In the mid-19th century a mute woman is sent to New Zealand along with her young daughter and prized piano for an arranged marriage to a farmer, but is soon lusted after by a farm worker.

The.Piano.1993.1080p.BluRay.DD.5.1.x264-c0kE.mkv

General
Container:  	Matroska
Runtime: 	2 h 0 min
Size: 	17.9 GiB
Video
Codec: 	x264
Resolution: 	1920x1038 
Aspect ratio:  	1.85:1
Frame rate: 	23.976 fps
Bit rate: 	19.9 Mb/s
BPP: 	0.417
Audio
#1:  	English 5.1ch AC-3 @ 640 kb/s (Surround 5.1 / Studio Canal)
#2:  	English 2.0ch FLAC @ 583 kb/s (Original Dolby Stereo)
#3:  	English 2.0ch AAC LC SBR @ 93.1 kb/s (Commentary by director Jane Campion and producer Jan Chapman)

https://nitro.download/view/6BA78B8BA47DAE5/The.Piano.1993.1080p.BluRay.DD.5.1.x264-c0kE.mkv

Language(s):English, British Sign Language, Maori
Subtitles:English, Danish, Dutch, Finnish, Norwegian Bokmal, Swedish, Vietnamese

The post Jane Campion – The Piano (1993) (HD) first appeared on Cinema of the World.

In this wildly inventive film from director Jane Campion (THE PIANO), Kate Winslet stars as Ruth, a headstrong Australian woman determined to get back to India in time to join a group marriage to her guru. Her family, hoping to break the cult leader’s psychic grip on Ruth, hires P.J. (Harvey Keitel), a macho American deprogramming expert teetering on the brink of a nervous breakdown. A no-holds-barred battle of the psyches, cultures, and sexes ensues as P.J. and Ruth fight, connive, and eventually fall into bed together in what becomes a mutual search for individual truth. The strong performances of the two stars, a hilariously offbeat script (cowritten by Campion and her sister, Anna), and a wealth of delicious, texture-enhancing flourishes (including some surreal bits of computer animation, Pam Grier’s work in a small role as P.J.’s partner, and a wild opening sequence set to Neil Diamond’s “Holly Holy”) combine to make HOLY SMOKE! a weird, winning blend of goofy comedy and hallucinatory mysticism.

+Commentary by writer Anna Campion and actress Kate Winslet

2.25GB | 1h 49m | 716×548 | mkv

https://nitro.download/view/8F3F47401F8EAB7/Holy.Smoke.1999.DVDRip.x264-O2STK.mkv
or
https://fikper.com/Xkm8UdPuY1/Holy.Smoke.1999.DVDRip.x264-O2STK.mkv

Language:English
Subtitles:English

The post Jane Campion – Holy Smoke (1999) first appeared on Cinema of the World.

Jane Campion directs this notable adaptation of the Henry James novel, The Portrait of a Lady of 1881.
Independent woman Isabel Archer (Nicole Kidman) refuses two suitors, Lord Warburton (Richard E. Grant) and Caspar Goodwood (Viggo Mortensen), when they propose marriage. Instead she travels to Florence, where family friend Madame Merle introduces her to Gilbert Osmond (John Malkovich) and his daughter Pansy. Soon Isabel finds herself falling for the mysterious Osmond. They are engaged to be married within three months, but much unhappiness lies ahead.

2.31GB | 2h 24m | 1024×432 | mkv

https://nitro.download/view/82F31E7233B4628/The_Portrait_of_a_Lady_(1996).mkv

Language:English,Italian
Subtitles:English,Francais,Italiano,Espanol,Portugues,Nederlands (VobSub format)

The post Jane Campion – The Portrait of a Lady (1996) first appeared on Cinema of the World.

Review (Geraldine Bloustien, ‘Jane Campion: memory, motif and music’. Continuum)
Passionless Moments, although possibly one of Campion’s most whimsical pieces, has all
the hallmarks of her later films. It is concerned with the insignificant, unsolicited
moments of daydreaming when one is caught almost unawares. The film consists of ten
self-contained vignettes of the sudden thoughts of ten very different individuals.
Classical Hollywood cinema concerns itself with the heightened moments of passion of
individuals with whom we identify in some way because of their bravery, humour, innocence,
heroic qualities and so on. In traditional feature films and documentaries we are usually
introduced to the characters’ backgrounds, motives and problems. However, in Passionless
Moments the characters serve only to illustrate some quirky aspect of human nature and
relationships.

The film is narrated by a detached BBC documentary-styled male voice-over – the voice of
authority – which tells the viewers about each one minute segment of the film as though it
were a highly significant study of life. The technique actually serves a similar function
to the diagram and subheading in Peel. We laugh because we recognise the way we too can
be totally self-absorbed in a sudden idea or thought which for that moment assumes great
significance for us. There is, for example, the child Lindsay Albridge who, on his way
home from an errand, imagines his parcel of beans to be really a bomb that will explode in
twenty seconds if he doesn’t get it home on time. Although each of the characters is
referred to by name, all we learn of him is this one banal moment (out of undoubtedly
many) in his life and which for him at that moment makes him stop his current activity,
assuming great significance for that short span of time. Although we are shown ten very
different individuals it is the similarity of the day-dreaming that we are asked to
consider – as we were with the extreme close-ups of the faces at the end of Peel.

The humour, the way the moments are exaggerated, are underscored by the visual treatment.
A fish-eye lens is used to distort distances as in “Ibrahim makes sense of it”; Ibrahim
contemplates the strangeness of his perception – the fact that from one side of his body
he can see the word ‘Sex’ and from the other side he can see the word ‘Thing’, the words
being on the ends of a single-line aphorism on a painting behind him. As he ponders, the
fan in the room rotates on its axis in the extreme foreground, occupying almost the whole
space of the frame. The movement of the fan repeats the rotating movement that Ibrahim
used at the beginning of the sequence as he practised his yoga. Now he is a still shadowy
figure in the background of the frame. It is as though the animate Ibrahim has become
immobile while the inanimate object, the fan, whirs with apparent life and force – a
humorous visual connection for the viewer between ‘sex’ and ‘thing’.

In several places in Passionless Moments Campion makes use of cut-away shots of fantasy
as in the sudden vision of a room full of scattered denim jeans in “Clear Up Sleepy Jeans”,
in Julie Fry’s vision of a board room where executives ponder the dimensions of paper to
fit on the back of tissue boxes, Angela’s recollection of Rufus (her uncle’s pet pig) and
Ed Tarbrey’s memories of his school football team. In all these segments the fantasy
sequence heightens the humour and our sense of the ridiculous. Animation, which will be
used again to great effect in Campion’s later film Two Friends, is employed here in “There
Are No Woodpeckers in Australia”. The non-diegetic electronic music that was used to
emphasise the sense of wonder and insight in Peel in this film serves to highlight the
gentle satire: Gavin Metcalf who is attempting ‘to put his life in order’ by listening to
the sound of his own ear-drum sees the floating particles of lint and remembers that his
mother said these were fairies.

137MB | 11m 55s | 640×480 | avi

https://nitro.download/view/FA7FEA4DB48DE0F/Passionless_Moments_(1983).avi

Language:English
Subtitles:None

The post Jane Campion – Passionless Moments (1983) first appeared on Cinema of the World.

Synopsis
Here is the story of a curly-haired little redhead who grew up to be one of New Zealand’s best authors, after enduring ordeals that would have put most people into a madhouse. The irony is that she was already in the madhouse, misdiagnosed as a schizophrenic, and subjected to more than 200 electroshock treatments even though there was nothing really wrong with her except for shyness and depression.

Janet Frame is today the author of some 20 novels, books of poetry, plays and autobiographies. The first two books were actually written and published while she was in a mental hospital, and it is possible to wonder if the act of writing them saved her life – giving her a place to order her thoughts in the middle of chaos.

Jane Campion’s “An Angel at My Table” tells her story in a way that I found strangely engrossing from beginning to end. This is not a hyped-up biopic or a soap opera, but simply the record of a life as lived, beginning in childhood with a talented, dreamy girl whose working-class parents loved her, and continuing to follow her as she was gradually shunted by society into a place that almost killed her. Janet is played in the film by three different actresses (from girlhood through her 20s into her 30s, they are Kerry Fox, Alexia Keogh and Karen Fergusson), who have uncanny physical and personality similarities, and so we get a real sense of a life as it unfolds, as things go wrong and a strong spirit struggles to prevail.
— Excerpted from Roger Ebert’s review

4.47GB | 2 h 38 min | 1024×576 | mkv

https://nitro.download/view/54D6013A78CB9FD/An.Angel.At.My.Table.1990.576p.BluRay.x264-HANDJOB.mkv

Language:English+commentary
Subtitles:None

The post Jane Campion – An Angel at My Table (1990) first appeared on Cinema of the World.

Quote:
London 1818: a secret love affair begins between 23 year-old English poet, John Keats (Ben Whishaw), and the girl next door, Fanny Brawne (Abbie Cornish), an out-spoken student of high fashion. This unlikely pair begin at odds, he thinking her a stylish minx, while she was unimpressed not only by his poetry but also by literature in general.

However, when Fanny heard that Keats was nursing his seriously ill younger brother, her efforts to help touched Keats and when she asked him to teach her about poetry he agreed. The poetry soon became a romantic remedy that worked not only to sort their differences, but also to fuel an impassioned love affair.

2.97GB | 1 h 58 min | 1024×552 | mkv

https://nitroflare.com/view/2D1F1290217CDB9/Bright.Star.2009.BluRay.576p.x264.part1.rar
https://nitroflare.com/view/011A40875CA2E4D/Bright.Star.2009.BluRay.576p.x264.part2.rar
https://nitroflare.com/view/1D437FABA779FF1/Bright.Star.2009.BluRay.576p.x264.part3.rar

Language(s):English
Subtitles:English, French

The post Jane Campion – Bright Star (2009) first appeared on Cinema of the World.

Review (Geraldine Bloustien, ‘Jane Campion: memory, motif and music’. Continuum)
Peel explores the dynamics of family relationships and the way patterns of power can be
learnt and repeated. It also says a great deal about our need for daydreams and fantasies.
The film opens with a juxtaposed, almost cacophonous mixture of sounds and visual images –
the noise of the radio being switched from station to station, the flash of cars on the
roadway, the white lines on the road and the thump of what we discover is an orange
being thrown against the front windscreen of the car, like a ball. In contrast to this
nerve-jangling montage, the graphics after the large and forceful title – PEEL – present
us with a diagram connecting the words ‘sister’, ‘brother’ and ‘son’ in a triangle and
we are informed, again through the written text, that the film explores ‘an exercise in
discipline’ and that this is a ‘real story’ of ‘a real family’. In other words, it would
seem at first sight that we are being asked to regard this film as a scientific study, a
documentary exploring anthropological patterns of kinship, perhaps. However, the
contrast between the opening montage of subjective images with the more formal graphics
already alerts us to the tension in the car and that all may not be as it seems.

The framing echoes the tension: the child’s body in the earlier car shots is crammed into
the frame so that it forms a triangular shape; the characters are usually positioned
off-centre, emphasising the emotional distance between the family members. When more
than one character appears in the frame at the same time the screen is divided by the use
of a door or window frame or the placing of one character in the extreme foreground and
the other in the background. Thus the film is not an ‘exercise in discipline’ but a study of
the way the individual members of the family react to having their own needs and desires
thwarted by the others. The battle over the peel is basically a battle to have one’s own
needs recognised by the others and a need to gain power and control in a situation where
one feels powerless.

The film turns a neat circle as the father and son are reconciled when finally the son
retrieves the orange peel. The two return united to the car only to find that the sister
has now decided to drop some orange peel as her expression of defiance. The child has
learnt his lesson well it seems and tells his aunt to “pick it up!” She, however, refuses
to be bullied even though she knows that the further delay will mean that she will miss
the whole of Countdown. The film ends with a number of extreme close-ups of the faces
of all three family members and as each face is superimposed on the other we are led
inevitably to consider the similar implacability of the three. The non-diegetic electronic
music played at that point underscores the connection and the insight – that all three are
making a play for power, the two adults probably more childishly than the child! The film
leaves us with a distanced shot as we see the car and its inhabitants as a passing car
would view them – the father rocking the rear bumper bar and the boy jumping on the roof
of the car; the final sound is a similar thump of frustration to that heard at the very
beginning.

https://nitro.download/view/E72200A8BB0E10A/An_Exercise_in_Discipline_-_Peel_(1982).avi

Language(s):English
Subtitles:N/A

The post Jane Campion – An Exercise in Discipline – Peel (1982) first appeared on Cinema of the World.