David Lowery wrote:
What is it about the sexualization of English professors that irks me so? I think of the cliche of the sturdy, masculine educator bewitching his female pupils with silver-tongued erudition on the works of Percy and D.H Lawrence and I wonder: what of their poor colleagues, the mathematics professors? Can’t fractal equations be as erotically stimulating as the breakdown of Pyrrhic verse? The answer, as any English major knows, is not likely-there’s little that can so easily compound the psychological dynamics between teacher and student like the aphrodisiacal qualities of language-but it was nonetheless a gust of fresh air to see Lena Dunham so precisely pierce this stereotype in her debut feature, Creative Nonfiction. Dunham stars in the film as Ella, a freshman student at an unnamed Midwestern college, who is working on a screenplay for a creative writing class that, in its early stages, could be synopsized by at least three sentences of this very paragraph.Read More »

Quote:
By Central Bazaar (1976), his next feature, Dwoskin seemed to have traded limitation for license: a handful of strangers gather together for what almost instantly devolves into a freeform two-and-a-half-hour-long sexual merry-go-round. Dwoskin’s subjects drift from partner to partner draped in elaborate costumes and moving half-consciously, as if magnetic currents were tugging them together and apart. There are moments of great tenderness, but the whole affair comes off as grotesque—not least because we’re made to feel like an unwelcome and particularly intrusive guest. Dwoskin’s camera roves around, focusing in on a caress here, a clasped hand there, the strap of a pair of leggings, an exposed back: always too close for comfort, yet for the most part excluded from the proceedings. In the spectacle of these able bodies contorting themselves, strutting, dancing, converging, and lounging around, Dwoskin saw a mirror of the world: a place in which human connection was something frightening and alien, something that demanded a performance well outside his range.Read More »

Great early short film by the underrated French filmmaker Jacques Rozier. The film follows two teenage boys trying to pick up girls in a resort town.
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Quote:
In 1998, the Festival de Cannes created the Cinéfondation to inspire and support the next generation of international filmmakers. Since then, with the help of the Festival, the Cinéfondation has developed complementary programmes to help achieve its goal.
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Nine years ago the Cannes International Film Festival established Cinéfondation, a not-for-profit organization that promotes the work of student filmmakers. In 2007, an international jury headed by Jia Zhangke (China), and including J.M.G. Le Clézio (France), Niki Karmi (Iran), Dominik Moll (France/Germany), and Deborah Nadoolman Landis (USA), handed out four awards to filmmakers from schools in Argentina, China, Korea, and Serbia.
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Synopsis:
El futuro opens with the news, over a black background, of Felipe González’s recent electoral victory in 1982. A preamble before the camera moves into the heart of a party. However it only gives a distant, dull view of the dancing and flirting of the modern youth of that time. Amidst the alcohol, the constant music and conversations captured in passing –very often in an oblique way-, López Carrasco (from the Collective Los Hijos) gives the impression of time standing still, of progress halted by tedium, that crystallizes in the uneasy sensation summoned up by that future of the title. An eloquent end to the party and a dawn, 30 years later, that opens multiple doors for thinking.Read More »

Marcel, a simple-minded factory worker, is tricked into buying a high-priced American convertable car by a widow determined not to let it fall into the hands of her late husband’s secretary/secret lover. Once in pocession of the car, Marcel only encounters one bad luck episode after another with the excessive gasoline consumtion, his wife trying to sell it to make ammends meet, getting into traffic jams, accidently riding into a car wash with the top down, and more.Read More »

A story about doomed love between to people from different worlds and the impact in their lives.Read More »

Synopsis:
Director Elia_Suleiman uses a mixture of romantic comedy and quirky humor to shed light on the problems of Palestinians in Yadon Ilaheyya (Divine Intervention). E.S. (Suleiman and his girlfriend Manal_Khader), because they live in separate cities, must meet near an Israeli checkpoint. The film is little more than a series of usually comic but occasionally poignant scenes in which Suleiman and others must confront any number of Israeli nemeses. Suleiman’s second film, Divine Interventions, was screened in competition at the 2002 Cannes Film Festival.
— Perry Seibert, Rovi!–more–>

Divine.Intervention.2002.WEBRIP.576p.x264.AC3.KJNU.mkv

General
Container:  	Matroska
Runtime: 	1 h 33 min
Size: 	2.29 GiB
Video
Codec: 	x264
Resolution: 	1024x554 
Aspect ratio:  	1.85:1
Frame rate: 	24.000 fps
Bit rate: 	3 000 kb/s
BPP: 	0.220
Audio
#1:  	Arabic 5.1ch AC-3 @ 640 kb/s

https://nitro.download/view/90E8DA32360F8C2/Divine.Intervention.2002.WEBRIP.576p.x264.AC3.KJNU.mkv

Language(s):Arabic, Hebrew, English
Subtitles:English

Synopsis
The release of Lucrecia Martel’s La Ciénaga heralded the arrival of an astonishingly vital and original voice in Argentine cinema. With a radical and disturbing take on narrative, beautiful cinematography, and a highly sophisticated use of on- and offscreen sound, Martel turns her tale of a dissolute bourgeois extended family, whiling away the hours of one sweaty, sticky summer, into a cinematic marvel. This visceral take on class, nature, sexuality, and the ways that political turmoil and social stagnation can manifest in human relationships is a drama of extraordinary tactility, and one of the great contemporary film debuts.
Criterion.comRead More »