An agoraphobic Seattle tech worker uncovers evidence of a crime.

Kimi.2022.HMAX.WEB-DL.DD5.1.H.264-someBODY.mkv

General
Container:	Matroska
Runtime:	1h 29mn
Size:	1.36 GiB
DXVA:	Incompatible
Minimum settings:	Not met
Video
Codec:	x264
Resolution:	960x540
Aspect ratio:	16:9
Frame rate:	23.976 fps
Bit rate:	1 800 kb/s
Audio
English 5.1ch AC-3 @ 384 kb/s

https://nitro.download/view/06310B2EFDB5523/Kimi.2022.HMAX.WEB-DL.DD5.1.H.264-someBODY.mkv

Language(s):English
Subtitles:English, Spanish, Bulgarian, Croatian, Czech, Dannish, Dutch, Estonian, Finnish,Hungarian, Icelandic, Latvian, Lithuanian, Norwegian, Polish, Portuguese, Romanian, Serbian, Slovak, Slovenian, Swedish

The post Steven Soderbergh – Kimi (2022) first appeared on Cinema of the World.

A family becomes convinced they are not alone after moving into their new home in the suburbs.

Presence.2024.720p.AMZN.WEB-DL.DDP5.1.H.264-FEELME.mkv

General
Container:	Matroska
Runtime:	1h 24mn
Size:	2.41 GiB
Video
Codec:	h264
Resolution:	1280x720
Aspect ratio:	16:9
Frame rate:	23.976 fps
Bit rate:	3 449 kb/s
Audio
English (US) 5.1ch E-AC-3 @ 640 kb/s

https://nitro.download/view/2FE202BDDDD43BF/Presence.2024.720p.AMZN.WEB-DL.DDP5.1.H.264-FEELME.mkv

Language(s):English
Subtitles:English, French

The post Steven Soderbergh – Presence (2024) first appeared on Cinema of the World.

Among my personal favorite neo-noir films, which I could easily watch over and over again.

The.Underneath.1995.576p.BluRay.H264-KG.mkv

General
Container:  	Matroska
Runtime: 	1 h 39 min
Size: 	2.46 GiB
Video
Codec: 	x264
Resolution: 	1024x436 
Aspect ratio:  	2.35:1
Frame rate: 	23.976 fps
Bit rate: 	3 000 kb/s
BPP: 	0.280
Audio
#1:  	English 5.1ch AC-3 @ 384 kb/s (Movie)
#2:  	English 2.0ch AC-3 @ 128 kb/s (Commentary)

https://nitro.download/view/C9FFE08648ED4F1/The.Underneath.1995.576p.BluRay.H264-KG.mkv

Language(s):English
Subtitles:English SDH

The post Steven Soderbergh – The Underneath (1995) first appeared on Cinema of the World.

Quote:
It seems the lives of writers are hot movie properties these days. First Barton Fink, then Naked Lunch, and now Kafka. Whoever could have imagined such a thing? After the meteoric commercial success of Soderbergh’s debut feature sex, lies, and videotape, the director chose for his second effort this hypothetical presentation of the life of Franz Kafka. The movie is not so much a biography but rather, a speculative depiction of Kafka’s daily circumstances. While not untrue to the specific facts of Kafka’s life, the movie focuses more on the environment of 1919 Prague that so influenced the author. In large part, the things at which the movie excels are precisely the things that also make Kafka’s work so enduringly vivid — the absurdity anchored by an exacting realism, the incomprehensibility coupled with utmost lucidity, the looming sense of paradox, futility, labyrinthine logic and impenetrable pressures. Two aesthetic choices made by Kafka’s production team are essential to the success of the project: the first was to film in the streets of Prague which to this day retain much of the baroque cobblestone and brooding castle appearance they held when Kafka was actually roaming their paths, the second was the decision to film in black-and-white. Shadowed compositions and variegated tones of grey instill a slightly sinister, dreamlike tension to the events. It recalls the shadowy chiaroscuro of Carol Reed’s The Third Man, Orson Welles’ take on Kafka in The Trial and the glories of the German Expressionist filmmakers (there’s even a character in Kafka called Dr. Murnau). Kafka is also full of marvelous performances with Irons, in the title role, turning in another finely etched portrait. Grey is perfect as the petty tyrant of the insurance office where Kafka works at his day job. And it’s hard to believe that Kafka’s two bungling office assistants haven’t worked as a comedy team all their lives. These twins, who look and behave nothing alike, are hilarious to watch. Humor is a key ingredient in Kafka, though it definitely leans toward the wry and quirky. The movie loses some of its clarity and narrative force in mid-story however, though it never abandons its original visual style and focus. Kafka is stimulating blend of biography, hypothesis, interpretation and afterthought. It’s a story about the 20th century.

1.32GB | 1h 34m | 698×552 | mkv

https://nitro.download/view/1F5169733931C89/Steven_Soderbergh_-_(1991)_Kafka.mkv

Language(s):English
Subtitles:English,German

The post Steven Soderbergh – Kafka (1991) first appeared on Cinema of the World.

Quote:
Soderbergh has brought us SPALDING GRAY’S FINAL MONOLOGUE with the film, “And Everything Is Going Fine”. He compiles what is essentially a final autobiographical testament of Gray’s life using rare footage of his TV interviews, recordings of his theatrical monologues, and even some footage taken personally by Gray with his family members. A simple mash-up of such footage gives Gray the oppourtunity to bring us one final monologue- from the grave- speaking about himself, just as he loved to do…for our pleasure, and his sanity!!! He truly was the best monologist, one-man-show and storyteller to ever grace the stage. And Soderbergh- whom directed Gray’s Anatomy (Gray’s 1996 monologue,which is beautifully shot) and King of the Hill (in which Gray played the role of Mr. Mungo)- must get props for not succumbing to the urge of telling Gray’s story, but instead appropriately allowing Gray to tell it himself. Collaborating through selectivity and editing, Soderbergh plays a role much like the one he did when filming his earlier monologue.

Gray begins this story by discussing the overwhelming influence his mother had on him…an influence that would consume and eventually take his life. He also talks about his journey to Hollywood, becoming an actor, his various escapades, his travels to India, the art of writing and performing monologues, the art of acting, the value of conversing with the audience and people off the street, his marriage, keeping secrets, and ending with a recollection of his experience of being in a major accident, one he would never fully recover from. Throughout this monologue he reflects upon life, living, death, growing up, sex, love, relationships, experience, creative narcissism, psychology and the limitations of being human, hardship, depression, and, most importantly, introspection.

On January 10, 2004, after watching the film “Big Fish” Spalding Gray got on the Staten Island Ferry from which he would jump, committing suicide, as his mother did before him. Gray killed himself as a result of the major depression that overcame him after the accident he talks about near the end of the film. I have included this information here, but Soderbergh decided to omit it from the film. He does this so we can remember him for what he did in life, as opposed to how he exited in death. (and because Gray can’t tell us the story of his death from the beyond…if only…)

This can be contrasted with the film “Lenny Bruce – Without Tears” in which Fred Baker decided to not only discuss Bruce’s tragic death, but show the photos and video footage of Bruce lying dead naked on his bathroom floor with a needle in his arm. I do not hold this against Soderbergh, because I feel that this final testament is true to how “Spud” would want to be remembered. He was always one to create his own myth (as opposed to Bruce who “kept it real”), and it was only appropriate for Soderbergh to let Gray tell his own story. Shortly after the middle of the film there is a couple interviews in which Gray foreshadows his own tragic death. It is clear from the footage at the end of the film- after the accident- that he never was able to fully recover from the crash- emotionally or physically- and that is what drove him to join his Mother, in death.

1.37GB | 1h 29mn | 712×480 | mkv

https://nitro.download/view/EF2B7C2093B0A35/Steven_Soderbergh_-_(2010)_And_Everything_Is_Going_Fine.mkv

Language:English
Subtitles:English

The post Steven Soderbergh – And Everything Is Going Fine (2010) first appeared on Cinema of the World.

Steven Soderbergh’s 1996 film is a free-form satire with a broad range of targets, chief among which is the form itself. Shot guerilla-style between The Underneath and Out of Sight, Schizopolis is an uninhibited, stream-of-consciousness window into Soderbergh (in goofy dual starring roles here) at play, with all commercial considerations stripped away. This is what it looks like when a gifted Hollywood filmmaker makes a student film.

From Time Out London:
Soderbergh’s 1996 guerilla movie is perhaps the strangest film from the American indie scene to date. A surreal, eccentric comedy, its triptych narrative is so fragmented that it’s almost impossible to provide an accurate synopsis. Suffice to say it’s about sexual and professional intrigues in suburbia, with the main character (Soderbergh) becoming so paranoid about industrial espionage that he fails to notice his wife is having an affair with a dentist who’s his exact double. At first, the endless succession of wacky vignettes suggests there’s no plot whatsoever. Eventually, however, it becomes clear that, while satirical swipes are taken at male paranoia, corporate business politics, New Age philosophies, soap operatics and the American obsession with dental hygiene, this is really ‘about’ verbal and filmic language. Basically off-the-cuff, off-the-wall nonsense – and frequently very funny. –Geoff Andrew

2.10GB | 1h 36m | 1280×720 | mkv

https://nitro.download/view/249FBB33CE0F89A/Schizopolis.1996.720p.WEB-DL.AAC2.0.H.264.mkv

Language:English
Subtitles:None

The post Steven Soderbergh – Schizopolis (1996) first appeared on Cinema of the World.

Quote:
Two icons of 60s cinema, Terence Stamp and Peter Fonda, go head-to-head in Steven Soderbergh’s stylish reworking of the lone avenger theme. Stamp plays Wilson, an ageing Cockney villain newly out of jail, who arrives in Los Angeles to ask some awkward questions. His beloved daughter, mistress of powerful rock promoter Terry Valentine (Fonda), has died in a car crash; but Wilson’s far from convinced it was an accident. With his gaunt, grim features and sparse white hair, Stamp’s a dead ringer for the angel of death. Or maybe, as Soderbergh hints with some intricate flashback and flash-forward cutting, the whole story is a dying man’s dream of vengeance. Echoes of Get Carter and Point Blank aren’t far to seek. Though it’s tense, gripping and often funny–Wilson’s rhyming-slang dialogue bemuses every American he meets–The Limey is shot through with an aching sense of loss and wasted years. The final showdown between Wilson and Valentine feels like the epitaph of an era once rich in dreams. Some of the film’s most poignant moments are its “flashbacks” to Wilson’s younger days, which are actually clips from Ken Loach’s 1967 movie Poor Cow, featuring the twentysomething Stamp, insolently and heart-breakingly beautiful.

+Commentary by director Steven Soderbergh and writer Lem Dobbs
+’60s Docu-commentary by actors Terence Stamp, Peter Fonda, Lesley Ann Warren, Barry Newman, Joe Dall

2.65GB | 1h 28m | 1024×576 | mkv

https://nitro.download/view/3B48F9C8DAC5BAA/Steven_Soderbergh_-_(1999)_The_Limey.mkv

Language:English
Subtitles:English

The post Steven Soderbergh – The Limey (1999) first appeared on Cinema of the World.