An aristocratic Sicilian family living in the 1950s. Count Villafratti has sex one night with his nymphomaniac daughter because he thinks she is his wife.

Dans les années 50, un jeune américain arrive en Sicile pour l’enterrement de son père. Les violents conflits sociaux qu’il découvre, le comportement des habitants et par dessus tout, les agissements criminels de la Mafia, le révoltent. Dans cet univers corrompu, il sera l’enjeu d’un règlement de comptes.

DVD Source: DVD-R from VHS
DVD Format: PAL
DVD Audio: French Stereo
Program: MacTheRipper
Menus: Yes
Video: Untouched
Audio: Untouched
DVD extras: Untouched

https://nitro.download/view/684CA48BD31EE04/Le_Cercle_des_passions_(Claude_d_Anna,_1983).rar
https://nitro.download/view/0E78917B36905CD/Le_Cercle_des_passions_(Claude_d_Anna,_1983).srt

Language(s):French
Subtitles:English

The post Claude d’Anna – Le Cercle des passions AKA Circle of Passions (1983) first appeared on Cinema of the World.

Plot Outline: Dark fairytale about a demonic doctor who abducts a beautiful opera singer with designs on transforming her into a mechanical nightingale.

Quote:
To watch The Piano Tuner of Earthquakes is to enter the fabulist universe of the Brothers Quay, as unique and arcane as any imaginable. These identical twins have made some of the most original films of the last two decades, including Street of Crocodiles, selected by Terry Gilliam as one of the ten best animated films of all time.

Here, the goal was to make a poetic science fiction film inspired by the novella “The Invention of Morel” by the Argentine writer Adolfo Bioy Casares, although the final product bears closer resemblance to Jules Verne’s “Le Château des Carpates.” The story concerns Malvina (Amira Casar), a famous opera singer abducted on the eve of her wedding by the obsessive Dr. Droz (Gottfried John), who takes her away to the Carpathian Mountains. An innocent piano tuner (Cesar Sarachu) is summoned to the mad Droz’s secluded villa to service his strange musical automatons. When he learns of the doctor’s plans to stage a “diabolical opera,” he sets out to save the beautiful Malvina.

The scene is set by a quote from ancient Roman historian Sallust: “These things never happen but are always.” What follows is a magical treat full of the brilliant images for which the Quays are justly lauded. Moving from animated shorts to live-action features, their films have become more complex; animation is still present, with the Quays describing the startling, novel synthesis as “having live actors walk around puppet sets.” This film is haunted by the crazed doctor’s toylike mechanical creations. Visual references abound – in particular Arnold Böcklin’s painting “Island of the Dead” – and the brothers also cite Antonioni and Magritte. Music here is crucial, as Droz is a failed opera composer, and the Quays have assembled an hypnotic soundscape that mixes elements of Vivaldi with music from composer Trevor Duncan, whose work was used in Chris Marker’s La Jetée.

The end result is an evocative dream, part fairytale and part nightmare. The Piano Tuner of Earthquakes is a daring trip into a world half-recognized and half-remembered, but impossible to forget.

– Piers Handling

Stephen Quay & Timothy Quay - (2005) The PianoTuner of EarthQuakes.mkv

General
Container:  	Matroska
Runtime: 	1 h 34 min
Size: 	1.06 GiB
Video
Codec: 	x264
Resolution: 	702x432 ~> 1015x432
Aspect ratio:  	2.35:1
Frame rate: 	25.000 fps
Bit rate: 	1 397 kb/s
BPP: 	0.184
Audio
#1:  	2.0ch AC-3 @ 192 kb/s

https://nitro.download/view/ED2454BCB7BE3C8/Stephen_Quay_&_Timothy_Quay_-_(2005)_The_PianoTuner_of_EarthQuakes.mkv

Language(s):Portuguese, English
Subtitles:English

The post Stephen Quay & Timothy Quay – The PianoTuner of EarthQuakes (2005) first appeared on Cinema of the World.

Quote:
A dashing former matador named Diego Montes (Nacho Martínez), prematurely retired after a career-ending injury, rehearses the principal tenets of the art of the kill at a converted classroom on his estate to a group of aspiring bullfighters, including an unlikely, hypersensitive student named Angel Giménez (Antonio Banderas). The training lecture then cuts to the image of a beautiful, enigmatic woman sitting on a park bench, María (Assumpta Serna) as she initiates contact with an anonymous man innocuously passing by, follows him back to an apartment, and, at the height of physical intimacy, stabs him with a long ornamental pin behind the nape of the neck – in the region between the shoulder blades defined in bullfighting as the cleft of the clods. The shot then cuts back to the training grounds as Angel, intrigued by (and undoubtedly, attracted to) his instructor, follows Diego back to the house for a drink of water, and soon grows anxious when the conversation exposes his inexperience with women. In retaliation, Angel attempts to prove his masculinity by stalking Diego’s lover – a young model named Eva (Eva Cobo) – in an impulsive act that culminates in an equally humiliating failed sexual assault. However, unable to be taken seriously by the police, Angel decides to confess to a series of murders after viewing the crime scene photographs on the commissioner’s (Eusebio Poncela) desk, and in the process, unwittingly unites the paths of the crippled, morbidly aroused Diego and the fatally seductive María.

Pedro Almodóvar creates a highly sensual, deliriously overripe, and stylistically audacious portrait of love, death, fate, and violence in Matador. From the opening shot of the iconic matador, Diego, deriving sexual gratification from watching a horror exploitation film, Almodóvar establishes the interrelation between sexuality and savagery: the parallel cutting of the bullfighting training with María’s precise and ritualistic murder; Angel’s validation of his masculinity through Eva’s attempted violation; Diego’s initial pursuit of María inside a movie theater as the tragic, final sequence from Duel in the Sun unfolds; Diego’s repeated playback of the his fateful goring, spotting María on video among the spectators. Almodóvar further uses environmental elements to underscore emotional state, from the idyllic clouds that precipitate Angel’s consuming, morbid visions, to the portentous inclement weather that punctuates his encounter with Eva, to the total eclipse that materializes during the final encounter. By articulating profound connection through instinctual aggression, Matador serves as a bold and provocative allegory for the self-destructive cultural legacy of machismo, bravura, and ritualistic violence.

3.01GB | 1h 46mn | 1024×554 | mkv

https://nitro.download/view/EDB6614E851FCCF/Matador.1986.576p.BluRay.x264.AAC.2.0-dps.mkv

Language:Spanish
Subtitles:English

The post Pedro Almodóvar – Matador (1986) first appeared on Cinema of the World.