Quote:
Noémie and Priscilla, two teenage girls from working class backgrounds, cultivate the same violence, the same contempt of the world. They are a source of serious concern for family and friends, who sense them capable of going to extremes. Noémie (Lhomeau) has already tried to kill herself once when with the work of German Romanic writer Kleist ringing true to her, convinces equally unhappy best friend Priscilla (Tissier) to make a suicide pact. The two of them can see no reason to go on living but the practicalities and opportunity to go through with that plan is harder than they envisage.

Jean-Paul Civeyrac - (2010) Young Girls in Black.mkv

General
Container:  	Matroska
Runtime: 	1h 26mn
Size: 	1.26 GiB
Video
Codec: 	x264
Resolution: 	716x432 ~> 1015x432
Aspect ratio:  	2.35:1
Frame rate: 	24.000 fps
Bit rate: 	1 852 Kbps
BPP: 	0.249
Audio
#1:  	5.1ch AC-3 @ 224 Kbps

https://nitro.download/view/355840D145D1E51/Jean-Paul_Civeyrac_-_(2010)_Young_Girls_in_Black.mkv

Language(s):French
Subtitles:English

The post Jean-Paul Civeyrac – Des filles en noir AKA Young Girls in Black (2010) first appeared on Cinema of the World.

Quote:
Etienne, a serious and impressionable shaggy-haired young cinephile, leaves behind his steady girlfriend in Lyon to study film in Paris. Settling into a dingy flat with a rotating cast of roommates, he immerses himself in a bohemian world of artists, intellectuals, and fellow film geeks who excitedly share their passion for Bresson, Ford, and obscure Russian directors.

It’s a seemingly idyllic life until complicated matters of the flesh, as well as jealous creativity, intrude. Shot in timeless black and white and interweaving references to philosophy, music, and cinema A PARIS EDUCATION is a bittersweet ode to the heady days of student life that evokes the films of the French New Wave.

Official Selection at the Berlin International Film Festival. Official Selection at the BFI London Film Festival.

“Brings to mind how some of the best French movies – especially those of the New Wave – are marked by both an intense love of film and the fiery passions of youth.” – Jordan Mintzer, The Hollywood Reporter

5.15GB | 2 h 16 min | 1920×1080 | mkv

https://nitro.download/view/CEE8C3BF86D0368/Mes.Provinciales.AKA.A.Paris.Education.2018.1080p.WEB-DL.AAC2.0.H.264-AVRS.mkv

Language:French
Subtitles:English

The post Jean-Paul Civeyrac – Mes Provinciales AKA A Paris Education (2018) (HD) first appeared on Cinema of the World.

Quote:
Jean-Paul Civeyrac’s latest feature, Through the Forest is composed of ten meticulously crafted shots, each running for six or seven minutes. Despite this formal rigor, the narrative has a free-flowing, dreamlike quality, taking twists and turns that may leave audiences occasionally puzzled, but also deeply absorbed.

Atmosphere and mood are emphasized over plot, but the story essentially revolves around a young woman named Armelle who is mourning the sudden death of her boyfriend Renaud. She is surrounded by her two sisters, both of whom are troubled by her seeming incapacity to move on. After hearing Armelle describe the vivid dreams she’s been having, in which Renaud materializes to make passionate love to her, the more sympathetic of the sisters suggests she visit a medium to try to communicate directly with him. While at the medium’s, Armelle is shocked to glimpse a boy named Hippolyte, who bears an uncanny resemblance to Renaud.

Although Civeyrac uses a precise chapter-like structure to delineate nine of the ten shots, his camera is by no means static. During the scene with the medium (played with cat-like intensity by Mireille Roussel), the camera nearly becomes a character unto itself, roving across the room in sweeping motions which dramatize Armelle’s emotional turmoil. Civeyrac’s background as a choreographer comes through in this scene as well as the movie’s opening shot, in which a luminous Armelle breaks into an impromptu song before Renaud, who is revealed to have been a musician.

This emphasis on music and sound continues throughout the film’s 65-minute running time. The sounds of the natural world — birds chirping, the distant rumble of thunder — mix with the movie’s eerie musical score, adding to the trancelike atmosphere Civeyrac creates. Midway through the film, these elements become especially pronounced, as the aftermath of pivotal event calls into question whether a main character is alive, dead, or somewhere in-between.

As abstract as all of this may sound, the film has a startling immediacy, especially in its handling of grief. This is chiefly due to the performance by Camille Berthomier, who plays Armelle with deep intensity and (unexpectedly) occasional flashes of humor. Struggling to cope with conflicting emotions and desperate to reconnect with Renaud, her expressive face and demeanor draw the audience deep into this hypnotic tale.

http://nitroflare.com/view/8E7DF89CF9CD715/Jean-Paul_Civeyrac_-_%282005%29_Through_the_Forest.mkv

Language(s):French
Subtitles:English

The post Jean-Paul Civeyrac – À travers la forêt AKA Through the Forest (2005) first appeared on Cinema of the World.

Quote:
On the surface, Jean-Paul Civeyrac’s Fantômes unfolds with a sense of haunted, supernatural disequilibrium that similarly infuses Kiyoshi Kurosawa’s atmospheric, tonal cinema. In the film’s opening sequence, a young acting student, Mouche (Dina Ferreira) stares out the window of an empty room and wistfully implores her absent lover, Bruno (Olivier Boreel) to return. Alone with her grief, she retreats into the silence of her intimate memories, briefly interrupted by what appears to be an anonymously placed, prank telephone call (in a premise that coincidentally evokes Kurosawa’s Pulse, made in the same year), before being brought back to the mundane reality of rehearsing text in Russian for an upcoming drama class during a subsequent telephone conversation with her professor, Andreï (Jean-Claude Montheil). However, Mouche’s desolation does not lie in the vestiges of a failed love affair, but rather, in the tragic loss of a new lover from a motorcycle accident. The image of the sad-eyed Mouche invoking the name of her dead lover is reflected in the dorsal shot of another distracted acting student, Antoine (Guillaume Verdier) as he stares out the window of a country house while rehearsing his lines, avoiding the gaze of his first love (Emilie Lelouch) before finally resolving to break up with her.Emboldened by his newfound emotional liberation, Antoine turns away from the quiet familiarity of his pastoral life and hitchhikes his way to Paris to visit his cousin Mathieu (Serge Bozon) where, on the eve of his arrival, he witnesses the curious disappearance of his traveling companion (Guillaume Junot) on the side of a hill overlooking the city – an unemployed motorist attempting to reconcile with his estranged wife with empty promises of finding a new job – after he pulls his car over to the side of the road in order to get better reception on his cell phone, and simply vanishes into the darkness.

http://nitroflare.com/view/4CB6C47384241CC/Jean-Paul_Civeyrac_-_%282001%29_Spirits.mkv

Language(s):French
Subtitles:English

The post Jean-Paul Civeyrac – Fantômes AKA Spirits (2001) first appeared on Cinema of the World.

Quote:
Raoul flits from woman to woman, searching for seemingly unattainable love, until he meets Jeanne, who is fated to live freely and tragically.

http://nitroflare.com/view/827DF5ED25600D7/Jean-Paul_Civeyrac_-_%282002%29_Men%27s_Gentle_Love.mkv

Language(s):French
Subtitles:English

The post Jean-Paul Civeyrac – Le doux amour des hommes AKA Men’s Gentle Love (2002) first appeared on Cinema of the World.

Review
“dvdtimes.co.uk” wrote:
Few of the characteristics that can be associated with Jean Paul Civyrac can be seen in his first film, a 14 minute short feature. Inevitably, considering its short length, the film is necessarily very much a character study, since there is little room to develop much in the way of a plot. Luc (Jean Descanvelle) is a young man who is determined to do things his own way and consequently conflicts with everyone he meets. He doesn’t give a damn what anyone thinks, isn’t interested in any advice they might have to give and is not interested in assistance from friends or family. He is going to do things his way, and do whatever it takes to make money, which is mainly performing sexual favours for any man who is willing to pay for it.

The film suffers a little from being compressed down into 14 minutes and the dialogue is often over-expository and over-dramatised, with little in the way of light and shade. The film moves relentlessly from one scene of conflict to another, Luc confrontationally rubbing up against strangers, friends and family alike, even making love angrily. Quite what he is so angry about and just why he needs the money he is so determined to obtain and methodically place into a tin box isn’t exactly clear. There is a suggestion that he might be wishing to escape from the drab banlieue suburban area he lives in – but this is not specified and neither does it really need to be. While the one-note tone of the film and the lack of a conventional purpose might make it seems inconsequential, it actually comes across as all the more sharp, intense and, inevitably, confrontational.

The Transfer – There are quite a few marks on an old looking print – possibly 16mm – which is presented non-anamorphically at 1.85:1. It’s also quite dark, using quite a lot of low lighting, and filmed in rather drab colours, but there are no major problems with either the print or the transfer. The audio, presented in Dolby Digital 1.0 mono, is relatively clear. Optional English subtitles are included.

https://nitro.download/view/EB885DAA8A978A1/La_Vie_Selon_Luc_(Jean-Paul_Civeyrac_1991).avi
https://nitro.download/view/A025F678DEEFD32/La_Vie_Selon_Luc_(Jean-Paul_Civeyrac_1991).srt

Language(s):French
Subtitles:English (.srt)

The post Jean-Paul Civeyrac – La Vie Selon Luc AKA Life According To Luc (1991) first appeared on Cinema of the World.

Quote:
Civeyrac moved to making films in Digital Video in 1999, with Les Solitaires, a small, almost theatrical chamber piece that was well suited to the medium, making the use of one main location and a handful of actors. The film takes place in a small Parisian apartment that Pierre (Jean-Claude Montheil) hasn’t left since the death of his wife Madeleine (Mireille Roussel). Wallowing in his solitary misery, without even a phone in the apartment, Pierre is unable to get thoughts of his wife out of his head, seeing her in his restless dreams, where he contemplates suicide in order to rejoin her.

His friend Alice (Lucia Sanchez) has feelings for Pierre and tries to help out and bring him back to normal life, but he is not very responsive or appreciative, constantly longing to be alone in the dark of his room, waiting for the next ghostly visitation of his wife. When his brother Baptiste (Philippe Garziano) arrives to stay while he attends an interview, he finds a similarly unwelcoming reception. In reality however, Philippe’s wife Eva (Margot Abascal) has left him. Although they have never been close as brothers and each have their own way of dealing with their loneliness – Pierre locking himself away, Philippe trying to pick up women – their common predicament, and the presence of Alice, brings them closer together.

Such contradictions abound in Les Solitaires, in the storyline, in the characters and in the method in which the film is made. Taking place largely in a single room, the dialogues and walk-on appearances of the characters take on a very theatrical aspect, the script very straightforward and self-explanatory – often quite literally, since Philippe’s wife Eva even has a manner of explaining her situation and feelings to herself in a mirror. The unnaturalness of the situation is of course further heightened by the ghostly presence of Pierre’s dead wife from time to time. Yet everything about the way the film is made – a straightforward dramatic piece, shot on Digital Video, often in close-up, in an almost permanently darkened room using natural light – is very naturalistic. It’s somewhere in between the levels of physicality – as when Pierre and Philippe wrestle naked together – and the unearthly presence of the dead, that the heart of the film lies, as a mediation on the very real yet intangible feelings of grief and loneliness that lie within a person (the title would seem to refer to all of the characters in the film) which cannot be reached or shared.

https://nitro.download/view/4805EBB776542E3/Jean-Paul_Civeyrac_-_(2000)_The_Lonely.mkv

Language(s):French
Subtitles:English

The post Jean-Paul Civeyrac – Les solitaires AKA The Lonely (2000) first appeared on Cinema of the World.