Set during the Japanese Occupation of the Philippines between 1942 and 1944. Rosario (Nora Aunor), a young schoolteacher, is engaged to be married to Crispin (Bembol Roco). Crispin leaves Rosario to fight the Japanese as a guerilla, and in his absence a Japanese-Filipino officer named Masugi (Christopher de Leon) rapes her. Masugi later returns to Rosario apologizing for his act, bearing gifts of canned food and rice which Rosario at first refuses. Matters are complicated when Rosario’s father Mang Andoy (Mario Escudero) is arrested by the Japanese and Rosario reveals to Masugi that she is pregnant. Rosario must make a choice: accept Masugi’s proposal to make her his wife (saving her father and ensuring a safe and stable life for her child), or reject him and with him the baby they have conceived together.

Three.Godless.Years.1976.720p Mario O'Hara.mkv

General
Container:  	Matroska
Runtime: 	2 h 6 min
Size: 	3.65 GiB
Video
Codec: 	h264
Resolution: 	984x720 
Aspect ratio:  	4:3
Frame rate: 	23.976 fps
Bit rate: 	4 042 kb/s
BPP: 	0.238
Audio
#1:  	Tagalog 2.0ch AAC @ 88.0 kb/s

https://nitro.download/view/01FFFD0F9DA262C/Three.Godless.Years.1976.720p_Mario_O’Hara.mkv

Language(s):Filipino, Tagalog
Subtitles:English

Thanks to @xrt for this rip.

The post Mario O’Hara – Tatlong taong walang Diyos AKA Three Godless Years (1976) first appeared on Cinema of the World.

In a poor village by the Manila Bay breakwater, brothers Buboy and Basilio come to the city to escape from the violence at home. They meet a prostitute named Pakita and become close with her when Basilio treats her wounds. All they want is to lead normal lives, but the town’s leader Dave has knavish interruptions that await them.

Babae.sa.Breakwater.2003.DVDrip.x264.AVC-Pedotriba.mkv

General
Container:  	Matroska
Runtime: 	2h 7mn
Size: 	1.66 GiB
Video
Codec: 	x264
Resolution: 	704x478 ~> 704x528
Aspect ratio:  	4:3
Frame rate: 	23.976 fps
Bit rate: 	1 634 Kbps
BPP: 	0.202
Audio
#1:  	Tagalog 2.0ch AC-3 @ 192 Kbps (Stereo)

https://nitro.download/view/B5F8E3C5D1B668C/Babae.sa.Breakwater.2003.DVDrip.x264.AVC-Pedotriba.mkv

Language(s):Filipino, Tagalog
Subtitles:English

The post Mario O’Hara – Babae sa Breakwater AKA Woman of Breakwater (2003) first appeared on Cinema of the World.

Quote:
The situation is ordinary enough: a woman (Nora Aunor) falls in love with a man (Dennis Roldan). To say that she “loves” him, however, is an oversimplication, because he is a retardate. What she feels is a mixture of pity, sympathy, maternal love, and -of course sexual love for him. On the other hand, though a mere child as far as his brain is concerned, he is physically grown-up, as portrayed in a clever drunken scene where he mimics raping the mistress of a neighbor. There’s no doubt about it: Mario O’Hara is a major director. In Bakit Bughaw ang Langit?, he tackles the same basic situation Lino Brocka deals with in Bona. In the comparison Brocka suffers. Where Bona fails, Bakit Bughaw ang Langit? succeeds.
– Isagani Cruz, Movie Times

1.16GB | 1h 42m | 720×540 | mkv

https://nitro.download/view/0E518F1FE6D6F31/Bakit.Bughaw.Ang.Langit.1981.540p.WEB-DL.AAC2.0.H.264-RSG.mkv https://nitro.download/view/9AF2684F0B0D74C/Bakit.Bughaw.Ang.Langit.1981.540p.WEB-DL.AAC2.0.H.264-RSG.en.srt

Language(s):Tagalog
Subtitles:English

The post Mario O’Hara – Bakit Bughaw ang Langit? AKA Why is the Sky Blue? (1981) first appeared on Cinema of the World.

Quote:
Bulaklak sa City Jail–1984 Metro Manila Film Festival’s grand slam winner–is a tale of female empowerment in a patriarchal society, an exercise in observation of its female characters struggling to survive in the cruel society and a revelation of the many injustices, gendered or not, that Filipinos encounter in their lifetime.

2.75GB | 1h 44m | 1920×1080 | mkv

https://nitro.download/view/77CB56ABC93642D/Bulaklak.Sa.City.Jail.1984.1080p.RESTORED.HC.WEB-DL.AAC2.0.x264.mkv

Language(s):Tagalog
Subtitles:English hardcoded

The post Mario O’Hara – Bulaklak sa City Jail AKA Flowers of the City Jail (1984) first appeared on Cinema of the World.

Tony Rayns, Time Out Film Guide wrote:
One-time Lino Brocka protégé O’Hara is not shy of traditional melodrama, still the lifeblood of most Filipino cinema, but Demons fits no established genre template. Part social history, part ghost horror story, part romance, part quasi-Marxist parable, it has no obvious antecedent except parts of Night of the Hunter. Set on Negros Island, the action spans nearly 20 years in the lives of Nena (De Leon), daughter of a fish-farmer, and Jose (Alano), the son of casual labourers. As they move through puberty and try to bridge the class gap, the island is riven by terrorist actions and military reprisals (echoing assassinations and political turmoil in faraway Manila), giving new meaning to the local mythology of jungle demons. O’Hara balances the narrative between drama and elegy, between occasionally shocking images and the poetry of Amado Hernandez and Florentino Collantes. Often wonderful.

587MB | 1h 34mn | 640×480 | mkv

https://nitroflare.com/view/0427C73513AC1BF/Demons_(2000).mkv
https://nitroflare.com/view/0CAE0AE474C1F2B/Demons_(2000).srt

Language(s):Filipino, Tagalog
Subtitles:English

The post Mario O’Hara – Pangarap ng puso AKA Demons (Censored version) (2000) first appeared on Cinema of the World.

Quote:
What makes Tatlong Taong Walang Diyos (Three Years without God), about the Japanese Occupation of the Philippines during World War II, such a great film? O’Hara’s style is thrillingly simple: each scene begins and ends like any other scene in a well-shaped drama. But there’s a quiet undercurrent that builds, sequence upon sequence, with the smoothness and power of a rising tsunami, until it pulls your feet out from under you, breaking high over your head, overwhelming you.

I can cite similar examples: Hemingway’s simple, sinewy prose, which (as he once described it) was like keeping an alcohol flame as low as possible, until it explodes. Or Jean Renoir’s films, which Tatlong Taong most resembles (if it resembles any film at all). Renoir and O’Hara (in Tatlong Taong at least) share several virtues. An unassuming yet undeniably cinematic visual style (O’Hara’s shots are so good, yet serve the story so well, you might want to watch the film three times just to find out why they are good). An unerring sense for understated drama–you find yourself perched at the edge of your seat wanting to learn what happens next. And an amazing–Godlike, yet intimate–empathy for the people in their films.

That empathy is, I think, the source of Tatlong Taong’s greatness. Sympathy for wartime Japanese has always been in short supply, with the words “comfort women” and “wartime atrocities” being rattled about in Asian newspapers like so many closeted skeletons. The Chinese have no love for World War II Japanese; you just have to watch films like Farewell To My Concubine, or Red Sorghum (with its horrific flaying scene) to appreciate how little they are loved. Even the Americans have done their share of Japan-bashing, with films like Rising Sun and Black Rain.

There have been exceptions, mainly in American movies: Bridge On the River Kwai, Sayonara, the awful Come See the Paradise. There’s even one Thai film that featured a sympathetic Japanese soldier.

But Thailand and America were never conquered by Japan; they never tasted the pleasures of Japanese Occupation firsthand. Tatlong Taong Walang Diyos is unique in Philippine cinema–in all the world–as being the only film, made in a country once occupied by the Japanese, that treats those same wartime Japanese as human beings.

Not that the Japanese soldiers in Tatlong Taong are sweetened versions of the real thing: they are shown as killers and rapists, capable of performing all kinds of brutal acts. But they are also shown to be capable of regretting their acts; they are shown to be deserving of our sympathy–even of our love.

As an act of understanding, almost of forgiveness, this is totally unheard of. It could easily be seen as a mistake, a foolish gesture made out of weakness by one small, Asian nation to another, far more powerful one.

I don’t think so.

I could go on and on, talking about technique and story and historical context; I could talk about Vincente Bonus’ contribution to the production design (he was responsible for every accurate detail about wartime Philippines), or Conrado Baltazar’s glorious color photography, or Ms. Minda Azarcon’s lovely chorale music. But Filipino filmmaker Tikoy Aguiluz (Boatman, Rizal Sa Dapitan (Rizal in Dapitan), Segurista (Dead Sure)) sums it all up nicely with a simple formula: he measures a film’s greatness by the impact it had on him personally. By that standard, I think Tatlong Taong Walang Diyos is the greatest Filipino film ever made.

https://nitro.download/view/F2350D9902AFCAF/TATLONG_TAONG_WALANG_DIYOS_(1976)__PINOY__DVDRiP_XviD_NoSubs__Tagalog__WingTip.avi
http://nitroflare.com/view/63AB6AC922F583D/Three_Godless_Years_%28_Mario_O_%27Hara%2C_1976%29.srt

Language(s):Tagalog, Japanese, Filipino
Subtitles:English

The post Mario O’Hara – Tatlong taong walang Diyos aka Three Godless Years (1976) first appeared on Cinema of the World.