During the elimination of the Belgian/French border in the 90s, a Belgian customs officer is forced to team up with one of his French counterparts.

Letterboxd review
★★★½ Watched by MediAhoi 02 May 2021

European Problems.

Fun little flick. Definetly not the best from/with Danny Boon. Still somewhat enjoyable and something for letting your mind float through your cranium for 90 minutes.
If you want French comedy, there are a lot of better movies but “Rien à déclarer” has a unique topic and executes it quite nicely.

Way less fun if watched alone or dubbed (turn on subtitles). Probably funnier drunk, I might try that out.

Rien.A.Declarer.2010.FRENCH.720p.BluRay.x264-LOST.mkv

General
Container:  	Matroska
Runtime: 	1 h 48 min
Size: 	4.37 GiB
Video
Codec: 	x264
Resolution: 	1280x544 
Aspect ratio:  	2.35:1
Frame rate: 	24.000 fps
Bit rate: 	4 266 kb/s
BPP: 	0.255
Audio
#1:  	French 5.1ch DTS @ 1 509 kb/s (French DTS 1509kbps)

https://nitro.download/view/730A3758CB60807/Rien.A.Declarer.2010.FRENCH.720p.BluRay.x264-LOST.mkv
https://nitro.download/view/7C993DD78950DEF/Rien.A.Declarer.2010.FRENCH.720p.BluRay.x264-LOST.srt

Language(s):French
Subtitles:English

The post Dany Boon – Rien à déclarer AKA Nothing to Declare (2010) first appeared on Cinema of the World.

It describes the twilight of a sacred monster, Jules Maugin, an actor at the height of his glory. Under the famous personality, the big mouth, and the social shell, lies the intimate portrait of a man laid bare.

Les.Volets.Verts.2022.FRENCH.1080p.WEB-DL.x264-Wawacity.bond.mkv

General
Container:  	Matroska
Runtime: 	1 h 39 min
Size: 	1.47 GiB
Video
Codec: 	x264
Resolution: 	1916x800 
Aspect ratio:  	2.40:1
Frame rate: 	24.000 fps
Bit rate: 	1 957 kb/s
BPP: 	0.053
Audio
#1:  	French 2.0ch AAC LC @ 160 kb/s

https://nitro.download/view/3F06AC342D1FB0A/Les.Volets.Verts.2022.FRENCH.1080p.WEB-DL.x264-Wawacity.bond.mkv

Language(s):French
Subtitles:none

The post Jean Becker – Les volets verts AKA The Heart of a Man (2022) first appeared on Cinema of the World.

The latest from Fabrice du Welz follows a bestselling novelist who moves into an eerie old mansion in search of inspiration.

Inexorable.2022.576p.BluRay.DD5.1.x264-NEOLONE.mkv

General
Container:  	Matroska
Runtime: 	1 h 38 min
Size: 	2.45 GiB
Video
Codec: 	x264
Resolution: 	1024x430 
Aspect ratio:  	2.40:1
Frame rate: 	24.000 fps
Bit rate: 	3 085 kb/s
BPP: 	0.292
Audio
#1:  	French 5.1ch AC-3 @ 448 kb/s

https://nitro.download/view/F0F5BFDA2AAED1C/Inexorable.2022.576p.BluRay.DD5.1.x264-NEOLONE.mkv

Language(s):French
Subtitles:French (SUP)

The post Fabrice du Welz – Inexorable (2021) first appeared on Cinema of the World.

Quote:
You could potentially create some sort of slogan from Garde à vue meeting Buffet froid, if it was at all possible to classify the unclassifiable director Quentin Dupieux, as illustrated by Keep an Eye Out, the new film by the very offbeat director of Steak, Rubber (Cannes Critics’ Week in 2010), Wrong (in competition at Sundance in 2012), Wrong Cops (Piazza Grande at Locarno in 2013) and Reality (Horizons section at Venice in 2014). In a feature film as zany as ever that marks the director’s return to the French language, the filmmaker has nevertheless embarked on an interesting and subtle variation of his exploration of absurd realism. Unveiled in world premiere at La Rochelle International Film Festival and released in French cinemas by Diaphana, the feature film, which stars the excellent Gregoire Ludig and Benoît Poelvoorde, effectively reveals itself as a feat of astonishing precision engineering, subverting typical genre film signifiers (the classic face-to-face between a police officer and suspect, flashbacks) in order to gradually instil a sense of strangeness – occasionally interrupted by quick quips – in order to dissect banality to the point of the extreme and create a new dimension to cinema that disrupts all sense of time and all points of reference.

“It’s going to be a long night,” “How did you know that the corpse was dead?” In his office, Commissioner Buron (Poelvoorde) interrogates the moustached Fugain (Ludig), who has discovered the body of a man in the street at the foot of his building. The cop tries to clarify the sequence of events, while the witness admits to having been involved in the mess. And so, the scene is set: a confined space decorated in beige hues, a typewriter, a cosy atmosphere, a languid tempo. A verbal game of ping-pong commences as Fugain is forced to explain why his neighbour, an elderly woman-cum-peeping-tom, saw him leave his home seven times during “the night of the death.” The suspect revisits each round trip via a series of flashbacks, plunging us into his entirely banal everyday life (forgetting his wallet, buying some insecticide, a trip to get some fresh air, a flower pot falling from the balcony, a woman sleepwalking, a badly-parked car, etc.). But the situation suddenly becomes somewhat more tricky for Fugain when Buron’s subordinate, one-eyed policeman Philippe (Marc Fraize), tasked with sussing out the suspect in the temporary absence of his chief, is killed by accident (by a shelf bracket!). And so, we find ourselves with a corpse hidden in the closet, quite literally, while the interrogation resumes, with the event creating temporal interferences with Fugain’s story (including the sudden entrance of Philippe’s wife, brought to life by Anaïs Demoustier). The funny plot (written by the director) slowly descends into the absurd, with plenty of twists and turns to follow…

Riding on the coattails of some exquisite dialogue, a slightly unhinged atmosphere cradled by a dreamlike sensation and an unusual strange tempo, Keep an Eye Out is a comedy bathed in paradox, an exercise in style that methodically strips away the bark of realism to extract, drop by drop, a pulp of very original humour, a purely ‘buenuelienne’ test that may not always be easily noticed by lovers of more direct comedy (although the film isn’t lacking in its fair share of comical moments), but that instead represents the beautiful demonstration of controlled nonsense and entirely insane structures.

au.poste.2018.french.720p.bluray.x264-lost.mkv

General
Container:  	Matroska
Runtime: 	1h 13mn
Size: 	3.27 GiB
Video
Codec: 	x264
Resolution: 	1280x688 
Aspect ratio:  	1.85:1
Frame rate: 	23.976 fps
Bit rate: 	4 876 Kbps
BPP: 	0.231
Audio
#1:  	French 5.1ch DTS @ 1 509 Kbps (French DTS 1509kbps)

https://nitro.download/view/2650C4E8FB3230D/au.poste.2018.french.720p.bluray.x264-lost.mkv
https://nitro.download/view/8A09547FD3BC297/au.poste.2018.french.720p.bluray.x264-lost.srt

Language(s):French
Subtitles:English (srt)

The post Quentin Dupieux – Au poste! AKA Keep an Eye Out (2018) first appeared on Cinema of the World.

Synopsis
Alexandre Dumas is a widely admired writer. During 13 years he and his collaborator Auguste Maquet wrote together many successeful novels as D’Artagnan, Queen Margot or even The Count of Monte Cristo. When Maquet meets the young and pretty Charlotte, he wants to make an impression and lies to her presenting himself as Dumas. After a confrontation, the two friends dispute the authorship of their books. Which mind was truly behind their stories? Dumas or Maquet’s? Meanwhile, the Revolution of 1848 is slowly rising…

Alors qu’Alexandre Dumas et Auguste Maquet, son nègre littéraire, sont au sommet de leur collaboration, Maquet décide de se faire passer pour Dumas afin de séduire Charlotte, une admiratrice de l’illustre écrivain. Entre les deux hommes, l’affrontement est inévitable. Dans Paris, la Révolution de 1848 se prépare…

3.06GB | 1h 41m | 960×544 | mkv

https://nitro.download/view/473D60B6595A7F4/Dumas.2010.720p.WEB-DL.h264.AC3-DEEP.mkv
or
https://fikper.com/LUtS1sb8Y1/Dumas.2010.720p.WEB-DL.h264.AC3-DEEP.mkv

Language(s):French
Subtitles:English

The post Safy Nebbou – L’autre Dumas AKA Dumas (2010) first appeared on Cinema of the World.

Quote:
More than 40 years ago, at the outset of his filmmaking career, Benoit Jacquot worked as an assistant director to the great French novelist and helmer Marguerite Duras, and now, with “Three Hearts,” he has made a film that feels more indebted to her romantic values than anything else in his oeuvre. Here, beneath the surface of a cool, contempo love triangle involving a Parisian man (Benoit Poelvoorde) and a pair of provincial French sisters (played by Charlotte Gainsbourg and Chiara Mastroianni), are all the values Duras held dear: love at first sight, spontaneous tears, all-consuming desire and impossible, self-destructive decisions.

The difference — since it’s entirely possible that the Duras connection never crossed Jacquot’s mind — is that the helmer can’t help but turn these archetypes into characters. The passion remains, but the underlying poetry has been traded in for something more tangible, brought down to earth so that audiences might relate. Telling such a direct, contempo story from a man’s p.o.v. seems of tantamount importance to Jacquot, as if to balance a streak of femme-focused period pieces in recent years — a run culminating with his revival of “La Traviata,” which will be onstage at Paris’ Opera Bastille when this film opens Sept. 17 in France. Pic should do solid business in Europe, where the participation of Catherine Deneuve as the sibs’ mom rounds out a film-royalty trifecta among the pic’s female cast.

Of the three hearts in play, the man’s seems most at risk. A workaholic out of place in a country where employees recently demanded that they be allowed to turn off their cell phones after hours, Poelvoorde’s over-stressed tax officer appears to be constantly on the brink of a heart attack — a chest-tightening, cold-sweat-inducing feeling that extends to the audience, courtesy of Bruno Coulais’ unusual score (by meller-music standards, at least), which mixes that ominous foghorn sound so popular since “Inception” with more traditionally swoony piano-and-strings motifs.

And so, accompanied by music that suggests the incident is anything but ordinary — possibly even the Most Important Moment of His Life — Jacquot’s hero misses his train on a business trip outside Paris. Stepping back out into the quiet city (of Valence, south of Lyon), he makes good by chatting up a sullen-looking woman (Gainsbourg) wandering the streets alone at night. It is his birthday, as good a night as any to fall in love, and the two strangers kiss and decide to reunite a few days later at the Jardin des Tuileries in Paris.

At this point, the pair may as well be “a man” and “a woman” — romantic abstractions, a la Duras — but as played by these two committed actors, they rapidly come to seem like real people. Even so, American auds may have trouble accepting how quickly Sophie (as she is called) seems willing to walk out on her longtime b.f. in order to be with the somewhat pathetic Marc.

Too bad, then, that a silly misunderstanding at Marc’s office, which escalates into a rather serious anxiety attack, stands in the way of their agreed-upon meeting, frustrating the fate that they — and Jacquot — had so hastily imagined for themselves. (Here’s one situation that an after-work cell phone might have easily solved.) It’s not quite “An Affair to Remember”-level sad, mainly because Jacquot hasn’t given us ample time to fall for the couple, though he is looking to elicit the same level of emotional response of which classic Hollywood was capable. John Stahl’s “Back Street” is the more direct model here for such what-might-have-beens, right down to the final scene, in which the tragedy literally becomes too great for one heart to bear.

After the missed appointment, Sophie goes back to her partner, defeatedly agreeing to move to Minneapolis with him. Of all the moments in a film saturated with regret and compromise, the most powerful is easily the one in which Sophie breaks the news to her sister, Sylvie (Mastroianni), who cannot hold back the tears, while Deneuve stoically looks on. The sisters love one another more than anyone in the world. But the prospect of being separated is only part of what makes Sophie’s decision to leave so unbearable to Sylvie, who understands that her sister is sentencing herself to a life without love.

Perhaps this sacrifice is what compels Sophie to leave her husband so abruptly after meeting Marc, breaking the news in the middle of an action movie — a nice touch, amid all the tire screeches and explosions. But what is it that these women see in Marc? They each meet him under completely separate circumstances, and he’s like a different man with each of them: passionate with Sophie, sensitive to Sylvie. The entire scenario, contrived to within an inch of its life, takes Poelvoorde’s appeal for granted. Marc’s anxiety becomes our own once he realizes what he’s done, though Jacquot makes it much more compelling to watch his characters fall in love than it is to see them writhe and twist amid its complications.

1.53GB | 1h 48m | 1024×428 | mkv

https://nitro.download/view/A555CB2D8DA173A/Benoit_Jacquot_-_(2014)_Three_Hearts.mkv
or
https://nitro.download/view/AF62B15909BA627/Benoit_Jacquot_-_(2014)_Three_Hearts.part1.rar
https://nitro.download/view/0CA707F295F064C/Benoit_Jacquot_-_(2014)_Three_Hearts.part2.rar

Language(s):French,Chinese
Subtitles:English

The post Benoît Jacquot – 3 coeurs AKA Three Hearts (2014) first appeared on Cinema of the World.

Quote:
The sixth feature by Belgian director Fabrice du Welz, Adoration, has screened in a world premiere to the passionate Piazza Grande audience of the Locarno Film Festival. The film follows in the footsteps of Paul, a boy who lives with his mother on the edge of a mysterious forest, in a small house by the entrance of a rather strange hospital. One day, he’s snapped out of his lethargy by a young girl who appears unexpectedly before him, as if an epiphany. Yet the ray of light that is Gloria will gradually reveal a far darker side of her life.

3.43GB | 1h 38mn | 1920×806 | mkv

https://nitroflare.com/view/CF6BF5FCB402B62/Adoration.2019.1080p.WEB.H264-ALLDAYiN.mkv
https://nitroflare.com/view/0FAFCA5487E1067/Adoration.English.srt

Language(s):French
Subtitles:French

The post Fabrice du Welz – Adoration (2019) first appeared on Cinema of the World.