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Claude Lelouch – Le chat et la souris AKA Cat and Mouse (1975)

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Synopsis:
A jaded and charming police inspector is assigned along with his cheerful partner to a case involving the mysterious death and/or suicide of a wealthy entrepreneur. The chief suspect is his enchanting wife who was aware that her husband had a mistress. It is also possible that the dead man may be the victim of a radical terrorist group.

Review:
Claude Lelouch calls Cat and Mouse “a comic thriller” and so it is. A jaded and charming police inspector (Serge Reggiani) is assigned along with his cheerful partner (Philippe Leotard) to a case involving the mysterious death and/or suicide of a wealthy entrepreneur. The chief suspect is his enchanting wife (Michele Morgan) who was aware that her husband had a mistress. It is also possible that the dead man may be the victim of a radical terrorist group.

Lelouch does some marvelous things with his clever camerawork. And he draws out top-notch performances from the lead characters. One of the funniest bits in this droll film is the use of Reggiani’s police dog. The “Belgium shepherd” is called upon by his master to gnaw information out of uncooperative witnesses. However, the dog is too cute to be terrifying and too disobedient to be effective. Like his master, he’s all bark and no bite.

— Spirituality & Practice [Frederic and Mary Ann Brussat]







http://nitroflare.com/view/88DDBED7871D273/Le_Chat_et_la_souris_%28Cat_and_Mouse%29_%281975%29_–_Claude_Lelouch.mkv
http://nitroflare.com/view/D95D2CBB56B829A/Le_Chat_et_la_souris_%28Cat_and_Mouse%29_%281975%29_–_Claude_Lelouch.srt

https://filejoker.net/9tgr7f9urnom/Le Chat et la souris (Cat and Mouse) (1975) — Claude Lelouch.mkv
https://filejoker.net/jng1fea9n3ai/Le Chat et la souris (Cat and Mouse) (1975) — Claude Lelouch.srt

Language(s):French
Subtitles:English (muxed, srt)


Henri Verneuil – Le Casse aka The Burglars (1971)

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Quote:
Comments :
Henri Verneuil’s The Burglars has a bit of a cult reputation for an infamous car chase through Greece – fully deserved for that lone, incredible sequence – but more than thirty years since its theatrical release, the flaws in this second attempt at adapting David Goodis’ novel to the big screen are painfully evident.

Clearly aimed at the global arena, the casting was meant to please British, French, and American markets, and Dyan Cannon’s presence as an idyllic love interest fuels interludes of roguish charm with gleefully overconfident Jean-Paul Belmondo. In Burglars, her third-billing is merely a billboard lure, since her handful of scenes restrict the grinning actress to short moments of Belmondo bar chatter, a brief exterior scene, and a slap-around session that’s part of Verneuil’s weak attempt to add classic crime conventions to a film already hampered by an opening heist larded with fantastical Bondian gadgetry. (If the clock is ticking, carting a chrome-polished gizmo on site with all kinds of knobs, buttons, and paper insertions is an invitation for easy police arrest.)

It’s a hit and mostly miss production, though Sharif – clearly relishing his chance to incinerate the last traces of his matinee persona – is delightful as the corrupt top-cop able to chase Belmondo through the streets of the film’s undefined Mediterranean city with impunity, and avoid killing a single gawking bystander. (Sharif really began to radicalize his image in 1968 by playing the double-crossing slimeball in J. Lee Thompson’s similarly bloated, but way more fun western suspenser, MacKenna’s Gold.) Sharif’s scene in a grainery is often cited as a classic depiction of cruel (but deserved) irony, but his best moment involves a casual game of bullseye, testing marksmanship against mounting intoxification.

The cited car chase (ah, the legacy of Bullitt) is another prime example of some first-rate stunt driving, and Verneuil makes sure the mounting speed, screeching tires, and vehicular trauma are conveyed from myriad angles – with plenty of shrapnel flying off in every direction. Just as memorable are Belmondo’s actual stunts, which include an outrageous chase atop moving cars and bus; and one stunning shot that has the film’s star falling away from the camera and down a treacherous hillside (hence the film’s catchy poster art) before he bounces another few meters into a dusty heap. Those moments alone make the film worth a peek, but the lack of any meaty story – wrapped up in the shorter, original 1957 Columbia film, The Burglar, with Dan Duryea and Jane Mansfield – makes it a tough journey.

Alpha Digital’s DVD boasts an anamorphic transfer of a widescreen print, but it’s a pretty beat-up copy that the discs’ producers have used. The opening titles still lose content at the edges, and there’s nasty scratches plaguing the first reel. The colours also fade and shift in certain reels, and the print sharpness is unbalanced. It’s still the only way at present to see the film in its huge ‘scope ratio, but Claude Renoir’s elegant cinematography won’t be dignified until Burglars receives a proper DVD release.

Some great sequences, but pretty tepid.









http://nitroflare.com/view/1385CF7755F9C6D/The_Burglars.1977.FRANCE.KG.avi

https://filejoker.net/z1u6aunkz5i6/The Burglars.1977.FRANCE.KG.avi

Language(s):English
Subtitles:None

John Dahl – The Last Seduction (1994) (HD)

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Georg Wilhelm Pabst – Das Bekenntnis der Ina Kahr AKA The Confession of Ina Kahr (1954)

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Synopsis:
‘Told in flashback, the film recounts the events leading up to the killing of good-for-nothing Curt Jurgens. Warned by her friends and relatives that Jurgens is a bad job, impulsive Ina Kahr marries him anyway. His ceaseless philandering and abuse wears away at Ina to the point that she contemplates poisoning her husband…’
– MRQE







http://nitroflare.com/view/1E46820B0FF7C96/Das.Bekenntnis.der.Ina.Kahr.1954.DVDRip.x264.AC3.mkv

https://filejoker.net/270z8btcgmj2/Das.Bekenntnis.der.Ina.Kahr.1954.DVDRip.x264.AC3.mkv

Language(s):German
Subtitles:None

Horst E. Brandt & Heinz Thiel – Heroin (1968)

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This East German movie was co-produced with studios in Hungary and Yugoslavia, with many interesting location shots (border checkpoint to West Berlin, the Gellert bath in Budapest, and more). The plot is about French drug dealers, who obtain heroin somewhere in the Middle East, and smuggle it in several steps to East Berlin, and from there to France (or so it appears), killing when necessary. The hero is an officer of East German customs, who with detective work, some masquerade, and occasional violent action ultimately unravels the whole network, of course with the support of the local customs departments.






http://nitroflare.com/view/E158CE34D7DE613/Heroin-1968-Horst_E._Brandt%2C_Heinz_Thiel.mkv

https://filejoker.net/yxlex8ozrt5r/Heroin-1968-Horst E. Brandt, Heinz Thiel.mkv

Language(s):German
Subtitles:English

Masahiro Shinoda – Kaseki no mori AKA The Petrified Forest (1973)

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Synopsis:
Based on novel by Shintaro Ishihara, this is a human drama about the complex relationship of parent and child. Haruo spends his time working in a university hospital when he meets a childhood friend. On the other hand Haruo’s long estranged mother wishes to make amends with her lost son.

Review:
One day, a young medicine student Hauro Himoto (Ken’ichi Hagiwara) runs into his attractive ex-schoolmate Eiko Izawa (Sayoko Ninomiya) and they fall in love with each other in no time at all. The only obstacle which intrudes the couple is the owner of a barbershop who simultaneously is her lover and her employer and pesters Eiko out of his jealousy. Hauro and Eiko resolve to get rid of the insufferable male so that they can remain together without further complications…

The Petrified Forest is one of the least known films by the great Japanese director Masahiro Shinoda whose interests encompass soullessness of post-war Japan as well as clashes of Western and Eastern cultures. Whilst he scrutinises the latter topic in his enchanting Silence from 1971, in case of The Petrified Forest, the former issue constitutes the main theme of the psychologically and visually stunning piece of psychological drama which enthralls with its brilliance. The movie is initiated with a large shot framing a snowy landscape filmed by a superb cinematographer Kôzô Okazaki who imbues the celluloid with Shinodesquely chilly tints and one is likely to sense the coldness of the panorama. Picturesquely promising as it may seem, it is only a prelude to this very austere and morally disquieting material which successively proceeds to a more urban milieu in which the action takes place. Shinoda exposes through this flick his storytelling flair which renders The Petrified Forest so insightful and succeeds in combining many subplots without becoming exorbitantly intricate or superficial. The main character – Hauro – is a young medicine student who leads an abstruse relationship with his mother who previously left his father for her beloved one. Hauro appears to be resentful and does not want to have anything in common with her anymore. Once Hauro infatuates with Eiko, he grows involved in a sinister labyrinth of emotions which he ultimately fails to harness. The climax of The Petrified Forest is uncannily bleak and it is genuinely captivating how aptly Shinoda unfolds the tale as well as the cruelty and lurid impulses dwelling the hearts of the protagonists who cannot cope with family nuisances. Likewise, Shinoda indicates that the true love can only be constructed on compassion and reconciliation, not on violence and hatred which entails solely annihilation and destruction. Last but not least, one of the motifs constrains a viewer to ponder on perchance consequences of depending just on science, purely a creation of humans, and totally discarding religion and ethics, thus, it is something which may be also disclosed in a cinematic discourse of Akira Kurosawa.

The acting in The Petrified Forest is neat, but it is not one of the biggest benefits of the film which is generally elevated by its story. Ken’ichi Hagiwara is good as Hauro, but a word “competent” seems to be more adequate as far as his performing is concerned. The same case is with Sayoko Ninomiya who is pretty, never memorable though. It is propitious to behold Haruko Sugimura’s dose of subtlety as Hauro’s mother. Sugimura is known for her roles in Yasujirô Ozu’s Tokyo Story and Late Spring.

The cinematography of Kôzô Okazaki, who worked on Kobayashi’s Inn of Evil and Shinoda’s Buraikan, is compelling, but far from flamboyant, rather grey which is quite distinctive for Shinoda’s opuses. Despite extreme actions transpiring on the screen, the camera remains impassive, nonchalant and remotely observes this sterile décor inhabited by inconsolable spirits. The further the movie creeps, the more portentous it becomes owing to progressively darker and darker palette of colours which endow the effort with perturbingly sinister appearance. The soundtrack by the phenomenal Tôru Takemitsu belongs to his very best compositions and consists of some delightful jazzy scores as well as those less conventional ones which reverberate with dripping water and traditional, ghoulishly sounding flutes which contextualise with the ensemble very agilely.

It is eerie that such an engaging work of this genteel Japanese director remains so obscure and virtually forgotten. It cannot be denied that The Petrified Forest does not implicate any drawbacks, nevertheless, it is very close to cinematic magnificence of Shinoda’s more distinguished motion pictures. One of the foibles stems from the fact that the characters are written in a better manner than they are acted. Apart from that, the second half is deprived of the force of the first hour and the material ultimately feels a little too languorous, yet I am certain that patient viewers shall not mind the slow pacing of this otherwise poignantly crafted pic which in spite of being little-known, prosperously conveys an astoundingly mature and ripe tale shrouded in a veil of human despair.

— m-sendey (IMDb)






http://nitroflare.com/view/4F1D3A81D03270B/The_Petrified_Forest_%281973%29_–_Masahiro_Shinoda.mkv
http://nitroflare.com/view/0B257DF930A49A3/The_Petrified_Forest_%281973%29_–_Masahiro_Shinoda.srt

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

Raoul Ruiz – Trois vies & une seule mort AKA Three Lives and Only One Death [+Extras] (1996)

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Synopsis:
Marcello Mastroianni stars as man who shares four names and four personalities (which is the real one?). This mysterious figure is the link between four different, yet strangely similar, stories involving love, lust, crime and time.






Review:
A cleverly composed, prefiguring episode in Three Lives and Only One Death shows Mateo Strano (Marcello Mastroianni) in simultaneous, tripartite images (in a similar vein as Alain Resnais’ Last Year at Marienbad and Lina Wertmüller’s Love and Anarchy) through mirrors and split-screening as he continues to awkwardly fidget with his necktie even after a secondary point-of-view shot indicates that he has already placed his hands on the dinner table while waiting for his wife, Maria (Marisa Paredes) to return to the room. It is a logically irreconcilable moment that punctuates Mateo’s already bizarre story that he recounts to the reluctant André (Féodor Atkine), a polite stranger whom he intentionally engages in conversation at a local bistro: the abstracted old man’s explanation for his inadvertent abandonment of his wife years earlier after impulsively renting a larger apartment on a nearby street one day, only to discover that tiny, demanding fairies inhabited the strangely morphing apartment – unanticipated roommates that would subsequently consume his time and attention (not to mention, household goods) over the next twenty years by modulating his own experienced reality. However, the fantastic – if not mad – tale would prove to be only the first in a series of strange phenomena articulated by an unnamed radio personality (Pierre Bellemare) who further narrates equally inscrutable events of a mild mannered professor of negative anthropology, George Vickers’ (M. Mastroianni) withdrawal from society and his relationship with a compassionate prostitute named Tania (Anna Galiena), the unexpected change in fortune of a struggling, overly affectionate young couple, Martin (Melvil Poupaud) and Cecile (Chiara Mastroianni) who mysteriously inherit a chateau with an instinctually bell-trained butler (M. Mastroianni), and a wealthy industrialist, Luc Allamand (M. Mastroianni) whose seemingly ideal life with his beautiful young wife Helene (Arielle Dombasle) turns into upheaval after a self-actualized, imagined crisis.

Three Lives and Only One Death captures the whimsicality and droll, tongue-in-cheek humor that pervades Raoul Ruiz’s densely structured, organically fluid, and elaborately conceived, baroque cinematic puzzle-fables. Ruiz sustains the film’s playful illusionism and deliriously absurdist tone through sublime trompe l’oeil (literally, to deceive the eye) compositional effects: deceptive mirroring angles and reflection shots; seemingly static camera perspectives that capture shifting distances and tracking between objects (the walls of Mateo’s apartment, and Tania’s increasing proximity towards her husband (Jacques Pieiller) upon inspecting photographs that illustrates her growing interest in reverting to her sordid, former life); inanimate objects that appear to move and transform (note the wallpaper that comes to life at the sound of Maria’s voice – who is ironically wearing a similarly bold print blouse while singing – that serves as an oblique reference to the colorful, over-coordinated mise-en-scene and costuming of Jacques Demy’s The Umbrellas of Cherbourg). Presenting a logically tortuous and (appropriately) fractured narrative from the point-of-view of a psychologically imbalanced, yet prominent, successful, and charismatic protagonist, the film becomes an existential, modern allegory on identity, role-playing, and social multiplicity.

— Strictly Film School

1. 250 scenes, 250 films, the alchemy of Raoul Ruiz

2. A Talk with Raoul Ruiz

3. Interview – Melvil Poupaurd

(All extras are in French language with English & Portuguese subtitles)

http://nitroflare.com/view/28FD462E5DE8866/Three_Lives_and_Only_One_Death_%281996%29_–_Raoul_Ruiz.mkv
http://nitroflare.com/view/8897F8970487729/Three_Lives_and_Only_One_Death_%281996%29_–_Raoul_Ruiz.srt
http://nitroflare.com/view/6E8B365E02D8067/Three_Lives_and_Only_One_Death_Extras.rar

Language(s):French
Subtitles:English, Portuguese, Russian (muxed), English (srt)

Franz Novotny – Exit… nur keine Panik AKA Exit… But No Panic (1980)

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Quote:
The Year is 1980 and it’s Summer in Vienna

Most people outside of Austria will rarely get a chance to see this movie, but if you get a chance like this, don’t let it pass as you as you’re on for a real treat. ‘Exit’ is not just an Austrian cult movie, it’s a funny and at the same time disturbing and at times depressing look into Vienna in the 80’s. This is “the” movie parents in 1980’s Austria did not want their kids to see.

Viennese crook and would-be playboy Kirchhoff dreams of owning his own coffee house and having lots of beautiful women. In order to reach his goal, he is sometimes compelled to leave the straight and narrow.

Comedy, violence, sex and vandalism are the ingredients of this Austrian cult classic.







IMDB User Review:

Perhaps the most dynamic Viennese picture of the decade, 8 January 2007
9/10
Author: ruediger_vienna from Vienna, Austria

A guy having sex with a woman on a rooftop – just to get her coffee-machine. The opening sequence of Exit – “Don’t Panic” tells it all: Hanno Pöschl (his best movie appearance ever) stars as a young outskirt mug; stealing cars he just has one dream: his own coffee house. But tumbling through the Viennese underground, he is keeping himself busy with trouble…

This is quite the movie parents in 1980’s Austria did not want their kids to see. Violence, some nudity and very explicit language – which make the movie more than fairly entertaining.

Add a very young Paulus Manker and you get -9 points out of ten.

http://nitroflare.com/view/8419A53218CEC4D/Exit_-_Nur_Keine_Panik_%281980%29.avi

Language(s):German
Subtitles:None


Petr Kazda & Tomás Weinreb – Já, Olga Hepnarová AKA I, Olga Hepnarova (2016)

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Olga Hepnarova was a young, lonely lesbian outsider from a coldhearted family who couldn’t play the part society had chosen for her. Her paranoid self-examination and inability to connect with other people eventually drove her over the edge of humanity when she was only 22 years old. The film shows the human being behind the mass murderer. Guided by her letters, we delve into Olga’s psyche and witness the worsening of her loneliness.

Olga is a complex young woman desperate to break free from her unfeeling family and social conventions. With her Louise Brooks-like tomboyish looks she drags herself, chain-smoking, from one job to another until she appears to find her niche as a truck driver. Although she has female lovers she does not form a bond with any of them; instead she clashes, time and again, venting herself in wordless emotional outbursts and other behavioural extremes.

Meticulously composed and shot in elegiac black-and-white this film tells the story of the short life of an exceptionally lonely young woman who turns into a mass murderer when, on 10 July 1973 – as she has just turned 22 – she drives a rented truck into a group of people, killing eight. In a letter acknowledging her deed she writes that she sought to take revenge on the world and on those she felt hated her. In spite of clear indications that she was mentally ill she was executed – making her the last woman to be publicly executed in Czechoslovakia. After producing several documentaries and shorts together, this film marks the directors’ first drama. The film is based on a lengthy period of research which culminated initially in a documentary entitled Everything is Crap.





http://nitroflare.com/view/C03F0E7D0EF0BCA/I.Olga.Hepnarova.2016.DVDRip.x264-HANDJOB.mkv

Language(s):Czech
Subtitles:English, Czech

Claude Sautet – L’arme à gauche AKA The Dictator’s Guns (1965)

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Synopsis:
Jacques Cournot, a freelance skipper, is hired by Mr Hendrix in Santo Domingo, first of all to advise him regarding the acquisition of a sailing boat. After a thorough inspection of a prospective vessel, the “Dragoon”, Cournot reports his positive appraisal to Mr Hendrix and initiates the negotiations with Mrs Osborne, the owner of the craft. Barely a couple of days later, Cournot finds himself in a bind as the police questions him about the exact kind of cruise he was supposed to organize for his principal. For the “Dragoon” is gone; Mr Hendrix has disappeared; Mrs Osborne is not aware of any deal; and the corpses of mysterious individuals, victims of a violent death, are found on the beaches of Santo Domingo.

— Eduardo Casais (IMDB)

Review:
Excellent adventure yarn, great locations, moody music. The last “action-picture” from the late great french director Claude Sautet – from this he went on and did Les choses de la vie, Cesar et Rosalie, Vincent, Francois, Paul et les autres, plus the two masterpieces Un coeur en hiver and Nelly et M.Arnaud, his final movie, from 1994. By the way, he also wrote Borsalino (for Jacques Deray) and Les yeux sans visage (for Georges Franju). L’arme a gauche is not, by all means, a great movie – but compared to the contemporary crap we’re fed every day it’s outstanding. The plot concerns a ship stolen by gun dealers somewhere in Central America, but it’s merely an excuse for 102 minutes of pure joy, given the fact that the lead is played by l’inoubliable Lino Ventura. He alone makes this little movie worth seeing – I mean, the guy was the walking definition of the term cool… Those of you not familiar with Ventura (shame on you!) must not believe that looks are everything – check out his eyes, his moves and his harsh voice in Le clan de siciliens, Ne nous fachons pas or Adieu poulet (not to mention Les tontons flingueurs) and you will agree that he was in the same league with Jean Gabin. To put it another way, one of the best actors ever.

— andrei cretulescu (IMDb)







http://nitroflare.com/view/05403AA88BF6F98/The_Dictator%27s_Guns_%281965%29_–_Claude_Sautet.mkv
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Language(s):French, English and Spanish
Subtitles:English (muxed only for non English parts), Russian (muxed), French (muxed only for non French parts), English (srt only for non English parts), Spanish (srt)

Robert Bresson – Pickpocket (1959)

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Quote:
Michel is an inscrutable young man – neatly dressed, mild mannered, intelligent – hardly the type whom one would suspect to be a pickpocket. And perhaps, that is reason that he does it. Robert Bresson’s Pickpocket is a well crafted, austere, and taut film of a man driven by his self-destructive compulsion. We first encounter Michel (Martin LaSalle) at a Paris racetrack, stealthily fingering through the clasp of a woman’s handbag, reaching in, pocketing her money. A wild, almost euphoric gaze comes over his impassive face, heightened by the cheering crowd as the horses approach the finish line. Soon, his compulsion consumes him. His friend, Jacques (Pierre Leymarie) furnishes him with contacts for employment opportunities, but he does not follow through.He abandons his studies, preferring to devote his time perfecting sleight of hand techniques: using a newspaper to disguise his actions, grabbing a victim’s wrist, bumping into taxi riders. But he is not as invisible as he thinks, catching the attention, not only of the police inspector (Jean Pelegri), but also a professional thief (Kassagi), who recruits him into his crime syndicate. In a mesmerizing, precisely choreographed train station scene, the band of thieves weave though the ticket counter line and a boarding train: distracting passengers, stealing, passing between accomplices, returning empty wallets to their owners. When his mother’s neighbor, Jeanne (Marika Green), is brought into the police station for questioning, Michel, warned by an already suspicious Jacques, flees to London to avoid arrest. Two years later, Michel returns to Paris, to an abandoned Jeanne, and inevitably, to his life of crime.

Similar to A Man Escaped, Bresson uses the recurring imagery of hands in Pickpocket: exercising his fingers for dexterity, practicing scenarios for deception, executing the theft. However, in contrast to Fontaine’s hands which serve as an instrument of his intellect, Michel’s hands represent a moral fracture within his soul. In essence, his compulsion is a subconscious disconnection of his mind from his body, a separation between his ambitious, theoretical ideas, and his common, unremarkable existence. His attraction to a life of crime is a reflection of his psychological fear of failure – his inability to achieve his perceived potential – a suppressed realization that he is not the “extraordinary man” that he believes himself to be. In the end, we see a humbled Michel, enheartened by a long-awaited visit from Jeanne. As Jeanne kisses his hands, Michel is redeemed from his past transgressions, with a renewed faith and the love of a devoted woman.








http://nitroflare.com/view/3708415C4BBD59A/Robert_Bresson_-_%281959%29_Pickpocket.mkv

http://rapidgator.net/file/6a714abe8937af83764f0cc9103c7595/Robert_Bresson_-_(1959)_Pickpocket.mkv.html

Language(s):French
Subtitles:English

Max Nosseck – Dillinger (1945)

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Synopsis:
Willie Sutton robbed banks during the Depression because, he explained, “That’s where the money is.” Former Indiana farmboy John Dillinger also knew where the money was. And his string of early-1930s heists, murders and daring jailbreaks were so bold and notorious he became Public Enemy #1. Dillinger, Oscar-nominated* for its screenplay, is the bullet-paced story of the man whose crimes captivated and terrified the nation. Lawrence Tierney plays the title role, breaking free of screen anonymity and moving into a 50-year tough-guy career that would include 1947’s Born to Kill and 1992’s Reservoir Dogs. Perhaps it was a brutal early prison stretch that turned Dillinger from kid to killer. Perhaps he was a murderous thug to his core. Either way, Dillinger presents his story with Film noir style and lets you decide.

— dvdbeaver





Review:

Dubbed ‘the first conceptual gangster epic’, this unmoralistic, detached portrayal of Public Enemy Number One is a fine example of a sensational story, cheaply produced with stock footage, that gets away with artistic murder. Tierney is the glum psychopath, a skilled professional hitting the headlines with his dubious talent. Unemotional and rough at the edges, it’s a sobering inventory of a fabulous myth.

— DMacp (TimeOut)

http://nitroflare.com/view/0BA5EC7DA9188F5/Dillinger_%281945%29_–_Max_Nosseck.mkv
http://nitroflare.com/view/D3026D0683E3DA4/Dillinger_%281945%29_–_Max_Nosseck.srt

Language(s):English
Subtitles:English (muxed & srt)

Bob Quinn – Poitín AKA Poteen (1978)

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Poitin is widely regarded as a classic of Irish cinema. It tells the story of a Conamara moonshiner, his daughter and two cheating agents who they outwit and bring to a tragic end. The story has a de Maupassant atmosphere, interspersed with comic moments. This is the digitally remastered version (2007) with new score by Bill Whelan.

Poitin stars Cyril Cusack, Niall Tóibín and Donald McCann, in their only appearance together on film. It is the first feature ever produced in the Irish language (with English subtitles hardcoded). All of the supporting cast are well known Conamara actors, and the film was shot entirely on location.

link




http://nitroflare.com/view/E20A47E062B6993/Poitin.avi

Language(s):Irish Gaelic
Subtitles:English hardcoded

Elio Petri – L’assassino AKA The Ladykiller of Rome (1961)

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Quote:
The film is a frequently clever examination of a cynical social climber who finds himself in trouble. Arrested at his home and complete with a phoney alibi to cover his infidelity, our antique-dealer hero soon learns that he’s under suspicion for having murdered his ex-lover. Unfortunately for him, he’s not noted for his loving-kindness (he takes financial advantage of the desperate as he relieves them of their valuables) and is, romantically speaking, a cad, having exploited the soon-to-be-deceased lover for career purposes while romancing a younger bubblehead under her nose. All of this inhumanity seems to point to his being the killer, plunging him into a Kafka-lite nightmare that forces him to face up to his own brutishness.






http://nitroflare.com/view/F3448F7085D72F3/L%27assassino_%281961%29_Elio_Petri_-KG.avi
http://nitroflare.com/view/A65147758386C2A/L%27assassino_%281961%29_Elio_Petri_-KG.srt

http://uploadgig.com/file/download/e02c3C3ea1044e62/Lassassino 1961 Elio Petri -KG.avi
http://uploadgig.com/file/download/13B682076faB4da0/Lassassino 1961 Elio Petri -KG.srt

Language(s):Italian
Subtitles:English (srt)

Henri Decoin – Les Inconnus dans la Maison aka Strangers in the House (1942)

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Synopsis:
Since his wife left him, almost twenty years ago, the once brilliant lawyer Loursat has slumped into a life of despondency and drunkenness. He lives in a vast empty house with his teenage daughter, Nicole, with whom he hardly communicates. One fateful day, something happens which pulls Loursat back from the abyss: he discovers a dead body in his house. When his daughter and her group of rebellious young friends are charged with the murder, Loursat decides to take charge of the case.
— scarabus





Review:
There’s this alcoholic lawyer, see? Hasn’t practiced in years, since his wife ran off, just drinks all day. Lives in a big house with his young daughter, whom he suspects isn’t really his. One night he hears a gunshot. And he finds a sailor, who has been living in his attic without his knowledge. And who has just died in it, with a bullet in his heart. And now his daughter’s sweetheart is the prime suspect.
This unlikely story has actually been filmed several times. It’s the plot of a novel by Georges Simenon, master of French crime fiction: since the story is really all about the generation gap and what Philip Larkin wrote about your mum and dad, one version of the story, Stranger in the House, sometimes known under the would-be trendy title Cop Out, was made in Britain in 1967 to take advantage of the youth theme: Geraldine Chaplin played daughter and James Mason played drunk role, rather diffidently, though he does enjoy one great line reading. But the classic version is Les inconnus dans la aison, directed by Henri Decoin, who was already building himself a reputation as a noir specialist. It stars the great French comedian Raimu in a dramatic role, and best of all the script is by Henri-Georges Clouzot. The movie begins with a dry, sonorous voice-over and a wonderful floating shot, moving over a sleepy French town on a rainy night—in fact, a detailed model. One of the nicest things in old movies is the use of elaborate artifice to present things a modern filmmaker would simply go out and shoot for real. The toy-town set emphasizes the feeling that this podunk burg is limited, confined, smaller than life: a place for young people to escape from.
Since there’s no escape when you’re a kid, some of the teenagers have formed a gang, committing petty crimes for kicks. Their biggest crime has gotten out of hand: on a joyride, they ran over a sailor, and now they’ve installed him in the attic room, trusting to the occupant’s alcoholic stupor to stop him noticing, but the invalid is blackmailing one of them, and now…

Decoin provides a bit of noir imagery, indulges his powerhouse leading man, and crafts one more elaborate, floating crane shot, this time with a full-sized courtroom to hover about in. Sadly, this bravura shot has been chopped into fragments—but perhaps for an interesting reason. Made during the Nazi Occupation, the film featured among its gang of teen tearaways a Jewish character (and his parents). It’s not quite fair to say that Clouzot’s script treated them unsympathetically, or at any rate any more unsympathetically than anyone else: there’s his usual blend of sly compassion and harsh judgement. But we can’t be sure what lines he may have crossed, since after the war the film was cut and re-dubbed so that the characters would no longer be explicitly Jewish. The question of Clouzot’s behavior during the war never quite goes away.
Clouzot fans will be gratified to find his usual concerns fully represented: sickness, crime, corrupt microcosms. But there’s a sweetness too: the film is really about a father discovering he loves his daughter and that he wants her to love him too. There’s also a whodunnit plot, and as is typical of Simenon’s work, the solution will be arrived at by psychology, not the tedious detection of fingerprints or study of railway timetables.
Simenon has provided Clouzot with the basis for a compelling structure: in the first third, Raimu’s character is practically comatose on his feet, the story developing around him, gradually catching his half-hearted interest. In act two, his curiosity piqued, and some vestige of paternal instinct aroused, he takes the case and makes inquiries. The trial commences, and on the first day, he does nothing. Witnesses are paraded, each hammering, however reluctantly, a fresh nail in the coffin that is Raimu’s case. His would-be son-in-law looks guilty, and his daughter despises him more than ever.

On day two, of course, our man will spring in to action, calling all the witnesses back and dismantling the prosecution’s case with furious yet forensic skill. What’s less expected is the way he demolishes the whole town and all its institutions, a very Clouzot development: motivated by the noblest impulses, fatherly love and a thirst for justice, our hero is permitted his iconoclasm, and society must stand there and take it. There’s a slight weakness to the plot in the way the true culprit is uncovered: Simenon’s preference for character over plot leaves us slightly puzzled as to how Raimu really cracked the case, but crack it he does and, having confused the guilty party, establishes his guilt.
Tearful embrace with daughter, closing line: “Well, that’s made me quite thirsty!” FIN. The abruptness is very funny, and you can see Clouzot’s logic: we’ve solved the case, love conquers all, why give up booze on top of all that? Altogether too much of a good thing.

— David Cairns (mubi)

http://nitroflare.com/view/2087477370F9E55/Strangers_in_the_House_%281942%29_–_Henri_Decoin.mkv
http://nitroflare.com/view/2CD0DCEF2A5F932/Strangers_in_the_House_%281942%29_–_Henri_Decoin.srt

http://uploadgig.com/file/download/b2273fd3F41fDcd2/Strangers in the House 1942 — Henri Decoin.mkv
http://uploadgig.com/file/download/601212Fadac9151F/Strangers in the House 1942 — Henri Decoin.srt

Language(s):French
Subtitles:English


Krzysztof Kieslowski – Krótki film o zabijaniu AKA A Short Film About Killing (1988)

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Quote:
Death from the very beginning — a rat decomposing in the water, a cat hanging from a railing as giggling children run off. In Krzysztof Kieslowski’s expansion of the Decalogue: Five segment (“Thou shalt not kill”), the commandment bounds individual and governmental killing into one object of anguished contemplation. Biblical intimations also figure in the bar exam summation (“Since Cain, no punishment has been capable of improving the world”) of apprentice attorney Krzysztof Globisz, one of the three Warsaw dwellers whose path ominously converge; the others are a 20-year-old drifter (Miroslaw Baka) and a jaundiced, middle-aged cabbie (Jan Tesarz). The obscured-vision effects of Slawomir Idziak’s dirty-sepia filters — characters encircled by soiling irises — suggest isolated realities clashing appallingly in the most excruciating murder since Torn Curtain’s farmhouse killing: a mid-ride throttling, Tesarz’s writhing foot emerging bare from shoe and sock, a heavy body dragged through an almost Tarkovskyan marsh before the final bludgeoning at Bakas hand’s.Kieslowski skips over the investigation for the guilty verdict, the better to focus on the defeated lawyer’s impotent despair as the young killer awaits the sentence to be carried out. The first half is random details and deliberate choices, a sack falling from above and a devil’s head dangling from a rearview mirror, a hooligan pondering whether to throw a rock onto a busy highway and picking one cream puff over another. The second half is implacable fate, precipitated by the past (an angelic photograph points to a pastoral, lost) and streamlined with state-execution efficiency, the reflection of the driver’s murder located in Baka’s no less protracted hanging. Globisz’ optimism crumbles in the face of humanity’s potential for brutality, but for Kieslowski a moral revival, much needed for modern Poland (and, in the view of interconnectedness, the whole world), must alarm before it can humble. “You’ve aged quite a bit today,” the prosecutor tells him.






http://nitroflare.com/view/1E5C16C318FBB3C/Krzysztof_Kieslowski_-_%281988%29_A_Short_Film_About_Killing.mkv

http://uploadgig.com/file/download/FB23cF5ebf413c3C/Krzysztof Kieslowski – 1988 A Short Film About Killing.mkv

Language(s):Polish
Subtitles:English

Yilmaz Güney – Aç kurtlar AKA The Hungry Wolves (1969)

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Synopsis:
Memed is a fugitive with a sole purpose to find and execute bandits in the mountains. When a rich landowner wants to avenge the death of his father, he hires Memed as a bounty hunter.

Review:
Yilmaz Güney nods to the Italian Spaghetti Westerns popular in Turkey in this striking revenge drama about a bandit and bounty hunter (played by Güney himself) operating in the snowy mountains of eastern Anatolia. “Beautifully captured in stark black-and-white cinematography … The film’s emotive musical score recalls Ennio Morricone as surely as the film’s tale of revenge recalls Sergio Leone. Indeed, the stoic, tight-lipped determination of Güney’s bandit seems modeled after Clint Eastwood. Güney stages his lone figures in a landscape made almost abstract by the blinding white of the snow, giving the film a bleak poetry” (Harvard Film Archive). “With The Hungry Wolves there are the first distinct signs of Güney building towards a personal style. The film was shot in rugged eastern Anatolia while he was doing his military service … Behind the dramatic imagery and music — both of which Güney has consistently used throughout his career — lies a solitariness and sense of desperation which is to dominate his work more and more … Already Güney shows that he is able to maintain an air of social realism without forfeiting either visual élan or narrative drive”

— Derek Elley (International Film Guide)









http://nitroflare.com/view/58724565EADED2B/The_Hungry_Wolves_%281969%29_–_Yilmaz_Guney.mkv
http://nitroflare.com/view/48C3986DC354BE0/The_Hungry_Wolves_%281969%29_–_Yilmaz_Guney-ENG3.-24.srt
http://nitroflare.com/view/C12C829D0D3DC51/The_Hungry_Wolves_%281969%29_–_Yilmaz_Guney-ENG3.-24-posters.srt

https://uploadgig.com/file/download/ff338832682692aE/The Hungry Wolves 1969 — Yilmaz Guney.mkv
https://uploadgig.com/file/download/05e6b663a9E547c5/The Hungry Wolves 1969 — Yilmaz Guney-ENG3.-24-posters.srt
https://uploadgig.com/file/download/867ee90462372184/The Hungry Wolves 1969 — Yilmaz Guney-ENG3.-24.srt

Language(s):Turkish
Subtitles:English

Noboru Tanaka – Edogawa Ranpo ryôki-kan: Yaneura no sanposha AKA Watcher in the Attic (1976)

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Watcher in the Attic is a 1976 Japanese film in Nikkatsu’s Roman porno series, directed by Noboru Tanaka and starring Junko Miyashita.

In 1923 Tokyo Lady Minako is the owner of a shabby boarding house with a collection of bizarre characters for tenants. Gōda, one of her tenants, spends most of his time in the attic spying on the other tenants through holes he has drilled into the ceiling. During one of his peeping sessions, Gōda witnesses the murder of one of the tenants at the hand of Lady Minako. Gōda becomes obsessed with Lady Minako, and determines to commit a grotesque murder in order to prove to her that he is her soul mate. He kills another tenant – a priest – by dripping poison into his mouth through the ceiling. A series of grotesque murders follow. The film ends apocalyptically with the Great Kantō earthquake which kills both of them during their intercourse.






http://nitroflare.com/view/865E1A2770F0CB5/Watcher_in_the_Attic_-_1976_-_Noboru_Tanaka.mkv

https://uploadgig.com/file/download/a14e6779fE04e384/Watcher in the Attic – 1976 – Noboru Tanaka.mkv

Language(s):Japanese
Subtitles:English

René Clément – La baby-sitter aka Jeune fille libre le soir (1975)

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Quote:
Whatever one says about the plot of this film is going to be a spoiler. Let’s just say that a girl takes a baby-sitting job for one night and in the morning finds that things are not what they seemed and she is in a big load of trouble.

The film has been trashed by just about everybody who ever bothered to write about it, and that’s unfair. At least among Clément’s thrillers – Les felins, Le passager de la pluie, La course du lièvre à travers les champs, etc – it can stand its ground, sharing their dreamlike ambiguity and opaque plot structure. It may not be a masterpiece, but it’s certainly a worthwhile couple of hours.





http://nitroflare.com/view/BD3436E05374A2F/La_baby-sitter.avi
http://nitroflare.com/view/F76D8701E7C3751/La_baby-sitter.srt

http://uploadgig.com/file/download/1d086a5169855971/La baby-sitter.avi
http://uploadgig.com/file/download/E9a70090af1Ced65/La baby-sitter.srt

Language(s):French
Subtitles:English

Shun’ya Itô – Hanazono no meikyu AKA Labyrinth Romanesque (1988)

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