It is both a spoof and a loving recreation of Soviet silent film. It is also an inventive movie in its own right. It is so full of images, one rapidly following the other in montage style, that it feels like it has the imagery and storytelling of a much longer movie.

The.Heart.Of.The.World.2000.1080p.BluRay.DTS.5.1.x264-trand.mkv

General
Container:	Matroska
Runtime:	6mn 19s
Size:	679 MiB
DXVA:	Compatible
Minimum settings:	Met
Video
Codec:	x264
Resolution:	1920x1036
Aspect ratio:	1.85:1
Frame rate:	24.000 fps
Bit rate:	13.5 Mb/s
Audio
English 5.1ch DTS @ 1 509 kb/s

https://nitro.download/view/6D43596E278BA24/The.Heart.Of.The.World.2000.1080p.BluRay.DTS.5.1.x264-trand.mkv

Language(s):English intertitles
Subtitles:None

The post Guy Maddin – The Heart of the World (2000) first appeared on Cinema of the World.

Set during a smallpox epidemic in the village of Gimli, Manitoba near the turn of the century, TALES FROM THE GIMLI HOSPITAL (1988) is a dreamlike, elliptical film which explores the jealousy and madness instilled in two men who share a hospital room “in a Gimli we no longer know.” Zeitgeist Films and Films We Like in Canada present a brand new 4K remastering of TALES FROM THE GIMLI HOSPITAL REDUX by Guy Maddin, which had its world premiere at the 2022 Toronto International Film Festival (TIFF). The new 4K digital remaster was supervised by Guy Maddin using original printing elements provided by the TIFF Cinematheque Library and includes the replacement of a long-lost scene. Maddin’s highly acclaimed first feature, released in 1988, is now regarded as one of the true cult hits on the midnight movie circuit.

Tales.from.the.Gimli.Hospital.Redux.1988.BDRIP.4K.576p.x264.AC3.KJNU.mkv

General
Container:  	Matroska
Runtime: 	1 h 4 min
Size: 	1.53 GiB
Video
Codec: 	x264
Resolution: 	768x576 
Aspect ratio:  	4:3
Frame rate: 	24.000 fps
Bit rate: 	3 000 kb/s
BPP: 	0.283
Audio
#1:  	English 2.0ch AC-3 @ 224 kb/s (Main Audio)
#2:  	English 1.0ch AC-3 @ 192 kb/s (Commentary with Guy Maddin)

https://nitro.download/view/AC9FF5143540A29/Tales.from.the.Gimli.Hospital.Redux.1988.BDRIP.4K.576p.x264.AC3.KJNU.mkv

Language(s):English
Subtitles:English SDH

The post Guy Maddin – Tales from the Gimli Hospital Redux (1988) first appeared on Cinema of the World.

A short film in honor of Federico Fellini’s centenary.

316MB | 9m 22s | 1920×1080 | mkv

https://nitroflare.com/view/0F7CBD3F33E9854/The.Rabbit.Hunters.2020.1080p.WEB-DL.AAC.2.0.x264-traVis.mkv

Language:English
Subtitles:English

The post Evan Johnson & Galen Johnson & Guy Maddin – The Rabbit Hunters (2020) first appeared on Cinema of the World.

Quote:
This stirring, anarchic behind-the-scenes look at Paul Gross’ Hyena Road uses everything from psychedelia to instructional videos to question both the validity of war movies and Canada’s mission in Afghanistan.

Quote:
Wherein Guy Maddin, Evan Johnson, and Galen Johnson give Paul Gross’ wannabe populist war epic Hyena Road a right and proper cuadecuc-ing. Who would have thought Pere Portabella’s legendary experiment shot on the set of Jess Franco’s Count Dracula (1970) would inspire not one, but two films at this year’s TIFF—well, three, if you include Ben Rivers’ short A Distant Episode alongside his feature The Sky Trembles and the Earth Is Afraid and the Two Eyes Are Not Brothers (which, likewise, is also inspired in part by Sam Peckinpah: a worm’s tail indeed!). Along with being fucking hilarious, Bring Me the Head of Tim Horton (a.k.a. Gross and Grosser) is a bona fide exploration into the depiction of violence in the cinema (video or emulsion, doesn’t matter), doing for the war film what Portabella did for the vampire movie. Does this make Stephen Harper a present-day Francisco Franco? You make the call.

Shot on the margins of the Jordanian shoot of Gross’ big-budget production, this mash-up is pitched as a kind of literal director’s monochromatic fever dream behind the scenes, as Canadians in uniform go about playing real soldiers, stalking their prey video-game-like. Why Maddin is wearing all black in the middle of the desert, lying on the ground supposedly playing a Taliban extra, is one of the many questions the film/installation only partially answers. Other pertinent queries include: Who or what is speaking the pseudo-intellectual gibberish that includes such memorable phrases as “the abandoned chesterfield of ontology?” Why did Paul Gross agree to this in the first place, and how the hell did Maddin and the Johnsons get away with it? Will this ever be shown again in public?

1.33GB | 31 min 9 s | 1280×720 | mkv

https://nitro.download/view/AD2DFB5AB36DCAF/Bring.Me.the.Head.of.Tim.Horton.2015.720p.mkv

Language(s):English
Subtitles:None

The post Evan Johnson & Galen Johnson & Guy Maddin – Bring Me the Head of Tim Horton (2015) first appeared on Cinema of the World.

Quote:

By turns voluptuous, whimsical and exceedingly strange, Guy Maddin’s film “Dracula: Pages From a Virgin’s Diary” suggests that silent movies and ballet may have always been natural dancing partners. At least they seem that way when folded into each other by a quirky visionary like Mr. Maddin, the Canadian experimental filmmaker whose work has acquired a fervent cult following.

His silent, black-and-white “Dracula,” which opens today at Film Forum, was made for CBC television and is a collaboration between Mr. Maddin and the Royal Winnipeg Ballet, which unveiled its evening-length adaptation of Bram Stoker’s 1897 novel on the stage five years ago. For all its oddities, the movie is surprisingly faithful to the 1897 novel, which infused a modern ashen-faced archetype of night-crawling depravity into popular culture around the same time Freud published his groundbreaking studies of hysteria.

By turns voluptuous, whimsical and exceedingly strange, Guy Maddin’s film “Dracula: Pages From a Virgin’s Diary” suggests that silent movies and ballet may have always been natural dancing partners. At least they seem that way when folded into each other by a quirky visionary like Mr. Maddin, the Canadian experimental filmmaker whose work has acquired a fervent cult following.

His silent, black-and-white “Dracula,” which opens today at Film Forum, was made for CBC television and is a collaboration between Mr. Maddin and the Royal Winnipeg Ballet, which unveiled its evening-length adaptation of Bram Stoker’s 1897 novel on the stage five years ago. For all its oddities, the movie is surprisingly faithful to the 1897 novel, which infused a modern ashen-faced archetype of night-crawling depravity into popular culture around the same time Freud published his groundbreaking studies of hysteria.

Mr. Maddin, whose mostly silent films recreate the flickering, melodramatic ambience of early movies, is a cinematic aesthete whose montages evoke a primitive moviegoing experience with a winking postmodern knowingness. In “Dracula” he and his longtime associate director and editor, deco dawson, have re-invented the dance film in a homemade style that alludes to F. W. Murnau’s “Nosferatu” while looking back but nodding to the present.

“Dracula” isn’t altogether silent or entirely black and white. Sound effects and painted-on dashes of color have been applied. Blood (which is plentiful) is red and money green, and the story’s jagged mood swings are accented by the film’s tint, which changes from sepia to blue to orange to lavender.

Subtitles and intertitles are sparingly but tellingly used to keep the story on track and to announce its themes. The use of dreamy close-ups, slow motion, pantomime and silhouette, and copious amounts of fog that makes the dancers appear to be rising up from a roiling gorge enhance the movie’s sometimes campy Gothic ambience.

For all its eccentricities and technical quirks, “Dracula” is a compelling expressionistic work. Its dancer-actors, especially Zhang Wei-Qiang’s Dracula, Tara Birtwhistle’s Lucy, CindyMarie Small’s Nina, and the Dr. Van Helsing of David Moroni, C. M., emote in the grand nostril-flaring tradition of silent melodrama. Their leering grimaces of the unhinged, fantasy-besotted characters are as memorable as Mark Godden’s elegantly sexy choreography.

The director has accentuated the ballet’s racial and erotic subtexts with a fun house audacity. At the beginning of the film, the image of blood seeping from East to West across a crudely drawn map of Europe sets up the portrayal of Count Dracula as a mysterious Eastern Other spreading contamination into the West. As Mr. Zhang’s suave, swashbuckling count seduces and poisons his victims, you think of Attila the Hun as a Valentino-like voluptuary luring them to surrender to the intoxicating rhythm of the tango in his hard, unsmiling eyes. Radiating an avid sexual intensity that carries a whiff of sadism, Mr. Zhang is as charismatic a Dracula as has ever been shown on the screen.

Once the count infects Lucy (the movie’s titles make such a fetish of the transfusion of fluids from men into women that the contamination is portrayed as racial, sexual and medical all at once), she succumbs to a lingering malaise that suggests a fatal case of tuberculosis. As in other recent interpretations of “Dracula,” the image of contaminated blood also has overtones of AIDS. But more than a plague metaphor, this “Dracula” implies a demonic sexual hysteria imported into repressed Victorian England from outside.

Although a transfusion of clean blood briefly restores Lucy’s vigor, the count immediately returns and re-infects her. Once she has died and been resurrected as one of the undead, she is a grinning maniac writhing in spasms of blood lust: liberated but cursed. Van Helsing, the pious vampire hunter who leads the charge against Dracula, is a fiery-eyed Puritan whose excessive zeal reeks of prurience. Lucy’s suitors who join his posse, are pious, cross-bearing goody-goods, wielding flashlights, bent on a holy crusade resembling a late-19th-century lynch mob.

The story is divided into two parts. In the first, Dracula seduces Lucy, in the second he pursues her best friend, Nina, and is ultimately tracked down and ends up impaled on a stake. His final pose is sensual and heroic. This Dracula may be dangerous, he is also a martyr in an antisexual, xenophobic witch hunt. – Stephen Holden, NY Times, May 14, 2003

1.19GB | 1 h 14 min | 720×405 | mkv

http://nitroflare.com/view/80E701FB188CF66/Guy_Maddin_-_%282002%29_Dracula_Pages_from_a_Virgin%27s_Diary.part1.rar
http://nitroflare.com/view/AD0931FC17AA943/Guy_Maddin_-_%282002%29_Dracula_Pages_from_a_Virgin%27s_Diary.part2.rar

Language(s):English
Subtitles:None

The post Guy Maddin – Dracula: Pages from a Virgin’s Diary (2002) first appeared on Cinema of the World.

Quote:
There’s a blood vessel that pumps between the selves we drive through the day and the incubus we nourish, a creative self (perhaps cocreated by a love), relatively unconstrained, who we promise ourselves we will birth some day. The most sublime art is what we imagine that young, more unfettered mind imagines. Its why we live, a large part of it, I think. This is the domain Maddin has decided to explore. Its a sort of Joycean commitment, a raw commitment to dreams less shaped than usual by borrowed items and fed by distilled urges in blood. Small surprise that these don’t fully resonate; its supposed to be strange, strange in disturbing ways. I like the fact that this goes on too long. It has to go on long enough to plainly state that you are not a tourist, instead you’ve unknowingly entered something you can never really leave. In its general shape, it is “The Tempest” meets the “Sarrogossa Manuscript” visually flavored by Max Parrish. It has dreams within dreams and as they shift different controlling or dreaming minds move to the foreground, even a statue (us). There are sexual enchantments, shifting from honesty and deceit, knowing and manipulated. There’s a Prospero and a Miranda, a Bloom/hunter who dreamhunts.

1.52GB | 1h 32mn | 718×538 | mkv

https://nitro.download/view/A8BF1815E2A65CF/Guy_Maddin_-_(1997)_Twilight_of_the_Ice_Nymphs.mkv

Language(s):English
Subtitles:None

The post Guy Maddin – Twilight of the Ice Nymphs (1997) first appeared on Cinema of the World.

A surrealistic film in which a strangely assorted group of people come together in the Russian Arctic at the height of the revolution and World War One.

“At once perplexing and joyous, Maddin has crafted a film that, for all the confusion inherent in the tale, unfolds on its own unique terms.” [Austin Chronicle]

1.38GB | 1h 23mn | 708×531 | mkv

http://nitroflare.com/view/A28565AEF3B60F0/Guy_Maddin_-_%281990%29_Archangel.part1.rar
http://nitroflare.com/view/E49C851BFD9002F/Guy_Maddin_-_%281990%29_Archangel.part2.rar

Language(s):English
Subtitles:None

The post Guy Maddin – Archangel (1990) first appeared on Cinema of the World.