Quote:
An unexpected selection of Munch’s late paintings are collected for the exhibition Karl Ove Knausgårds sets up at the Munch Museum. Joachim Trier follows him on the way to the opening.
821MB | 48m 09s | 1280×720 | mkv
https://nitroflare.com/view/79B19E720A32097/Den_andre_Munch_(2018).mkv
Language(s):Norwegian
Subtitles:Norwegian
The post Emil Trier & Joachim Trier - Den andre Munch AKA The Other Munch (2018) first appeared on Cinema of the World.
In the ‘eighties, the clash between Thatcher and Scargill in England over the way of managing the country’s economy provoked a series of strict State measures aimed against the working classes, and more particularly against the miners whose trade union had grown into too powerful an opposition force. As had happened in the majority of mines, the Towell mine in Wales was then closed down. Deciding not to give in to bitterness and refusing to head for the dole queue, a group of miners planned to buy back the land and proposed that each employee reinvest his severance allowance and become a shareholder in the new company.
Against all expectations, the co-operative came into being and everyone resumed their work. Henceforth managed by a group of workers elected from within the personnel, the mine has survived but must now look to the future for, in fifteen years’ time, the seam will have been worked out. Over the course of several months, Jean-Michel Carré observed the work of the different employees and shared in their responsibilities. From white-collar executives to the underground workers, and not forgetting the new apprentice who had just been taken on, he paints the portrait of some of the actors in this working utopia. Management of this undertaking on a day to day basis is not, however, always easy.
Given permission to attend the annual general meetings, Jean-Michel Carré filmed the tricky exercise of direct democracy. The directors who had committed themselves to maintaining long-term employment in the region regularly clashed with nervous shareholders who feared for the loss of their capital in the short term. Nevertheless, so far Towell has survived ,despite all the remorseless deadlines for payments that must be met. These men will obviously be ready and willing to take on new risks and challenges, if only to prove that there does exist a way to escape from the sacrosanct liberal model. When all is said and done, charbons ardents courageously and defiantly paints a picture of an alternative which places employment, solidarity and the human being at the heart of all that matters.
SYNOPSIS:
In 1994, an economist decision by British Coal to close “Tower Colliery” in Aberdare (South Wales), convinced its miners boasting a generationally long history of political activism, that what they had was worth fighting for.
In unanimous vote to buy out the company, every miner pledged 8,000£, many relinquishing severance pay. Then union leaders, Tyrone O’Sullivan and a few other miners, decided to become businessmen.
When the Tower Company reopens, it is the property of its employees. The results are more than encouraging, with sizeable profits the first year due to a radical new organisation that favours the workers, rather than profits at any cost.
These events trace a day by day odyssey leading to the creation of an utopia, by ordinary working class men and women.
Extra:
• Documentary : L’Opéra de la Mine AKA Tower Opera (57 min, in english, with optional french subs)
The idea of the current project was born during the making of the long documentary “Charbons Ardents” which dealt with the present-day struggle of a group of coal miners who had bought out their mine and become its sole owners. These miners accepted an offer put to them by the director Brendan Wheatley, to create an opera from the start of their adventure.
The film will follow the creation of this new type of opera where two worlds, that of miners and artists come together to recreate the battle for Tower Colliery.
At a time when everybody thought the Thatcher-Major tandem had won the economic war, a bunch of miners decided to use their redundancy benefits to buy the mine that had fired them! A few years later a French crew crosses the Channel to check out how they are doing. The film-maker ostensibly refuses to take sides: there is no voice over, no sense of direction. And that’s what is great with the film! Of course it is biased, and of course those devils of miners are presented as good guys. But so what! They ARE good guys and, for at least a few years, they have won and proved that they could be profitable (and keep the profit for themselves rather than turn it to a bunch of white collar workers who never sweat it out at the bottom of the pit!
1.26GB | 1h 28m | 1020×574 | mkv
https://nitroflare.com/view/E153790B50647B7/Charbons_Ardents_AKA_Burning_Coal__Jean-Michel_Carre_1999_.mkv
https://nitroflare.com/view/211F5F290AB1032/L’Opéra_de_la_Mine_AKA_Tower_Opera.mkv
or
https://nitroflare.com/view/FA965103C724E9E/Charbons_Ardents_AKA_Burning_Coal__Jean-Michel_Carre_1999__+Extra_.part1.rar
https://nitroflare.com/view/0F5C3BE940E996C/Charbons_Ardents_AKA_Burning_Coal__Jean-Michel_Carre_1999__+Extra_.part2.rar
https://nitroflare.com/view/670AF55F5E9FC37/Charbons_Ardents_AKA_Burning_Coal__Jean-Michel_Carre_1999__+Extra_.part3.rar
Language(s):English
Subtitles:French
The post Jean-Michel Carré - Charbons ardents AKA Burning Coal (2000) first appeared on Cinema of the World.
Australian journalist Wilfred Burchett reported the Vietnam War from the perspective of the North Vietnamese. For this he was reviled as a traitor and a communist in the Australian media. He had been the first journalist into Hiroshima after the atom bomb, and he covered wars in Vietnam, Laos and Kampuchea.
Filmmaker David Bradbury interviews Burchett in his later years and intercuts it with archival footage and still photographs. Burchett is seen in newsreel coverage and in footage taken by the North Vietnamese. Archival footage of the Vietnam war and newsreel footage of Hiroshima after the atom bomb enrich the documentary.
“Wilfred Burchett was vilified. In fact, he was just about demonised by Australian conservatives for what they saw as his biased coverage of what he saw as the other side of world events like the Korean and Vietnam Wars and the atomic bombing of Hiroshima. Well, Australian Academy Award nominated film-maker David Bradbury made a documentary about the notorious Burchett – arguably this country’s most controversial journalist – that he called ‘Public Enemy Number One’.
DAVID BRADBURY: He was the first Western correspondent into Hiroshima after the bomb was dropped – it was about two weeks afterwards – and there was still vapour from the nuclear fallout coming out of the ground.
DAVID BRADBURY: It was certainly not what you’d call ‘objective journalism’ in today’s light. And that’s why I love Burchett and respect him greatly, because he knew that this was the beginning of a new era of warfare.
DAVID BRADBURY: It coloured his judgment about the United States. If they’d do that to a civilian population, what else were they capable of doing? And I think he had that old Australian notion of not liking bullies. And I think that set him on a collision course with the United States.
DAVID BRADBURY: I think it’s important for all democracies, genuine democracies, to get another point of view, to know what it’s like on the other side.
DAVID BRADBURY: Burchett paid the price in terms of being seen as a traitor in Australia, and paid the price in not being able to come back to Australia for all those years.
DAVID BRADBURY: I had a problem with Burchett’s blind-eyed view of what happened in the Soviet Union, what happened in Bulgaria, what was happening in the re-education camps of southern Vietnam after the communists took over. I think Burchett was trapped, like all journalists, by his sources. And I didn’t respect him in that regard, of being blind-eyed to quite outrageous human rights violations on the part of the Soviet Union and their satellite Eastern Bloc countries.
DAVID BRADBURY: I think Burchett also hid behind this pseudo notion of objectivity. And at times, he sold his soul to the devil in terms of objectivity, as all journalists do, from the right or the left perspective.
DAVID BRADBURY: He was such a great Australian. He loved ordinary people. He was a humanitarian. He really believed that his journalism should be used in the advancement of humanity.
GEORGE NEGUS: I actually interviewed old love-him-or-hate-him Wilfred a few times myself – once here in Australia when he flew in under the wire, and the other, predictably for him, in Cuba. I can tell you that despite his demon-like reputation, he didn’t have horns. By the way, the question he should’ve been asked was not, “Are you a member of the Communist Party?” but rather, “Are you a communist?” A much harder question to answer. In fact, he called himself an international socialist.”
969MB | 59m 31s | 765×574 | mkv
Language(s):English
Subtitles:None
The post David Bradbury - Public Enemy Number One (1980) first appeared on Cinema of the World.
Quote:
During the 1990s, David Lee Hoffman searched throughout China for the finest teas. He’s a California importer who, as a youth, lived in Asia for years and took tea with the Dali Lama. Hoffman’s mission is to find and bring to the U.S. the best hand picked and hand processed tea. This search takes him directly to farms and engages him with Chinese scientists, business people, and government officials: Hoffman wants tea grown organically without a factory, high-yield mentality. By 2004, Hoffman has seen success: there are farmer’s collectives selling tea, ways to export “boutique tea” from China, and a growing Chinese appreciation for organic farming’s best friend, the earthworm.
1.50GB | 1h 09m | 706×529 | mkv
https://nitroflare.com/view/21B2423C5149891/All.In.This.Tea.2007.DVDRip.x264.mkv
or
https://nitroflare.com/view/B86B70E1E65DA82/All.In.This.Tea.2007.DVDRip.x264.part1.rar
https://nitroflare.com/view/99707D5EE08CEBC/All.In.This.Tea.2007.DVDRip.x264.part2.rar
Language(s):English
Subtitles:English
The post Les Blank & Gina Leibrecht - All in This Tea (2007) first appeared on Cinema of the World.
Quote:
Innocents Abroad is a delightful, lighthearted film about forty American tourists visiting ten European countries in a whirlwind two weeks. Globus Gateway Tours allowed Les Blank and his film crew complete and uncensored access to “European Horizons” tour #KH1009A. The tour closely follows the nineteenth century traditional “Grand Tour”, starting in London and visiting Amsterdam, Heidelberg, The Black Forest, Lucerne, Innsbruck, Venince, Rome, Pisa, Nice, Avignon, and Paris. The film chronicles a diverse group of Americans experiencing Europe for the first time, struggling with and laughing about cultural differences, and seeing ancient sites and legendary cities, all led by witty and inimitable Englishman Mark Tinney. For some of the tourists, this is their first venture out into the world; for others, it is the fulfillment of a lifelong dream.
Innocents Abroad takes an amusing look at European and American stereotypes of each other and also examines the validity of high speed, high traffic twentieth century mass tourism. It is a glimpse into an important industry which is vital to the European economy, but which has also taken a very real toll on the continent, both culturally and ecologically.
Innocents is not a typical travelogue, but an exploration of the experience of travel, celebrated with Les Blank’s perceptive and unmistakable touch. As with his highly-acclaimed Burden of Dreams and the playful Gap-Toothed Women, he achieves human interest and sociological insight and, at the same time, immensely entertains.
1.63GB | 1h 23m | 706×529 | mkv
https://nitroflare.com/view/41CE625C9283715/Innocents.Abroad.1991.DVDRip.x264.mkv
or
https://nitroflare.com/view/CE214936FF7B995/Innocents.Abroad.1991.DVDRip.x264.part1.rar
https://nitroflare.com/view/C458BDC10E5EB60/Innocents.Abroad.1991.DVDRip.x264.part2.rar
Language(s):English
Subtitles:English
The post Les Blank, Vikram Jayanti & Chris Simon - Innocents Abroad (1991) first appeared on Cinema of the World.
Based on Arata Osada’s book Children of the A-bomb: The Testament of the Boys and Girls of Hiroshima (1959) the film retells the horrors of the Hiroshima bombing through the eyes of children. It mainly consists of illustrations drawn by the children.
76.3MB | 4m 02s | 710×538 | mkv
https://nitroflare.com/view/2E9C97772519B42/Hiroshima_(Peter_Nestler,_1981).mkv
https://nitroflare.com/view/7381C95BE5221DB/Hiroshima_(Peter_Nestler,_1981)-final.srt
Language(s):Swedish
Subtitles:English
The post Peter Nestler - Hiroshima (1981) first appeared on Cinema of the World.
Quote:
This informative documentary focuses on the Dani people of New Guinea, and in particular tribal members Weyak and Pua. Weyak, an adult, protects the land his tribe lives on from other tribes and outsiders. Their territory was then one of the few places not colonized by Europeans. Pua is a young boy who cares for the village’s pigs. Battles take place frequently between the various Dani tribes. When someone is killed, the death must be avenged, and the fighting continues in a deadly cycle
1.88GB | 1h 23m | 768×576 | mkv
https://nitroflare.com/view/5D890E19F9919A2/Dead_Birds_(1963)_-_WEB_576p.mkv
or
https://nitroflare.com/view/46C25325F9BFAFE/Dead_Birds_(1963)_-_WEB_576p.part1.rar
https://nitroflare.com/view/46D68FB4E0FEC88/Dead_Birds_(1963)_-_WEB_576p.part2.rar
Language(s):English
Subtitles:None
The post Robert Gardner - Dead Birds (1963) first appeared on Cinema of the World.
DAS KINO UND DER WIND UND DIE PHOTOGRAPHIE
Sieben Kapitel uber dokumentarische Filme
The Cinema and the Wind and Photography
Seven Chapters about Documentary Films
“That’s how we’ll begin: the street of the first film. This street is located in a suburb of Lyon. That’s where the factory of the Lumiere brothers was. They made the first films for cinema. These were documentary films.”
This is a film about other films, and this means about the reality of films and about theories concerning this. The situation of creating the adaptation and working on the project is integrated into the film. It is a look inside a workshop in which work is at this moment being done.
There is no commentary, but rather there is a discussion of films that involves dealing with ideas and quotations, and in doing so there is a direct and unmediated confrontation with the film clips on the part of those discussing. The cinema is examined using its own instruments.
This examination does not intend to be systematic; it is more of a kind of wild, disorderly hunting, a cheerful science in which the important things are permitted to stand next to what is marginal, and concepts are found in what is simply casual
What emerges from this offers no solution for problems and also no formulas (such as, documentary film equals reality times film art divided by critical consciousness…). What emerges is cinema enthusiasm.
1991 Betacam video SP, colour, standard format, 56 min.
Written & Directed by: Hartmut Bitomsky
Camera by: Arthur Ahrweiler
Edited by: Ann-Malen Witt
Big Sky Film Berlin, West German Broadcasting (WDR) Cologne
From the net –
“Das Kino und der Wind und die Photographie/Cinema and Wind and Photographie” (1991),another one of ‘anthology’, consists of monitors that show documentary films from Lumiere to Robert Frank,Bitomsky and his stuff who is analyzing and making this film.The director’s reading texts about these films and the movement of stuffs,camera movement are choreographed precisely.Bitomsky shows himself on monitor and stops it,revises it,and he reads the text again in front of the monitor to shows how he revised. It’s a brechtian,and it’s a representation of our situation surrounded by images.I want to call it a new fiction about realization of documentary.
998MB | 55m 50s | 528×400 | avi
https://nitroflare.com/view/62D6EB7C3719951/Bitomsky_Kino_Wind_Photographie.avi
Language(s):German (the audio is out of sync)
Subtitles:English Hard subbed
The post Hartmut Bitomsky - Das Kino und der Wind und die Photographie aka The Cinema and the Wind and Photography (1991) first appeared on Cinema of the World.
A film about love and gender. This documentary is set in the New Marilyn night club in Tokyo, Japan – where the hosts are women who have chosen to live as men. They can only make their living as hosts in a nightclub with other ‘wannabes’ like them. The young women who come there often have relationships with them but the underlying fear is whether such a relationship can withstand the pressures on a girl to get married and have children. All three boys deal with this in different ways. These three hosts, the Shinjuku Boys, take us into their lives.
1.94GB | 53m 22s | 1472×1104 | mkv
https://nitroflare.com/view/6A06FF3C54A7C37/Shinjuku.Boys.1995.SUBBED.1080p.WEB-DL.AAC2.0.x264-CMYK.mkv
or
https://nitroflare.com/view/F8AA86C48683577/Shinjuku.Boys.1995.SUBBED.1080p.WEB-DL.AAC2.0.x264-CMYK.part1.rar
https://nitroflare.com/view/E72533D4612FE9B/Shinjuku.Boys.1995.SUBBED.1080p.WEB-DL.AAC2.0.x264-CMYK.part2.rar
Language(s):English
Subtitles:English & Chinese hardcoded
The post Kim Longinotto & Jano Williams - Shinjuku Boys (1995) first appeared on Cinema of the World.
“This fascinating film follows the physically grueling and mentally exhausting training regimen of several young wanna-be GAEA GIRLS, a group of Japanese women wrestlers. The idea of them may seem like a total oxymoron in a country where women are usually regarded as docile and subservient. However, in training and in the arena, the female wrestlers depicted in this film are just as violent as any member of the World Wrestling Federation, and the blood that’s drawn is very real indeed. One recruit, Takeuchi, endures ritual humiliation not seen on screen since the boot camp sequences of FULL METAL JACKET. In DIVORCE IRANIAN STYLE, Kim Longinotto cinematically explored the previously unexplored world of the Tehran divorce courts. Working with co-director Jano Williams, Longinotto has been given access to shoot an insider’s verité account of this closely guarded universe.” – Chicago Film Festival
3.61GB | 1h 39m | 1920×1080 | mkv
https://nitroflare.com/view/A106CC468E21E1A/Gaea.Girls.2000.SUBBED.1080p.WEB-DL.AAC2.0.x264-CMYK.mkv
or
https://nitroflare.com/view/5C19A9BCB992B61/Gaea.Girls.2000.SUBBED.1080p.WEB-DL.AAC2.0.x264-CMYK.part1.rar
https://nitroflare.com/view/020875BB1F86606/Gaea.Girls.2000.SUBBED.1080p.WEB-DL.AAC2.0.x264-CMYK.part2.rar
https://nitroflare.com/view/49A9C17C027EF48/Gaea.Girls.2000.SUBBED.1080p.WEB-DL.AAC2.0.x264-CMYK.part3.rar
https://nitroflare.com/view/C664F08DB89F6EC/Gaea.Girls.2000.SUBBED.1080p.WEB-DL.AAC2.0.x264-CMYK.part4.rar
Language(s):Japanese
Subtitles:English & Chinese hardsub
The post Kim Longinotto & Jano Williams - Gaea Girls (2000) first appeared on Cinema of the World.
Synopsis
The Casino del Duca is an ancient palazzo, a cross between a palace and a manor farm, located in San Basilio, near Taranto. For two thousand years it was the beating heart of an entire region, as well as the focal point of the most important estate in Apulia. And today it’s nothing: marred, destroyed, and forgotten. But above all, this film looks at time, at its legacies and ruins. The story of the Swiss traveler from the 18TH century evinces the contrast between its past splendor and current decay, deriving from a distracted modernity dominated by ugliness. History as a vestige and as death.
905MB | 37m 43s | 1920×1080 | mkv
https://nitroflare.com/view/E0C973693455839/Anapeson.2015.1080p.FA.WEB-DL.AAC2.0.x264-Cinefeel.mkv
Language(s):Italian
Subtitles:English [Hard]
The post Francesco Dongiovanni - Anapeson (2015) first appeared on Cinema of the World.
Using archive images, Sergei Loznitsa revisits the gala evenings organized at the Palais Garnier in the fifties and sixties. Between prestige and protocol, these evenings gathered both celebrities and ordinary people who came by the thousands from the Place de l’Opéra to watch this spectacle, of which the director amusingly brings out the irony…
Quote:
Medals, swords, courtesans and cascades of diamonds parade on the steps of the Garnier Opera House. The repetition of archives orchestrated by Sergueï Loznitsa could make you smile. But, with its editing, the gilded members of the French Republic appear very like the invariables of the monarchy. Decidedly, opera, the “all-embracing art form”, is still the preserve of the grandees of this world… -Stéphane Bonnefoi and Adrien Faucheux.
514MB | 19m 47s | 1280×720 | mkv
https://nitroflare.com/view/23BE623306454A5/Sergei_Loznitsa_-_A_Night_at_the_Opera_(2020).mkv
Language(s):None
Subtitles:None
The post Sergei Loznitsa - Une nuit à l'opéra AKA A Night at the Opera (2020) first appeared on Cinema of the World.
Quote:
Sharon Lockhart’s film Rudzienko was shot over two years in collaboration with the residents of the Youth Center for Sociotherapy in Rudzienko, Poland. Building on the relationship she established in 2009 with Milena, who later moved to the center, Lockhart conceived of a series of workshops to empower the young women. The group worked together to develop dialog and movements to be enacted on camera based on their collective activities. The resulting film features a range of conversations, from the philosophical to everyday teenage concerns, and depicts actions both theatrical and mundane that voice the girls’ rich humanity. The Polish-language film proposes an innovative approach to the relationship between image and language by offsetting the spoken conversations with their written translations. (lockhartstudio.com)
776MB | 52m 33s | 1920×1080 | mkv
https://nitroflare.com/view/2490F702AAD85D1/Rudzienko_(Sharon_Lockhart,_2016).mkv
Language(s):Polish dialogue + English intertitles
Subtitles:None
The post Sharon Lockhart - Rudzienko (2017) first appeared on Cinema of the World.
Quote:
Lunch Break features 42 workers as they take their midday break in a corridor stretching nearly the entire shipyard. Contrary to her previous films, the camera is untethered and, as it slowly moves down the corridor, we experience what was a brief interval in the workday schedule expanded into a sustained gaze. Lined with lockers, the hallway seems not only an industrial nexus but also a social one, its surfaces containing a history of self-expression and customization. Over the course of the lunch break we see workers engaged in a wide range of activities–reading, sleeping, talking–in addition to actually eating their midday meal. The soundtrack is a composition designed in collaboration with composer Becky Allen and filmmaker James Benning, in which industrial sounds, music, and voices slowly merge and intertwine. Together, picture and sound provide an extended meditation on a moment of respite from productive labor. (lockhartstudio.com)
1.68GB | 1h 23m | 1920×1080 | mkv
https://nitroflare.com/view/AD24CFCC91C7D19/Lunch_Break_(Sharon_Lockhart,_2008).mkv
or
https://nitroflare.com/view/25768D6E2EBAA07/Lunch_Break_(Sharon_Lockhart,_2008).part1.rar
https://nitroflare.com/view/5C6598CBBAEA299/Lunch_Break_(Sharon_Lockhart,_2008).part2.rar
Language(s):No Language
Subtitles:None
The post Sharon Lockhart - Lunch Break (2008) first appeared on Cinema of the World.
Synopsis
The passing away of their mothers makes Catarina and her own father meet in an emotional place that is different from the one most fathers and daughters know.
3.55GB | 1h 41m | 1442×1080 | mkv
https://nitroflare.com/view/AF739D907756611/The.Metamorphosis.of.Birds.2020.1080p.WEB-DL.AAC.2.0.x264.KG.mkv
or
https://nitroflare.com/view/842E5EEFD4009CC/The.Metamorphosis.of.Birds.2020.1080p.WEB-DL.AAC.2.0.x264.KG.part1.rar
https://nitroflare.com/view/7DD179C3FEDB939/The.Metamorphosis.of.Birds.2020.1080p.WEB-DL.AAC.2.0.x264.KG.part2.rar
https://nitroflare.com/view/2897A371D7DAA4A/The.Metamorphosis.of.Birds.2020.1080p.WEB-DL.AAC.2.0.x264.KG.part3.rar
https://nitroflare.com/view/084E1FDAC02CC45/The.Metamorphosis.of.Birds.2020.1080p.WEB-DL.AAC.2.0.x264.KG.part4.rar
Language(s):Portuguese
Subtitles:English hardcoded
The post Catarina Vasconcelos - A Metamorfose dos Pássaros AKA The Metamorphosis of Birds (2020) first appeared on Cinema of the World.
A film made about the Serbs as they fought in Yugoslavia in the early 90s to regain the land and the glory of their medieval empire.
In this documentary, set in Bosnia during the war, Pawlikowski steers clear of the usual cliches of war reporting. He takes on a more anthropological perspective relying not on commentary but on the power of images: a mass baptism before the final battle, the bizarre antics of the remaining members of the Karadjordje dynasty and the tribal chants of Serbian peasant/soldiers at the front line. The result is more universal enquiry into the nature of the nation state and the ethnocentric view of the world.
366MB | 44m 35s | 768×576 | avi
https://nitroflare.com/view/D415437D6AA8D12/serbian_epics.avi
Language(s):Various
Subtitles:English hardsubbed
The post Pawel Pawlikowski - Serbian Epics (1992) first appeared on Cinema of the World.
From Kinoglaz.fr
In this film, the artistic transformation of the objects of reality reaches the pinnacle of the author’s alteration of this reality. The author’s thoughts and words anticipate the appearance of visual images crystallised from flickering impressions of reality, composed in a manner that is eloquent yet austere, fantastic yet truthful.
In this voyage the names of people and places are alienated: this unfettered dream, a dream about the infinitude of space and time, needs no frontiers or passports.
Images of the native land: an altar in a church where a baby is being baptised, surrounded by sombre faces, the familiar landscapes of “abandoned homeland”, the frontier zone – are succeeded by other images: by the glittering lights of a western town at night, by the portrait of a young man, speaking a foreign language and retaining his smile even at a sad recollection.
Neither these landscapes nor these portraits convey distinctive marks of today’s life, but rather the unchanging generic features of various sources of human existence. Only the director’s will leads us to the point of convergence. When, following him through deserted rooms of a museum at night, in old 16th century Dutch paintings we discern and recognise the elusive warmth of life and our eternal yearning for a voyage – so that we may return – to one another. For art alone can give us the unique chance to take part in this cycle.
Alexandra Tuchinskaya English translation by Anna Shoulgat and Nora Hoppe
Extras also include:
booklets in english, spanish and french;
interviews of 3 minutes each, where Sokurov talks about cinema and painting, the old painting masters and the movie soundtrack.
626MB | 47m 20s | 640×464 | avi
https://nitroflare.com/view/94A82D2FBDB5C74/Elegiya_dorogi_-_Elegy_of_a_voyage.part1.rar
https://nitroflare.com/view/468C90539947096/Elegiya_dorogi_-_Elegy_of_a_voyage.part2.rar
Language(s):Russian
Subtitles:English, Italian, spanish and french sub+idx (movie and extras)
The post Aleksandr Sokurov - Elegiya dorogi AKA Elegy of a Voyage [+Extras] (2002) first appeared on Cinema of the World.
“Sir, when people wonder if God is a man or woman,
no one thinks God could be a woman!”
An unforgettable portrayal of innocence lost and found, STARLESS DREAMS plunges us into the lives of young teenage girls sharing temporary quarters at a juvenile detention center on the outskirts of Tehran. Director Mehrdad Oskouei, one of Iran’s most prominent filmmakers, spent seven years securing access to this all-female facility. As the New Year approaches, the girls bond, and reveal—with playfully disarming honesty—the circumstances and acts that resulted in their incarceration. They have killed their father, robbed a bank, or were arrested for carrying 651 grams of cocaine. Outside the prison walls, danger is everywhere, even within their own families.
2.34GB | 1h 15m | 1276×718 | mkv
https://nitroflare.com/view/2250D7A0B6F2172/Starless.Dreams.720p.2016.h264.mkv
or
https://nitroflare.com/view/A4946D7E331BABA/Starless.Dreams.720p.2016.h264.part1.rar
https://nitroflare.com/view/B3F14201144D176/Starless.Dreams.720p.2016.h264.part2.rar
https://nitroflare.com/view/6571EB503A62C41/Starless.Dreams.720p.2016.h264.part3.rar
Language(s):Persian
Subtitles:English
The post Mehrdad Oskouei - Royahaye dame sobh AKA Starless Dreams (2016) first appeared on Cinema of the World.
KINO FLÄCHEN BUNKER (Das Kino und die Schauplätze) [Cinema, Surface, Bunker (The Cinema and its Settings)] which is also known as »Bombardement und Bunker« [Barrage and Bunker] is an essay film about the (narrative) space imagined by fiction films. Reflections and associations about movement in space as the basis for every kind of story-telling. The film is sometimes referred to as part of Bitomsky’s Cinema Trilogy. Sequences from over 20 movies are quoted and commented on by a team of three »researchers« (Bitomsky, Petzold, Tanner) in a sort of laboratory. TV-monitors, production stills or screenshots are used as well as quotations from books. A long night’s work.
694MB | 0h 52m | 576×432 | avi
https://nitroflare.com/view/814F1E1F1829291/Bitomsky_Kino_Flächen_Bunker.avi
https://nitroflare.com/view/D8752FE923A053E/Bitomsky_Kino_Flachen_Bunker.srt
Language(s):German
Subtitles:English
The post Hartmut Bitomsky - Bombardement und Bunker aka Kino Flächen Bunker (1991) first appeared on Cinema of the World.
The economists behind the implementation of the most extreme capitalist system in the world observe with surprise the discontent of its countrymen. For the first time, they tell the story of how they became Milton Friedman´s students in Chicago in the 1950’s and what were they willing to do to pursue their extreme economic ideas, aided by Pinochet’s dictatorship in the 70’s. Unseen images and testimonies that allow us to understand the historic process that transformed the Chilean people and Chile in the country that it is today, an image of success and discontent.
1.64GB | 1h 29m | 1280×720 | mkv
https://nitroflare.com/view/8270C915972BD04/2015_-_Chicago_Boys.mkv
Or
https://nitroflare.com/view/3E2D1FB5A3B3448/2015_-_Chicago_Boys.part1.rar
https://nitroflare.com/view/9CE8D7BC9FE359E/2015_-_Chicago_Boys.part2.rar
Language(s):Spanish
Subtitles:English (hardcoded)
The post Carola Fuentes & Rafael Valdeavellano - Chicago Boys (2015) first appeared on Cinema of the World.
