Quote:
An old empty mansion. The ghost of a man who lived there returns to recall the crucial moments of a lifetime. Faced with the proximity of death, the experiences of his past come to the memory of Juan. In a fragmented, sometimes confused way, Juan relives crucial moments of his life and his family, from 1915 to 1966, almost always linked to the names of several women. Memories that remind him of having missed numerous opportunities to be happy.

Morir...dormir...tal.vez.soñar...1976.1080p.FO.WEB-DL.AAC2.0.H.264-CREATiVE.mkv

General
Container:  	Matroska
Runtime: 	1 h 33 min
Size: 	3.83 GiB
Video
Codec: 	h264
Resolution: 	1920x1080 
Aspect ratio:  	16:9
Frame rate: 	25.000 fps
Bit rate: 	5 769 kb/s
BPP: 	0.111
Audio
#1:  	Spanish 2.0ch AAC @ 96.0 kb/s

https://nitro.download/view/DF975697A697657/Morir…dormir…tal.vez.sonar…1976.1080p.FO.WEB-DL.AAC2.0.H.264-CREATiVE.mkv
https://nitro.download/view/2CDE2CB96FF0904/Morir…dormir…tal.vez.sonar…1976.1080p.FO.WEB-DL.AAC2.0.H.264-CREATiVE_-_ENG.srt
https://nitro.download/view/411C3C8B4E7BEA8/Morir…dormir…tal.vez.sonar…1976.1080p.FO.WEB-DL.AAC2.0.H.264-CREATiVE_-_SPA.srt

Language(s):Spanish
Subtitles:English, Spanish

The post Manuel Mur Oti – Morir… dormir… tal vez soñar AKA To Die… to Sleep… Perchance to Dream (1976) first appeared on Cinema of the World.

A former singer lives alone with her fortune – and with her nephew, Fernando, a low character to whom she refuses to lend more money. Elisa leaves prison and starts a new life as a personal attendant to the aging singer, using her knowledge as a former nurse – a profession she can not return to. Fernando meets Elisa, and together they plan to poison the lonely woman, and use her money abroad. They plan their alibis well. But those who kill by the sword will perish by the sword.

Manuel Mur Oti - A Hierro Muere [1962].mkv

General
Container:  	Matroska
Runtime: 	1 h 39 min
Size: 	2.15 GiB
Video
Codec: 	AVC
Resolution: 	1920x1040 
Aspect ratio:  	1.85:1
Frame rate: 	25.000 fps
Bit rate: 	2 900 kb/s
BPP: 	0.058
Audio
#1:  	Spanish 2.0ch AC-3 @ 192 kb/s

https://nitro.download/view/D2E25308C9F8C2B/Manuel_Mur_Oti_-_A_Hierro_Muere__1962_.mkv
https://nitro.download/view/BA2DDD257B07F5E/Manuel_Mur_Oti_-_A_Hierro_Muere__1962_.srt

Language(s):Spanish
Subtitles:English

Thanks to @xrt for this copy and subtitles

The post Manuel Mur Oti – A hierro muere AKA Kill and Be Killed (1962) first appeared on Cinema of the World.

A woman who works as employee in a fashion store has to care for her ill mother. At the same time she falls in love with a bohemian man.

4.98GB | 1h 33m | 1440×1080 | mkv

https://nitro.download/view/7D285B0D76DB769/Cielo_negro__1951__.1080p.WEB-DL.DDP2.0.H264.mkv

Language(s):Spanish
Subtitles:English

The post Manuel Mur Oti – Cielo negro AKA Black Sky (1951) (HD) first appeared on Cinema of the World.

Quote:
Emilia, a modest employee of a fashion house, is in love and does not hesitate to steal your business suit to accompany her boyfriend to the festival. But everything goes wrong, discovered the theft, is fired from her job and that’s not the worst.

Mur Oti was born in Vigo in 1908, the son of a prison warden who struck lucky in the spirits business and moved the family to Cuba when Manuel was 13. There the young Mur Oti developed strong relationships with his mother and two sisters, and learned to work the land as a cowboy. The former would come to influence his powerful, fully rounded women characters throughout his filmography; the latter fed into his depiction of the extremity of the Castilian climate in Orgullo – essentially a Spanish western.

Mur Oti started making films in 1949, almost by chance, after being hugely successful at a series of other careers, including novelist, poet, scriptwriter, playwright, lawyer and even perfumer. By the time he returned to Spain in 1930, he was a well-known and highly respected figure. But what he should be remembered for are the 17 features he wrote, directed and produced (he ran his own production company) until 1976 – one of the most ambitious, striking and thematically consistent bodies of work in the history of Spanish cinema.

Lauded as El Genio (the genius), Mur Oti was popular with critics and public alike, and Orgullo was invited to the Venice Film Festival in 1955. But it’s precisely this success that’s led to the obscuring of his achievements in the years since Franco’s death in 1975. As film scholar Alberto Mira has explained, after Franco whole genres were ignored in Spain because they had been produced within the state-sponsored commercial cinema preferred by the dictator (who was famously referred to as a cinephile by Orson Welles).

A closer look at many of these commercial genre films, however, can occasionally reveal a veiled critique of the status quo. (Mur Oti, after all, fought with the Republicans and was sent to concentration camps in both France and Spain, only to be saved by his father, who worked in the local prison.) Of course, the highly stylised Orgullo resonates with echoes of the Spanish Civil War, chiming with Franco’s vision of the war as crusade. But it is also firmly grounded in the historical reality of a tragedy that often tore whole families apart; most importantly, it exposes the absurdity of ancient disputes, the backwardness of provincialism and the devastating consequences of isolation.

The role of women is pivotal in Mur Oti’s filmography, and although Laura is inescapably linked with the land (and hence with fertility), she’s also a determined leader, very far from complying with Franco’s ideal of submissive, domestic womanhood. Most tellingly, she works the land with her own hands (something her male counterpart is never shown doing) – an action that also eliminates class boundaries. In fact the images of the land and workers, and the emphasis on collective effort, are more reminiscent of Russian filmmaking and communist propaganda than of the staunch feudalism of the Franco regime.

But Mur Oti’s work was doomed to fall into oblivion all the same. The transition to democracy in Spain fostered an implacable desire to break with everything that smacked of the old regime and its moral values. After 1976 he never directed again; his films simply did not fit with the post-Franco zeitgeist. The new mood stigmatised anything made under the Franco banner, particularly in the cultural realm. Even Carlos Saura and Luis García Berlanga were sniffed at by the younger generation for dealing with elements of Spanish life that Franco had fetishised, such as flamenco and folklore. But in the case of Manuel Mur Oti – arguably as great as either of those directors – the baby was most definitely thrown out with the bathwater.

http://nitroflare.com/view/C260CFE2F5EC47D/Manuel_Mur_Oti_-_%281951%29_Black_Sky.mkv

Language(s):Spanish
Subtitles:English

The post Manuel Mur Oti – Cielo negro AKA Black Sky (1951) first appeared on Cinema of the World.

In a tenement, men and women fight in the same trench of a gray battle. Their dreams, their passions, their problems and hopes are the same for hundreds of millions of people who are struggling to make their way to happiness.

698MB | 01:39:13 | 482×312 | avi

https://nitro.download/view/E8EE7CC0261784D/Manuel_Mur_Oti_-_El_batallon_de_las_sombras_(1956).avi

Language(s):Spanish
Subtitles:None

The post Manuel Mur Oti – El batallón de las sombras (1957) first appeared on Cinema of the World.