Synopsis
Naive young Karen wants to help her struggling amateur-filmmaker boyfriend Christopher raise enough money so he can divorce his wife. Meanwhile, jolly psycho prankster Otto stalks the building where Christopher is shooting a low-grade adult movie in order to keep himself afloat.

	
Murder.a.la.Mod.1968.576p.BluRay.x264-PTP.mkv

General
Container:  	Matroska
Runtime: 	1 h 20 min
Size: 	1.79 GiB
Video
Codec: 	x264
Resolution: 	768x576 
Aspect ratio:  	4:3
Frame rate: 	23.976 fps
Bit rate: 	3 000 kb/s
BPP: 	0.283
Audio
#1:  	English 1.0ch AC-3 @ 192 kb/s

https://nitro.download/view/D8431AC9A5FD78D/Murder.a.la.Mod.1968.576p.BluRay.x264-PTP.mkv
https://nitro.download/view/4932BE97061AD80/Murder_À_La_Mod.srt

Language(s):English
Subtitles:English

The post Brian De Palma – Murder à la Mod (1968) first appeared on Cinema of the World.

Carrie White, a shy, friendless teenage girl who is sheltered by her domineering, religious mother, unleashes her telekinetic powers after being humiliated by her classmates at her senior prom.

Carrie.1976.576p.BluRay.x264-HANDJOB.mkv

General
Container:  	Matroska
Runtime: 	1 h 38 min
Size: 	2.70 GiB
Video
Codec: 	x264
Resolution: 	1024x554 
Aspect ratio:  	1.85:1
Frame rate: 	23.976 fps
Bit rate: 	3 385 kb/s
BPP: 	0.249
Audio
#1:  	English 5.1ch AC-3 @ 448 kb/s
#2:  	English 1.0ch AAC LC @ 96.0 kb/s (Commentary Laurent Bouzereau And Lawrence Cohen)

https://nitro.download/view/E524BDC679BE27F/Carrie.1976.576p.BluRay.x264-HANDJOB.mkv

Language(s):English
Subtitles:English

The post Brian De Palma – Carrie (1976) first appeared on Cinema of the World.

During the Vietnam War, a soldier finds himself the outsider of his own squad when they unnecessarily kidnap a female villager.

1.43GB | 1h 59m | 720×354 | mkv

https://nitro.download/view/4AB553BEF98CAEC/Casualties.of.War.Extended.Cut.1989.DVDRip.x264-PTP.mkv
or
https://nitro.download/view/F5DF2ECABD9E02A/Casualties.of.War.Extended.Cut.1989.DVDRip.x264-PTP.part1.rar
https://nitro.download/view/DD6E09ACD5F410E/Casualties.of.War.Extended.Cut.1989.DVDRip.x264-PTP.part2.rar

Language(s):English,Vietnamese
Subtitles:English,Spanish,French,Portuguese

The post Brian De Palma – Casualties of War (1989) first appeared on Cinema of the World.

Masterclass Brian De Palma at Cinémathèque Française, 2 June 2018.

http://nitroflare.com/view/FC33E588BC7EA34/Masterclass_Brian_De_Palma_-_Cinematheque_Francaise_2_June_2018.WEB-DL.mkv

Language(s):English
Subtitles:French (hardsubbed)

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The post Cinémathèque Française – Masterclass Brian De Palma (2018) first appeared on Cinema of the World.

Quote:
Brian De Palma has often been accused of ripping off Hitchcock, the director he most admired as a young man. Nowhere is this influence more apparant than in Obsession which is so heavily inspired by Vertigo as to be suspiciously familiar. Having said that, De Palma’s film is very entertaining in its own right and full of technical virtuosity that serves the story as well as being impressive on a purely aesthetic level.

On a technical level, the film is astonishingly well made. It’s here that De Palma really demonstrates his imaginative brilliance as a director. This was present in large portions of Sisters and Phantom of The Paradise, and even in his early work like the obscure Get To Know Your Rabbit and the underrated Hi Mom, but it flowers in Obsession into a signature style that he has been using ever since. Right from the start, where a tracking shot takes us inside the Courtland house and then picks out a waiter hiding a revolver, the camera rarely stops moving. De Palma made a conscious decision to cut as little as possible in order to acheive a flowing, dream like motion and this results in lots of medium length tracking shots, lots of rhythmic camera movements and a couple of truly extraordinary 360 degree pans which are very effective. The first is the best, as we are taken from 1959 to 1975 in one apparantly seamless shot which actually features an invisible cut that had to be pointed out to me and is explained in the documentary. The second, in Elizabeth’s bedroom, is incredibly emotional, serving the material rather than simply showing off the technique. We also get lots of crane shots, track/zooms which flare out with meaning, split focus effects and the interesting decision to use diffusion throughout the film but increase it for the scenes in the past. Just when you think nothing more can be packed into the visual scheme of the film, the last five minutes feature a great slow motion shot and a mad spin around an embrace, an image that De Palma uses again and again in his later films. – Mike Sutton, DVD Times

http://nitroflare.com/view/EA1433D700D1BE8/Brian_De_Palma_-_%281976%29_Obsession.mkv

Language(s):English, Italian
Subtitles:English

The post Brian De Palma – Obsession (1976) first appeared on Cinema of the World.

Summary:
Loosely adapted by John Farris from his 1977 novel, the film opens on an Israeli beach, where retiring “government agent” Peter Sandza (Kirk Douglas) is enjoying an afternoon with son Robin (Andrew Stevens) and his partner in spying, Childress (John Cassavetes). In a conversation with his father, Robin shares his concerns about an unusual “talent” he possesses, which he fears will set him apart from his peers. (Can you guess what it is?) Peter assures him that everything will be fine once they’ve moved back to the U.S., where Robin will enroll at a Chicago psychic research center.

But a moment later, the beach is stormed by Arab terrorists (a very topical threat when the film was released). Robin witnesses what appears to be Peter’s death, and is rushed from the scene by American agents. Yet Peter has survived the attack, and when he discovers that Childress was behind it, he shoots and wounds his former friend, then disappears from the scene

We pick up a year later in Chicago, where Peter is in hiding, hoping to rescue his son. With help from a local psychic, he hears of a wealthy high school student, Gillian Bellaver (Amy Irving), with powers very similar to Robin’s — and tries to seek her out as a way of locating the boy, even as he’s pursued by Childress and his men, who have their own villainous plans for Robin.

briandepalma.net

http://nitroflare.com/view/755AB71F18CD648/The_Fury_%281978%29_-_Mz-Rip.avi

Language(s):English
Subtitles:N/A

The post Brian De Palma – The Fury (1978) first appeared on Cinema of the World.

Quote:
Brian De Palma’s trickiest and most ambitious movies often earn the harshest reactions from audiences and critics. Many of the filmmaker’s most sophisticated acts of cinematic gamesmanship are seen by much of the populace, assuming they’re seen at all, as operating on an aesthetic plane that’s roughly equivalent to a fitfully amusing midnight Skinamax entry. Body Double, Femme Fatale’s cynical older cousin, weathered many of the usual accusations of the director’s unoriginality and misogyny.

To be fair to general audiences, Body Double is pitched chiefly at De Palma’s fans without apology; it’s for folks who’re familiar with the director’s symbolism and who’ve grown to keenly anticipate the level of active detection that will be required of them (there’s a visual gag in a transparent mall elevator, for example, that greatly depends on your familiarity with a murder sequence in Dressed to Kill). Body Double’s consciously derivative thriller plot is as dense with meta-text as any film in De Palma’s career; the searing personal material, which has been buried underneath the film’s superficial happenings with precision and élan, must be discovered with the eyes. The script’s pared and often poetically obscene dialogue is but a grace note; the meat is in the visuals.

The hero is Jake Scully (Craig Wasson), a mediocre film actor stuck clinging to the lower rungs of the Hollywood ladder. In the opening, he’s kicked off of a low-budget vampire film (by a director made to resemble De Palma) because he’s claustrophobic and unable to perform a scene in a simulation of a coffin. Arriving home early, Jake soon discovers that his girlfriend is screwing around, and his shitty day leads to an emotional crisis that’s exasperated by his already iron-clad self-loathing and professional obscurity. Jake falls off the wagon, seeking refuge in the mechanized fantasies of voyeurism and porn, which eventually leads to his active participation in an adult film with actress Holly Body (Melanie Griffith), who bears quite a physical resemblance to the woman he’s been watching from the window of the bizarre new home he’s temporarily occupying.

Body Double isn’t any more or less absurd or derivative than generally respected De Palma films like Dressed to Kill or Blow Out, but there’s a key difference: Those movies are emotionally inviting. You’re able to explicitly empathize with those films’ heroes and take their quests more or less at face value. Body Double is a cold, hard jewel of a film that takes stock of the depersonalization of 1980s American culture as manifested in porn, architecture, films, music videos, and commerce. But the film isn’t a polemic (it would’ve gotten better reviews if it were), as De Palma suggests that the only way to survive the loss of identity and specificity of the 1980s is to adapt and find new ways to be turned on by that very detachment.

So it’s logical, then, that Body Double keeps us at an emotional remove. Jake’s established as a schmuck from the start, and Wasson’s underrated performance rarely encourages us to deepen that impression. He’s a lost man who’s taken in by surfaces, but that’s not his crime (so is De Palma, after all). Jake’s true offense is that he insists on cheapening the purity of his love of surfaces with phony harlequin romantic rationalization, which parallels a movie audience’s eagerness to consume the often baldly false sentiment that’s used to justify a film’s primal aesthetic draws.

Body Double is another of De Palma’s deconstructions of male impotency, an affliction that the filmmaker clearly ascribes to desire that’s suppressed beneath false, coy sentiment. De Palma parodies misplaced sentiment time and again in Body Double. When we first see the apartment of Jake’s soon-to-be ex, there’s a light in the shape of a heart with the couple’s names in the center. It’s a tasteless and juvenile bit of décor, and it’s hard to believe that any adult couple would have it, and that’s precisely the point. This light is a cheap meaningless object dressed up in phony pretense. The film abounds in these images, particularly in the marvelous film-within-a-film-that’s-possibly-within-yet-another-film sequences.

One of the best and riskiest sequences is conventionally moving anyway, by the sheer force and intensity of De Palma’s craftsmanship. Jake kisses Holly while playing a hapless nerd in a porno film, a role that ironically reveals an incarnation of Jake that’s truer to the fear and neediness he really feels than the role of the valiant savior he’s attempting to play in his “real” life. The savior guise also inspires yet another role that Jake assumes as a macho film producer, which is also his subliminal parody of the absurdity of his savior quest. The self-reflexivity is nearly endless, but De Palma undermines you again just as you’ve confidently gained your bearings as a distanced spectator of the despairing quixotic meaninglessness of this man’s endeavors: When Jake kisses Holly as he hungrily squeezes her ass, De Palma cuts to the prolonged kiss he shared earlier with the woman whose murder he’s currently trying to avenge, and suddenly we’re directly plugged into the enormity of this man’s cluelessness and torment.

And then De Palma pulls the entire rug out from underneath the film’s reality and turns everything we’ve just seen into a prolonged Brechtian shaggy-dog joke, only to then pull the rug out from under that joke and halfheartedly reaffirm the film’s reality as a mystery-thriller. By the end of this masterpiece, one of the great and most uniquely American films of the 1980s, we only trust surfaces, which are as fleeting and illusory as anything else.

http://nitroflare.com/view/5ACF910D43677B9/Brian_De_Palma_-_%281984%29_Body_Double.mkv

Language(s):English
Subtitles:English

The post Brian De Palma – Body Double (1984) first appeared on Cinema of the World.