Peep Show demonstrates a form of pornography that intrudes upon a customerís more intimate desires. Using an unusual and innovative colour technique, the film manipulates the ordinary into the unexpected, culminating in a peep show in which the viewer becomes the subject of exploitation.

Peep.Show.1981.1080p.CRIT.WEB-DL.H264-Gloft.mkv

General
Container:	Matroska
Runtime:	7mn 21s
Size:	282 MiB
DXVA:	Incompatible
Minimum settings:	Not met
Video
Codec:	x264
Resolution:	1920x1080
Aspect ratio:	16:9
Frame rate:	29.970 fps
Bit rate:	5 110 kb/s
Audio
English 2.0ch AAC LC @ 253 kb/s

https://nitro.download/view/270C474A478E52C/Peep.Show.1981.1080p.CRIT.WEB-DL.H264-Gloft.mkv

Language(s):English
Subtitles:English

The post Atom Egoyan – Peep Show (1981) first appeared on Cinema of the World.

Egoyan’s contribution to Inspired By Bach, a series of six films featuring cellist Yo-Yo Ma collaborating with different artists to explore new interpretations of six Bach Cello Suites.
Containing commentary with Atom Egoyan and Arsinée Khanjian.

Sarabande (Atom Egoyan wcommentary).mkv

General
Container:  	Matroska
Runtime: 	56 min 4 s
Size: 	910 MiB
Video
Codec: 	x264
Resolution: 	932x576 
Aspect ratio:  	16:10
Frame rate: 	23.976 fps
Bit rate: 	1 770 kb/s
BPP: 	0.137
Audio
#1:  	English 2.0ch AC-3 @ 256 kb/s (Stereo)
#2:  	English 2.0ch AC-3 @ 224 kb/s (Commentary with Egoyan and Arsinée Khanjian)

https://nitro.download/view/A4C0DB3D8F7725C/Sarabande_(Atom_Egoyan_wcommentary).mkv

Language(s):English
Subtitles:English

The post Atom Egoyan – Bach Cello Suite #4: Sarabande (1997) first appeared on Cinema of the World.

Quote:
For his French-class assignment, a high school student weaves his family history in a news story involving terrorism, and goes on to invite an Internet audience in on the resulting controversy.

2.98GB | 1h 41m | 1024×576 | mkv

https://nitro.download/view/61BBA4A650988B6/Atom_Egoyan_-_(2008)_Adoration.mkv

Language:English,French
Subtitles:English

The post Atom Egoyan – Adoration (2008) first appeared on Cinema of the World.

A man’s daughter a high school teacher who is accused of abusing her position of authority with a student. When Veronica rebuffs Jim’s attempts to secure her early release, Jim begins to take out his frustrations through his work as a food inspector.

2.60GB | 1h 43m | 1024×552 | mkv

https://nitro.download/view/8614189414120B8/Atom_Egoyan_-_(2019)_Guest_of_Honour.mkv

Language(s):English
Subtitles:English

The post Atom Egoyan – Guest of Honour (2019) first appeared on Cinema of the World.

Atom Egoyan’s adaptation of Samuel Beckett’s famous play, as part of the Irish project Beckett on Film. Starring John Hurt.

It is Krapp’s 69th birthday and he hauls out his old tape recorder, reviews one of the earlier years – the recording he made when he was 39 – and makes a new recording commenting on the last 12 months.

http://nitroflare.com/view/E72EC3237A4153F/Krapps_Last_Tape_-_2000_-_Atom_Egoyan.mkv

Language(s):English
Subtitles:None

The post Atom Egoyan – Krapp’s Last Tape (2000) first appeared on Cinema of the World.

Quote:
Marking Atom Egoyan’s first feature film, Next of Kin a visually assured, lucid, and thoughtful exposition on alienation, displacement, and the amorphous nature of home and family. Incorporating innovative narrative devices of circular structure and video imaging, Egoyan explores the dichotomous role of technology as both a convenient tool for communication and an impersonal barrier to true human connection (a modern-day existential angst that is similarly portrayed in Mike Nichols’ The Graduate, to which Egoyan pays homage in the film’s early sequence): Peter’s voice-over that is visually reinforced by the recurring shots of an airport baggage carousel, reflecting his sense of aimlessness and disorientation; the Foster’s videotaped counseling session that ironically serves, not to facilitate dialogue, but to further alienate the self-conscious Peter from his family; the tape recorder that becomes a literal surrogate to Peter’s articulated thoughts. Furthermore, in illustrating the residual trauma caused the Deryan’s ‘lost’ son Bedros, Egoyan introduces his recurring theme of the absent child – an unresolved emotional fracture that would propel the psychological (and emotional) trajectory of his seminal films, Exotica and The Sweet Hereafter. By exploring the dynamic – and often necessary – function of compassionate role-playing and deception in social and familial relationships, Egoyan creates a haunting and affectionate contemporary humanist fable on identity, impersonation, and connection.

http://nitroflare.com/view/C72E800E9F1E1B5/Atom_Egoyan_-_%281984%29_Next_of_Kin.mkv

Language(s):English
Subtitles:None

The post Atom Egoyan – Next of Kin (1984) first appeared on Cinema of the World.

Quote:
Atom Egoyan’s ongoing search for his own best form makes no real breakthrough in “Remember,” a state-hopping Nazi-hunt mystery that puts a creditably sincere spin on material that is silly at best. At worst, tyro writer Benjamin August’s screenplay is a crass attempt to fashion a “Memento”-style puzzle narrative from post-Holocaust trauma. Toggling variables of disguised identity and dementia, as Christopher Plummer’s ailing German widower travels across North America in search of the camp commander he recalls from his time in Auschwitz, the pic is riddled with lapses in logic even before a stakes-shifting twist that many viewers might see coming. Crafted in utilitarian fashion by Egoyan, “Remember” does little to earn the poignancy of Plummer’s stricken performance — though that asset, plus a button-pushing premise, could attract reasonable interest from older arthouse auds.

It’s probably best not to wonder how much more artfully the Egoyan of “The Sweet Hereafter” might have handled “Remember’s” unreliably braided concerns of mourning and memory — not least because it’s hard to imagine that director choosing a script as questionable as this one in the first place. Thanks to some deft, empathetic playing, the film will draw an emotional reaction from certain sectors of the audience simply for broaching the sensitive topics it does, despite a superficial engagement with the psychology of Holocaust survivors and perpetrators alike. Likewise, its final reel upends proceedings as a conversation-starter, without saying anything of particular consequence about the first-hand grief and guilt swiftly disappearing with its eldest characters.

Plummer’s character Zev Guttman has, it would appear, done his best to suppress the memory of what happened in Auschwitz for 70 years, having since built himself a loving new family and a comfortable new life that he’s set to see out in a New York City nursing home. Now, with his wife having recently passed, he finds himself trying to dredge up the experience for the sake of psychological closure — only to find that the suppression, in his growingly senile mind, may no longer be voluntary. Regular prompts arrive in the form of Max (Martin Landau), a wheelchair-bound fellow resident of the home and an Auschwitz contemporary of Zev’s, who claims to have traced the identity of the justice-evading Nazi commander who tormented them and killed their families.

With both men determined that the official, living incognito somewhere on the continent under the alias Rudy Kurlander, be brought to account, Max has drawn up an elaborate trail for the more physically able Zev to track him down. Four men of the appropriate name and age have been identified in Canada, Ohio, Idaho and California; following Max’s detailed written instructions, the frail but resourceful Zev escapes the nursing home and hits the (rail)road, leaving his uninformed son Charles (Henry Czerny, given little but hand-wringing to do) in an understandable state.

Suffice to say that his cross-country journey is a little more prosaic than the one undertaken by Sean Penn in Paolo Sorrentino’s markedly different Nazi-chasing fable “This Must Be the Place,” though in its most effective moments, Egoyan summons at least some semblance of the strange, secrecy-fixated nature of his better work: An inadvertent encounter with a virulent anti-Semite in his swastika-stamped Boise home is genuinely creepy, characterized by a kind of uncanny absurdity rather than the flat implausibility of the pic’s other key exchanges. Egoyan acts less directly on other opportunities to probe the eerie endurance of such prejudice in contemporary America, while d.p. Paul Sarossy opts mostly for a cruelly bright daylight palette. There is a state-of-the-nation comment inherent in the pointed ease with which Zev, though visibly ill-equipped to use it, manages to buy and carry a gun. As the weapon comes into play, however, larger ethical and existential questions over justified violence render gun control an ill-fitting point in this narrative.

Zev’s travels proceed with slightly improbable ease: The complicating factor throughout is his own misfiring memory, as he frequently forgets the purpose of his mission, or indeed that he’s on a mission in the first place. At one point, he takes to scrawling reminder notes on his skin, calling to mind Guy Pearce’s disoriented detective in “Memento,” though the camera makes a queasy point of the similarity between such short-term scribblings and the Auschwitz identity number tattooed on his forearm — a grim prompt to the past that keeps eluding his long-term recall. By the time Zev tracks down the final Rudy Kurlander, the catharsis that awaits him feels less climactic than it does inexorable.

Plummer lends considerable dignity and contained anguish to a character whose manhunt is complicated by his own constantly crumbling sense of self, though the strong supporting ensemble — including Bruno Ganz and Jurgen Prochnow, distractingly latex-bound as two of the supposed Kurlanders — finds few nuances in the thin, declamatory writing. Working overtime, on the other hand, to supplement the script is Mychael Danna’s molasses-heavy score, which piles on the strings (including sporadic klezmer-style motifs that seem to play in Zev’s headspace as flickering concentration-camp flashes) to undiscriminating effect.

http://nitroflare.com/view/2D16050BD7550C7/Atom_Egoyan_-_%282015%29_Remember.mkv

Language(s):English, German
Subtitles:English

The post Atom Egoyan – Remember (2015) first appeared on Cinema of the World.