Quote:
From the very beginning of Trust, Hal Hartley’s spellbinding second feature, snotty naïveté and cultured cynicism intertwine and dance in locked, hypnotic two-step. Just as teenaged Maria (Adrienne Shelly) tells her parents that she’s been knocked up by her high school’s alpha jock, leading her father to literally drop dead, Matthew (Martin Donovan) throws a tantrum of anti-technological philosophy in the repair division of a computer corporation where he works. While her idyllic future with quarterback Anthony comes crashing to the ground when he rejects her, Matthew remains stilted by his inability to cut ties with his abusive father (John MacKay). They meet-not-particularly-cute in an abandoned home and fall for each other in an odd, intriguingly deadpan way that underlines the unlikeliness of their union.

Like the romance that blooms between Donovan’s disillusioned thirtysomething and Shelly’s reformed teen-bopper, the film is strange in its very design, favoring a stunning use of imagistic symbolism over familiar dramatic lather; a Cape Holiday bumper sticker, Matthew’s heirloom grenade, and Maria’s spilled chicken soup are just as cathartic and revealing as anything they say to one another, if not more. If the story seems equally derivative of Hal Ashby and John Hughes, the tone and atmosphere of the film summons recollections of Bresson, and Godard’s more profound flirtations with familiarity, particularly Every Man for Himself.

Indeed, the film builds on concepts of compromise, growth, stagnation, and, most potently, rebellion, against both the accepted dirge of suburban workaday existence and the flaky anger and pomposity of educated artistry. Matthew is a skilled tradesman (he fixes computers and appliances), but his passionate belief in his work leads him to deeply despise the cheapness of consumerism and its effects on advancement. In this, Hartley offers a harsh rebuke to any sense of preciousness, as Matthew’s intellect is here both righteous and elitist. As such, Matthew is depicted as a sort of noble but posturing fool, able to attract Maria’s burgeoning fascinations and warmth as she begins to find her personal footing, but also prone to self-pity, self-loathing, and a repugnant strain of cynicism.

In essence, Matthew is more of a cautionary tale than Maria could ever be. Hartley consistently expresses an unerring fascination with women and the variety of opinions on mating, relationships, children, and, yes, love that are expressed give the film a remarkable breadth of character. Although Matthew’s relationship with his father is punctually tended to, it certainly doesn’t yield the ingenious bouts of conversing that go on between Maria, her mother, Jean (Rebecca Nelson), and her divorced sister, Peg (Edie Falco). One of the film’s best moments involves Maria asking Peg and one of her friend’s about marriage and kids, wherein the friend romanticizes life as a mother as Peg ambivalently refers to her children’s arrival as a good distraction from how bored she was with her husband.

As if splintering Maria’s future visually, the film is packed with women of varying backgrounds and traumas, including the abortion nurse who offers Maria a shot of whiskey before the operation and the teen mom who thoughtlessly parks her toddler, holding a bright-red toy gun, outside a bodega. The filmmaker skirts preciousness and pretentiousness in the directness of his language, the boldness of his imagery, and the percussive rhythm of his performers’ deliveries, but Trust is never cute and its whimsy is never taken as evasion of emptiness or of the more topical elements of the story. Hartley depicts Maria’s consideration of abortion as a thoroughly explored, purely personal decision, diffused of political or religious rhetoric, and in Matthew, the director-writer shows an elemental connection between the corporation’s lack of innovation and ethics and Matthew’s lack of respect for himself and his employer, which ultimately comes to violent ends.

The film’s title comes from a discussion between Matthew and Maria about how to define love, which they agree is equal parts admiration, respect, and trust. Maria trusts Matthew because he’s the only person who doesn’t use diatribes on progress and advancement as a way to condescend to her and make her a follower. And, of course, trust has always been an essential element of film, as the crew, the performers, and the audience can only fully engage with a director and their work if they trust the intentions and talent of the filmmaker in question. The key to Trust is that Hartley is never so naïve as to think that caprice is necessarily profound, nor is he so cynical to think that the familiar is inherently more enticing than the personal. In other words, his confidence in his art leads to a confidence in his audience, no matter who they might be or in what number they may appear.v

Hal Hartley - (1990) Trust.mkv

General
Container:  	Matroska
Runtime: 	1h 46mn
Size: 	2.24 GiB
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Codec: 	x264
Resolution: 	1024x576 
Aspect ratio:  	16:9
Frame rate: 	23.976 fps
Bit rate: 	2 824 Kbps
BPP: 	0.200
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https://nitro.download/view/06F1C90DC7AE208/Hal_Hartley_-_(1990)_Trust.mkv

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The post Hal Hartley – Trust (1990) first appeared on Cinema of the World.

A woman forces a man to move forward with his life after his wife dumps him.
Quote:
A very deft comedy with a great deal of underlying pain succeeds where most others fail.

This comedy with much underlying pain and sadness succeeds where most others fail. There have been many films of this genre with more notable actors attempting to achieve this elusive mixture which haven’t come anywhere near the depth and deftness of this one. This is surely because the exceptional cast with outstanding performances by Reg Rogers and Ally Sheedy seem so spontaneous that the reality of their characters rapidly grip your interest and emotions and hold them throughout the film. At first, the action seems rather off-the-wall and harebrained but one gradually learns that these two rather pathetic damaged people are desperately and unwillingly trying to heal themselves, even if grudgingly, through each other. Rogers’ heartrending facial expressions of numb hurt and Sheedy’s angry outbursts are so eloquent that one feels them as one observes them. You will care about these two likable but deeply suffering people and hope that they will succeed because it’s in doubt and all hangs on a tenuous emotional thread. Hopefully audiences will get to see more of Reg Rogers and Ally Sheedy as this film proves their merit as very accomplished actors beyond doubt.

1.42GB | 1h 32mn | 720×480 | mkv

https://nitro.download/view/30A8F86CDCD5B2A/I’ll.Take.You.There.1999.DVDRIP.x264.AC3.KJNU.mkv

https://ddownload.com/ry91w9s0syaq/I’ll.Take.You.There.1999.DVDRIP.x264.AC3.KJNU.mkv

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The post Adrienne Shelly – I’ll Take You There (1999) first appeared on Cinema of the World.

A comedic urban fantasy which graphs the foibles of a young Manhattan resident, Donna, who’s under seige in her own neighborhood. Laid off from her museum job, harassed by her love-obsessed landlord, and simply uninspired to leave her own apartment, Donna’s already complex life takes a turn for the worst when she inadvertently witnesses a murder. She then begins to doubt her own sanity as she encounters prophetic street poets, dysfunctional would-be boyfriends, and love-deranged friends.

+Commentary with Adrienne Shelly

1.34GB | 1h 20m | 710×480 | mkv

https://nitro.download/view/77934656FA6A807/Sudden.Manhattan.1996.DVDRIP.x264.AC3.KJNU.mkv
or
https://fikper.com/jmPMSPpEEv/Sudden.Manhattan.1996.DVDRIP.x264.AC3.KJNU.mkv.html

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The post Adrienne Shelly – Sudden Manhattan (1996) first appeared on Cinema of the World.

Synopsis
The unlikely relationship between a pregnant high school student and a brooding electronics repairman lies at the center of this droll comedy from writer-director Hal Hartley. Intelligent but unconventional, Maria (Adrienne Shelly) has more to worry about than her pregnancy, as her expectant state drives away her boyfriend and triggers a fatal heart attack in her father. Meanwhile, Matthew (Martin Donovan) has his own problems: an abusive father, a heightened sense of morality that prevents him from taking semi-lucrative television repair jobs, and a suicidal streak that causes him to carry around a potentially deadly grenade. The meeting of these troubled minds at first promises to be beneficial for both, but sours as they are forced to interact with each other’s dysfunctional families. As in all of Hartley’s pictures, the narrative is filtered through an amusingly detached sensibility that some may consider an acquired taste.
~ Judd Blaise, All Movie Guide

Review
‘Trust’: Black Humor And Unlikely Lovers
Putting on her purple lipstick one morning, a teen-ager tells her father she’s pregnant. He calls her a slut, she slaps his face and the minute she stomps out the door he drops dead. Just as you were warned: if you break your father’s heart, it will kill him. The situation is part nightmare, part bad joke, and the perfect deadpan way to kick off Hal Hartley’s “Trust.”
Mr. Hartley’s two feature films — “The Unbelievable Truth” was released last year — share a droll, distinctive manner. He drops by suburban Long Island, finds a couple of young characters who have skewed but thoroughly sensible attitudes, and lets them find each other. Like the films of this 31-year-old writer and director, Mr. Hartley’s characters look realistic, act cockeyed and turn out to be just right.
Maria, the pregnant teen-ager in a miniskirt and a high-school jacket, tells her boyfriend about the baby. He dumps her and goes to football practice. Back home, Maria’s mother says she will never forgive her for killing her father and throws her out of the house. At the end of this luckless day, she finds shelter in an empty house and meets Matthew, potentially more lethal than she is and just the right guy to understand her.
When the film introduces Matthew he is so disgusted with his job at a computer factory that he puts his boss’s head in a vise and walks out. Mr. Hartley’s control is so sure that we instantly know Matthew has made the right choice. He may be 10 or so years older than Maria, but he is on the run from a sadistic parent himself. His father obsessively makes him clean the already spotless white bathroom. It is a true act of chivalry and self-sacrifice when Matthew takes Maria home.
Suddenly, it’s a toss-up about who needs whom more. “I carry this with me at all times, just in case,” Matthew says, showing Maria a hand grenade. “Are you emotionally disturbed?” she asks, cutting through politeness as if the superego had never been discovered. No, he answers. But they had been talking about how she killed her dad and thought about killing herself; he was trying to be sympathetic. Neither Maria nor Matthew is strong enough to escape alone, but each recognizes that the other needs to be dragged out of a suffocating situation.
Though this film’s tone is more sober and weightier than the black humor of “The Unbelievable Truth,” Mr. Hartley has kept his sense that everyone seems screwy if you just look hard enough. As Maria and Matthew navigate toward each other, they keep bumping into characters who only seem normal.
A nurse at the abortion clinic is most sympathetic when she takes off her cap and pours a couple of glasses of Scotch for Maria and herself. Maria’s sister is a flirty, gum-chomping waitress, a real type. She seems Neanderthal next to her younger sister, especially after Maria pulls back her hair, puts on her glasses and starts thinking about her life. “I am ashamed,” this new Maria writes in a notebook. “I am ashamed of being young. I am ashamed of being stupid.”
Surrounded by people who would agree with that wrenching self-description, she is lucky to find Matthew. As Maria says, their relationship is based on trust, admiration and respect. She is determined to convince him that those qualities add up to love, even if she has to jump off a bridge to prove it. This might be love, but not the kind usually seen on screen. At the moment they seem about to kiss, Maria pulls back and says, “Give me your hand grenade.”
Adrienne Shelly, who starred as another quick-to-grow-up teen-ager in “The Unbelievable Truth,” makes Maria’s transformation from a smart-mouthed girl to a wise young woman both poignant and credible. Like Ms. Shelly, Martin Donovan (as Matthew) knows how to make Mr. Hartley’s pared-down, stylized dialogue express the essence of his character. Though Mr. Hartley’s films are richly detailed, there are no frills or grace notes. Such work risks being too blunt, but “Trust” comes through.
by Caryn James, New York Times, July 26, 1991

Extras
* Interview with Hal Hartley, Adrienne Shelly (recently deceased), Martin Donovan and Ted Hope from 2005
* Original Theatratical Trailer

http://www.nitroflare.com/view/DB2D38193D809FE/trust.1990.dvdrip.xvid-kg.avi
https://nitro.download/view/1A224A63281715C/Trust_Extras.rar

Language(s):English
Subtitles:None

The post Hal Hartley – Trust [+Extras] (1990) first appeared on Cinema of the World.