Alla Demidova – Cinema of the World

Vladimir Basov – Shchit i mech AKA The Shield and the Sword (1968)

admin — Thu, 25 Apr 2024 00:49:00 +0000

Shchit i mech (1968)

Alexander Belov (Lyubshin) is a Russian spy in the Nazi Germany, working under cover name as Johann Weiss. His perfect German and cool demeanor allows him to make a career in the SS Headquarters in Berlin. Now he is risking his life while getting the Nazi war plans and delivering it to his contact for the sake of Victory. Written by Steve Shelokhonov

Shchit i mech part 1.mkv

General
Container:  	Matroska
Runtime: 	1h 10mn
Size: 	976 MiB
Video
Codec: 	x264
Resolution: 	720x432 ~> 1036x432
Aspect ratio:  	2.40:1
Frame rate: 	25.000 fps
Bit rate: 	
BPP: 	
Audio
#1:  	Russian 5.1ch AAC (AAC-LC 6ch 48Khz ~245Kbps)
#2:  	Russian 1.0ch AAC (AAC-LC 1ch 48Khz ~64Kbps)

Language(s):Russian
Subtitles:Russian, English

The post Vladimir Basov – Shchit i mech AKA The Shield and the Sword (1968) first appeared on Cinema of the World.

Igor Talankin – Dnevnye zvyozdy AKA The Stars of the Day (1968)

admin — Mon, 25 Sep 2023 08:18:47 +0000

Dnevnye Zvyozdy (“The Stars of the Day”, 1966) was based on poetess Olga Berggolts’s autobiography. She was a difficult figure for the authorities: though she stayed in Leningrad during the siege making inspirational radio broadcasts, her more personal work was suppressed, even after her death. Suspended strangely between interior monologue, poetic recitation, exterior action and memory, it won an award at the Venice Film Festival. It also introduced Talankin to the actress Alla Demidova, who appeared in most of his subsequent films.

Dnevnye.zvezdy.1968.DivX.TVRip.avi

General
Container:  	AVI
Runtime: 	1 h 27 min
Size: 	693 MiB
Video
Codec: 	DivX
Resolution: 	576x288 
Aspect ratio:  	2.000
Frame rate: 	25.000 fps
Bit rate: 	1 038 kb/s
BPP: 	0.250
Audio
#1:  	1.0ch MP3 @ 64.0 kb/s

https://nitro.download/view/731C313BEA340DD/Dnevnye.zvezdy.1968.DivX.TVRip.avi

Language(s):Russian
Subtitles:None

The post Igor Talankin – Dnevnye zvyozdy AKA The Stars of the Day (1968) first appeared on Cinema of the World.

Kira Muratova – Nastroyshchik AKA The Tuner (2004)

admin — Sun, 06 Aug 2023 05:58:30 +0000

PLOT: A young piano tuner befriends two rich old-ladies, and plots, with the help of his girlfriend, to betray their trust and steal from them.

The.Tuner.2004.Kira Muratova.SD.WEB-DL.AAC2.0.x264.mkv

General
Container:  	Matroska
Runtime: 	2 h 35 min
Size: 	1.92 GiB
Video
Codec: 	x264
Resolution: 	854x512 
Aspect ratio:  	5:3
Frame rate: 	25.000 fps
Bit rate: 	1 511 kb/s
BPP: 	0.138
Audio
#1:  	Russian 2.0ch AAC LC @ 253 kb/s

https://nitro.download/view/F26FF5CB418D831/The.Tuner.2004.Kira_Muratova.SD.WEB-DL.AAC2.0.x264.mkv

Language(s):Russian
Subtitles:English, French

The post Kira Muratova – Nastroyshchik AKA The Tuner (2004) first appeared on Cinema of the World.

Kira Muratova – Nastroyshchik AKA The Tuner (2004)

admin — Mon, 09 Mar 2020 08:30:00 +0000

Quote:
At the heart of Kira Muratova’s newest film, The Tuner (Nastroishchik, 2004), is her characteristic and enduring love of predation—predation for its own sake. Of course, any talk of “the heart of Muratova’s work” is a judgment of anatomy rather than sentiment, as any admirer would attest. With The Tuner, she has produced an extraordinary new film that offers a complex assessment of the human subject, civilization, and the creative act.

As those who follow Muratova will know, and as she herself has commented, her work divides into two categories: the plotless and the plotted. The plotless, a rarer category, arguably includes Asthenic Syndrome and Passions. Among the plotted films are the two early, provincial melodramas, as well as Sentimental Policeman, Three Stories, and Chekhovian Motifs. Muratova’s latest work, The Tuner, continues this dominant, plotted lineage, one that is more merciful to her audience.

Of course, to expect consistency from Muratova is to reveal an unfamiliarity with her work; at the same time, it is reasonable to speculate that the shift we are seeing is one marked by a certain uncharacteristic minimalist range—a sustained plot line; black-and-white composition; a limited set of devices; a recurring troupe of known actors—that balances the stochastic quality of her unpredictable logic. This minimalism—a relative category, of course, with respect to a highly mannered and ornamental cinema—permits the viewer more conceptual freedom, more autonomy to observe the larger connections through work that is markedly less cluttered than even her previous film. The insistent, aural repetition so closely associated with her cinema has been exhausted and is blessedly set aside, the dolls are gone, yet the same, inexhaustible curiosity about the elusive human subject continues in her scattered and associative logic.

Muratova’s tight and intricate narrative is punctuated by familiar cinematic devices, red herrings, and pranks immediately identifiable—even beyond cinema production—with Muratova’s sui generic style. I will mention three: first, her inclusion of a “cultural intermezzo” by an amateur artist-enthusiast. Aficionados of Muratova’s work will remember this device, most memorably Aleksandra Svenskaia’s trumpet solo performance of “Strangers in the Night” in Asthenic Syndrome (Astenicheskii sindrom, 1989) and declamatory lyrics by the amateur poet, Gena (Leonid Kushnir), from “Boiler Room No. 6,” the first novella of Three Stories (Tri istorii, 1997). In The Tuner, this device takes the form of a girl singer-songwriter performing on public transport and a number of other charmingly inept musicians (a clarinetist, two tuba players, random, elderly singers, and Andrei’s spontaneous “Uzbek” improvisation). This is the utopian dimension of Muratova’s creative act: irredeemably unprofessional, yet utterly complete, self-sufficient in itself, the flawless conjuration of an inner hallucination.

A second kind of stylistic punctuation is Muratova’s episodic, anonymous eccentrics, who can be traced from the nameless old man at the roadside café (Brief Encounters), whose children had been killed by the fascists; to the nameless old man in the post office (Long Farewells), who dictates a telegram to his children; to the nameless young man whose strict mother would not admit him after 11.00 pm (Sentimental Policeman [Chuvstvitel’nyi militsioner, 1992]); to the disapproving, nameless neighbor-woman of “Ophelia” (the second novella of Three Stories), who repetitively intones “There is no toilet here” [“zdes’ net tualeta”]. These figures, like the rapturous amateur artists described above, are also allocated their cameo roles in The Tuner: a deaf-mute, retarded woman, fed by Lina; a toga-clad wine-seller, who offers rosé for free; a rowdy, but harmless neighbor boy who harasses Andrei; a nameless blind man who is granted the film’s final lines. When we were younger, we might have mistaken these vignettes as evidence of a certain redemptive pathos in Muratova’s work; now retrospectively, we observe them with cooler eyes as minor sightings in Muratova’s game preserve of the human species. The deaf-mute of The Tuner is an amusing freak, no more or less a child of the universe than the “homicido-philiac” Litvinova.

A third recognizable decoration is Muratova’s fascination with doubles, twins, and buddies: the reader might remember Vera and Zoia from Getting to Know the Wide World (Poznavaia belyi svet, 1979); Liliia and Violetta (Passions [Uvlechen’ia, 1994]); the two Mashas (Asthenic Syndrome); El’vira and Al’bina in the novella “Ophelia” (Three Stories). Just as we think that this decorative line must have been discarded, two sets of twins make their appearance at the very end of The Tuner.

One could continue the list of stylistic trademarks—the soundtrack’s buzzing fly (repeated here from Long Farewells, Passions, and “Little Girl and Death,” the third novella of Three Stories); the special status of animals (echoed here from Asthenic Syndrome, Passions, and elsewhere)—but the larger function of the orchestrated repetitions is of greater interest here: these stable and recurrent elements assure us that we are indeed watching the same, gifted madwoman, for whom these eccentric “passions” have become the cinematic norm. It is against these now familiar devices that Muratova contrapuntally develops her new rhapsody on the human condition. The current rhapsody is markedly more restrained, selective, and (dare I utter the word?) disciplined than her earlier work.

1.89GB | 2h 35mn | 768×460 | mkv

http://nitroflare.com/view/AAFB347748BB66D/Kira_Muratova_-_(2004)_The_Tuner.part1.rar
http://nitroflare.com/view/935C42413F4606F/Kira_Muratova_-_(2004)_The_Tuner.part2.rar

Language(s):Russian
Subtitles:English

The post Kira Muratova – Nastroyshchik AKA The Tuner (2004) first appeared on Cinema of the World.

Larisa Shepitko – Ty i ya AKA You and Me (1971)

admin — Thu, 06 Feb 2020 07:00:00 +0000

Synopsis:
Peter, a former medical scientist, suddenly quits his cushy job as a doctor at the Russian Embassy in Sweden and returns to Moscow. 3 years ago his team stood on the threshold of a vital break-through in neurosurgery, but the experimental work was cut short when Peter left for Stockholm. Peter tries to pick up the threads of his old life, fails and runs still further away, to a small town in Northern Russia where he takes a job as a district doctor. But the past would not relinquish its hold on him even there.

1.89GB | 1h 31mn | 744×558 | mkv

https://nitro.download/view/9B3CB803F8E70E3/Ty.i.ya.AKA.You.and.Me.1971.DVDRip.x264-HANDJOB.mkv

Language(s):Russian
Subtitles:English (muxed)

The post Larisa Shepitko – Ty i ya AKA You and Me (1971) first appeared on Cinema of the World.