For that reason, it’s unfair to lump Spider Woman in the same category as an overblown, homophobic melodrama like Reflections In A Golden Eye. Besides, don’t most of Shakespeare’s leading men bite the dust in the last act too? I see no possible way for this film to end happily, and so let us instead examine the transformation that happens between the two men, Valentin’s opinion of Molina changes drastically. He is no longer a silly faggot in his eyes but a man whose sense of dignity is equal to his own. Valentin will even make love to Molina, his notions of what traditionally defines a man shattered forever. It is possible that his only reason for doing this was to convince Molina to take a message to the Resistance, but it is also apparent that his newfound respect, and even his love, for his cellmate is genuine. “Promise me,” Valentin ultimately says, “You won’t let anyone exploit you again. No one has the right to do that to anyone.” Molina’s motives are far more complicated than first thought when we discover, at the film’s mid-point, that he is actually spying on Valentin in exchange for an early parole. This revelation pulls the rug out from under the audience but, like Molina’s beloved screen heroine, he essentially becomes a double agent. Molina has fallen in love with his cellmate; he gives no information to his captors. He agrees to help Valentin on the outside and his sudden political involvement proves fatal. If John Wayne were watching the film, he would probably subscribe to the quaint idea that this sacrifice finally makes Molina a “man.”
If that is the case, what of Valentin? He learns that it isn’t wrong, or weak, to embrace what he once rejected as trivial. At the end, the revolutionary is the infirmary after having been beaten and almost tortured to death. After an orderly risks his job by giving him morphine, Valentin remembers Molina’s lessons and he escapes into fantasy. Marta appears and they run out of the prison, hand in hand, until they are together – in glimmering black and white – on the Spider Woman’s island and the film ends much like Un Chant d’Amour did, with an escape from brutal reality into daydreams.
Kiss Of The Spider Woman was a radical, almost subversive, film on its first release as it explored concepts of gender roles and the question of what it ultimately means to be a man during a time when Rambo was the established norm of hyper-masculinity on the silver screen. Ponder too what it was like to watch two men kiss – not a common sight in a mainstream film during the 1980s. Kiss Of The Spider Woman broke much new ground and it still holds up today as one queer cinema’s milestones.
http://nitroflare.com/view/45E6E7F59EC0CFD/Kiss.of.the.Spider.Woman.%281985%29.AC3.XVID.DVDRIP.avi
http://nitroflare.com/view/497CADFB7ADEB66/Kiss.of.the.Spider.Woman.%281985%29.AC3.XVID.DVDRIP.idx
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http://nitroflare.com/view/4978A827F0AA44A/trailer.avi
Language(s):English
Subtitles:english, spanish srt, sub+idx
Quote:
Tam, a timid loner, is bullied regularly by his fellow pupils at school. He is met with similar rejection and suspicion within the narrow confines of his parents’ dingy home, where his father beats him. One day Tam arranges online to meet Phum at a derelict swimming pool. They are both looking for sex, but their encounter leaves them with a feeling of comfort and security. A close bond develops between the two boys and, before long, they are roaming the rubbish heaps and dark corners of the city together, day and night. Phum opens a door for Tam, revealing a fantastical parallel universe full of spirits and dangerous encounters. Although he feels safe and loved for the first time in his life, Tam can no longer differentiate between dream and reality and finds himself increasingly drawn into a spiral of paranoia and violence. In his feature debut Boonyawatana leads his protagonist into an ambiguous microcosm full of chasms, at the same time cleverly toying with the conventions of different genres.
http://nitroflare.com/view/ECED0D8BC7F8E68/Anucha_Boonyawatana_-_%282015%29_The_Blue_Hour.mkv
Language(s):Thai
Subtitles:English
Synopsis:
The story takes place in Yugoslavia at the end of the 19th century, in an isolated village near the Adriatic sea. Because of the extreme patriarchal culture there is a superstition that families without male heirs are cursed. When the wife of a farmer gives birth to their fourth daughter, father decides that the child will be brought up to become a so-called “Virgina” and that she will live as a man, so that she can work and be the family heir. This heartbreaking story of Virginas life is told with strong words, augmented with harsh inviroment.
http://nitroflare.com/view/0E99AA0CB173841/Virgina_%28Virdzina%29_%281991%29_–_Srdjan_Karanovic.mkv
http://nitroflare.com/view/CC9CA2C5DF47EA9/Virgina_%28Virdzina%29_%281991%29_–_Srdjan_Karanovic.srt
Language(s):Serbo-Croatian
Subtitles:English, Slovenian (muxed), English (srt)
Quote:
Two friends return to their apartment after a night out to find a stranger passed out on their stoop. Intrigued, they vie for his attention over the rest of the weekend.
http://nitroflare.com/view/F4C97FA31C2CF87/Ian_Samplin_-_%282013%29_Hunter.mkv
http://rapidgator.net/file/4ba9fe89239d05a35c4d568fa0bfc3bd/Ian_Samplin_-_(2013)_Hunter.mkv.html
Language(s):English
Subtitles:none
Quote:
The film’s violence is the genuinely spiritual kind. A loud expression of the alienation that hums constantly in the elevator music to modern life. (John Farley, Full Stop)
The novels, writings and performance works created by prolific, transgressive and author Dennis Cooper describe a world in which desire, aggression, loneliness and power swirl, in which characters teeter on the brink of immolation and where love and violence fuse. In its first partnership with San Francisco’s new Alamo Draft House, Cinematheque is thrilled to welcome Cooper and co-director Zac Farley for the local premiere (and pre-DVD release screening) of Like Cattle Towards Glow (2015), a similarly visionary examination of these overwhelming obsessions.
Like Cattle Towards Glow is 93-minute film consisting of five independent, thematically and emotionally interconnected scenes. The film is a complex, intimate, strangely serene, wide-ranging and always challenging exploration of sexual desire as a hiding place. In these unique, stylistically and temperamentally diverse scenes, each one featuring its own set of characters and storyline, sex makes a promise of something so intense and untenable to the characters that they feel they must enter it in secret—through an act of violence, or under the guise of an unrelated transaction, or by rationalizing its dangers away with the help of politics, or through utilizing it remotely as material for a purely aesthetic project. Like these characters, and like sex itself, Like Cattle Towards Glow is as deep, knowing, and unknowable as it is raucous, original, and explicit on the surface.
Language(s):English, French
Subtitles:none
Words from the net:
Often described as “the Spanish A Clockwork Orange”, this controversial shocker is set in a violent near-future world. Honest citizens live in terror as gangs of leather clad, whip-wielding sadists roam the nighttime streets. Meanwhile, in a top-secret laboratory, strange mind control experiments are being conducted. Against this background a beautiful nurse tries to ease the pain of those condemned to die. But who really is this angel of mercy and what is the purpose of her mission?
http://nitroflare.com/view/1BDBBF177DC5D9A/Murder_In_A_Blue_World_%281973%29_rise.avi
https://uploadgig.com/file/download/A60233fb7e8e6Cfa/Murder In A Blue World 1973 rise.avi
Language(s):English
Subtitles:None
Quote:
Jesus an eighteen year old Cuban is lost and struggling to realize his true identity. Unsure of himself or his future direction, he works at a local Havana drag club where he entertains dreams of becoming a performer whilst earning his money through hustling. At home he finds solace listening to the records his mother and grandmother left him, (all torch songs and romance by the great names of Latin music), or else hanging around watching the boxers train next-door. Into his life, however, comes a force to challenge his direction and freedom, his long lost father, a celebrated boxer, released from a 15 year prison term having killed someone in a street brawl when Jesus was a child.
As father and son clash over their opposing expectations of each other, Viva becomes a love story as the men struggle to understand one another and become a family again.
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Language(s):Spanish
Subtitles: English
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Have you ever met someone who made your body heat up, get a little nervous and sweaty, and made your crotch stir a bit? Sexual Tension: Volatile will reignite those lustful feelings as it weaves six scintillating experiences of men in various stages of nudity and many forms of erotic male bonding. A pulsating, sexually-charged thrill ride, the film begins as a young man feels the adrenaline rush of his sexy tattooist’s needle in “Ari” while in “The Cousin,” a geeky, cute boy finds a hot Summer afternoon triggering his taboo desire for his Speedo-clad cousin. Two straight buddies literally show each other how to make love to a woman in “The Other One,” while a man with ‘Broken Arms’ receives a sensual sponge bath from a male nurse. “Love” is questionable when a broken shower brings a married man and a hairy, innkeeper together when they least expect it and in “Workout” two muscular men, ‘sexting’ pictures to some hot chicks, begin to shed their clothes and inhibitions.
Language(s):Spanish
Subtitles:English, French, Dutch, Italian
This film is a sequel in name only to Valley of the Dolls (1967). An all-girl rock band goes to Hollywood to make it big. There they find success, but luckily for us, they sink into a cesspool of decadence. This film has a sleeping woman performing on a gun which is in her mouth. It has women posing as men. It has lesbian sex scenes. It is also written by Roger Ebert, who had become friends with Russ Meyer after writing favorable reviews of several of his films.
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It’s deadpan-droll throughout (with at least as many highly quotable lines as Rocky Horror), cod-moralistic, carefully balanced between satire and melodrama, gratuitously focused on women with outsize breasts, and shot and edited with astonishing mastery. Much of Meyer’s film language, as Ebert points out, is redolent of ‘pure’ silent cinema: to-the-point storytelling and earnestly expressive performances, plus montage sequences worthy of Slavko Vorkapich.
— Tony Ryans, Sight & Sound
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“This is my happening, and it freaks me out,” is what Beyond the Valley of the Dolls’ freakiest cat playfully expostulates. Independent producer and public titillateur Russ Meyer’s first film to be bankrolled by a major motion picture studio was only one of two completely cracked, vandalizing-cinematic-vaults movies that 20th Century Fox financed in 1970 in an effort to recover from white elephantitis of the Hello, Dolly! kind. And both critically-drubbed misunderstood-masterpieces actually featured significant creative input from, wouldn’t you know, film critics. It’s hardly shocking that the films’ respective worth can practically be boiled down to the worth of said critics. Myra Breckinridge is a bloated gas, a cheerfully dumb movie that thinks it’s smart. The critic involved? Rex Reed, a man who, whether writing reviews that come off as society columns or shrieking “Where are my tits?” at the top of his lungs, always gives off the impression that he’s the only one in the room who didn’t really get the joke. Or that he might be the butt.
Roger Ebert, who wrote the screenplay to BVD well before winning a Pulitzer, may have collected some of his most “scathing” movie reviews in a collection titled I Hated, Hated, Hated This Movie, but I can hardly think of a less irascible critic. No critic grades so promiscuously toward the top of his rating scale (like Victoria Jackson on SNL pointing out that one star was still “pretty good”). Why, he even melted the iced buttercube in Vincent Gallo’s polluted mouth. Whereas pairing Michael Sarne and Rex Reed was like watching one kid tell another that a king beats a pair of queens, putting Ebert with Meyer turned the good-natured male gaze into a three-dimensional prospect. Maybe the overall geniality can be blamed on the fact that its target, Fox’s own original Valley of the Dolls, is perhaps one of the squarest, droopiest camp classics ever. (Even running on Aldrich autopilot, Agnes Moorhead could tap dance circles around Neely O’Hara’s bloodshot eyes.) One of the original Dolls’ characters famously sings, “Love is a flower that lives for an hour, then withers and dies.” Where do you go from there but up?
Meyer’s three buxom beauties head westward for their inevitable corruption. But corruption, in Meyer’s world, mostly boils down to not being able to perform in bed to the standards of your chesty partner (especially if you happen to be a family executor trying to cheat a distant niece out of her rightful inheritance). Or pretending to be a boy so that no one will find out that you’re really a (gasp!) flat-chested woman. Meyer and Ebert’s crucial spin on Jacqueline Susann’s archetype is that women are the undisputed champions of the universe: they run shit, and if there’s any deflowering to be done on their person, at least they remain in charge of their own debasement. In one quietly show-stopping sequence, Edy Williams’s pneumatic porn star Ashley St. Ives stands on a beach, straddling her dewy, inadequate sexual conquest, and Meyer’s P.O.V. shot of her curvy figure towering against the night sky brings visions of the 50 Foot Woman. Both Dolls movies are sexually reactionary movies in the way they hand over the reigns to the opposite sex (Susann to fags like Ted Casablanca, Meyer and Ebert to the collective areola). But at least in Beyond everyone’s having a good time. As his overactive jump cuts prove, Meyer directs films as though he’s perpetually on the cusp of a fantastic orgasm.
At least until the strangely touched-in-the-head climax, that is, when Beyond really earns its stripes as a full-on freak-out. Referencing the Manson Family murders would be bad enough in the context of the rest of the film. Harm to oneself isn’t harm at all, as the hilarity of the mid-film suicide attempt (accompanied by Wild E. Coyote sound effects) proves. Harm to others is another scene entirely. But referencing Manson’s atrocities when the film you’re satirizing actually starred one of his victims? That freaks me out. At the same time, the ending also serves as a Kent State-esque coda to the ‘60s and the beginning of a nightmare in the same way that the Village People’s Can’t Stop The Music celebrated the “promise” of a brave, new, gay 1980s by dancing to “the music of the future.” Retrospect is a beautiful lens through which to view camp, maybe the only lens. Well, in the case of Russ Meyer films, retrospect and an expensive pair of peeping binoculars.
— Eric Henderson, Slant Magazine
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http://nitroflare.com/view/A4A76B763DF9EA7/Extras.rar
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https://uploadgig.com/file/download/DE537Aac9e48d67b/Extras.rar
Language(s):English
Subtitles:English
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The teacher Antek Liebmann moves to the French countryside to leave his former life in Germany behind. He soon gets a job and finds himself in a new relationship. But the strange energy of a near-by artists residency and an unexpected visitor from Germany make him realise he cannot escape his memories. He has to find his own way to confront the ghosts of his past.
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https://uploadgig.com/file/download/226f972753F320b0/Jules Herrmann – 2016 Liebmann.mkv
Language(s):French, German, English
Subtitles:English
