‘Swimming’ or ‘Schwimmen'(OT) is the story of Elisa and Anthea, two most different girls, whose friendship gives them orientation and stability in the most difficult time of their young lives. But their innocent friendship soon turns into dependency. To maintain their cohesion, they develop a game – which turns them from victims to offenders.

Schwimmen.2018.German.EAC3.720p.AMZN.WEB.H264-ZeroTwo.mkv

General
Container:	Matroska
Runtime:	1h 41mn
Size:	2.60 GiB
Video
Codec:	h264
Resolution:	1280x720
Aspect ratio:	16:9
Frame rate:	23.976 fps
Bit rate:	3 436 kb/s
Audio
German 2.0ch E-AC-3 @ 224 kb/s

https://nitro.download/view/842D9012C574879/Schwimmen.2018.German.EAC3.720p.AMZN.WEB.H264-ZeroTwo.mkv

Language(s):German
Subtitles:English, French

The post Luzie Loose – Schwimmen AKA Swimming (2018) first appeared on Cinema of the World.

The Cologne author Rolf-Dieter Brinkmann introduced American beat literature to Germany

“Brinkmanns Zorn” portraitiert einen Dichter, der alles auf einmal begehrt – Liebe, Tod, Pop, Hass, Kunst. Bedingungslos gleichzeitig und mit gnadenloser sprachlicher Wucht hat die Literaturikone Rolf Dieter Brinkmann auf jedes Alltagsdetail eingedroschen. Der Film begleitet ihn auf seinen medialen Streif- und sprachlichen Raubzügen durch die hassgeliebte Kölner Innenstadt. Den Original-Tonband- und Super8-Aufnahmen Brinkmanns hat Regisseur Harald Bergmann eine visuelle Welt hinzugefügt, die das sprachliche und soziale Universum Brinkmanns nachzeichnet.Während Brinkmanns grenzenlos-wütende und aufschäumend-leidenschaftliche Stimme über den Zuschauer hereinbricht, folgt man den lippensynchron agierenden Schauspielern durch die in schöner bundesrepublikanischer Wohlstandsgemütlichkeit eingerichtete Großstadt. Bei Brinkmanns Stadtbeschimpfung müssen sich nicht nur der faulig-gelbe Himmel und die darin fliegenden Vögel, sondern auch Gebäude und Straßen den Beschwerden des Dichters stellen. In furiosen Wortkaskaden und lustvoller Verweigerung berauscht sich der wütende Flaneur Brinkmann am Alltagshass. Dabei erzählt der Film aber auch die Geschichte einer fatalen Liebe – einer Liebe zur Sprache, die nicht mehr vertrauenswürdig ist und der Liebe zu seinem Sohn, dessen Sprachbehinderung ihn scheinbar unrettbar fern von seinem Vater entrückt hat.

Harald Bergmanns Film “Brinkmanns Zorn” portraitiert einen Dichter mit jener Kühnheit, die Brinkmann selbst verschiedenste Medien und filmische Stilmittel für die Darstellung moderner Wirklichkeit verbinden ließ. Bergmann wagt einen nie da gewesenen filmischen Versuch, lässt Dokumentarfilm und Dichterbiographie verschmelzen und schafft e

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01 Super_8.avi

Dauer: 1:28:10
Datenmenge: 1.02 GB
Bit Rate: 1.66 Mbps

Video Spuren:
Generic MPEG-4, 624 × 480, 25 fps, 1.50 Mbps

Audio Spuren:
MPEG Layer-3 Audio stereo, 48 kHz, 160 kbps

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02 Longkamp Tagebuch(1971).avi

Dauer: 1:09:48
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Bit Rate: 1.66 Mbps

Video Spuren:
Generic MPEG-4, 640 × 368, 25 fps, 1.50 Mbps

Audio Spuren:
MPEG Layer-3 Audio stereo, 48 kHz, 160 kbps

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02 Schnitte Kollagen(1972-73).avi

Dauer: 1:19:09
Datenmenge: 921.68 MB
Bit Rate: 1.63 Mbps

Video Spuren:
Generic MPEG-4, 640 × 352, 25 fps, 1.50 Mbps

Audio Spuren:
MPEG Layer-3 Audio stereo, 48 kHz, 128 kbps

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03 Die Tonbänder.avi

Dauer: 1:45:55
Datenmenge: 1.20 GB
Bit Rate: 1.63 Mbps

Video Spuren:
Generic MPEG-4, 640 × 368, 25 fps, 1.50 Mbps

Audio Spuren:
MPEG Layer-3 Audio stereo, 48 kHz, 128 kbps

https://nitro.download/view/1549EBC3F4DD073/01_Super_8.avi
https://nitro.download/view/D6F77F2B5562396/02_Longkamp_Tagebuch(1971).avi https://nitro.download/view/A427AC084DE964E/02_Schnitte_Kollagen(1972-73).avi https://nitro.download/view/5FE40D4C1B0D2C9/03_Die_Tonbaender.avi

Language(s):German
Subtitles:none

The post Harald Bergmann – Brinkmanns Zorn (2006) first appeared on Cinema of the World.

Quote:
The pursuit of truth is a demand that cannot be fulfilled through seeing alone. An encounter with cinema resides through a locale of turbulent openings that allow a mental space for future thought still to be developed. Our very idea of narrative enjoyment is a misnomer, a cul­-de-­sac that needn’t answer anything other than enjoyment. Yet there exists an avenue where the idea of enjoyment is something only to be savoured retrospectively; the experience of this achievement is of the moment – painful, meditative and transcendental. Philip Gröning’s The Police Officer’s Wife (2013) arrives burdened by existing on its own terms, a film experienced but not particularly enjoyed by most at Venice last year.

Gröning’s film is split into 59 short chapters that, in the words of its director, “suppose a challenge given to the audience”. The titular wife of the police officer in question, Christine (Alexandra Finder), is a stay-at-home mother; her husband a morose small town law enforcer Uwe (David Zimmerschied). We observe in harsh mundanity the ebb and flow of their lower middle-class existence. Scenes stand outside of narrative structures but within an idea of representational compartmentalisation. After close to 40 minutes we realise that we are peering into the minutia of an abusive relationship. Several of the chapters also observe elements with no visible link to the husband and wife duo, including animals (residing both within the country and in urban environments) and an enigmatic old man.

Gröning is best known for his 2005 documentary Into Great Silence, which examined life inside the Grande Chartreuse, the head monastery of the reclusive Carthusian Order in France. Similarly, The Police Officer’s Wife’s inherent strangeness resides in isolation, both for the couple and their idyllic surroundings. We never see them interact with anyone, with the exception of a few scenes of the officer at work. This isn’t a brutal film per se – though there are few scenes of violence – but over the near three-hour runtime we gradually notice the wife’s demeanour change and see the bruises getting bigger and darker. The obsession with narrative explanation vis­à­vis emotional cause and effect is completely absent. This is a film of objects, space and the acceptance of the unexplained which is thought less of than mere understanding of a personal contextualisation that we can never hope to understand.

The Police Officer’s Wife’s power lies in the cognitive explosions it sets within the subconscious of the viewer that forcefully interacts with the formally audacious claustrophobic rhythms. Gröning’s latest could easily be approached as a philosophical tract on the idea of how to watch cinema; a palate cleanser that illuminates an approach that demands an openness of mind and body which is slowly becoming a forgotten trait. One thinks of the idea of negative capability – not Keats’ poetic idea but the psychoanalyst Wilfred Bion’s interpretation; the ability to tolerate the pain and confusion of not knowing, rather than imposing ready-made or overreaching certainties upon an ambiguous situation.

3.20GB | 2h 55mn | 1024×512 | mkv

https://nitroflare.com/view/F13EA7625D72A31/Philip_Groning_-_%282013%29_The_Police_Officer%27s_Wife.mkv

Language(s):German
Subtitles:English

The post Philip Gröning – Die Frau des Polizisten AKA The Police Officer’s Wife (2013) first appeared on Cinema of the World.