A young woman’s life is scrutinized by police and tabloid press after she spends the night with a suspected terrorist.

Die.verlorene.Ehre.der.Katharina.Blum.AKA.The.Lost.Honor.of.Katharina.Blum.1975.576p.BluRay.AAC.x264-HANDJOB.mkv

General
Container:  	Matroska
Runtime: 	1 h 46 min
Size: 	3.44 GiB
Video
Codec: 	x264
Resolution: 	964x576 
Aspect ratio:  	5:3
Frame rate: 	24.000 fps
Bit rate: 	4 489 kb/s
BPP: 	0.337
Audio
#1:  	German 2.0ch AAC LC @ 137 kb/s

https://nitro.download/view/EA8D53D9850CBFC/Die.verlorene.Ehre.der.Katharina.Blum.AKA.The.Lost.Honor.of.Katharina.Blum.1975.576p.BluRay.AAC.x264-HANDJOB.mkv

Language(s):German
Subtitles:English, French, German

The post Volker Schlöndorff & Margarethe von Trotta – Die verlorene Ehre der Katharina Blum AKA The Lost Honor of Katharina Blum (1975) first appeared on Cinema of the World.

Synopsis
Ferien (Vacation, 2007) was perhaps the festival’s best German feature. Thomas Arslan’s latest outlines the strained composition of a family and the disintegration of a marriage, set in a luminous Brandenburg summer. The film is confined: the story takes place almost exclusively on the grounds of the mother’s country house and the cinematic language speaks only static shots and long takes. Just at the very end of the film does one see the whole family together. Arslan’s feat reveals the shifting constellations of family members in individual conversations and encounters: the grandmother is tender and wise while alone with granddaughter Laura, cold when Laura’s sister Sophie enters, and bitchy in scenes with her daughter Anna. The story’s tragic irony is the incongruity between the stability of each character’s identity in his or her own mind and the constantly changing roles each actually inhabits. Arslan previously employed non-professionals and actors unknown in Germany for milieu studies like Dealer (1999). Here he casts accomplished theatre actors (e.g. Angela Winkler) and the gesture lends the drama a taut focus. This film has neither the explosive (and exploitative?) power of Vinterberg’s Festen (Celebration, 1998) nor the psychological depth of Bergman’s Scener ur ett äktenskap (Scenes from a Marriage, 1973). But Ferien is the most alive. Arslan binds the family scenes with shots of a depopulated nature accompanied by a lush rustling: the film breathes.

Ferien.AKA.Vacation.2007.1080p.WEB-DL.AAC2.0.x264-Cinefeel.mkv

General
Container:  	Matroska
Runtime: 	1 h 31 min
Size: 	2.56 GiB
Video
Codec: 	x264
Resolution: 	1920x1080 
Aspect ratio:  	16:9
Frame rate: 	24.000 fps
Bit rate: 	4 000 kb/s
BPP: 	0.080
Audio
#1:  	German 2.0ch AAC LC @ 128 kb/s

https://nitro.download/view/215AB43EC2ADFF8/Ferien.AKA.Vacation.2007.1080p.WEB-DL.AAC2.0.x264-Cinefeel.mkv

Language(s):German
Subtitles:English

The post Thomas Arslan – Ferien aka Vacation (2007) first appeared on Cinema of the World.

Draughtswoman Nathalie Baye moves to Paris. This is the tale of her sad encounters and experiences, and the dignity she retains.
Aside from the subdued and true-to-life quality that Claude Goretta’s movies share – in my opinion – with his fellow Swiss Alain Tanner, this is a deeply emotional and depressing film. Nathalie Baye is – as usual – incredibly beautiful, moving and convincing.

DVD Source: VHSRip/TVRip
DVD Format: PAL
DVD Audio: Mono
Program: DVDAuthor
Menus: N.A.
Video: Untouched
Audio: Untouched
DVD extras: N.A.

https://nitro.download/view/4D3830967F3EEC4/LaProvinciale(ClaudeGoretta)_DVDR.rar

Language(s):French
Subtitles:French hardsubs

The post Claude Goretta – La provinciale AKA The Girl From Lorraine (1981) first appeared on Cinema of the World.

Quote:
A family man slowly becomes dangerously obsessive and paranoid in this grim Austrian drama that contains a graphically violent ending. As the story begins, George, an engineer who works at a science facility, has a normal happy life with his wife and kids. They are in the process of building a new house when George learns that a nearby chemical plant has been leaking dangerous gas into the air. This causes George to begin suffering from terrifying hallucinations. His paranoia increases every time he hears another report of violence, crime, war, or any other social problems on the news. After learning that his company may be overtaken by a larger corporation, George decides to send his family on an Italian vacation while he stays home and turns their apartment into a strange refuge from the terrible world he knows is coming.

1.19GB | 1h 50m | 696×436 | mkv

https://nitro.download/view/76E34E0BF49D9AF/Der.Kopf.des.Mohren.1995.DVDRip.x264-HANDJOB.mkv

Language(s):German
Subtitles:English,German

The post Paulus Manker – Der Kopf des Mohren AKA The Moor’s Head (1995) first appeared on Cinema of the World.

Quote:
Of all the new crop of films by new German directors, this first film by Peter Fleischmann has attracted the most attention, and is based upon a prizewinning play by 25-year-old Martin Sperr. Hunting Scenes from Bavaria is a contemporary political play, which, in its broadest viewpoint, is an examination of the social order and its morals. It is set in Lower Bavaria, not because that particular locale is the source of the actions taking place in the film, but because the overall pattern of behavior in German village life was the best way to illustrate a certain sociological process: the hunting or persecution of human beings who, because of certain peculiarities, are living outside of the social order. The subject of aggression is at the center of Fleischmann’s film, and it is fascinating and horrifying to watch the interchangeability of victims in this story of inbred vindictiveness among the villagers of Unholzing. In this idyllic-seeming place, everyone knows and depends upon on everyone else, and in such a closed community, a defect becomes an evil—a mistake, a sin. When Abram, a young mechanic returns to the village after having lived and worked in the city, it is soon learned that he has served a jail term for sexual inversion. This information sets everything into motion.

1.71GB | 1h 25m | 960×576 | mkv

https://nitro.download/view/436D47CA779643D/Peter_Fleischmann_-_(1969)_Hunting_Scenes_from_Bavaria.mkv

Language:German
Subtitles:English, German

The post Peter Fleischmann – Jagdszenen aus Niederbayern AKA Hunting Scenes from Bavaria (1969) first appeared on Cinema of the World.

Quote:
“A country unable to mourn,” Volker Schlöndorff wrote in his journal as he adapted Günter Grass’ novel, The Tin Drum. “Germany, to this day, is the poisoned heart of Europe.” When the film premiered in West German cinemas in early May 1979, it figured within a country’s larger (and, in many minds, long overdue) reckoning with a legacy of shame and violence. Indeed, the Nazi past haunted the nation’s screens, more so than it ever had since the end of World War II. The American miniseries Holocaust aired that year on public television in February and catalyzed wide discussion about Germany’s responsibility for the Shoah. Later that month, Peter Lilienthal’s David gained accolades at the Berlin Film Festival for its stirring depiction of a young Jewish boy living underground in the Reich’s capital during the deportations to the camps. History returned as film; retrospective readings of the Third Reich by Rainer Werner Fassbinder, Alexander Kluge, Edgar Reitz, Helma Sanders-Brahms, and Hans-Jürgen Syberberg (among others) would become the calling card of the New German Cinema and bring this group of critical filmmakers an extraordinary international renown. In 1979, The Tin Drum won the Palme d’Or at the Cannes Film Festival. A year later, it would become the first feature from the Federal Republic of Germany (FRG) to receive an Oscar for best foreign film.

The film’s source had occasioned much controversy and scandal when it came out in 1959. Grass’ book assailed the German past and scorned the German present with its solemn religiosity, prudish domesticity, and unrelenting conservatism, the so-called “Economic Miracle” of the reconstruction era. Contemporary critics denounced the work’s lack of piety, its pornographic indulgence, and its utter disregard for established values and institutions. As an angry intervention and a virulent provocation, Grass’ epic portrait stood out as the most prominent German novel of the postwar era. Its baroque bombast, expressive bravado, and earthy sexuality prompted comparisons with the prose of Grimmelshausen and Rabelais as well as with the tableaux of Grosz and Brueghel. Its narration, with switches of perspective and discourse as well as temporal leaps, was at once engaging, scintillating, and utterly unreliable. Oskar, an inmate of an insane asylum, freewheels between his childhood in Danzig and the postwar German situation, shifting between first and third person, changing moods and tonalities. For all its acclaim, the property posed inordinate challenges for any prospective film adaptation. Over the years various directors were mentioned as possibilities, from Johannes Schaaf to Roman Polanski (whom one producer also wanted to cast in the role of Oskar) to Andrzej Wajda. Schlöndorff, a seasoned professional with a dozen features behind him, came to the project as a director known for his cosmopolitan flair, his intellectual acumen, and his experience with literary sources (including films based on works by Robert Musil, Heinrich von Kleist, Bertolt Brecht, and Heinrich Böll).

Rather than trying to impose a personal style on Grass’ epic or to mimic the novelist’s idiosyncratic prose and the complexities of his multilayered narrative, Schlöndorff approached the work less as an auteur with his own vision than a metteur en scène with an ethos of precision and craft. Above all, he set out to capture the novel’s singular recreation of the German past. Casting a twelve-year-old boy (David Bennent) as Oskar, the director fashioned “world history experienced from below,” from the perspective of a small rebel armed with a drum and graced with a voice that breaks glass. A twisted variation on the German Bildungsroman, Oskar’s education between the fronts of German and Polish history becomes an exercise in alienation and deformation. The youth refuses to accommodate himself to the status quo and compels himself to stop growing at the age of three. His fulsome drumming beats against the tenor of the times and his shrill scream poses a public menace. The film imbues the boy’s negativity with a subversive power; his acts of refusal both issue from and militate against the experience of history.

Schlöndorff crafted his adaptation as “a German fresco,” a series of portraits of a city, a street, and a neighborhood in Danzig before and during World War II. (He did not include the novel’s third part—the postwar sequence in Düsseldorf—believing that it would deserve another film.) At times cameraman Igor Luther’s images have a panoramic sweep, be they the open potato fields and train tracks that disappear into the distance which frame the film or the breathtakingly beautiful long shot of the doomed Polish city on the eve of the German invasion. Much of the running time, however, involves a ground-level and close-up view, the perspective of the child who partakes of the world of grownups with equal measures of fascination, horror, and disgust. Stylistically, Schlöndorff boxes the compass of cinematic possibility from slapstick humor (early Chaplin was a particularly strong influence), political satire, and homeland film, commingling comedy and tragicomedy, melodrama and mock-heroic drama, the poignant and the grotesque, the epic and the small scale. Self-consciously carnivalesque in its formal resolve, the film affords a variety of attractions in its big top of generic possibility.

More than any other New German director, Schlöndorff strived to negotiate the specifics of a national history (he once described himself as someone who “consciously makes German films”) while reaching out to find international support, appeal, and exposure. His casting was impeccable and brought together a stunning ensemble of players from West Germany, Poland, and France. The scriptwriter Jean-Claude Carrière had worked with Luis Buñuel, his editor Suzanne Baron with Jacques Tati, his composer Maurice Jarre with David Lean; even the makeup artist, Rino Carboni, had worked with Federico Fellini. The Tin Drum and Fassbinder’s The Marriage of Maria Braun both premiered in 1979, works that were at once critical and popular. Both couched their narratives in petty bourgeois families and circumscribed settings; each film probed minutely the terms of a time and a place in a manner that allowed their small worlds to assume a larger and exemplary significance. In fact, the provincial perspectives made these films attractive for American co-producers (United Artists provided a large portion of The Tin Drum’s 7.5 million mark budget) and distributors and transformed these two art films into New German Cinema’s largest box-office successes.

Upon receiving the Oscar for The Tin Drum, Schlöndorff spoke as a German proud of his achievement and yet critical of his own country and displeased with its history, as a filmmaker mindful of many Germans and Jews who had found themselves mistreated and dispossessed by this nation. Speaking to the Hollywood audience, he accepted the award in the name of Greman emigrants and exiles “whose tradition we want to pick up: Fritz Lang, Billy Wilder, Pabst, Murnau, Lubitsch.” A vibrant chronicle of an Oedipal revolt, The Tin Drum aligns itself with the marginal perspective of a delinquent who is also an artist, which, one might say, recalls the unreconciled temperament that had defined and fueled the New German Cinema, an alternative cinema whose critical return to a bad history fostered a dramatic renewal of German film history.

Eric Rentschler, a film and literary historian, is Professor and Chair of the Department of Germanic Languages and Literatures at Harvard University. He is the author of, among other books, The Ministry of Illusion: Nazi Cinema and Its Afterlife and West German Film in the Course of Time.

https://nitroflare.com/view/AD3B7EEEFC7DD22/Volker_Schlondorff_-_(1979)_The_Tin_Drum.mkv

Language(s):German
Subtitles:English

The post Volker Schlöndorff – Die Blechtrommel AKA The Tin Drum [Director’s Cut] (1979) first appeared on Cinema of the World.

Olga and Ruth become friends. Olga is independent, separated from her husband, living with an immigrant pianist…

	
Heller.Wahn.AKA.Sheer.Madness.1983.576p.Bluray.AAC.1.0.x264-SaL.mkv

General
Container:  	Matroska
Runtime: 	1 h 46 min
Size: 	1.65 GiB
Video
Codec: 	x264
Resolution: 	956x576 
Aspect ratio:  	5:3
Frame rate: 	24.000 fps
Bit rate: 	2 083 kb/s
BPP: 	0.158
Audio
#1:  	German 1.0ch AAC LC @ 140 kb/s

https://nitro.download/view/B31A50E1520B121/Heller.Wahn.AKA.Sheer.Madness.1983.576p.Bluray.AAC.1.0.x264-SaL.mkv

Language(s):German
Subtitles:English, German

The post Margarethe von Trotta – Heller Wahn AKA Sheer Madness (1983) first appeared on Cinema of the World.