Synopsis:
The life of a young girl who plays with little animals and insects is suddenly changed with the arrival of a film crew and a strange man.

Los.motivos.de.Berta.AKA.Berta's.Motives.1984.576p.Repack.Bluray.AAC.x264-LAA.mkv

General
Container:	Matroska
Runtime:	2h 0mn
Size:	5.88 GiB
DXVA:	Compatible
Minimum settings:	Met
Video
Codec:	x264
Resolution:	962x576
Aspect ratio:	5:3
Frame rate:	23.976 fps
Bit rate:	6 862 kb/s
Audio
Spanish 1.0ch AAC LC @ 103 kb/s

https://nitro.download/view/3D73FC9F3DA01BB/Los.motivos.de.Berta.AKA.Berta’s.Motives.1984.576p.Repack.Bluray.AAC.x264-LAA.mkv

Language(s):Spanish
Subtitles:English

The post José Luis Guerín – Los motivos de Berta AKA Berta’s Motives (1984) first appeared on Cinema of the World.

IMDb User wrote:
This correspondence, or exchange of letters and video diaries between acclaimed filmmakers Jonas Mekas and José Luis Guerin is extremely potent, there’s sorcery at play in the mixture of the two. Together they’re light and dark. Mekas knows life’s joys, and is always a participant in what he films, Guerín is a detached observer, cold, present only as a black mote, reflected in the eye of one of his subjects. Guerín shoots in black and white and strives for formalism, Mekas loves hazard, loves his chaotic hand-held colour camera. Jonas Mekas felt that his images were inferior to those of Guerín, but a picture of his son Sebastian devouring a pickle, followed by Jonas on the deli sausage and wine, and then a cheeky close up of Goethe’s Faust; which of them Faust and which Mephistopheles? That one shot set me thinking about the nature of art and the privilege of artists, and could be interpreted in any one of several fruitful ways.

Guerín’s Camera is brutal, his viewpoint black, on death and distance. He sends Jonas a morbid video, regarding a Slovenian film writer, which is almost a provocation. One beautiful moment, filmed through a gap in his hotel room’s curtains shows a young couple frolicking in the sea, for which brief segment he allows music. It’s deliberately voyeuristic though, Guerín is distant he identifies with migrant workers he films in Venice.

The films, in an aesthetic sense presents clarity versus confusion, reality versus a dreamer’s obfuscation. There’s an extent to which what we see is a real correspondence, an extent to which they are talking past one another. Guerín intones that dialogue between filmmakers is an impossibility, over images of fish heads on ice in a market. It’s one of two visual quotes I suspected are from Pere Potabella (from Pont de Varsovia).

The difference in viewpoint I suspect ultimately is that Mekas sees beauty in the fact that life goes on, wonder in impermanence, Guerín is blanched by it.

https://nitro.download/view/0C8C49450ECBAF0/Correspondencia_1_Guerin_Mekas.part1.rar https://nitro.download/view/C0EE63087262603/Correspondencia_1_Guerin_Mekas.part2.rar

Language:English and Catalan and Spanish
Subtitles:English,Spanish,French

The post José Luis Guerín & Jonas Mekas – Correspondencia Jonas Mekas – José Luis Guerín (2011) first appeared on Cinema of the World.

Quote:
Poetic approach to the origins and mythical configuration of Lanzarote.

935MB | 25 min 22 s | 1920×1080 | mkv

https://nitro.download/view/D1FC47FD97F5972/De_una_isla_(Jose_Luis_Guerin,_2019).mkv
https://nitroflare.com/view/94E450AF5173B0E/De_una_isla_(Jose_Luis_Guerin,_2019).srt

Language:None
Subtitles:Spanish (hardcoded),English

The post José Luis Guerín – De una isla (2019) first appeared on Cinema of the World.

An unnamed young man arrives in the foreign city of Strasbourg for reasons unstated. He waits at a hotel, visits a café, sketches passersby… Eventually his motives are revealed, but it is not a traditional narrative that Guerín is after so much as the urban experience of watching, waiting, absorbing. Out of these materials Guerín builds a spellbinding film that reminds us of cinema’s powerful ability to evoke the tugs of memory, desire and the transitory. An extraordinary city film, Sylvia almost entirely eschews dialogue to instead give a symphonic voice to the city itself through a rich and fully immersive soundtrack of urban sounds, explosions of music and strange

Unas fotos en la ciudad de Sylvia - Jose-Luis Guerin (2007).mkv

General
Container:  	Matroska
Runtime: 	1 h 6 min
Size: 	1.26 GiB
Video
Codec: 	x264
Resolution: 	720x574 ~> 765x574
Aspect ratio:  	4:3
Frame rate: 	25.000 fps
Bit rate: 	2 700 kb/s
BPP: 	0.261
Audio

https://nitro.download/view/CE2147EC834A866/Unas_fotos_en_la_ciudad_de_Sylvia_-_Jose-Luis_Guerin_(2007).mkv

Language(s):Spanish titles and intertitles
Subtitles:English

The post José Luis Guerín – Unas fotos en la ciudad de Sylvia (2007) first appeared on Cinema of the World.

In 1741, a ship called the Saphir sets sail from a port in La Rochelle, France on its way to the New World. On board are thirty crewmembers and two hundred seventy-one slaves. Somewhere off the coast of Santo Domingo, a slave revolt erupts. This little-known moment in history was memorialized in an obscure 18th century painting that hangs in the Saint-Louis Cathedral in La Rochelle. Celebrated filmmaker Jose Luis Guerin peers into this painting to vividly re-tell the story, capturing, in the process, a snapshot of the political, historical, economic and social realities of the time. THE SAPPHIRE OF ST. LOUIS is a remarkable documentary that uses a little painting hidden away in a remote cathedral to open a door on a pivotal moment in history.

https://nitro.download/view/8ECE0380EA6C982/Le_Saphir_de_Saint-Louis_(Jose_Luis_Guerin,_2015).mkv

Language(s):French
Subtitles:Hardcoded English

The post José Luis Guerín – Le Saphir de Saint-Louis AKA The Sapphire of St. Louis (2015) first appeared on Cinema of the World.

After his classes, a teacher is questioned by his wife, who mistrusted the academic project is plotting her husband. The teacher’s intention is to create a “school of the Muses” inspired by the classic references, that should be used to regenerate the world through engagement with poetry. The controversial order triggered a round of scenes around the word and desire.

Quote:
Spanish director José Luis Guerín is best known in the States for his pseudo-fictional love letter to women-watching In the City of Sylvia,” begins Daniel Kasman in the Notebook, “but in fact is a prolific documentary filmmaker and has brought with him to Locarno the lovely and elegant pseudo-documentary L’Accademia delle Muse [The Academy of Muses]. Playful and clever as ever, Guerín has collaborated with Professor Raffaele Pinto and several actresses, perhaps students, to stage a false course in philology. The class, populated almost entirely by women, discusses the nature, influence and meaning of muses in poetry, and what starts as seemingly a documentary on this classroom, its teacher and a few select students, subtly evolves into a drama of words and unseen actions

http://nitroflare.com/view/36F085C57A794CD/La_academia_de_las_musas_%282015%29.mkv

Language(s):Spanish, Catalan, Italian
Subtitles:Hardcoded English

The post José Luis Guerín – La academia de las musas AKA The Academy of Muses (2015) first appeared on Cinema of the World.

Quote:
Ostensibly framed as a restoration of a degraded found film recovered some 70 years after the sudden and unexplained death of its creator, a Parisian attorney and amateur filmmaker named Gérard Fleury at a lake in the village of Le Thuit in Normandy, Tren de sombras (Train of Shadows) is a dense, sensual, and richly textured exposition of José Luis Guerín’s recurring preoccupations: the nature and subjectivity of the image-gaze, the permeable borders between truth and fiction, the role of architecture (and landscape) as palimpsest of hidden histories. By placing the discovery of Fleury’s last shot footage of his home and family within the context of the ambiguity surrounding the circumstances of his death after a seemingly innocuous scouting trip early one morning to find suitable lighting conditions to incorporate into his home movie, the found film becomes both a curious artifact of the early days of cinema in its informally staged performances that suggest the whimsical, created illusions of Georges Méliès (in a performance of dancing ties and magic tricks), and also a non-fiction, historical record that can be deconstructed, reconstituted, and re-analyzed to glean further information into the real-life mystery.

The dual nature of film is similarly suggested in the multilayered transitional shot between Fleury’s footage from 1930 and modern day Le Thuit – the image of a caretaker sweeping leaves at a sidewalk corner overlooking a cemetery as schoolchildren cross at the intersection, a folding billboard advertising a cinémathèque program featuring pioneering filmmakers propped against a lamppost on the edge of the frame – visually repeating interchangeable themes of decay (fallen leaves, graveyard, film nitrate) and renewal (children, film revival, the act of sweeping). Interweaving depopulated, still-life compositions that alternately show ethereal images (casted shadows, lake mist, clouds, rays of light poking through occlusions, reflections on mirrors and windows) and physical objects (landscape, architecture, framed photographs, clocks, period furniture, camera equipment), Guerín further expounds on the idea of film as a medium of materiality and immateriality, where filmmaking itself becomes an act of creation (in capturing images that do not physically exist), destruction (in the chemical degradation of the medium), and transformation (in the projection of material into light). Moreover, by introducing sequences that overtly demonstrate the image manipulation of Fleury’s unfinished film (with the apparent motive of finding hidden clues to the mysterious death) – splicing damaged footage, matching cuts that illustrate parallel gestures and expressions, freeze frames and zooms that provide detailed observation – Guerín not only reflects on filmmaking as a godlike process of suspension and reanimation, but also on the inherent responsibilities (and limitations) that it enables in creating permutations of the story, where truth is arbitrarily defined by editing, and the idea of closure to a story is negated by the competing idea that the same film can be rewound, reconfigured, and re-edited into a plurality of equally valid, alternate endings. It is this open-endedness that is reflected in the film’s long take, closing shot of a dead-end street intersection in Fleury (a recurring aesthetic that also surfaces in Guerín’s En Construcción and In the City of Sylvia), where people momentarily pass into and out of frame – each passerby representing another open story, each passage, a corridor leading to new, alternate angles of perspective and (re)discovery.

http://nitroflare.com/view/2FF731284351E9C/Jose_Luis_Guerin_-_%281997%29_Train_of_Shadows.mkv

Language(s):Spanish, French
Subtitles:Spanish, English, Russian

The post José Luis Guerín – Tren de sombras AKA Train of Shadows (1997) first appeared on Cinema of the World.