Synopsis
Brother and sister meet again after 15 years and fall in love with each other. The siblings Christine and Stefan grew up separated from each other due to their parents’ divorce and have no knowledge of each other. Later in life they meet and enters into a relationship.(imdb)

Review
The children of two separated parents (the father lives in Barcelona, the mother in Germany) Stefano and Cristina Handenberger meet again after fifteen years apart (the young woman also lives in Spain). Stefano, who discovers in his sister – a beautiful girl – for the first time the woman and her charm, falls in love with her. Soon, Cristina – who in Barcelona is the lover of the mature Don Jaime – leaves again. After some time, her brother joins her, officially to visit his father, actually to find her. Although not insensitive to his caresses, Cristina resists him for a while, but at a later meeting (Stefano comes and goes from Germany several times) they are sexually united. Having left Don Jaime, who took back the apartment that he had given her and furnished, Cristina, while not ceasing to love her brother, became engaged to a young Spaniard. While this relationship also ended, Monique, whom she wanted to marry. For a few days, the three of them live together, then Cristina, who does not want to share her brother with Monique, who is sneaking off to an unknown destination.other and sister meet again after 15 years and fall in love with each other.
(translated from RcD cinematógrafo.it)

Deine Zärtlichkeiten (Peter Schamoni, 1969).mkv

General
Container:  	Matroska
Runtime: 	1 h 26 min
Size: 	2.55 GiB
Video
Codec: 	x264
Resolution: 	1280x720 
Aspect ratio:  	16:9
Frame rate: 	25.000 fps
Bit rate: 	4 007 kb/s
BPP: 	0.174
Audio
#1:  	2.0ch AAC LC

https://nitro.download/view/678A468DE4B97CD/Deine_Zartlichkeiten_(Peter_Schamoni,_1969).mkv

Language(s):German
Subtitles:None

The post Peter Schamoni & Herbert Vesely – Deine Zärtlichkeiten (1969) first appeared on Cinema of the World.

Synopsis: During the Russian campaign, a military pastor was to assist Private Baranowski, who was sentenced to death for his desertion, on his last night. It is also the last night before the departure for Stalingrad that the soldiers know that it means certain death. The pastor leaves his room to a captain so that he can meet his fiancé again. He himself remains in Baranowski’s cell and struggles with his conscience and emotion – even more than when he learns that the young doomed man fled for love. But the execution is carried out, and a member of the firing squad finds only cynical words for the fate of the soldier.

Unruhige Nacht (1958).avi

General
Container:	AVI
Runtime:	1h 34mn
Size:	1.38 GiB
Video
Codec:	DivX
Resolution:	720x576 ~> 768x576
Aspect ratio:	4:3
Frame rate:	25.000 fps
Bit rate:	1 950 Kbps
Audio
2.0ch MP3 @ 128 Kbps

https://nitro.download/view/467E9F7B6A33653/Unruhige_Nacht_(1958).avi

Language(s):German
Subtitles:None

The post Falk Harnack – Unruhige Nacht AKA The Restless Night (1958) first appeared on Cinema of the World.

Spider’s Web is a 1989 West German film directed by Bernhard Wicki. It is based on the eponymous 1923 novel by Joseph Roth. It was chosen as West Germany’s official submission to the 62nd Academy Awards for Best Foreign Language Film, but did not manage to receive a nomination. The film was the last ever submission by West Germany, due to German reunification in 1990, Germany competed at the 63rd Academy Awards as a single country.

The film was also entered into the 1989 Cannes Film Festival.

Plot:

The film centers on young right-wing Leutnant (lieutenant) Theodor Lohse (Ulrich Mühe) who suffers personal and national humiliation during the downfall of the German Empire and the subsequent German Revolution of 1918 as the aftermath of World War I, from whence on he pledges revenge on all those he blames for the new times: Democrats, socialists, and Jews. Thus, he becomes increasingly active in the right-wing underground of the early Weimar Republic, joining an organization called “S II” (probably based on real-life Organisation Consul that was responsible for a number of political and anti-Semitic assassinations) where his immediate superior is Baron von Rastchuk (Armin Mueller-Stahl). Baron von Rastchuk brings Lohse in contact with former Crown Prince Heinrich in order to get Lohse employed, a favor for which the homosexual Prince demands one-time bodily obligingness from Lohse. In spite of his apparent shock and disgust, Lohse yields to the Prince out of his opportunism and willingness to please his superiors.

1.18GB | 3h 20m | 504×336 | avi

https://nitro.download/view/C82687F60BFACF3/Das_Spinnennetz.avi
or
https://nitro.download/view/54C078EA756C79C/Das_Spinnennetz.part1.rar
https://nitro.download/view/08BDF226B84AA49/Das_Spinnennetz.part2.rar

Language(s):German
Subtitles:None

The post Bernhard Wicki – Das Spinnennetz AKA Spider’s Web (1989) first appeared on Cinema of the World.

Synopsis: Paris 1943. After her husband’s death, killed by the Germans, Cora joins the résistance under the pseudonym “La Chatte” (the she-cat). Very skillfully she succeeds in a dangerous mission. The same evening she meets a Swiss journalist, Bernard, and falls in love with him. Bernard is a German officer who now has to decide between his love for Cora and his mission.

693MB | 1h 44mn | 720×540 | avi

https://nitroflare.com/view/A21910D12CA8807/La_Chatte_%28Henri_Decoin_1958%29_Film.Divx.Culte.avi
https://nitroflare.com/view/6B292FF76E10473/La_chatte.Eng.srt

Language(s):French
Subtitles:English

The post Henri Decoin – La chatte aka The Cat (1958) first appeared on Cinema of the World.

“Thomas Brasch’s Domino opens with glimpses of the Kurfürstendamm shrouded in snow, scenes of Christmas bustle. Lisa, a successful actress at the Schiller Theater, drops off her daughter at the Bahnhof Zoo and faces the presentiment of holidays to be spent alone. In the week to come, her life will come unraveled, her taken-for-granted security called into question. An undercurrent of the inexplicable and the unexpected will grip the artiste and ultimately sweep her into oblivion. Domino focuses on a woman living in abeyance…. Everywhere she turns the past seems to be on her trail: she confronts visions of her deceased mother (also an actress) while thinking of her own daughter. She learns that the director Lehrter, who seeks to engage her to star in his comeback production of Goethe’s Stella, may very well be her father [and learns also] of his internment in a concentration camp. Encounters on the street irritate and befuddle her. Passersby speak of mass unemployment, worry about pending war, and wander about sobbing, disoriented and confused….

Possessed by a present that has not yet arrived, occupied by a past that constantly poses itself unannounced at the most unexpected turns: Domino is a film about waiting whose protagonist stumbles into a historical vortex. Brasch, in contrast to Alfred Behrens [PFA 4/10/87], allows sites and spaces to become ciphers, symbolic representations of a lurking disquiet and an inexorable paralysis. Berlin acts as a collective storehouse of memories and traumas, a city whose past has been put on ice, a place where history opens up like a black hole to engulf the unwary. Time stands still and we have temps morts, the feeling of sitting in a waiting room, anticipating relief and succor…. To slow things down, to find a way of intensifying the immediate, to gain access to the mystery and magic in everyday objects and occurrences: Brasch’s film in the snow blends moments of impasse and epiphany.” Eric Rentschler for UC Berkeley Art Museum and Pacific Film Archive

In an extended, two-hour, black-and-white record of the mental disintegration of theatrical-star Lisa (Katharina Thalbach), director (Thomas Brasch) follows her life through a successful performance, a breakdown during another performance, the death of a director friend, constant intrusions into her apartment home, and domino games played against herself — with her mother cast as her imaginary opponent cast. Lisa’s world and the real world mix and mingle, tangled together as stability wanes. ~ Eleanor Mannikka, Rovi

https://nitro.download/view/78FF530124719BB/Domino.avi

Language:German
Subtitles:None

The post Thomas Brasch – Domino (1982) first appeared on Cinema of the World.

Quote:
From its hazily Southwestern skyscraper surfaces to its barren, prickly bush and junk car-pocked bedrock, there’s something slightly off-kilter about the America of Paris, Texas. The central masculine cast is nothing if not indigenous—when the sun-punched Travis Henderson (Harry Dean Stanton) first stumbles into frame, his uncultivated, hirsute face and dusty red cap seem like natural geological formations that have been patiently waiting, cragged and craterous, for us to anticlimactically discover them—and the relationship-oriented, plot-shunning dialog by western playwright Sam Shepherd taps into dialectal heartbrokenness without a shred of disassociating local lingo. But there are tellingly alien factors: How did both Henderson brothers wind up with women who drip sophisticated European sex appeal from their ripe lips and honey hair? And why does every truck stop along highway 10 emit the same sickly green aura that glows like a clumsy, wistful metaphor against the ferociously red sunset? And how do aridly panoramic, sneeringly and smokily man-made L.A. skylines upstage the parched siltstone and yucca tree of God’s creation in a film with Texas in the title?

Perhaps we’ve forgotten already that “Paris” is in the title, too, and it comes first. It’s meant to be an ironic juxtaposition, of course; none of the movie takes place in the actual city of Paris, Texas, and the lot of stagnant tumbleweeds Travis purchased there years ago on a subsequently fizzled whim provide little more than a conventional objective correlative onto which we can project Stanton’s subdued patriarchal anguish. But the angular name pairing additionally and eloquently encapsulates the film’s primary tension—that between the hopelessly foreign and the unforgivingly familiar.

Just as Ry Cooder’s soundtrack of plaintively metallic glissandos can ultimately only be appreciated only as a white academic’s soulful dissertation on authentic black pain, the tenderly talented look and feel of Paris, Texas provided by director Wim Wenders (a German) and cinematographer Robby Müller (a Dutchman) elides spiritual resonance for human curiosity at every possible turn. This means the camera’s persistent hunt for beauty can adopt the detached yet voracious reverence of tourism, but in the film’s most memorable scenes this tendency infuses the talkative inaction with heart-halting anticipation. Wenders and Müller stage the torturously two-way mirrored, putative peep show conversations between Travis and his estranged, wayward wife Jane (Nastassia Kinski) under sullen blue lights that reminds us of soon-to-be-closing supermarkets, framing the ex-lovers as if they’ve never heard two Americans speaking so honestly with one another before about their mutual history or their feelings. The punctiliously wide-eyed wonder infects even those of us who are weary of trailer park tragedies with an empathic impatience for how the loose ends will tie up or simply slacken through the conversation.

Where Wenders attempts to find his common, stabilizing ground—his personal identification with the international material—is in the paradoxical fusion of family cohesion and the search for independence, a tug-of-war embedded not only his languid “Road” trilogy (also shot by Müller), but also in domestic influences on Paris, Texas such as Robert Altman’s opiatic ode to California 3 Women. As with the warped, often menacing faux-sisterhood binding Sissy Spacek and Shelly Duvall in that remarkably American movie, the unorthodox bond between Travis and his abandoned son Hunter (Hunter Carson) rests tenuously on a foundation of bewildering regret and the irrepressible lamentations of a shamanic id. Travis’s transformation throughout his roundtrip trek from low desert to high and back again is subtle enough to entirely ignore—though he does go from refusing to speak to haplessly responsible brother Walt (Dean Stockwell) to embracing a newfound fluency in the language of imperfect reconciliation by the film’s end—but Wenders’s emphasis, as usual, is on the volatile mutation of the journey rather than its lasting effects on the journeyman. Unlike the characters in Jim Jarmusch’s travelogues, we don’t fantasize Travis or Jane as autonomous beings with lives that assert themselves past the end credits. We instead think back on winding dirt roads exhaling furious clouds, the gray concrete of freeways caught in an impromptu firmament with a disinterested sky, and multi-layered, nocturnal rainbows of meretricious neon.

Paris, Texas may be missing a crucial piece of authentic Americana, but it still evokes an America most Americans yearn to gaze on. An America as thorny and carnivorous as a hawk talon, as raw and smug as a downtown mural, and as sweetly enigmatic as a vacant lot that doesn’t—that can’t—exist.

+Commentary with Wim Wenders

3.32GB | 2h 24m | 1024×576 | avi

https://nitro.download/view/5332562CC4BBE32/Wim_Wenders_-_(1984)_Paris,_Texas.mkv
https://nitro.download/view/2BB0B374C0D2BA6/Paris_Texas_Extras.part1.rar
https://nitro.download/view/E729A1427548548/Paris_Texas_Extras.part2.rar https://nitro.download/view/234AB07BD74CF24/Paris_Texas_Extras.part3.rar

Language:English
Subtitles:English

The post Wim Wenders – Paris, Texas [+Extras] (1984) first appeared on Cinema of the World.