Quote:
Juan Sayago was released after eighteen years in prison for murdering Raul Trueba, a man who challenged him only to get in the duel in which he fairly lost his life. Juan returns to his town to live quietly, trying to rebuild his life.

Tiempo.De.Morir.AKA.Time.To.Die.1966.576p.BDRip.x264.AAC.2.0-OLDFLiX.mkv

General
Container:  	Matroska
Runtime: 	1 h 28 min
Size: 	2.37 GiB
Video
Codec: 	x264
Resolution: 	768x576 
Aspect ratio:  	4:3
Frame rate: 	23.976 fps
Bit rate: 	3 538 kb/s
BPP: 	0.334
Audio
#1:  	Spanish 2.0ch AAC LC @ 121 kb/s
#2:  	Spanish 2.0ch AAC LC @ 144 kb/s (Commentary by Director Arturo Ripstein and Actor Enrique Rocha)

https://nitro.download/view/01F3FBEF6B97EB6/Tiempo.De.Morir.AKA.Time.To.Die.1966.576p.BDRip.x264.AAC.2.0-OLDFLiX.mkv

Language(s):Spanish
Subtitles:English, English (Commentary)

The post Arturo Ripstein – Tiempo de morir AKA Time to Die [+Commentary] (1966) first appeared on Cinema of the World.

The film tells the story of the Boteros, a middle-class Mexican family struggling against poverty after their father’s death. Ignacia (Egurrola) is the Boteros mother, a desperate woman who chooses to sacrifice the destiny of her three older children, in order to protect Gabriel (Laguardia) the youngest one. She believes Gabriel will climb the social structure and bring back the lost fortune to the family. But destiny has other plans for the Boteros and tragedy will overcome eventually. Based on the novel of Nobel Prize winner Naguib Mahfouz.

Principio.fin.1993.Dvdrip.x264-MMENDES.mkv

General
Container:  	Matroska
Runtime: 	3 h 6 min
Size: 	1.99 GiB
Video
Codec: 	x264
Resolution: 	700x382 ~> 700x437
Aspect ratio:  	16:10
Frame rate: 	23.976 fps
Bit rate: 	1 299 kb/s
BPP: 	0.203
Audio
#1:  	Spanish 2.0ch AC-3 @ 192 kb/s (Stereo)

https://nitro.download/view/1CCB5B9EC20ED32/Principio.fin.1993.Dvdrip.x264-MMENDES.mkv

Language(s):Spanish
Subtitles:English, Spanish

The post Arturo Ripstein – Principio y fin AKA The Beginning and the End (1993) first appeared on Cinema of the World.

Quote:
In “La perdición de los hombres”, Ripstein once again enters the world of misery, though his characters are not precisely outcasts as the fat nurse and her gigolo lover. This time he returns to his early free-style -it’s even in black and white-, as he tells the stories of normal people, who choose weird solutions to their predicaments and whose dreams occupy the same space and tone as their daily actions on the screen. Garciadiego rarely paints a “nice” male character. So here there are not only one but three machos, who play baseball and believe that man’s downfall is personified in women (in fact, the movie’s title is a verse from a popular ranchera that goes “Man’s downfall / Is the damned woman”). Garciadiego built her story a la “Pulp Fiction”, with the first act told after the resolution, so one has to wait quite a bit to know why two of the guys kill their pal, known as the “King of the Baseball Diamond”, while his widow fights for his corpse with his younger and prettier lover. I cannot deny it’s funny. Sometimes very funny, mainly because Patricia Reyes Spíndola (as the widow, an underrated fine actress that Ripstein turned into a star when she played lesbian singer Lucha Reyes in his sordid 1994 biopic “La reina de la noche”) is such a good actress, that she carries most of the film. On the other hand, Ripstein uses long takes by two virtuoso cameramen who follow the players dynamically in the tightest spaces. For me, who hated three Ripstein/Garciadiego films in succession (“Principio y fin” is the third) and avoided his most recent ones (“El coronel…” and “El evangelio de las maravillas”), this was a sort of reconciliation with their cinema.

Arturo Ripstein - (2000) The Ruination of Men.mkv

General
Container:  	Matroska
Runtime: 	1 h 41 min
Size: 	1.60 GiB
Video
Codec: 	x264
Resolution: 	714x424 ~> 753x424
Aspect ratio:  	16:9
Frame rate: 	25.000 fps
Bit rate: 	1 800 kb/s
BPP: 	0.238
Audio
#1:  	2.0ch AC-3 @ 448 kb/s

https://nitro.download/view/78A8D7682D95641/Arturo_Ripstein_-_(2000)_The_Ruination_of_Men.mkv
https://nitro.download/view/C57C829C2D50277/Arturo_Ripstein_-_(2000)_The_Ruination_of_Men.EN.srt

Language(s):Spanish
Subtitles:English

The post Arturo Ripstein – La perdición de los hombres AKA The Ruination of Men (2000) first appeared on Cinema of the World.

“La Nueva Jerusalem” is a small community of believers lead by Papá Basilio (Rabal) and Mamá Dorita (Jurado). They’re waiting for the second coming of Christ, so they’ve abandoned the world, searching for a new spiritual life. Mamá Dorita sees in young Tomasa (Gurrola) the signals of the chosen one. The young girl will be the new leader in “La Nueva Jerusalem”.

4.90GB | 1h 54m | 1920×1080 | mkv

https://nitro.download/view/6FD1E8C07060009/El_evangelio_de_las_Maravillas_(Arturo_Ripstein,_1998)_1080p_Filmin_VOE.mkv

Language:Spanish
Subtitles:None

The post Arturo Ripstein – El evangelio de las Maravillas (1998) first appeared on Cinema of the World.

Quote:
The story of a disciplined and sexually driven man who keeps his family isolated in his home for years to protect them from the “evil nature” of human beings while inventing (with his wife) rat poison.

4.02GB | 1h 47m | 1920×1036 | mkv

https://nitro.download/view/ED8B3E7F9BB0DC7/The.Castle.of.Purity.1973.1080p.MUBI.WEB-DL.AAC.2.0.H.264-KUCHU.mkv

Language:Spanish
Subtitles:English

The post Arturo Ripstein – El castillo de la pureza aka The Castle of Purity (1973) (HD) first appeared on Cinema of the World.

After serving 18 years for killing a man in a duel,a former gunman returns to his hometown determined to live a normal life, but the sons of the man he killed are bent on revenge.

Gabriel Garcia Marquez and Carlos Fuentes penned Arturo Ripstein’s 1966 debut.

An elemental Western about inherited sins and the difference between honor and pride, Arturo Ripstein’s Time to Die follows a man who, having served 18 years in jail to pay for killing a man, finds the victim’s sons now believe he owes his life as well. Said to be the first produced screenplay by Gabriel Garcia Marquez, who wrote it with Carlos Fuentes, it was also the directing debut of Ripstein, who had just helped his father Alfredo Ripstein produce Luis Buñuel’s The Exterminating Angel. Finally seeing American release and beautifully restored, the involving picture is no museum piece; it should fare well as it tours through art houses, and not only thanks to its screenwriters’ fame.

Jorge Martinez de Hoyos plays Juan Sayago, who hikes back to his village after his release from prison hoping to pick up where he left off. He goes to the estate where he used to work horses, and is told he should turn right back around. Though the owners respect him and wish him well, some other townfolk “plan to make you pay.”

Those would be the two sons of the man Juan killed, the steely Julian (Alfredo Leal) and more amiable Pedro (Enrique Rocha). They were both boys when they lost their father, and we come to realize they know almost as little about the duel as we do; over the years, they’ve turned shreds of gossip into an unshakable belief that Juan somehow took advantage of Raul Trueba.

Julian has practically lived for revenge, saying that he remained single and childless so he could engage in a duel without fearing the consequences. When he finds Juan out on the street and angrily tosses a gun at him, though, the older man wants nothing to do with him. He avoids the confrontation, leaving Julian to try to goad him over the coming days.

This stormcloud of promised violence (a precursor to Garcia Marquez’s novella 1981 Chronicle of a Death Foretold, in which two brothers plan to kill a man who has dishonored their family) hangs over the film, coloring every interaction Juan has with the loved ones he left behind. The pic doesn’t turn it into a ticking-clock drama, a la High Noon or 3:10 to Yuma. Instead, it is more of an open-ended contest of will: Can Juan resist the calls from those who care about him to leave town? Can his insistence that justice has been served win out against the wounded pride of two young men?

Approaching middle age when he wrote the script, Garcia Marquez sympathizes with a hero whose masculinity has been tempered by time and imprisonment. Though clearly capable in many arenas (at one point, Pedro is forced to marvel that he is a real man, “puro macho”), Juan lacks the calm defiance a similar character might show in a Hollywood picture: When threatened, de Hoyos actually cowers. Juan admits he is afraid, and the film adds to the poignancy by observing how he is seen by Mariana (Marga Lopez), his old fiancee. During his imprisonment she married, had a child, and was widowed; Juan hopes to reunite with her, but when he visits, she is formal with him. Later, she admits to a friend that she was so upset at the sight of him she could barely maintain her composure.

Hoping to avert disaster, Mariana goes to Pedro’s girlfriend Sonia (Blanca Sanchez), hoping she can convince him to call off the threats. But the women are told it’s pointless to interfere with “men’s business,” which is governed by forces beyond reason.

On a couple of occasions, the picture uses manipulated sound to show a character’s internal agitation. Alone in his father’s study and girding himself for a fight he has been urged to avoid, Julian hears his spurs and the clank of his gun as if he were alone in the bottom of a well. Elsewhere, a handheld camera emphasizes the uneasiness of lovers who haven’t seen each other in nearly two decades.

But on the whole, sharp dramatization and direct performances suffice to put the story’s themes across more urgently than expected. Juan doesn’t want to die, but he can’t stand leaving the life that was put on hold for so long. We’re just as eager to see him live, even if all the ways he might do so look pretty bad.

by John DeFore

3.27GB | 1 h 28 min | 960×720 | mkv

https://nitro.download/view/B4760145C04967F/Time.to.Die.1966.720p.BluRay.x264-SADPANDA.mkv

Language(s):Spanish
Subtitles:English

The post Arturo Ripstein – Tiempo de morir (1966) first appeared on Cinema of the World.

Review
Highly stylized
Noted Mexican filmmaker Arturo Ripstein (Deep Crimson) presents a highly stylized, almost stagebound, erotic melodrama about life in the 1940s in Mexico (filmed in the lush style of 1940s melodramas). It’s based on the story by Max Aub and penned by Alicia Paz Garciadiego. The narrative is in the form of a repetitious parable that is overlong, hitting many dull spots and at times insufferable to watch. It stays on message to show a series of themes (colonialism, class warfare, racial and idealogical divisions and revolutionary fervor in both Franco’s Spain and Mexico) based on real historical events and combines it with the fictional story of the willing enslavement to the upper-class of the peasant Indian Mexican named Nacho (Luis Felipe Tovar).

Nacho is a servile waiter at the Cafe Ofelia in Vera Cruz, whose corpulent boss Don Lazaro (Julian Pastor) prides himself as being a full-blooded Spaniard even though he was born and raised in Mexico. The obedient brown-skinned waiter relaxes at night by jerking off to porn photos, and puts up with his boss’s disrespectful way of treating him without getting angry (in a patronizing way the boss even likes Nacho). Things change one night when a sexy drunken, opium taking foreign whore, Lola (Ariadna Gil), hangs out at the bar and Nacho falls madly in love with her. Lola, who claims to be a Russian revolutionist living in Germany at one time as a circus performer and is not a Spaniard as the cafe owner believes, is only interested in a career-minded brutish masked wrestler named Gardenia Wilson (Alberto Estrella), whom she said gave her the best fuck she’s ever had in her life and wants desperately to reunite with him. When the wrestler encounters Lola he rejects her as a worthless slut, which doesn’t stop her from still wanting to become his slave lover. Meanwhile she has a sadistic streak in her and takes advantage of Nacho’s slave-like devotion of her to treat him like dirt while only allowing him to kiss her feet as he devotes his life to try and please her every whim. The masochistic relationship continues as a group of artistic Republicans, expatriates from Spain, regularly meet in the cafe and sing songs from Gilbert & Sullivan’s Mikado and impotently proclaim they should kill Franco. Nacho befriends the most human of the bunch, Gimeno (Juan Diego), who is a photographer of high-brow art that reflects his anarchist beliefs through historical reenactments. At his wit’s end and losing track of reality at a fast rate, Nacho believes he can gain Lola’s respect and thereby her love by killing Franco (something she echoes in her dreams). Nacho works things out with his photographer friend to stage a series of photos showing the waiter killing Franco.

The film is more satisfactory for its symbolic worth (only through art can one transcend the miseries of life), its arthouse look and beautiful visual sets (by production designer Antonio Munohierro) that offer a dazzling smoky atmosphere bordering on being surreal and other worldly than for its dramatics. Ripstein’s presentation of the revolutionists as futile dreamers who are delusional and who are as doomed as the waiter (the only hope for Mexico’s salvation if he can find that voice inside) and the floozy either because they can’t act on their desires or because their desires are too perverted, gives the film its gravitas but fails to uplift it emotionally. It was hard to care about any of the characters, who were only used for symbolic effect and never seemed like real flesh-and-blood people.
Dennis Schwartz, 6/20/2005

1.98GB | 2h 22m | 720×480 | mkv

https://nitro.download/view/9B19253856AC001/The_Virgin_of_Lust_(2002)_–_Arturo_Ripstein.mkv
https://nitro.download/view/974431D62F3DD47/The_Virgin_of_Lust_(2002)_–_Arturo_Ripstein.srt

Language:Spanish
Subtitles:English (muxed, srt)

The post Arturo Ripstein – Virgin of Lust aka Virgen de la Lujuria (2002) first appeared on Cinema of the World.