Quote:
After her parents’ divorce, six-year-old Vladlena moves from Crimea to Grozny, not yet aware of the changes that lie ahead. When war breaks out in Chechnya, it deeply affects her city and family. Years later, filmmaker Sandu reflects on her childhood in this poetic, autobiographical hybrid film, exploring how cycles of violence shape children—and how healing and change are possible.

Memory.mkv

General
Container:  	Matroska
Runtime: 	1 h 37 min
Size: 	2.99 GiB
Video
Codec: 	h264
Resolution: 	1920x1080 
Aspect ratio:  	16:9
Frame rate: 	25.000 fps
Bit rate: 	4 178 kb/s
BPP: 	0.081
Audio
#1:  	English 2.0ch AAC LC @ 192 kb/s

https://nitro.download/view/196271931EFD11B/Memory.mkv

Language(s):Russian
Subtitles:English (hardcoded), Italian

The post Vladlena Sandu – Memory (2025) first appeared on Cinema of the World.

A mockumentary where reality and fiction are combine to create drama. The director has deceived and manipulated leading world politicians, as well as politicians in his own country, for satirical effect.

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https://nitro.download/view/659A565A52B455E/AFR.avi
https://nitro.download/view/85305B007C2896D/AFR.idx
https://nitro.download/view/9DF3FE3F32947F6/AFR.sub

Language(s):Danish
Subtitles:English, Danish, Norwegian, Swedish

The post Morten Hartz Kaplers – AFR (2007) first appeared on Cinema of the World.

“Abstract silver screen dreams of Monica Vitti, Michelangelo Antonioni, and all the great Italian cinema made at Cinecittà in the 1960s.”
Gwendolyn Audrey Foster

“I dreamed I was in bed and the bed was moving. I looked down and it was on quicksand. It was sinking deeper and deeper. There’s something terrible about reality and I don’t know what it is. No one will tell me.”
Giuliana (Monica Vitti) in ‘Red Desert.’

“When I awake this morning, you were still asleep. As I awoke I heard your gentle breathing. I saw you closed eyes beneath wisps of stray hair and I was deeply moved. I wanted to cry out, to wake you, but you slept so deeply, so soundly. In the half light, your skin glowed with life so warm and sweet. I wanted to kiss it, but I was afraid to wake you.”
(Jeanne Moreau) in ‘La Notte.’

Dreaming of Monica Vitti (Gwendolyn Audrey Foster, 2021).mkv

General
Container:  	Matroska
Runtime: 	3 min 53 s
Size: 	98.5 MiB
Video
Codec: 	x264
Resolution: 	1920x1080 
Aspect ratio:  	16:9
Frame rate: 	30.000 fps
Bit rate: 	3 286 kb/s
BPP: 	0.053
Audio
#1:  	2.0ch AAC LC @ 253 kb/s

https://nitro.download/view/F0C8C1A9484C673/Dreaming_of_Monica_Vitti_(Gwendolyn_Audrey_Foster,_2021).mkv

Language(s):No dialogue
Subtitles:None

The post Gwendolyn Audrey Foster – Dreaming of Monica Vitti (2021) first appeared on Cinema of the World.

One of three films at Tribeca about gang warfare between the Crips and the Bloods, Antoine Fuqua-produced docu, directed by 32-year-old Los Angeles gang member Cle “Bone” Sloan, steps back from the vicious cycle of death and revenge long enough to answer the question, “How did we get here?” with economy and clarity. Tracing the evolution of the gangs through a history of racism and externally encouraged divisiveness, “Bastards” indicates paths away from self-genocide as it reveals the face of a common enemy. Must-see docu reps a promising start for Fuqua’s independent production venture.

An eloquent spokesperson for the Bloods since the L.A. Riots projected him into the public eye on “Larry King Live,” “Nightline” and “Oprah,” helmer Sloan subsequently became involved in filmmaking as an assistant cameraman and then as actor (most notably in Fuqua’s “Training Day”) before turning documentarian.

Sloan fashions a sobering decade-by-decade chronicle of discrimination and repression, drawing freely from contemporaneous accounts in the California Eagle, newsreels, FBI memoranda and Los Angeles historian Mike Davis’ “City of Quartz.” Pic attributes the formation of the first black gangs to self-defense against racist white gangs like the Spookhunters and analyzes the systematic targeting of the black community during the reign of police chief William Parker.

Sloan’s account becomes richer in eyewitness testimonials and archival documentation in its discussion of the ’60s, when many black gangs became associated with political causes.

Historian Davis outlines sweeping changes in black neighborhoods in the ’70s: Drained of political ambition, their leaders killed off, and facing a new economic climate that saw the closing of factories and a dearth of semi-skilled jobs, black gangs turned to drugs, imported in record quantity allegedly through CIA-Contra links and celebrated by blaxploitation films as the only viable form of black capitalism. The criminalization and warehousing of black youth in jails, pic posits, answered society’s dilemma of what to do with a superannuated workforce. (Urban legend ascribes the origin of the Crips- Bloods war to a dispute over a leather jacket.)

Sloan’s forceful presentation becomes diffused and anguished once it catches up with the decades the helmer himself has lived through. Ultimately, Sloan understands that despite the politically compelling reading of events “Bastards” constructs, history pales before the emotion-charged parade of shootings and funerals that increasingly comprise the fabric of gang members’ lives.

Tech credits are polished, though pic would profit from some tightening in its last half-hour.
-variety.com

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https://nitro.download/view/9905C4265E6B36F/Bastards.Of.The.Party.HBO.avi

Language(s):English
Subtitles:none

The post Cle Shaheed Sloan – Bastards of the Party (2005) first appeared on Cinema of the World.

Quote:
The Black Audio Film Collective’s acclaimed essay film, ‘Handsworth Songs’, examines the 1985 race riots in Handsworth and London. Interweaving archival photographs, newsreel clips, and home movie footage, the film is both an exploration of documentary aesthetics and a broad meditation social and cultural oppression through Britain’s intertwined narratives of racism and economic decline.

Quote:
“[Handsworth Songs is] The Black Audio Film Collective’s documentary-essay on the civil disobedience that erupted in reaction to the repressive policing of black communities in London and Birmingham in 1985. On the one hand, the film received critical acclaim and won many prizes, including the prestigious Grierson Award from the British Film Institute. On the other, one review in a black community newspaper—The Voice—received the film with the dismissive remarks, “Oh no, not another riot documentary,” and in the national daily The Guardian the film was subject to a fierce intellectual polemic from novelist Salman Rushdie. Whereas the filmmakers conceived their experimental approach to the documentary genre as a strategy ‘to find a structure and a form which would allow us the space to deconstruct the hegemonic voices of British television newsreels,’ (Reece Auguiste, 1988:6) Rushdie argued that, on the contrary, ‘the trouble is, we aren’t told the other stories. What we get is what we know from TV. Blacks as trouble; blacks as victims’ (ICA, 1988:16)” (Kobena Mercer Welcome to the Jungle 70).

Handsworth Songs (John Akomfrah 1986) 576p.mkv

General
Container:  	Matroska
Runtime: 	1 h 0 min
Size: 	964 MiB
Video
Codec: 	x264
Resolution: 	768x576 
Aspect ratio:  	4:3
Frame rate: 	25.000 fps
Bit rate: 	1 950 kb/s
BPP: 	0.176
Audio
#1:  	English 2.0ch AC-3 @ 256 kb/s

https://nitro.download/view/46EA5DC9C3C39F0/Handsworth_Songs_(John_Akomfrah_1986)_576p.mkv

Language(s):English
Subtitles:None

The post John Akomfrah – Handsworth Songs (1986) first appeared on Cinema of the World.

Quote:
Sacro GRA is a 2013 documentary directed by Gianfranco Rosi.
The documentary engaged Rosi for two years for the shooting and about eight months for editing.

The work was presented at the 70th Venice International Venice Film Festival, where it won the Golden Lion for Best Film, the first documentary to win the top award in the seventy years of history of the Venice Film Festival.

The film documents, without outside comment or interviews of any kind, real-life scenes that take place along the “Grande Raccordo Anulare” (the GRA of the title), the ring highway around Rome.

Roberto is a stretcher bearer on an ambulance of the emergency service and therefore often spends the night rescuing victims of road accidents. He lives alone and sometimes converses in video-chat with a girlfriend. He has a tender relationship with his elderly sick mother.

Francesco is a botanist. We see him intent to defend an oasis of palm trees from the attack of the red palm weevil, a deadly parasite beetle that destroys the plants from the inside. The meticulousness with which he monitors the area, plant by plant, thanks to a digital recorder with which he detects the presence of parasites in the trunk of the palm trees, seem to suggest that the fight against the insect represents for him a real mission.

Filippo is a former prince who lives, together with his young wife Ksenia and their daughter Anastasia, in a sumptuous palace in the Boccea district that he rents for conferences, fashion shows, as bed and breakfasts and as location for picture stories. The huge house, furnished in a rather showy and eccentric way, even contains a small theater. During a break from shooting a picture story, the old actor Gaetano gives a sort of “life lesson” to a young female colleague.

Cesare is one of the few still remaining eel fishermen on the Tiber. He lives in a huge raft on the river, just under a viaduct of the GRA, together with his Ukrainian girlfriend.
Paolo is a former nobleman from Turin, with a long beard and a very polished talk, who – for reasons unknown to the viewer – now lives with his daughter Amelia, who’s preparing for a degree, in a studio apartment in a cold and anonymous tenement situated on a hill, occasionally overflown by airliners at low altitude. From his own voice we learn that from the window of the house you can enjoy the view of the dome of St. Peter.

In the same building, that the director always shoots from the outside and with the same frame fixed on each apartment, lives among others a South American family, whose young son dabbles with deejay equipment.

The in-depth analysis of the above mentioned “main characters” is accompanied by interlocutory shorter episodes, including: a group of prostitutes parked on the roadside in a dilapidated camper, a couple of young “cubist” girls that gladdens the sight of customers in a kiosk bar, a gathering of devotees attending a “apparition of the Virgin” and, in the Flaminio Cemetery at Prima Porta, the operations of disposal of old corpses destined to a mass grave not too far from the ring road.
(Wikipedia)

Sacro GRA (2013).mkv

General
Container:  	Matroska
Runtime: 	1h 35mn
Size: 	2.79 GiB
Video
Codec: 	h264
Resolution: 	960x718 ~> 1276x718
Aspect ratio:  	16:9
Frame rate: 	24.000 fps
Bit rate: 	3 736 Kbps
BPP: 	0.226
Audio
#1:  	Italian 5.1ch AC-3 @ 384 Kbps

https://nitro.download/view/9500C6F6794E556/Sacro_GRA_(2013).mkv
https://nitro.download/view/C39BAB2A763EC81/Sacro_GRA_(2013).eng.srt
https://nitro.download/view/1C49E8B04D6D678/Sacro_GRA_(2013).ita.srt

Language(s):Italian
Subtitles:English, Italian

The post Gianfranco Rosi – Sacro GRA (2013) first appeared on Cinema of the World.

A documentary examining Argentina’s military dictatorship from 1976-1983, focusing on the notorious “Death Flights.” Through survivor accounts, historical records, and the 2023 recovery of an aircraft used in these operations.

Traslados.2024.1080p.AMZN.WEB-DL.DDP5.1.H.264-THR.mkv

General
Container:	Matroska
Runtime:	1h 29mn
Size:	5.95 GiB
Video
Codec:	h264
Resolution:	1920x1080
Aspect ratio:	16:9
Frame rate:	24.000 fps
Bit rate:	8 663 kb/s
Audio
Spanish 5.1ch E-AC-3 @ 640 kb/s

https://nitro.download/view/C3535DB9CC69CE7/Traslados.2024.1080p.AMZN.WEB-DL.DDP5.1.H.264-THR.mkv

Language(s):Spanish
Subtitles:English, Spanish

The post Nicolás Gil Lavedra – Traslados AKA Transfers (2024) first appeared on Cinema of the World.