Tells the story of Lorenz Hart’s struggles with alcoholism and mental health as he tries to save face during the opening of “Oklahoma!”.

Blue.Moon.2025.1080p.AMZN.WEB-DL.DDP5.1.H.264-FLUX.mkv

General
Container:  	Matroska
Runtime: 	1 h 40 min
Size: 	5.50 GiB
Video
Codec: 	h264
Resolution: 	1920x800 
Aspect ratio:  	2.40:1
Frame rate: 	23.976 fps
Bit rate: 	7 188 kb/s
BPP: 	0.195
Audio
#1:  	English (US) 5.1ch E-AC-3 @ 640 kb/s

https://nitro.download/view/1EE30C6FA279FBB/Blue.Moon.2025.1080p.AMZN.WEB-DL.DDP5.1.H.264-FLUX.mkv

Language(s):English, Hebrew
Subtitles:English, Spanish, French, Dutch, Finnish, Polish, Portuguese, Swedish

The post Richard Linklater – Blue Moon (2025) first appeared on Cinema of the World.

Paris, 1959. A young Jean-Luc Godard is determined to make his debut film. Battling conventions, budgetary chaos and sceptical producers, he and his collaborators launch a quiet revolution in cinema, capturing the raw energy of the era.

NOUVELLE.VAGUE.2025.1080p.NF.WEB-DL.DDP5.1.H264-HHWEB.mkv

General
Container:  	Matroska
Runtime: 	1 h 46 min
Size: 	4.32 GiB
Video
Codec: 	x264
Resolution: 	1440x1080 
Aspect ratio:  	4:3
Frame rate: 	24.000 fps
Bit rate: 	5 193 kb/s
BPP: 	0.139
Audio
#1:  	French 5.1ch E-AC-3 @ 640 kb/s (Français [Dolby Digital Plus 5.1])

https://nitro.download/view/770585EC733C96D/NOUVELLE.VAGUE.2025.1080p.NF.WEB-DL.DDP5.1.H264-HHWEB.mkv

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

The post Richard Linklater – Nouvelle Vague AKA New Wave (2025) first appeared on Cinema of the World.

Quote:
“Slacker” is a movie with an appeal almost impossible to describe, although the method of the director, Richard Linklater, is as clear as day. He wants to show us a certain strata of campus life at the present time — a group of people he calls “slackers,” although anyone who has ever lived in a campus town will also recognize them under such older names as beatniks, hippies, bohemians, longhairs, peaceniks, weirdos or the Union Regulars (for surely every campus with a student union also has a seemingly permanent body of current and former students who hang around all day drinking free coffee refills and wondering whether life as they know it exists outside the union).

Linklater wants to watch these people and listen to them, but he does not much want to get involved in their lives, or follow them through the mechanics of a plot. So he has borrowed an excellent technique from the surrealists and pushed it to its logical conclusion. Surrealist directors such as Luis Bunuel, in moves like “The Phantom of Liberty,” would follow one story for a scene or so, and then — when the characters bumped into another group of people — spin off and follow them for awhile, and so on until the end of the movie.

Linklater does the same thing at a speeded-up pace that allows him to carom through the slacker community of Austin, Texas, like a cue ball with a camera. Example: Early in the film, a taxi driver picks up a fare (Linklater), who hangs over the back seat and expounds at length on his theory that every time you think of a possibility, that possibility becomes a separate reality on some other level of existence. The taxi driver is not much interested. He drops off his fare just as a car speeds away and some passersby find a woman hit-and-run victim in the street. As help is called, the camera moves in a leisurely circle until it regards a rooming house just as the same hit-and-run car pulls up in front of it. We join the driver of this car in his flat, until he is arrested by police and charged with running down his mother. Then, outside again, we follow some passersby until they . . .

And so on. This sounds like an annoying method, but actually it’s rhythmic and soothing — and funny — as Linklater moves through an apparently unlinked assortment of people, including a thief who is buttonholed by his victim and taken for a walk; a man who “knows” that one of the moon astronauts saw an alien spacecraft, but his radio transmission was cut off by NASA; a woman who owns a vial containing the results of an intimate medical procedure carried out on Madonna, and various folk singers, strollers, diners, sleepers, paranoids, do-gooders, quarreling couples, friends, lovers, children and conspiracy theorists.

We don’t get a story, but we do get a feeling. We are listening in on a whole stratum of American life that never gets paid attention to in the movies — the people who believe the things they read in magazines sold in places that smell like Vitamin B. They have special knowledge, occult beliefs, revolutionary health practices.

They know they are being lied to. Listen to them and you will learn how things really are. In a sense, Linklater has invented his whole style in order to listen to these people. He doesn’t want to go anywhere with them. He doesn’t need a car chase to wrap things up. He is simply amused.

The movie maybe runs on a little too long. Maybe you won’t think so. The point is not really what is said, but the tone of voice, the word choices, the conversational strategies, the sense of life going on all the time, everywhere, all over town. In a conventional Hollywood movie, as the brain-dead characters repeat the few robotic phrases permitted them by the formulas of the screenplay, they walk down streets and sometimes I yearn to just peel away from them, cut across a lawn, walk through the wall of a house, and enter the spontaneous lives of the people living there. “Slacker” is a movie that grants itself that freedom.

Richard Linklater - (1991) Slacker.mkv

General
Container:  	Matroska
Runtime: 	1 h 40 min
Size: 	1.62 GiB
Video
Codec: 	x264
Resolution: 	768x576 
Aspect ratio:  	4:3
Frame rate: 	23.976 fps
Bit rate: 	2 118 kb/s
BPP: 	0.200
Audio
#1:  	English 2.0ch AC-3 @ 192 kb/s

https://nitro.download/view/DA7204D233434C0/Richard_Linklater_-_(1991)_Slacker.mkv

Language(s):English
Subtitles:English

The post Richard Linklater – Slacker (1991) first appeared on Cinema of the World.

Quote:
Richard Linklater’s follow-up to Slacker, Dazed and Confused, flopped at the box office, but Dazed and Confused went on to become a huge cult hit. It’s set somewhere in suburban Middle America (filmed in Texas) on May 28, 1976, on the last day of school, and everyone’s looking for something exciting to do. First, however, the incoming freshmen students must spend the day fleeing from bizarre initiation rituals from paddle-wielding, abusive seniors – while everyone else does their best to get stoned or get laid. Set over the course of 24 hours, Linklater’s observations about the rituals of teenage life, and about small town mentality, is spot on – as is his attention to the smallest details of time and place. The camera swerves between some two dozen youngsters and a handful of stories, but Linklater keeps everything and everyone on the same level. All parties congregate at a huge beer bust in the middle of the woods, but amidst the keg parties, fights, dope-smoking, classic rock tunes, and endless partying, not much happens.

Taking the title from an early Led Zeppelin anthem, Linklater seemed determined to make a movie similar to American Graffiti, only free of nostalgia. As Linklater famously said, “there’s something unproductive about nostalgia, about thinking backwards instead of forwards”. While the final result of Dazed seems quite similar in structure to Graffiti, in tone, it feels like a different beast. In Graffiti, Lucas directs as someone looking back on the 50’s from the 70’s. Dazed on the other hand, could easily pass as a film made in 1976, so long as you don’t recognize any of the now many famous faces who appear throughout.

Lesser filmmakers would cram every scene with pop culture references and in-jokey aspects of the time, but Linklater is better than that. Sure we get the obligatory soundtrack and fashion of the 70’s, but Dazed is without a hint of nostalgia. Linklater, himself a product of the ’70s, is first and foremost interested in a wide variety of personalities instead. From the resident stoner (Rory Cochrane) – to the senior divas (Parker Posey and Joey Lauren Adams) – and senior jocks (Ben Affleck and Cole Hauser, respectively) – to the trio of intellectuals (Adam Goldberg, Anthony Rapp and Marissa Ribisi), Linklater does what he does best; he carefully observes human behaviour, and presents his large ensemble cast without any judgement. Linklater is fully aware that his characters are flawed, but he has always been interested in people who are still forming, and still deciding what they want in life.

Of course it helps that Linklater rounded together such an incredible young cast, many of whom, went on to become big stars. The casting director was Don Phillips, who was also responsible for bringing together the, then-unknown cast of Fast Times at Ridgemont High. Much like Amy Heckerling’s ’82 cult hit, the cast’s lack of experience provides an inherent naturalness to their performances. Juggling more than a dozen characters throughout, the film doesn’t necessarily have a main protagonist, but perhaps the two most relevant characters are Randall “Pink” Floyd (Jason London), the high school quarterback, and Mitch Krammer (Wiley Wiggins), an incoming freshman. Mitch might get more screen time, fully embracing the high school culture of hazing, drinking, smoking weed, and meeting girls for the first time in his life – but Randy is the true heart and soul of the pic. Not only is he at the centre because he associates with everyone in school, but he’s also the only character who has an important decision to make (sign an anti-drug commitment or get kicked off the state championship team). While everyone else is signing the pledge, Randy refuses. Despite being a teenager not unlike anyone else in the film, he has a deeper understanding of his surroundings and so when Floyd eventually tears up the agreement, it speaks volumes about his maturity level.

The main core of actors, all do a fine job with their respective roles, but there are two highlights here. The first is Ben Affleck’s O’Bannion; a returning senior who takes sadistic pleasure in inflicting the painful hazing ritual of paddling to the freshmen teens. Playing the quintessential asshole jock, the paddle-happy O’Bannon is a character you just love to hate. He is the film’s villain, but he is also the film’s joke because it becomes clear, his frustration in life is that deep down inside he knows he’s a failure. Than there is Matthew McConaughey in his feature debut as Wooderson, the guy who graduated high school but still hangs around hoping to hold on to his glory days. His line about his love of high school girls will forever go down in history as one of the greatest line readings in American Cinema.

Much like Slacker, Linklater’s directorial but, Dazed was shot over a couple of months, only this time Linklater had a much larger budget ($6 million) to work with. The way sound and image come together here, is virtually flawless. From the slow-motion shot of an orange Pontiac GTO pulling into the high school parking lot to Aerosmith’s “Sweet Emotion” – to Alice Cooper’s end-of-year anthem, “School’s Out,” blaring over a images of empty hallways and empty lockers – Linklater’s mis-en-scene captures the rituals of American youth culture in the 70’s with such loving authenticity, that it’s nearly impossible to resist. Thematically selected tracks, from Nazareth, Peter Frampton, Kiss, Ted Nugent and Led Zeppelin help drive the narrative forward, and even more impressive – none of the music predates its setting. While there are many similarities between the episodic Slacker and Dazed and Confused, the fundamental difference is that Slacker is about finalizing each scene as they shoot. Dialogue drives the narrative in Slacker, whereas Dazed and Confused is all in the editing. Slacker is made on instinct, whereas Dazed is meticulously planned out. Both have their charm, but Dazed is without a doubt, the better film.

Richard Linklater - (1993) Dazed and Confused.mkv

General
Container:  	Matroska
Runtime: 	1h 42mn
Size: 	1.68 GiB
Video
Codec: 	x264
Resolution: 	1024x556 
Aspect ratio:  	1.85:1
Frame rate: 	23.976 fps
Bit rate: 	2 100 Kbps
BPP: 	0.154
Audio
#1:  	English 5.1ch AC-3 @ 256 Kbps

https://nitro.download/view/8976DFF4C547CD9/Richard_Linklater_-_(1993)_Dazed_and_Confused.mkv

Language(s):English
Subtitles:English

The post Richard Linklater – Dazed and Confused (1993) first appeared on Cinema of the World.

Synopsis (by David Gregory Lawson – filmcomment.com)
Richard Linklater’s first feature, It’s Impossible to Learn to Plow by Reading Books (88), is the travelogue of a young man, played by Linklater, riding the rails, hitching, and driving through the southwestern United States. The unnamed protagonist flounders about pleasantly in Austin, visits a friend in Missoula, and hoofs around San Francisco by his lonesome (chatting up strangers, though the conversations can’t be heard, covered by city noise, or waves crashing against rocks at a lighthouse by the bay). Then he returns to Austin, babysits his mother’s dog, and, finally, is given a cassette tape by Daniel Johnston, whom he does not know. During their spontaneous meeting Linklater reveals that the film’s title is written on one of the T-shirts he’s been wearing the whole time: “Old Russian proverb,” he says.Put another way: it’s impossible to learn to make films unless you just go and make some. A no-budget production shot on Super 8 entirely by Linklater, with the help of a friend recording sound, Learn to Plow is what the director, an autodidact and college dropout, has called his “graduate thesis.” Its loose story of a journey seems inspired by (and comes to close to sharing the philosophy of) Chantal Akerman’s Les Rendez-Vous d’Anna, with hints of Bernard Queysanne’s 1974 Georges Perec adaptation, Un homme qui dort. Linklater’s film has a similar feel for the sense of confinement in homes and public spaces alike, the driving boredom experienced at a street corner, or by an open window, as days pass with little to do.

But Linklater also celebrates the ease of rapport among friends, as well as the “why not?” of falling into new relationships, of circumstantial encounters with whoever, wherever.  It’s a hang-out movie that, depending on a viewer’s age and stomach for the poetry of wandering and the romanticism of youth, is either a very melancholy work or one invigorated by a decidedly American sense of freedom. It affirms the nature of a country born from restlessness and composed of landscapes that are themselves in flux, open to the interpretations of drifters in search of certainty, stability, meaning, and, from that meaning, a way to live.

Learn to Plow has two modes: the reassuring un-eventfulness of leisure time, and the steady stop-and-start of travel. A dozen or so near-characters dribble into and out of the film as Linklater moves from one place to the next. Little to nothing about their relationships, situations, or personal experiences is explained. The elliptical narrative sends these abstracted people through arrangements of starkly discrete spaces—a hallmark of Southwest sprawl—with only the suggestion of significant events happening off screen and with a general but shaky sense of how much time has passed between scenes (most of which are covered in a single shot). Linklater lets the locations drive his compositions, as with the stairwell that obscures Linklater’s wanderer as he parts with a recent fling, only his hands visible as he touches her shirt in farewell. He focuses attention on his character’s surroundings, and how they affect the placement of their bodies in relation to each other, downplaying their already subdued interactions and non-expressive reactions.

Learn to Plow has less dialogue than any given two minutes of a later Linklater film, but it already shows his confidence and precision in compressing a remarkable depth of social observation and feeling into gestures, body language, the gaps between what is said and what is withheld or can’t be articulated. In one such scene, while waiting for yet another train, Linklater sits next to a young woman smoking a cigarette outside the station. He glances at her, she glances at him, she offers him a drag, he declines, and after an awkward pause they briefly lock eyes. The next shot (which echoes the previous one) shows the young woman and Linklater sitting next to each other now inside the station; she’s asleep in a chair, he writes her a letter we never get to read and leaves it on her bags before walking away. It’s two minutes of on-screen time, total, but in this unexpected encounter, there’s a sense of the swirl of connections and possibilities untold buzzing around us at any given moment—the ineffable loveliness of being a person among people, and having the ability to be present beside them and nowhere, too.

Many of the film’s most compelling relationships are developed through variations from one shot to the next. Where characters stand or move in one shot may be mirrored by the movement in the shot that follows: during the Missoula chapter Linklater brushes his teeth at the top left of frame, the rocky hill beneath him sloping down toward the bottom right. The next shot shows Linklater and a friend crossing from left to right, dipping slightly downward in the middle before settling in the far right corner to observe a distant mountain range. Negative space and traversed areas are given equal consideration to the actions exhibited in those spaces. The slope of the hill in the first shot is echoed by the actors’ trajectory in the second and, combined together, the two shots unify and pronounce the expansiveness of these locations. The flow of the narrative therefore becomes clear in the compositions themselves. It’s a strong, early example of Linklater’s career-long use of structuring principles as the fulcrum of his aesthetic.

These rhyming or contrasting spatial arrangements in Learn to Plow have a conceptual, self-conscious, almost mathematical simplicity. But there’s always an implied acknowledgement of the malaise experienced by people living at a comfortable distance from conventional lifestyles. They’re mostly young men in the process of articulating their wants and needs to themselves—a normal stage of youth told with the weightiness and displeasure of those in the thick of living it.

It's Impossible to Learn to Plow by Reading Books .mkv

General
Container:  	Matroska
Runtime: 	1h 26mn
Size: 	2.58 GiB
Video
Codec: 	x264
Resolution: 	956x720 
Aspect ratio:  	4:3
Frame rate: 	23.976 fps
Bit rate: 	3 900 Kbps
BPP: 	0.236
Audio
#1:  	English AC-3 @ 192 Kbps
#2:  	English AC-3 @ 192 Kbps (Commentary)

https://nitro.download/view/2AD99E6072E5529/It’s_Impossible_to_Learn_to_Plow_by_Reading_Books_.mkv

Language(s):English
Subtitles:None

The post Richard Linklater – It’s Impossible to Learn to Plow by Reading Books (1988) first appeared on Cinema of the World.

Quote:
American director Richard Linklater returns to the tale of Jesse (Ethan Hawke) and Céline (Julie Delpy) that he began seventeen years ago in Before Sunrise (1995) with 2013’s Before Midnight. Set nine years after the events of Before Sunset (2004), this is an eloquently scripted dissection of a now middle-aged couple’s relationship. Reflective in tone, we open to Jesse reluctantly sending his son back to the States, before heading off to an idyllic Greek villa he and his wife have been staying in. The glowing couple appear happy, with Jesse writing yet another novel, Céline starting a new job in Paris and twin gold-ringleted daughters of their own.

Jesse, however, is keen to move back to America to spend more time with his son, causing most of the friction throughout this talkative drama. They soak up the sun at remote, preparing meals, Jesse writes and, when he isn’t putting pen to paper, he talks with Céline about their favourite subject of conversation – namely, themselves. Whilst this could be read as inane ego-tripping, the couple’s debates flow out with effortless elegance, covering everything from gender politics to theorems on life and death, at the same time fitting in plenty of time for humorous, acerbic bickering.

Before Midnight cinematographer Christos Voudouris captures the sun-soaked backdrop to such a sumptuous level that you wish you could walk through the screen, giving you plenty to feast your eyes upon as the couple chatter away on a lengthy car journey scene, meander through rough cobbled streets or sit and drink by the water’s edge. There’s also no getting away from the fact that very little actually happens. As an audience, we voyeuristically lap up the deliciously funny and honest (if sometimes overly pretentious) debates as the couple are “wandering around bullshitting” (as Jesse puts it). There’s also great a homely comfort to be found in seeing this couple finally together, with it rarely becoming tiresome.

Linklater, who co-wrote the script with his two stars, has made sure that what happens on screen is as natural as possible – and has succeeded in his efforts. Yet the juiciest parts of the film’s screenplay are to be found in the prickly, snapping arguments that take place after the lovebirds have flown the villa for a romantic break away from the kids. The carefully-crafted dialogue rolls out, organically moving from wide topics of conversation. Yet they are continually unable to escape themselves as the main subject matter, with their dialogue orbiting each other like the Earth does the Sun.

Within seconds, moments of comedy descend into emotive diatribes, producing statements from Delpy as to how women “explore for eternity in the garden of sacrifice”, fluxing back to joke lines like how Sylvia Plath killed herself by shoving her head in a toaster (it’s funnier in the movie), or her all too authentic impression of a bimbo blonde. Hawke is equally as impressive, coming across as an affected author, loving dad, and caring partner simultaneously. When all’s said and done, Linklater’s Before Midnight proves a fitting conclusion to a lovingly constructed trilogy of films.

2.34GB | 1h 48mn | 1024×560 | mkv

https://nitro.download/view/C1DCE188784DD56/Richard_Linklater_-_(2013)_Before_Midnight.mkv

Language(s):English+commentary
Subtitles:English

The post Richard Linklater – Before Midnight (2013) first appeared on Cinema of the World.

A young man and woman meet on a train in Europe, and wind up spending one romantic evening together in Vienna. Unfortunately, both know that this will probably be their only night together.

5.45GB | 1h 41mn | 1280×688 | mkv

http://nitroflare.com/view/FF11403426AE57D/Before.Sunrise.1995.720p.BluRay.x264-DEPTH.mkv

Language(s):English
Subtitles:English

The post Richard Linklater – Before Sunrise (1995) (HD) first appeared on Cinema of the World.