In She Male Snails intimate bathtub conversation between Ester Martin Bergsmark and the author Eli Levén, is woven together the story of the She Male Snails – a fairy tale, which revolves around a human between two genders who, in order to survive, creates a third gender.

http://keep2s.cc/file/7efe7f958d24b/Pojktanten.avi
http://keep2s.cc/file/2ae86df98c49c/Pojktanten.idx
http://keep2s.cc/file/d9e7789bce487/Pojktanten.sub
http://keep2s.cc/file/5f11b66688fbe/She.Male.Snails.Subs.rar

http://www.nitroflare.com/view/15FA75CF1F5F448/Pojktanten.avi
http://www.nitroflare.com/view/27A32C436AFB7F0/Pojktanten.idx
http://www.nitroflare.com/view/555E91D57827BCC/Pojktanten.sub
http://www.nitroflare.com/view/605B71F6ED79CAD/She.Male.Snails.Subs.rar

Language(s):Swedish
Subtitles: English Swedish Danish French Russian

Das magische Band – West Germany 1959, 21 min.
Directed by: Ferdinand Khittl
Written by: Bodo Blüthner, Ferdinand Khittl, Ernst von Khuon
Cinematography by: Ronald Martini
Music by: Oskar Sala
Edited by: Irmgard Henrici
Cast: Margot Trooger, Ferdinand Khittl
Produced by: Gesellschaft für bildende Filme, München

One of the 3 short films that came as an extra on Edition Filmmuseum 47: Die Parallelstrasse AKA The Parallel Street (Ferdinand Khittl, 1962).

An innovative documentary on magnetic tape & sound recording, sort of in the style of Charles and Ray Eames.

http://keep2s.cc/file/4bb4ec953a37a/Das_magische_Band_%28Khittl%2C_1959%29.avi
http://keep2s.cc/file/e804f6096cad7/Das_magische_Band_%28Khittl%2C_1959%29.srt

http://www.nitroflare.com/view/9D50318C2C75114/Das_magische_Band_%28Khittl%2C_1959%29.avi
http://www.nitroflare.com/view/99F939D1A6B6D6E/Das_magische_Band_%28Khittl%2C_1959%29.srt

Language(s):German
Subtitles:English (.srt)

Christopher J. Jarmick wrote:
A fairly serious pseudo-documentary, which captures the lifestyles of several transsexuals in various stages of changing their gender. Dr Leo Wollman M.D. was a legitimate practicing doctor who is our guide through this one of a kind, once shocking film that features some footage of operations that are not completely revealing but not for the squeamish. There are some scenes of probing of a constructed vagina and shots of men with artificially developed breasts. Then there are several staged soft-core scenes thrown into the film to add to the hodgepodge. Dr Wollman occasionally makes statements like “not all dildos are used for medical purposes.” Note: actual on screen credits were not available to verify credits. From the advertisements: “All True! All Real! See a man become a woman before your eyes!”, “Born a Man . . . Let Me Die A Woman”, “Torn from Today’s Headlines.”

http://keep2s.cc/file/e962a1771cad0/Let_Me_Die__A_Woman-CG.mkv
http://keep2s.cc/file/7347db7a5d898/Let_Me_Die__A_Woman_Extras.rar

http://www.nitroflare.com/view/95708A563B06CBD/Let_Me_Die__A_Woman-CG.mkv
http://www.nitroflare.com/view/7A429F0E5739646/Let_Me_Die__A_Woman_Extras.rar

Language(s):English + English Commentary
Subtitles:None

PHANTASMAGORIA OF THE INTERIOR is an audiovisual essay devoted to Walerian Borowczyk’s film THE STRANGE CASE OF DR. JEKYLL AND MISS OSBOURNE. Utilising the materials of the complete, restored version of the film, and its French language soundtrack, the film offers a new way of looking at, understanding and appreciating Borowczyk’s intensely cinematic art. Particular attention is paid to a painting by Vermeer of a pregnant woman, introduced early into Borowczyk’s film, and reappearing at key moments. Beginning from this painting – its content, style, and historical background – particular aspects of the film are explored: its unusual pictorial compositions; the mingling of sexuality with violence; and the association of men and women with (respectively) open and closed spaces. The film argues that Borowczyk brings a surrealist sensibility to his free adaptation of the Jekyll and Hyde story, especially emphasizing the transgressive, revolutionary role of the free-spirited Lucy Osbourne.

http://keep2s.cc/file/0fa2bca09d6cc/Phantasmagoria_of_the_Interior.avi

http://www.nitroflare.com/view/CF9691278777ED5/Phantasmagoria_of_the_Interior.avi

Language(s):English
Subtitles:English

“IRIS pairs legendary 87-year-old documentarian Albert Maysles with Iris Apfel, the quick-witted, flamboyantly dressed 93-year-old style maven who has had an outsized presence on the New York fashion scene for decades. More than a fashion film, the documentary is a story about creativity and how, even in Iris’ dotage, a soaring free spirit continues to inspire. IRIS portrays a singular woman whose enthusiasm for fashion, art and people are life’s sustenance and reminds us that dressing, and indeed life, is nothing but an experiment. Despite the abundance of glamour in her current life, she continues to embrace the values and work ethic established during a middle-class Queens upbringing during the Great Depression. “I feel lucky to be working. If you’re lucky enough to do something you love, everything else follows.”

http://keep2s.cc/file/e0fe1514c9343/Iris.mkv

http://www.nitroflare.com/view/B0EBFD59A3230F1/Iris.mkv

Language(s):English
Subtitles:None

Movie from 1955, in duration of 11 minutes.
The movie is created in standard technique, with sound, in black and white

Content:
The film describes the religious rites of the dervishes, from the Moslem religious sect

“Rifai”.

http://keep2s.cc/file/7fe5c841f5919/Dervishi_%281955%29.avi
http://keep2s.cc/file/c9fb80f20c6d9/Dervishi_%281955%29_EN.txt
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Language(s):Macedonian
Subtitles:English (hardsubbed)

Quote:
English dubbed – Jean-Luc Godard (Dziga Vertov Group) film

Pravda was filmed clandestinely in Czechoslovakia on 16mm. It’s one of those films Godard made with the Groupe Dziga Vertov – a Marxist film about the political situation after the ’68 revolution. I’d call it a kind of essay. Basically, we get an hour’s worth of montage of very interesting documentary images with voice-over.

It’s been compared to ‘Letter to Jane’ and that’s probably a good comparison.

Godard apparently described Pravda in retrospect as ‘a marxist-leninist garbage movie’.

The picture and sound quality here is not great , but definitely watchable.

http://www.nitroflare.com/view/02632DE420FE2B0/Pravda__Godard__1966_.wmv

http://keep2s.cc/file/dfe6848c2fbf5/Pravda_%5BGodard%5D%5B1966%5D.wmv

Language(s):english
Subtitles:none

Lost Lost Lost
Walden may have been Mekas’ first diary film, but the film that incorporated Mekas’ earliest footage was the one that told the story of his postwar arrival in America, Lost Lost Lost. The film is divided into two parts: the first concerns life in the Lithuanian community of Williamsburg, and the second chronicles Mekas’ move to Manhattan and his integration into the independent film and art scenes of New York.

Here Mekas is at his most deeply personal. He describes the loneliness and struggle of those early years with mournful music and spoken laments: “Long, lonely days; long, lonely nights. There was a lot of walking through the nights of Manhattan. I don’t think I have ever been as lonely.” Mekas also closely follows the lives of his fellow Lithuanian immigrants. During a gathering in Connecticut, he explains, “occasionally we used to escape to Stonybrook, places where immigrants exchanged their memories. We all gathered there, we all lived on memories there.” As the first section progresses, however, a tension develops between Mekas and the other immigrants. Though Mekas sympathises with them, he grows increasingly disenchanted with their hopes to reform and return to Lithuania. By the end of the reel, he leaves the community in Williamsburg and moves to Manhattan.

These were our last times together. I began to feel that I had been turning on one spot around my memories. I began to feel if anything can be done for Lithuania, it can only be done by the people that live there. That the only way that I can be useful to Lithuania is by building myself from scratch, from the beginning, and then giving myself back to it, back to Lithuania, however I am.

Part two, the section entitled “Diaries, Notes, Sketches”, describes the beginnings of Mekas’ involvement in the underground film community, and his gradual establishment of roots in Manhattan. It includes unfinished scenes from the first film that he and Adolfas worked on, a story about a woman who presages the death of her husband. This is also documentary footage of Mekas on the set of Guns of the Trees, standing with his arms crossed and jaw tensing, obviously uncomfortable. Living in New York and making friends, Mekas gains in enthusiasm: “It was exciting; everything was new.” Still, Mekas is a long way from the jubilant life portrayed in Walden. He admits, “there is very little known about this period of our protagonist’s life. It’s known that he was very shy and very lonely during this period. He used to take long, long walks. He felt very close to the parks, to the street, to the city.”

What dominates the second part of Lost Lost Lost is Mekas’ imperative to film. He is drawn to the bravery of people who insist on being heard: the protesters gathered at City Hall, pamphleteers hailing a “New America”, and the leaflet women who stood outside on the coldest day of the year. With his camera-eye, he gives them the recognition they seek. “I have seen you, the leaflet women,” he calls. “They are known in rain, in snow, in cold, in hot summer days. I’ve seen you, the leaflet women.” As Mekas voices his salute in the moment of editing, however, it is decades later, long after the struggles themselves have been forgotten.

Moments later, he reveals a deeper motive for filming. “It’s my nature now, to record. To try to keep everything I’m passing through, to keep at least bits of it. I have lost too much so now I have these bits that I have passed through.” The “too much” that Mekas refers to, his pre-war life and irretrievable childhood, resonate as loss in the images he does manage to collect. Mekas’ insistence to film is directly tied to his need to hold onto the pieces of his life, so he will not lose any more than he already has.

The third reel contains the unfinished “Rabbit Shit Haikus”, vignettes filmed while Adolfas was shooting Hallelujah the Hills (1963). Here, Mekas tells the story of the rabbit shit at the end of the road, albeit a different and slightly darker version than the one that appeared in his journal, I Had Nowhere to Go (1944–1955). In a journal entry from December 30, 1951, the man who reached the fabled end of the world laughed when all he found was rabbit shit, realising the foolishness of his long years of effort. The Lost Lost Lost, version, however, told over twenty years later, describes what happened when the man returned home: no one believed him. The Rabbit Shit Haikus include 31 views of mostly natural subjects: trees, snowy landscapes, and the sky. Mekas introduces his subjects by speaking their names three times in a slow, incantatory cadence: “the sunset…the sunset…the sunset…” or “the childhood…the childhood…the childhood…”. He and Adolfas frolic in the snow like children. In one shot Jonas dances through the falling snow with his accordion. In another, Adolfas slides down into the semi-frozen river. Mekas was never completely satisfied with the “Rabbit Shit Haikus”, but nestled within Lost Lost Lost, even in their unfinished form, they give the film a sense of peace and simplicity not felt, perhaps, since Mekas first left Lithuania. In temperament, the “Rabbit Shit Haikus” have more in common with Mekas’ later films about his family, Paradise Not Yet Lost and As I Was Moving Ahead. Their appearance in Lost Lost Lost, the film that concerns Mekas’ difficult first years in America, offer an expression of hope for what could be.

Embedded in the images of Lost Lost Lost, there is also the story of a maturing filmmaker, who, in the beginning, poses awkwardly for test shots and uses a tripod for portraits in black and white. By the end, Mekas has begun to perfect his technique. Late in the film, Mekas describes a scene at a film seminar at Flaherty where he and Ken Jacobs were denied entry. They sleep outside, in the bed of their truck, and awake to a cold, foggy morning in a vast field. Mekas uses some of Jacobs’ footage to show himself with a blanket wrapped around his shoulders, guiding his Bolex in wide, looping gestures. Then he cuts to the footage he was shooting. It is as if Mekas’ camera loosens. We see momentary bursts of single frames, the rapid and blurry motion of his camera interrupted by startling detail of the wildflowers in the grass. This is the first instance of what would become recognisable as Mekas’ signature style, and its realisation at Flaherty, where the established film community had rejected him, coincides perfectly with the emergence of a distinctive way of seeing.

The last scenes in the film occur at a beach in Stonybrook, where Mekas had been ten years before with the Lithuanian émigrés. As he films his friends wading in the water, he realises that he had been on the beach before. “I have been here before. I have really been here before”, he says with some amazement. As his filmic restoration of Lithuania in Reminiscences allowed him to move forward on the path he should have gone (i.e. to Vienna), the recognition of the beach at Stonybrook gives him a sense of fixity in an otherwise uncertain fate.

Lost Lost Lost, though it contains Mekas’ earliest footage, was edited only after Mekas saw his community blossom in Walden, and after he had regained his homeland in Reminiscences. It is as if the painful themes of exile and loss could only be explored after a considerable length of time had lapsed, though in reviewing his filmed memories, it is clear that they were never entirely gone. In one telling scene he looks at his friend filmmaker Barbara Rubin’s hair as she sits beside a fountain. Perhaps recognising a hairstyle from long ago, he interjects, “No, no he won’t look back.” Mekas pulls away, turning his attention to “the unpredictable and unknown” as the image of a woman’s face appears, engulfed by enormous bubblegum balloons.

http://keep2s.cc/file/0d23432c96e5a/Lost%2C_Lost%2C_Lost.avi
http://keep2s.cc/file/087da9e85fd57/English.srt
http://keep2s.cc/file/9e58b39e7310e/French.srt

http://www.nitroflare.com/view/912FFE1BB428096/Lost%2C_Lost%2C_Lost.avi
http://www.nitroflare.com/view/25B4B3392515020/English.srt
http://www.nitroflare.com/view/8A42E3864FBE14E/French.srt

Language(s):English
Subtitles:English, French

Stephen Dwoskin was born in New York in 1939 and began making independent shorts there in 1961. In 1964 he followed his research work to London where he settled and participated in the founding of the London Filmmaker’s Co-op. His experimental films, for which he himself does the camera work, play with ideas of desire, sexual and mental solitude and the passage of time. In his films he also explores representation in cinema, performances, personal impressions and his own physical handicap which has been a source of inspiration for him throughout his career. His sensitive and emancipating works have been the subject of various international presentations.

Cinexperimentaux #9: A documentary portrait of Stephen Dwoskin (59 mins)
+ extras:
Stephen Dwoskin: Un parcours – Coops et Festivals (10 mins)
Stephen Dwoskin: About Trixi (7 mins)
Maggie Jennings: Oblivion (7 mins)
Rachel Garfield: Working with Stephen Dwoskin (8 mins)

http://keep2s.cc/file/70aa643a5db45/Cinexperimentaux_%239_A_documentary_portrait_of_Stephen_Dwoskin.mkv
http://keep2s.cc/file/0f5aff57fadf6/Cinexperimentaux_Extras.rar

http://www.nitroflare.com/view/D8779FA5113872F/Cinexperimentaux_%239_A_documentary_portrait_of_Stephen_Dwoskin.mkv
http://www.nitroflare.com/view/CC1A650C2106435/Cinexperimentaux_Extras.rar

Language(s):English
Subtitles:French

Synopsis

In 1982 a small group of Taiwanese filmmakers reinvented Asian cinema, among them, Hou Hsiao-Hsien, Edward Yang. Travelling from Europe to Latin America to Asia, Flowers of Taipei sets out to assess the global influence of Taiwan New Cinema.

Taiwan – tropical Pacific island devoid of tourists; former plastic manufacturing powerhouse turned technology hub in just 20 years; not a fully-fledged country for the United Nations, yet the sole Chinese territory with a vibrant democracy.

In 1982, under severe martial law, amid the stormy climate of pre-democratization, a small group of Taiwanese filmmakers set out on a daring journey to discover their own identity, and in the process to reinvent Asian cinema. Unintentionally, these gutsy youngsters managed to offset the cheap-labor image of ‘Made in Taiwan’ by bestowing a cultural identity on their beloved homeland. Taiwan New Cinema not only inaugurated modern cinema in the Chinese world, it also secured itself a firm place on the world map of contemporary filmmaking.

Flowers of Taipei is about the harbingers of this miracle: Edward Yang, Hou Hsiao Hsien and their peers; it’s about their vision, talent and the impact they made on contemporary cinema.

On a journey from Taipei to Chiang Mai, Paris, Buenos Aires, Tokyo, Hong Kong and Beijing, a remarkable list of filmmakers, critics and artists, including Apichatpong Weerasethakul, Olivier Assayas, Marco Müller, Kiyoshi Kurosawa, Hirokazu Kore-eda, Jia Zhangke, Tian Zhuangzhaung, Wang Bing and Ai Weiwei, tell us what this cinema means to them, how it influenced their work, and what is left of that legacy today.

Introduction by Jean-Michel Frodon (former Chief Editor, Cahiers de Cinéma)

At the dawn of the 1980’s, an extraordinary event took place in the city of Taipei – an event of political, artistic and historical significance. With Taiwan still under martial law, a group of young people congregated around a movie project, which produced two collective films, In Our Time (1982) and The Sandwich Man (1983). They became the most visible manifestation of a deep transformative movement, expressing a whole generation’s craving for democracy and modernity.

Later known as Taiwan New Cinema, this movement was embodied by its two leading directors, Hou Hsiao-Hsien and Edward Yang. These different individuals gave birth to films that would rank among the most important artistic works of the late 20th century, inventing unseen forms of convergence between the great modern revolutions of cinema of Italian neo-realism, French Nouvelle Vague, and Chinese aesthetic traditions. They became figureheads in the decisive shift of world cinema as Asian movies irrupted onto the international scene, accompanying the first rate achievements from the wider Chinese world, the so called ‘fifth’ and ‘sixth’ generations, and Jia Zhangke, in mainland China, John Woo, Wong Kar-Wai and Johnnie To in Hong-Kong, but also films from Korea, Thailand, Philippines, Iran, Central Asia, Malaysia.

Hou and Yang used cinema to find new ways to account – through cinema for Taiwan’s ‘long history’, as well as its current events and social mutations. And that national context happens to be a life-size laboratory of the transformations undergone by the whole planet at the turn of the millennium, to human interaction under the effects of technology, to urban change, and the most recent forms of capitalism. Over the course of just a few years, films that stand among the great contemporary artistic creations (The Boys from Fengkuei, A Time to Live, a Time to Die, City of Sadness, Taipei Story, Terrorizers, A Brighter Summer Day) also accompanied a profound local upheaval and a deep continent-wide mutation, exemplified a decisive moment in filmmaking history, and told with premonition of the dawn of globalization, financialization, and the virtual.

Flowers of Taipei accounts for this significant event in its complexity, richness, and fragility. It documents the context of its appearance, the blasting power of its artistic energy, the circumstances of its decline. Thanks to the participation of numerous current filmmakers, Chinlin Hsieh’s movie also testifies of the long-term effects of New Taiwan Cinema and the great artists Hou and Yang, on China, Asia and the wider world.

Director’s Statement

I became an adult watching Taiwan New Cinema. At 16 I saw The Sandwich Man (1983). It still haunts me. Those films helped me reflect on Taiwan’s history and what it meant to be Taiwanese. 30 years later, working on this project I’ve re-lived that era, sensing its energy as a generation sought to build a better country. Taiwan lifted martial law in 1987, six months before I emigrated to France.

My coming-of-age coincided with democracy in my country, and its acquisition of a cultural identity, created in no small part through Taiwan New Cinema. This film is a journey through time and space, cities and cultures, paying homage to great filmmakers and the wide-ranging influence of their films.

On one level the film is about Taiwan New Cinema, however, I felt it’s also a film about its interviewees. They are not just ‘talking heads,’ vehicles for factual information, but people in their own right. So the film also tries to reflect them in situ, to reflect something of their time, place and character. This mirrors what I think is the essence of Taiwan New Cinema, capturing something of its spirit, in bringing out the relation between people, place and time. It is also a journey, a road movie, with all its elements of discovery, but also a source of motion that travels not only through space and time, but through fiction and reality, past and present.

Director Chinlin HSIEH

Originating from Taiwan, Chinlin Hsieh emigrated to France in 1988. She studied piano, Fine Arts and French literature before venturing into films where she worked as assistant director and making-of operator to Wan Jen and Hou Hsiao Hsien, among others. Subsequently she moved into production, producing Tsai Ming-Liang’s What Time Is It There? and Les Derniers jours du monde by the Larrieu Bros. Hsieh is currently a programmer at the International Film Festival Rotterdam. Flowers of Taipei is her first film as director.

Interviewees (in order of appearance)

Chiang Mai:
Apichatpong Weerasethakul (filmmaker, artist)

Paris:
Pierre Rissient (consultant to Cannes Film Festival)
Tony Rayns (critic)
Olivier Assayas (filmmaker)
Jean-Michel Frodon (critic)
Marco Müller (festival director)

Buenos Aires:
Martin Rejtman (filmmaker)
Gerardo Naumann (filmmaker)
Jazmine Lopez (filmmaker)

Tokyo:
市山尚三 Ichiyama Shozo (producer, FilmEx director)
浅野忠信 Asano Tadanobu (actor)
黑澤清 Kurosawa Kiyoshi (filmmaker)
佐藤忠男 Sato Tadao (critic)
是枝裕和 Kore-eda Hirokazu (filmmaker)

Hong Kong:
羅維明 Law Wai-Ming (critic)
舒琪 Shu Kei (critic)
應亮 Ying Liang (filmmaker)

Beijing:
田壯壯 Tien Zhuangzhuang (filmmaker)
劉小東 Liu Xiaodong (artist)
艾未未 Ai Wei Wei (artist)
鮑鯨鯨 Bao Jingjing (artist)
王兵 Wang Bing (filmmaker)
楊超 Yang Chao (filmmaker)
賈樟柯 Jia Zhangke (filmmaker)

Taipei:
蔡明亮 Tsai Ming-Liang (filmmaker)

侯孝賢 Hou Hsiao-Hsien (filmmaker)

http://keep2s.cc/file/715b5d76b22bc/Flowers_of_Taipei_-_Taiwan_New_Cinema.mkv
http://keep2s.cc/file/b71e09d46decd/EXTRA.rar

http://www.nitroflare.com/view/FEBC00D4158012E/Flowers_of_Taipei_-_Taiwan_New_Cinema.mkv
http://www.nitroflare.com/view/0B858F1A207DC53/EXTRA.rar

Language(s):Mandarin, English, Japanese, French, Thai
Subtitles:Chinese and English

In this documentary within a narrative-and vice versa-a grandiose filmmaker (Alex Ross Perry) arrives in the Yucatán to scout locations for his new movie, a production that will involve exposing the last extant celluloid film stock on the eve of the Mayan Apocalypse. Instead, he finds himself waylaid by the formal schizophrenia of the film in which he himself is a character. Simultaneously a tribute to and a critique of The Last Movie (Dennis Hopper’s seminal obliteration of the boundary separating life and cinema), La última película engages with the impending death of celluloid through a veritable cyclone of film and video formats, genres, modes, and methods. Martin and Peranson have created an unclassifiable work that mirrors the contortions and leaps of the medium’s history and present. An Art of the Real 2014 selection. A M’Aidez Films release (C) Lincoln Center

http://keep2s.cc/file/2e73fc64f4e99/LaUltimaPelicula.avi

http://www.nitroflare.com/view/7228C9ADD64BDCF/LaUltimaPelicula.avi

Language(s):English, Spanish
Subtitles:English for spanish parts (hardcoded)

Synopsis
Cuadecuc, vampir is a dreamlike combination of documentary, narrative, experimental, and essay film styles and is one of the key films of contemporary Spanish cinema. Shot on the set of Jesus Franco’s Italian horror film Count Dracula, and featuring the star of that film, Christopher Lee, Vampir is both a sly political allegory about generalissimo Francisco Franco, a gentle homage to early films about the vampire legend, particularly Dreyer’s Vampyr and Murnau’s Nosferatu, and a work of subtle beauty and great richness.

http://www.nitroflare.com/view/86363745CB64179/Cuadecuc.vampir.1971.DVDRip.XviD.avi
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http://keep2s.cc/file/d3a178bc437de/Cuadecuc.vampir.1971.DVDRip.XviD.avi
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http://keep2s.cc/file/8ed780e0bd17b/Cuadecuc.vampir.1971.DVDRip.XviD.sub

Language(s):English (silent movie, only a few words by Lee)
Subtitles:Spanish, French, none

Quote:
The life and work of Arthur Penn, whose films like “Bonnie and Clyde” helped shape the conversation around violence in America and its movies.

http://keep2s.cc/file/8f9dcb5b52ce3/Mise_en_sc%D1%86%E2%95%97ne_with_Arthur_Penn_%28a_conversation%29_%5B1_HOUR_PREVIEW%5D.mkv

http://www.nitroflare.com/view/F3B437B4B55A205/Mise_en_sc%C3%A8ne_with_Arthur_Penn_%28a_conversation%29__1_HOUR_PREVIEW_.mkv

Language(s):English
Subtitles:Hardcoded Italian

“Sorrow does not come merely from contemplating death, which forces us to look into Eternity, but also from life, which compels us to confront Time”, wrote Russian philosopher Nikolai Berdyayev. Renowned Lithuanian documentarist Audrius Stonys took these words as a motto for his latest film, a meditative visual essay which portrays old people undertaking all kinds of activities, meditation and group laughter therapy. Without a single word of commentary, he creates from sophisticated, aesthetic images a compelling study of human corporeality which, in an ideal union with spiritual equilibrium, can sustain us with the pledge that old age doesn’t have to be a painful wait for the last breath.

Take a deep breath, relax, and let yourself go. That’s the suggestion of this film, in which bodies become landscapes through the seasons, images rhyme, passions appear and disappear like a long breath. Inhale, exhale. Uku Ukai is not a film that tells, but lives like a meditative experience in time and space, landscape and movement. Inhale, exhale. Uku Ukai does not ask the viewer to understand but rather to enter into synchrony with the sounds and images. Uku Ukai is spiritual gymnastics: bodies run, breathe, reach out without needing to reach anything. While images flutter and sounds ricochet, the viewers become the real film. Inhale, exhale.

http://keep2s.cc/file/f489581a3ebe5/ukuukai.srt
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http://www.nitroflare.com/view/3475CC325983869/UKU_UKAI.avi
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Language(s):Lithuanian
Subtitles:English

Quote:
The abandonment and demolition of an old house, with all its furniture, its plentiful library and its full load of personal memories, becomes the starting point for this film, which tries to portray some of the aspects of the new world. The camera peeps into the real state furore, turned into a showroom and promise of financial gain or of the paradise; into financial investment brokers, gurus and preachers of success and mythology. Personal and collective memory, dreams and desires will be ultimately transformed into pure merchandising. Written by Mercedes Alvarez.

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Language:Spanish, Catalán
Subtitles:English, Spanish (idx/sub)

Quote:
The story behind the rise and fall of New York`s 42nd Street. The cinemas, the films, the people, the crime and the rebirth of the block as “New 42nd Street“ – this is the document of the world`s most notorious movie strip.

Quote:
Quite possibly the most fondly remembered location in Grindhouse culture is Manhattan’s 42nd Street. Its constantly burgeoning population of crazies, pimps, drug dealers, hustlers, prostitutes and sleaze-filled movie theatres proved to be Mecca for fans of all things extreme and outlandish.

Quote:
Now that it’s cleaned up, the folks at High Rising Productions have invited personalities from all across the genre spectrum to relive their very own 42nd Street memories in a brand new documentary entitled 42nd Street Memories: The Rise and Fall of America’s Most Notorious Street. It’s written and directed by Calum Waddell and stars the likes of Matt Cimber, Joe Dante, Lloyd Kaufman, Roy Frumkes, Buddy Giovinazzo, Debbie Rochon, Veronica Hart, John Skipp, Frank Henenlotter, Jeff Lieberman, and Tom Holland.

http://www.nitroflare.com/view/7A0E685C21FBA8D/42nd_Street_Memories_-_The_Rise_and_Fall_of_America%27s_Most_Notorious_Street_2015_720p_BluRay_AAC2.0_x264-KESH..mkv

http://keep2s.cc/file/e53c6992ea11e/42nd_Street_Memories_-_The_Rise_and_Fall_of_America%27s_Most_Notorious_Street_2015_720p_BluRay_AAC2.0_x264-KESH..mkv

Language(s):English
Subtitles:None

Quote:
My best friend when I was 17, was a girl called Andrea Wolf. She died in 1998, when she was shot as a Kurdish terrorist in Eastern Anatolia. There was a warrant out for her in Germany, as she was suspected of having participated in terrorist activities, for example the complete destruction of the deportation prison in Weiterstadt. She was also suspected of having been an associate to the Red Army Faction.
In 1996, she chose to go to Kurdistan in order to join the womens army of the PKK, the Workers Party Kurdistan. She took on the name “Ronahi”, trained and lived with the womens army for a few months, mostly in camps in Northern Iraq. Then in October 1998, her unit was tracked by the Turkish army close to the border. A heavy firefight took place. Only a few of the units members remained alive. They were under heavy fire by Army helicopters. Most of the survivors took refuge in what is being described as an earth hole. As surviving earwitnesses who remained in the hole say, she was shot by either army members or Kurdish village keepers after having been dragged out as a prisoner. Her case is only one of the many extralegal executions which structure this war.

This project tackles the question of what is nowadays called terrorism and used to be called internationalism once. It deals with the gestures and postures it can create, and their relationship to figures of popular culture, namely cinema. It´s point of departure is a feminist martial arts film Andrea Wolf and I made together when we were 17 years old. Now this fictional martial arts flic has suddenly become a document. November is not a documentary about Andrea Wolf. It is not a film about the situation in Kurdistan. It deals with the gestures of liberation after the end of history, as reflected through popular culture and travelling images. This project is a film about the era of November, when revolution seems to be over and only it´s gestures keep circulating.

In the eighties Hito Steyerl shot a feminist martial arts film on Super-8 stock. Her best friend Andrea Wolf played the lead role, that of a woman warrior dressed in leather and mounted on a motorcycle. The engagement expressed in the formal grammar of exploitation films later became Wolf’s political praxis: She went to fight alongside the PKK in the Kurdish regions between Turkey and northern Iraq, where she was killed in 1998. Now honored by Kurds as an “immortal revolutionary,” her portrait is carried at demonstrations.

In november Hito Steyerl examines the spectrum of interrelationships between territorial power politics (as practiced by Turkey in Kurdistan with the support of Germany) and individual forms of resistance. Her memories and accounts of Wolf’s life provoke the filmmaker to engage in a fundamental reflexion: She comes to understand how fact and fiction are intertwined in the global discourse. Her friend’s picture as a revolutionary pin-up would equally connect with either Asian genre cinema or a private video document. If October is the hour of revolution, November is the time of common sense afterward, though it is also the time of madness – Hito Steyerl considers from this perspective a relationship which began with a pose, and
Andrea Wolf took its implications so seriously that she was no longer satisfied with symbolic action. Wolf chose the Other of filmmaking, which was what made her into a true “icon”. (Bert Rebhandl)

http://www.nitroflare.com/view/4A4E0D58CE86DD2/november_%28hito_steyerl%2C_2004%29.avi

http://keep2s.cc/file/81a8df9068e7e/november_%28hito_steyerl%2C_2004%29.avi

Language(s):german
Subtitles:hardcoded english

Synopsis
Behind the scenes chronicle of how clash of vision, bad creative decisions, lack of interest and really bad weather plagued the disastrous production of the infamous 1996 remake of The Island of Dr. Moreau.

Quote:
Riding high on the wave of unforeseen success created by his arty 1990 dystopian flick HARDWARE, Richard Stanley turned next to a passion project adaptation of H.G. Wells’ THE ISLAND OF DOCTOR MOREAU—which, after years of expending chutzpah and actualizing willpower, the South Africa-born writer-director somehow manages to get his provocative, imaginative take on the story green-lit by New Line with Marlon Brando installed in the lead role…

…only to learn the studio had decided Roman Polanski should direct.

In response, Stanley did two things, one completely normal—demanding, as screenwriter and project originator, a tête-à-tête with Brando—the other deliciously eccentric:

Read the rest

http://www.nitroflare.com/view/D17831C663087D2/Lost.Soul.The.Doomed.Journey.2014.DOCU.720p.WEB-DL.AAC2.0.H264-FGT.mkv

http://keep2s.cc/file/d499dfac1255b/Lost.Soul.The.Doomed.Journey.2014.DOCU.720p.WEB-DL.AAC2.0.H264-FGT.mkv

Language(s):English
Subtitles:English

Synopsis:
This documentary portrays the lives of nine desperate teenagers. Thrown too young into a seedy grown up world, these runaways and castaways survive, but just barely. Rat, the dumpster diver. Tiny, the teen prostitute. Shellie, the baby-faced blonde. DeWayne, the hustler. All old beyond their years. All underage survivors fighting for life and love on the streets of downtown Seattle. Written by Fiona Kelleghan

Cast:
Roberta Joseph Hayes, Baby Gramps, Kim, Lillie, Lulu, Munchkin, Patti, Dewayne Pomeroy, Rat, Shadow, Shellie, Tiny, Tom Waits.

http://www.nitroflare.com/view/9B37010C97FA5DD/streetwise.mkv

http://keep2s.cc/file/5141446dc616e/streetwise.mkv

Language(s):English
Subtitles:German hardcoded

Quote:
Palms is Aristakisyan’s astonishing portrait of people who live on the margins of life and exist outside normal society. Profound, spiritual and hallucinatory, Palms is remarkable at every level and one of the most visionary films of recent years.

Narrated by the director addressing his unborn son, the film is compassionate, revelatory and bold in its originality and was awarded the NIKA (Russian Oscar) for Best Documentary in 1994. This is its first-ever release on DVD.

“I would like the film to answer the need for community – to show how people are tied together, sometimes paradoxically” Artur Aristakisyan

A short excerpt from the Booklet essay by Graeme Hobbs

Perhaps surprisingly for a film populated almost entirely with beggars, Palms has nothing to do with charity. Its real subject is proximity. In its relentless depiction of life at the margins and with its discomfiting jabs of authenticity, it is an affront to personal space. Why should this be so?

Part of the answer comes in a quote from John Berger’s essay Steps Towards a Small Theory of the Visible, in which, considering the current omnipresence and elusiveness of images, he describes the system outside of which the people in Palms exist. What are depicted, he says, “used to be called physical appearances because they belonged to solid bodies. Now appearances are volatile. Technological innovation has made it easy to separate the apparent from the existent. And this is precisely what the present system’s mythology continually needs to exploit. It turns appearances into refractions, like mirages: refractions not of light but of appetite, in fact a single appetite, the appetite for more.”1

In contrast to these fugitive appearances, there is no doubt that in Palms we are in the company of solid bodies, maimed and damaged bodies even, not seeking our attention or intervention, utterly indifferent to us at our safe distance, yet completely present. They feed no appetite, create no wealth, yet still they stubbornly exist, heavy with the affront of parasitic life.

One of the usual lures of cinema is the attraction of journeying in safety to places and with people you would not otherwise meet. Palms presents you with no seductive journeys. It does not care about you and it does not indulge you. It leaves you with nowhere to go except back on yourself, making you keenly aware of your own reaction – your disgust, your righteousness, your shame, the boundaries of your love. Watching Palms, you are no longer the centre of the world. How can you incorporate this place and its people? At times, the film even looks like it comes from another century. The flashes of modern clothing and accessories – a leather jacket, a handbag, a pushchair – belonging to people in the streets, seem incongruous.

In his words, with Palms, Aristakisyan presents a film of outsiders objectionable to the system. What makes them so? An answer comes at the beginning of Part Two with the epileptics, of whom he says that they “proved to be objectionable because they didn’t need to go anywhere. They were at the border between worlds and could see clearly.” It is this lack of need, this appetite only for necessities, that is objectionable.

“A wholly remarkable experience” The Guardian

“… inspiring, for Aristakisyan has fashioned a transcendent vision of light, a parable, a manifesto, a desperate poetic paen to these invisible people, and to the dramatic density of their lives” Sight & Sound

“Comparisons have been made with Tarkovsky and Pasolini, but Aristakisyan deserves to be regarded as an uniquely individual filmmaker” Empire

Empire – 4 stars
The Guardian – 4 stars
Neon – 4 stars
The Big Issue – 4 stars
Time Out – Critic’s Choice

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Language(s):Russian
Subtitles:English (idx & sub,srt)