Tano is 16-years-old and is already sitting in jail. In 48 hours he’s a free man and off to the wedding of his brother. In the two days he recounts his neighborhood in a section of Sevilla.

7.virgines.2005.1080p.WEB-DL.AAC.x264-CHRONOPHOBiA.mkv

General
Container:  	Matroska
Runtime: 	1 h 21 min
Size: 	1.13 GiB
Video
Codec: 	x264
Resolution: 	1920x1080 
Aspect ratio:  	16:9
Frame rate: 	25.000 fps
Bit rate: 	1 900 kb/s
BPP: 	0.037
Audio
#1:  	Spanish 2.0ch AAC LC @ 128 kb/s

https://nitro.download/view/7CE1B03FF504D88/7.virgines.2005.1080p.WEB-DL.AAC.x264-CHRONOPHOBiA.mkv

Language(s):Spanish
Subtitles:English, French, German, Italian, Polish, Romanian

The post Alberto Rodríguez – 7 vírgenes AKA 7 Virgins (2005) first appeared on Cinema of the World.

“After” plot starts one summer night, when three old friends meet after a long time. The three of them get inside a night spiral which brings them back to adolescence and that serves as the only way to breaking free from their ghosts.

1.46GB | 1h 46mn | 720×304 | avi

https://nitro.download/view/EC01BCF2FC717A4/After.DVDRip.2009.KG.avi
https://nitro.download/view/E9281F0C50150D0/After.DVDRip.2009.KG.srt

Language:Spanish
Subtitles:English (.srt)

The post Alberto Rodríguez – After (2009) first appeared on Cinema of the World.

The story of a man who fooled an entire country. A tale of cheats and impostors, taking its inspiration from true facts and from one of the most intriguing characters of recent decades: the spy Francisco Paesa.

Nominated at
31st Goya Awards
Premios Feroz 2017

https://nitro.download/view/2FC5C2933ECB589/the.man.with.thousand.faces.2016.720p.bluray.x264.mkv

https://tezfiles.com/file/c49166d346a5a/the.man.with.thousand.faces.2016.720p.bluray.x264.mkv

Language(s):Spanish
Subtitles:English

The post Alberto Rodríguez – El hombre de las mil caras AKA The Man with Thousand Faces (2016) first appeared on Cinema of the World.

Quote:
With Unit 7, Alberto Rodriguez paid homage to his native Seville whilst producing a fine urban thriller. Now he does the same for rural Spain, moving an hour south to the marshlands of Andalucia. While 7 was explosive, Marshland is noirishly tense on different levels, its tight focus on character, its realism, it’s sense of place and its social critique adding up to a grippingly intense whole — and that’s not to mention it’s satisfyingly twisting plotline. Though puzzlingly it’s been overlooked by the Spanish Film Academy as the country’s foreign film nomination, Marshland merits international exposure as an example of both one of the year’s best Spanish-language films and of how to fold significance into genre.

The lingering silent final shot of the two miserable anti-heroes at the end of Unit 7 suggested that Rodriguez and his long-term writing partner Rafael Cobos had more to say about cops with issues, and with Marshland they say it. It’s 1980, during the political transition period when Spain was negotiating the change between dictatorship and democracy. Juan (Javier Gutierrez) and rookie Pedro (Raul Arevalo) have traveled from Madrid to Spain’s deep south to investigate the mysterious disappearance of two sisters after a local fiesta. (The sisters had, a local cop informs them, a “reputation.”) A crucifix inset with images of Hitler and Franco on their hotel wall suggests that the law may be about to encounter some conservative resistance to their enquiries from a community happy to turn a blind eye to the occasional disappearance of a girl or two.

Initially they are led to the sisters’ father shifty, suspicious father Rodrigo (a typically focused Antonio de la Torre, from Grupo 7 and more recently from Cannibal), and to his understandably downtrodden wife Rocio (Nerea Barros), who hands over a few damaged negatives of the semi-naked girls in a bedroom. Soon the sisters’ bodies are discovered and they enlist the help of isolated local Jesus (comedian Salva Reina, here anything but comic). When a drunken man with a rifle stumbles into the hotel seeking justice for his own dead girlfriend, a pattern of deaths starts to emerge. Inevitably, but sadly credibly for this region, the issue of drug smuggling soon raises its head.

Underpinning the tensions between the outsiders and the pueblo are the tensions inside the pueblo itself, with the mayor aggressively seeking to keep the peace in a town where the workers are already on strike, complaining about low wages following a failure of the rice harvest. And crucially, there is tension between the cops themselves. The violent, insecure Juan interrogates by hitting first and asking questions afterwards: he represents the old way of doing things. The more hesitant and circumspect Pedro is the future, believing for example that justice is more important than blood ties, but disgusted at having to take orders from the older man, whose past he seeks to uncover in a separate side-mission.

There is nothing remotely special about these cops: when we first meet them, their car has broken down. They proceed in a plodding, methodical way without any sudden, mysterious flashes of insight to strain credibility. Much of the quality of Marshland is rooted in such realism, deriving not only from research but from insider knowledge, from the ferries which transport both legal and illegal cargo to the remoter outposts of the river system, to its sometimes absurdist dialogue, down to the local cuisine (river crabs), or — and this is really one for true connoisseurs — the crucial distinction between a Citroen Dyane 6 and a 2CV.

Characters float in and out of the story, but there’s detail in all of them. Among them are the local journo (Manolo Solo) and cockily defiant Quini (Jesus Castro, from recent Spanish B.O. hit El Nino). Performances are classy across the board, though of the leads it’s Gutierrez, too often a standby in forgettable comedies, who stands out in the role of his lifetime so far.
The script uses the thriller format to lock together the personal, the social and the political in what adds up to not only a darkly ambiguous thriller but a portrait of an isolated community, and a whole society, in flux: a marshland. Here nothing is solid and everything is slippery — not least the distinction between cop and criminal. The sordid discoveries between the apparently normal surface that Juan and Pedro uncover are not, Twin Peaks-like, grounded in weirdo psychology, but in real social events: among its themes, one with contemporary resonance, is that of changing attitudes to child abuse.

Visually and atmospherically, Marshland is suffused with an eerie oppressiveness, entirely at odds with the region’s reputation for light-hearted alegria. Many of the carefully-composed shots of this visually active film are delivered from ground and water level. One hauntingly poetic image has Juan awakening from being knocked out to look out groggily at a richly-colored, hazy sunset, the sky dotted with ducks. It is beautiful but surreal, encapsulating the film’s visual tone generally. At moments of high tension there are strangely-made aerial shots, intriguing for both their rich color and their geometry, which allow the story some breathing space and provide some perspective on the terrible human events unfolding below.

http://nitroflare.com/view/AE98102BB6C1603/Alberto_Rodriguez_-_%282014%29_Marshland.mkv

Language(s):Spanish
Subtitles:English

The post Alberto Rodríguez – La isla mínima AKA Marshland (2014) first appeared on Cinema of the World.

A 48-hour leave from reform school brings life lessons for the teenage protagonist of “7 Virgins,” a street-kids piece that combines energy and delicacy to striking and subtle effect. The best Spanish movie of its type since Fernando Leon’s 1998 “Barrio,” pic rises above genre standard with scrupulous attention to detail and an engaging central tandem. Downsides are lapses into sentimentality and visual deja vu, and an occasional inability to exploit the emotional potential. “Virgins” should snuggle up in plenty of fest beds, with arthouse interest a certainty in Spain-friendly territories.

Sixteen-year-old Tano (Juan Jose Ballesta from “Pellet” and “4th Floor”) is picked up from the Seville reform school by his ultra-taciturn brother Santacana (Vicente Romero), who warns Tano to avoid trouble. But once Tano gets back in touch with his irrepressible buddy, wide-grinning Richi (Jesus Carroza), within minutes, they are on the run in a shopping mall after stealing a wallet to buy a TV set — a wedding-gift for Santacana.

Patri (Alba Rodriguez) makes excuses to her mother and gets the bus into Seville to spend time with Tano. They have sex in attractive silhouette, after which Tano and Richi hang out at a swimming pool with members of Tano’s former gang.

Soon, Patri leaves Tano, which plunges him into depression. When the gang trashes a local bar, Tano looks on from inside a car, not wanting trouble — but he ends up battering a man to within an inch of his life.

Ballesta, the only pro thesp among the juveniles in an otherwise debutante cast, inhabits the part fully across a range of moods. Carroza is a real discovery, in what is in some ways the more interesting role. He plays Richi as a boy whose confident swagger and fetchingly roguish grin mask a basic insecurity.

None of the characters is very likeable, as scripters Rafael Cobos Lopez and Alberto Rodriguez (who also directed) play realism over pity. Still, there is the occasional mawkish moment, as when Tano pauses to sympathize with a puppy in a cage.

The dodgiest artistic decision is to incorporate an image of escape that could be interpreted as a visual allusion to 9/11, of a plane apparently flying into a tower but then emerging on the other side.

Dialogue is often the insubstantial, rat-a-tat vernacular of street kids wanting to be men, but reflective moments shatter the veneer of teen machismo to expose the fragility beneath.

Bleached-out lensing successfully reps the barrio atmospherics and the blistering temperatures of summertime Seville, supplying a vision of the city that’s far removed from the tourist guides. Music is not the regular hip-hop fare of many teen rebel pieces, but an enjoyable combination of garage band and jazz, with occasional North African inflections.

Pic is heavy with street dialect that could create problems even for Spanish auds. Title refers to an Andalucian superstition involving candles, a mirror and clairvoyance, a motif that appears throughout.
(variety.com)

7.virgenes.AKA.7.Virgins.2005.DVDRip.x264-HANDJOB.mkv

General
Container:	Matroska
Runtime:	1h 21mn
Size:	1.67 GiB
DXVA:	Compatible
Minimum settings:	Met
Video
Codec:	x264
Resolution:	720x436 ~> 1024x436
Aspect ratio:	2.35:1
Frame rate:	25.000 fps
Bit rate:	2 430 kb/s
Audio
Spanish 5.1ch AC-3 @ 448 kb/s

https://nitro.download/view/EBB58A0D7FF9CD5/7.virgenes.AKA.7.Virgins.2005.DVDRip.x264-HANDJOB.mkv

Language(s):Spanish
Subtitles:English , Spanish

The post Alberto Rodríguez – 7 vírgenes AKA 7 Virgins (2005) first appeared on Cinema of the World.