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We all know that the white-bread cookie-cutter suburban lifestyle has its own dirty secrets, but when his camera explores the limits of this seemingly serene and ubiquitous American lifestyle, Larry Clark gives us a horrifying yet touching glimpse of what happens behind finely paved driveways and cute lawns.

The film itself portrays so many “unshowable” taboos—a threesome between three adolescents, a teen who masturbates on camera while asphyxiating himself, a tough-love alcoholic father attempting to give his son a blowjob—that you are tempted to delegate the film to nothing more than a provocation film. Yet, frighteningly, Larry Clark is able to pull off filming these morally antagonizing subjects with so much perception, light, and even humanity that he leaves the viewer stunned—stuck between laughter and disgust, horror and compassion, not knowing what we should feel or what we are.

His camera is like a loving scalpel carving away the facades of middle-class monotony to reveal the dark secrets smoldering beneath the surface. With x-ray vision, his camera pierces into some of the more marginal families of Visilia, California to reveal, if we are willing to admit it, that the situations portrayed in the film are not so much unrealistic as hyper-realistic. Reality is taken only one tiny step further than most people would take it, and Larry Clark films the movie as if unconscious desire, unknowing love, adolescent rage could be caught on film. And perhaps that is what is most provocative about the film.

It would be overly simplistic to criticize or laud the film for showing ejaculation, or a tryst between a teenage boy and his girlfriend’s mom, and in fact it would seem foolish to criticize or celebrate the film for showing these things at all. This is Larry Clark’s style, and in fact, the right question to ask would be more “Why don’t they show these things in other films?” Especially when it is specifically the portrayal of these “hard” images that gives the film its tenderness.

When we see Shawn (James Bullard) first go over to his girlfriend’s house, his first words are “Can I eat you out?”, but as the scenes unfold, we are slowly revealed the complexity of the relationship, how much in fact the mother needs Shawn in order to feel comfortable in her aging body, and how much Shawn needs her to feel comfortable with his own sexual explorations—to know that he’s good in bed, that he has a big dick. And these concerns, and worries of all the various characters are all too-real. Have we hidden away these fears of getting old and sexual nervousness and illegitimate desires so deep that we can no longer admit they exist? Larry Clark reminds us, that not only do they exist, but they manifest themselves under roofs of people we live with and next to.

The culmination of the film, which ends in a tender threesome, also reminds us of something vitally human, that our escapes into the bodies of others are some of our most complete moments; or at least naďve searches for this serenity. When you watch the threesome unfold, as graphic as it may be, it never comes off as uncaring, crass or derivative as a porno, and we understand that for these Kids, their sole escape, genuine and complete, and in fact the only thing they have control over in their lives in those brief moments when their parents are out working or drinking, is their bodies and who they fuck.

It is a shame that Ken Park, which shows Americans in all their inglorious un-airbrushed reality will not be seen because of the perceived immorality of it all. It’s also too bad that a film such as this will be rejected by mass audiences for its perhaps dark, but intensely human regard about the particular plight of American youth. But what is most unfortunate, is that the qualities of this film will fall through the cracks of the controversy that it stirs, and it will be remembered as a conversation piece about censorship, rather than a mature and honest film about our damaged, dislocated society and the indelible imprint it leaves on its youth.

1.55GB | 1h 32m | 1024×576 | avi

https://nitro.download/view/962B1BB78A8F2DE/Larry_Clark_-_(2002)_Ken_Park.mkv

Language:English
Subtitles:None

The post Larry Clark & Edward Lachman – Ken Park (2002) first appeared on Cinema of the World.

Kids is a 1995 American independent teen drama film written by Harmony Korine and directed by Larry Clark.[2] It stars Chloë Sevigny, Leo Fitzpatrick, Justin Pierce, Rosario Dawson, and Jon Abrahams, all in their film debuts. Kids is centered on a day in the life of a group of sexually active teenagers in New York City and their hedonistic behavior towards sex and substance abuse (alcohol and other street drugs) during the height of the AIDS epidemic in the mid-1990s. The film generated a massive controversy upon its release in 1995, and caused much public debate over its artistic merit, even receiving an NC-17 rating from the MPAA. It was later released without a rating.

2.15GB | 1h 31min | 1024×552 | mkv

https://nitroflare.com/view/D438AED3C885380/Kids_(1995)_-_Bluray_576p.mkv
or
https://nitroflare.com/view/E6A4121171408D8/Kids_(1995)_-_Bluray_576p.part1.rar
https://nitroflare.com/view/CDDC4D6564097E6/Kids_(1995)_-_Bluray_576p.part2.rar
https://nitroflare.com/view/4871F0982C6FDD3/Kids_(1995)_-_Bluray_576p.part3.rar

Language:English
Subtitles:English

The post Larry Clark – Kids (1995) first appeared on Cinema of the World.

A family living in Marfa, Texas attempts to pull themselves back together after a horrific tragedy. The provocative sequel to Larry Clark’s film Marfa Girl shows us a group of people ready to escape their current realities – no matter the cost. Gritty, unrelenting, and powerful, auteur Clark once again delivers a bleak landscape of sex, drugs, and boredom amongst the residents of a dead-end Texas border town.

2.59GB | 1h 14mn | 1920×812 | mkv

https://nitro.download/view/6F56D6BA4DA3F81/Marfa.Girl.2.2018.1080p.WEB-DL.H264.AC3-EVO.mkv

Language(s):English
Subtitles:None

The post Larry Clark – Marfa Girl 2 (2018) first appeared on Cinema of the World.

Quote:
Photographer and filmmaker Larry Clark offers another look at the inner workings of urban youth culture in this comedy drama. Jonathan (Jonathan Velasquez) is a teenaged El Salvadorian refugee living in a primarily Mexican-American and African-American neighborhood in South Central Los Angeles. Jonathan and a handful of fellow Salvadorian émigrés who are his best friends stand out like sore thumbs on the block, due less to their national origin than because they’ve rejected the hip-hop music and fashion around them in favor of old-school punk, as favored by the Ramones and latter-day Latino bands such as Suicidal Tendencies. Jonathan and his pals Kiko (Francisco Pedrasa), Eddie (Eddie Velasquez), Porky (Usvaldo Panameno), and Spermball (Milton Velasquez) have a group of their own, and Jonathan, a sweet but streetwise kid who has a way with the girls, is the lead singer. Like all good punk rockers, Jonathan and his bandmates are seriously into skateboarding, and one day they hop several busses and make a pilgrimage to a legendary skate spot in Beverly Hills. If the kids felt like outsiders in South Central, they soon discover they’re unwelcome outcasts in the moneyed L.A. suburbs; before long they’re on the run from cops as well as Anglo skaters, and even Jonathan’s chance assignation with a neighborhood sexpot leads to no small share of drama. Wassup Rockers received its world premiere at the 2005 Toronto Film Festival.

Wassup.Rockers.2005.DVDRip.x264-PTP.mkv

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https://nitro.download/view/5F5BD5E02ECB90C/Wassup.Rockers.2005.DVDRip.x264-PTP.mkv

Language(s):English
Subtitles:None

The post Larry Clark – Wassup Rockers (2005) first appeared on Cinema of the World.

Math, JP, Pacman and Marie belong to the same crew of skate kids in Paris. Every day they meet up at The Dome – behind the Museum of Modern Art, opposite the Eiffel Tower – skateboarding, goofing off or getting stoned as they ignore the smart crowd of art lovers. Math and JP are inseparable, bound by complicated family ties. Boredom, the lure of easy money and the anonymity of the Internet all play a part in tearing their world apart.

http://nitroflare.com/view/C90323EDE9CD2EB/The.Smell.Of.Us.2014.1080p.en.mkv

Language(s):French, English, Japanese
Subtitles:English

The post Larry Clark – The Smell of Us (2014) (HD) first appeared on Cinema of the World.

Quote:
The dirty old man hanging out with all those oversexed Paris teenagers in “The Smell of Us” is none other than the voyeuristic pic’s director, Larry Clark. Usually, he’s the one behind the camera, but in what amounts to a French “Kids,” Clark can be seen passed out in the opening scene, spilled across the steps of the Palais de Tokyo as skaters swarm around him. Nearly 20 years have passed since Clark’s debut stunned the world — and 30 more since the first photos in his provocative “Tulsa” book were taken – yet his focus remains, as the song says, forever young.

Somehow, the fact that these are French kids makes the film seem less likely to shock the world, even though the kinks are far more explicit here than anything but “Ken Park” — not that Clark is any stranger to the NC-17 rating, the relevance of which he handily undercuts, simply by reminding that in the Internet era, minors can see (and do) far worse online.

But French youth have a reputation for sexual precocity, and virginity seems a distant memory for the cluster of young hellions at the center of “The Smell of Us”: relatively posh middle-class teens with nicknames like Pacman and Babyface who have unwittingly bought into a consumer culture that sells faux rebellion as a form of creative individual expression (via skate brands like Supreme). Posers in search of personality, these teens are the target market, and yet, for the time being, they also possess a commodity more valuable than money: their youth.

Whereas adults were all but absent from the world of “Kids,” here they interface with the underage characters in all sorts of scandalous ways, from the creepy bearded guy who goes around sniffing their armpits at a rave party to the pervy old foot fetishist who squeals, “Fuck my nose with your toes!” These scenes, plus a handful of others hung up on the bodily aromas of teenage boys, explain the film’s unfortunate title. (While unsolicited, a better one might have been “Comme des garcons.”)

Now in his 70s, Clark partnered with French poet Scribe to ensure the authenticity of his portrait — something he also achieves by intercutting digital footage shot on in-scene devices — though it lacks the structure of his stronger Harmony Korine-written collaborations. Four of the lead characters work as escorts to raise cash, allowing one of their friends to tag along and film their escapades. This young voyeur could be a stand-in for Clark, who started out 50 years ago snapping candid portraits of his junkie friends. While still a bit weird, in the era of sexting and selfies, it’s not hard to accept a kid with an iPhone documenting his peers as they screw, skate and smoke.

An outsider among outsiders, Clark plays the brain-fried and incontinent Rockstar, keeping his own screen time to a minimum (just a whisker more than Michael Pitt, who appears briefly as a grungy street musician). Rockstar is just one more admirer of the pic’s sad protag, an angelic hustler named Math, misleadingly innocent-looking with his delicate features and Raphaelite locks. This key role falls to Lukas Ionesco, the son of boundary-testing director Eva Ionesco (whose photog mom, Irina, posed her provocatively as a young girl), which may explain how easily he manages to set aside his inhibitions for Clark’s camera.

Boys and girls, young and old, everyone wants a piece of Math. (Clark even films himself getting a matching skull tattoo.) One of the big differences between the coy homoeroticism of the director’s earlier work and “The Smell of Us” is the fact that most of the sexual activity here is gay. Nearly all the teens’ clients are older men, and even though Math only has sex for cash, his best friend, JP (Hugo Behar-Thinieres), makes no secret about his romantic feelings. “We’re in 2013, all the boys are fags,” jokes their frustrated pal Marie (Diane Rouxel), who can’t find anyone to accept her sexual favors, despite being the only girl in the group.

For half a century, Clark has been documenting the transgressive behavior of teens, with a special emphasis on scabby-kneed skater boys and the punk chicks who hang around them. Half the soundtrack seems as old as the characters, but then again, by this point, skating is a hand-me-down hobby (it’s almost more common to see guys Gus Van Sant’s or Spike Jonze’s age doddering on boards these days).

Unlike past generations, these kids don’t have anything to rebel against. They don’t really even need the money they make from escorting (Math certainly doesn’t), which is where auds’ moral outrage might set in. Of course, some will claim that Clark is exploiting his subjects (this project had a notoriously rocky production, alienating some of the original cast, covered in detail by the French press), though the pic is far from pornographic. Instead of trying to excite, the helmer chronicles a kind of sickening numbness. This is something new in Clark’s body of work — which, thanks to this project’s ripe olfactory focus, can now boast its own body odor.

http://nitroflare.com/view/3E77CDB6FFC90B1/Larry_Clark_-_%282014%29_The_Smell_of_Us.mkv

Language(s):French, English, Japanese
Subtitles:none

The post Larry Clark – The Smell of Us (2014) first appeared on Cinema of the World.

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Marfa exists at a particular cultural nexus with a constant clash between the art community (inspired to come to Marfa by the American sculptor, Donald Judd), the white community and the Mexican American community. On top of that theres a smothering Border Patrol presence despite the fact the Mexican border is 68 miles away. There is an 11pm curfew for teenagers and they still have corporal punishment in the schools. They paddle kids in school from kindergarten through high school.

Navigating all of this and more is Adam, a half-white half-Hispanic teenager thats just trying to figure shit out. His mother, Mary, loves him but is mostly consumed with tending to her collection of birds. His neighbor, Donna, a 23 year old mother to a year old son and girlfriend to a jailed drug dealer, is determined to seduce Adam on his 16th birthday despite his loving relationship to his age-appropriate girlfriend, Inez. To further complicate things for Adam, a nameless promiscuous young woman, sweeps into town as an artist-in-residence at a local art foundation and sets out to give Adam a full sex education.

Tom, a border patrol agent with a lot of emotional baggage, is fixated on Adams mother and Adams girlfriend and Adam too. He longs for the family that he doesnt have.

https://nitro.download/view/07A59894DA69BC2/Marfa.Girl.2012.480p.WEBRIP.AVC.mkv

Language(s):English
Subtitles:None

The post Larry Clark – Marfa Girl (2012) first appeared on Cinema of the World.