Quote:
Acclaimed French filmmaker Olivier Assayas follows up on the international success of Fin Août, Début Septembre and Irma Vep with this sweeping adaptation of the sprawling three-volume tome by Jacques Chardonne. Set in three chapters spanning from the beginning of the 1900s to after WWI, the first section takes place in the fictional village of Barbazac, located in the Cognac region. Protestant pastor Jean Barnery (Charles Berling) learns of his wife Nathalie’s (Isabelle Huppert) infidelity from the village grapevine and sends his daughter away. At the same time, 20-year-old Pauline (Emmanuelle Beart) returns to the village after the death of her father. Pauline and Jean are almost immediately attracted to each other when they first meet at a ball. Soon Jean installs Nathalie and their daughter in an apartment, files for divorce, and resigns as minister. The second chapter opens with Pauline visiting Jean, who is bedridden in a Parisian hotel from tuberculosis. Upon his recovery, they marry and live for a spell in Switzerland, until Jean’s family entreat him to return to Limoges and take over the floundering family porcelain business. The final chapter opens with bombs of WWI: Jean is sent to the front, while Pauline works as a nurse. When the war finally draws to a close, Jean struggles to keep the business afloat. He raises the ire of his workers and stockholders alike by freezing wages and slashing dividends, but his fastidious attention to detail soon makes his company the finest producer of porcelain in Europe. Yet as the economic climate of the continent slowly worsens, so does his business — and his health. This film was first screened at the 2000 Cannes Film Festival. — Jonathan Crow

This languid, sprawling period drama represents a change of pace from director Olivier Assayas’ usual, ultra-contemporary subject matter, but retains the auteur’s emphasis on long-suffering romance presented in a uniquely modern, resolutely unsentimental style. For much of its first hour, Destinees shunts from character to character before finding its momentum with the central relationship between priggish heir Jean (Charles Berling) and his luminous new bride, Pauline (Emmanuelle Béart). While the passion quotient is understandably low, Béart manages to suggest a reserve of hope and understanding; frustrated by her husband at every turn, she remains true to him, even as Assayas’ interpretation slyly insinuates that Jean is not worth her time. In this respect, Assayas’ strengths as a “woman’s director” work against Destinees’ complex rise-and-fall-of-the-family-business subplot, which never engages on an emotional level. Much like Jean himself, the film seems to peter out in its last third, but throughout, Assayas seems determined to keep the material relevant, incorporating raw bursts of emotion and even some cinéma vérité stylization into what is by and large a sumptuous costume drama. — Michael Hastings

Olivier Assayas - (2000) Sentimental Destinies.mkv

General
Container:  	Matroska
Runtime: 	2 h 52 min
Size: 	1.70 GiB
Video
Codec: 	x264
Resolution: 	704x376 ~> 827x376
Aspect ratio:  	2.2:1
Frame rate: 	24.000 fps
Bit rate: 	1 214 kb/s
BPP: 	0.191
Audio
#1:  	French 2.0ch AC-3 @ 192 kb/s

https://nitro.download/view/5A9D02BA8930AF4/Olivier_Assayas_-_(2000)_Sentimental_Destinies.mkv

Language(s):French
Subtitles:English

The post Olivier Assayas – Les destinées sentimentales AKA Sentimental Destinies (2000) first appeared on Cinema of the World.

Quote:
Olivier Assayas is about as protean as today’s great filmmakers come, but the last thing I expected from the mad genius behind the globe-trotting, gorgeously kinetic Boarding Gate is a Chekhovian chamber drama whose mantra could be essentially reduced to: posterity cares. If Boarding Gate convincingly documented a 21st century where human beings can be bought, sold, and shipped from New York to Paris to Hong Kong like shares on the NASDAQ, Summer Hours is the sobering requiem for the safety of objects, for the shape and weight of everything we leave behind when we give in to perpetual flux. Together the two films offer a deeply affecting inquiry into the meaning (and market necessity) of attachment in an age of unfettered globalization.

In Summer Hours, a group of adult siblings inherit a French country estate and their great uncle’s collection of 19th-century art when their mother dies, and weigh their pragmatic interests against a family legacy. Adrienne (Juliette Binoche) lives in New York, can rarely visit, and would rather sell the heirloom. Jeremie (Jérémie Renier) is preparing a move to China to help manufacture Puma shoes with cheap labor, and could definitely use another financial boost. It’s left to Frederic (Charles Berling) to be the standard bearer. He’s a university professor pushing an awkward dictum that “the economy is the opposite of a science”; perhaps as a result, he sees the peculiar aesthetic value in the pieces of a broken Degas plaster his mother kept in a plastic bag.

In stark contrast to the hyperbolic monsters of Arnaud Desplechin’s chaotic reunion epic A Christmas Tale, the family members here treat each other with a credible civility. When the skeletons are eventually unearthed, the siblings are inquisitive but hardly get worked up. It’s a testament to Assayas’s empathy that he is able to build the entirety of his drama in the distance between his principals’ forgivable self-interest and their quiet kindness. Yes, on one level Jeremie is getting ready to turn a profit from sweatshop labor, but he’s also seeking a safety net for his children, so that they too can one day puzzle over their inheritance. Adrienne seems egocentric and frazzled, but Binoche’s gestures suggest that she’d rather serve as her art’s purveyor than as its guardian.

In his thrilling Irma Vep, Assayas depicted an artist maddeningly fraying all human bonds in the hot pursuit of an epiphany. The world of Summer Hours is a couple generations removed from the madness of creation; it offers the idea that any “finished product”—artistic or otherwise—is subject to decay, or at least a perpetual adaptation. The broken Degas plaster may have lost its market value, but it might also serve as a vivid reminder of the time the siblings ran a bit too quickly down the hallway. As such, the drunken teenage house party that closes Summer Hours, seemingly pitched as a didactic lament for the future, eventually about-faces into something rare and beautiful and surprising. The past may be decomposing, but the kids are all right.

Olivier Assayas - (2008) Summer Hours.mkv

General
Container:  	Matroska
Runtime: 	1h 43mn
Size: 	2.16 GiB
Video
Codec: 	x264
Resolution: 	1024x560 
Aspect ratio:  	1.85:1
Frame rate: 	23.976 fps
Bit rate: 	2 746 Kbps
BPP: 	0.200
Audio
#1:  	French 5.1ch AC-3 @ 256 Kbps

https://nitro.download/view/BCC01AD60767F39/Olivier_Assayas_-_(2008)_Summer_Hours.mkv

Language(s):French, English
Subtitles:English

The post Olivier Assayas – L’heure d’été AKA Summer Hours (2008) first appeared on Cinema of the World.

One of the most striking and critically acclaimed French films of the 1990s, Irma Vep offers a witty and insightful comment on film-making in that decade. The film demonstrates not just the precarious nature of an industry which is constantly constrained by time and money, and its susceptibility to personal whims and prejudices, but also provides an eye-opening résumé of the whole film making process. The film was directed by Olivier Assayas, a one-time critic who has since gained a reputation as one of France’s most promising filmmakers.

The naturalistic dialogue and fluid camerawork create the impression of a fly-on-the-wall documentary and at some points it is hard to believe the film was scripted at all. What makes the film entertaining is its raw dark comedy, which is often used to the point of self-mockery – for example, the sequence where Maggie Cheung argues the case for French cinema when her French-speaking colleagues and journalists are doing their utmost to rubbish it. At first glance, Cheung would appear to be a bizarre choice to take the lead in this low-budget French film, but it is the fact that she is so evidently out of place which makes the film work as well as it does. Like the audience watching the film, she is the outsider intruding on a closeted world of artistic sensibilities and petty behind-the-scenes squabbles.

One thing which the film conveys well is the conflict between the notion of an artistic concept, held in the mind of the director, and the practicalities of everyday life which prevent it from being realised. The failure of the faded director Vidal (played to the point of tragic poignancy by a magnificent Jean-Pierre Léaud) stems mainly from the cynicism of the people he has to work with rather than any fault in his artistic processes. This is made evident in the stunning last few minutes of the film, when the rushes of Vidal’s aborted film flash before our eyes in a maelstrom of artistic brilliance.

Irma.Vep.1996.BluRay.1080p.x264.AC3-KG.mkv

General
Container:  	Matroska
Runtime: 	1 h 38 min
Size: 	12.6 GiB
Video
Codec: 	x264
Resolution: 	1792x1080 
Aspect ratio:  	5:3
Frame rate: 	23.976 fps
Bit rate: 	17.1 Mb/s
BPP: 	0.368
Audio
#1:  	French 2.0ch AC-3 @ 448 kb/s (French Stereo)
#2:  	English 2.0ch AC-3 @ 320 kb/s (English (commentary))

https://nitro.download/view/B85571954B51F78/Irma.Vep.1996.BluRay.1080p.x264.AC3-KG.mkv

Language(s):French, English
Subtitles:English (PGS for French)

The post Olivier Assayas – Irma Vep (1996) (HD) first appeared on Cinema of the World.

Synopsis
Set in the Parisian publishing world, an editor and an author find themselves in over their heads, as they cope with a middle-age crisis, the changing industry and their wives.

Doubles.vies.AKA.Non-Fiction.2018.1080p.AMZN.WEB-DL.DD+5.1.H.264-Cinefeel.mkv

General
Container:  	Matroska
Runtime: 	1 h 47 min
Size: 	7.67 GiB
Video
Codec: 	h264
Resolution: 	1920x1040 
Aspect ratio:  	1.85:1
Frame rate: 	24.000 fps
Bit rate: 	10 000 kb/s
BPP: 	0.209
Audio
#1:  	French 5.1ch E-AC-3 @ 640 kb/s

https://nitro.download/view/8F7C8943737F206/Doubles.vies.AKA.Non-Fiction.2018.1080p.AMZN.WEB-DL.DD+5.1.H.264-Cinefeel.mkv
https://nitro.download/view/5238E68D73722F3/Doubles.vies.AKA.Non-Fiction.2018.1080p.AMZN.WEB-DL.DD+5.1.H.264-Cinefeel.srt

Language(s):French
Subtitles:English

The post Olivier Assayas – Doubles vies AKA Non-Fiction (2018) (HD) first appeared on Cinema of the World.

About two novelists, one returning from Japan with an adventure story she has not completed, the other in Japan, at work typing his next novel.

Laissé inachevé à Tokyo (Olivier Assayas, 1982).mkv

General
Container:  	Matroska
Runtime: 	20 min 11 s
Size: 	3.66 GiB
Video
Codec: 	h264
Resolution: 	1920x1080 
Aspect ratio:  	16:9
Frame rate: 	29.970 fps
Bit rate: 	25.8 Mb/s
BPP: 	0.415
Audio
#1:  	French 2.0ch AAC LC @ 186 kb/s

https://nitro.download/view/BBB524D869A63F8/Laisse_inacheve_a_Tokyo_(Olivier_Assayas,_1982).mkv

Language(s):French
Subtitles:English Hardcoded

The post Olivier Assayas – Laissé inachevé à Tokyo (1982) first appeared on Cinema of the World.

Quote:
Abstract documentary account of the 2005 Festival Art Rock in Saint-Brieuc, France, featuring performances by Sonic Youth, Metric and others.

Performances by:
MIRROR/DASH (kim gordon – thurston moore)
JEANNE BALIBAR/RODOLPHE BURGER
METRIC
TEXT OF LIGHT (lee ranaldo – steve shelley)
AFEL BOCOUM
MARIE MODIANO
ALLA
WHITE TAHINA (joanna preiss – vincent epplay)
PASCAL RAMBERT
JIM O’ROURKE

2.27GB | 1h 54m | 771×434 | mkv

https://nitro.download/view/6EF446CB4A60530/Noise.2006.DVDRip.x264-pirata00.mkv

Language(s):French, English, Sonrai(?)
Subtitles:None

The post Olivier Assayas – Noise (2006) first appeared on Cinema of the World.

Quote:
In the months after the heady weeks of May ’68, a group of young Europeans search for a way to continue the revolution believed to be just beginning.

3.61GB | 2h 01m | 1024×552 | mkv

https://nitro.download/view/F2938A4C4917EB7/Olivier_Assayas_-_(2012)_Something_in_the_Air.mkv

Language(s):French
Subtitles:English

The post Olivier Assayas – Après mai AKA Something in the Air (2012) first appeared on Cinema of the World.