Quote:
Beneath the exterior of the common life of the inhabitants of a fishing village on the Opal Coast, arises the parallel and epic life of knights of interplanetary empires. In prey to the bloody fights of these clans at the announcement of the birth of Margat, child of a young separated couple.

	
L.Empire.2024.FRENCH.1080p.WEB.H264-FW.mkv

General
Container:  	Matroska
Runtime: 	1 h 50 min
Size: 	4.98 GiB
Video
Codec: 	h264
Resolution: 	1920x800 
Aspect ratio:  	2.40:1
Frame rate: 	24.000 fps
Bit rate: 	6 228 kb/s
BPP: 	0.169
Audio
#1:  	French 2.0ch E-AC-3 @ 224 kb/s

https://nitro.download/view/4D522B28B536520/L.Empire.2024.FRENCH.1080p.WEB.H264-FW.mkv
https://nitro.download/view/90B0EF58B95BCB7/L.Empire.2024.FRENCH.1080p.WEB.H264-FW_-_eng_02.srt

Language(s):French
Subtitles:English

The post Bruno Dumont – L’Empire AKA The Empire (2024) first appeared on Cinema of the World.

Quote:
When an 11-year-old girl is brutally raped and murdered in a quiet French village, a police detective who has forgotten how to feel emotions–because of the death of his own family in some kind of accident–investigates the crime, which turns out to ask more questions than it answers.

Bruno Dumont - (1999) Humanity.mkv

General
Container:  	Matroska
Runtime: 	2h 27mn
Size: 	2.42 GiB
Video
Codec: 	x264
Resolution: 	1024x432 
Aspect ratio:  	2.40:1
Frame rate: 	23.976 fps
Bit rate: 	2 117 Kbps
BPP: 	0.200
Audio
#1:  	French 2.0ch AC-3 @ 224 Kbps

https://nitro.download/view/D72E5CED0BE453D/Bruno_Dumont_-_(1999)_Humanity.mkv

Language(s):French
Subtitles:English

The post Bruno Dumont – L’humanité AKA Humanity (1999) first appeared on Cinema of the World.

One of the most controversial figures in current French cinema, Bruno Dumont made a dazzling debut with his 1997 film The Life of Jesus (which won the Sutherland Trophy at that year’s Festival) and divided audiences with his metaphysically charged Humanity. Following his American road nightmare Twentynine Palms, Flanders goes back to his roots: it’s at once a return to the introspective register of Jesus… and, like it, a contemplation of his home territory. The characters are a group of young men and women from the Northern French countryside, including farmer Demester (Boidin) and his none-too-exclusive girlfriend Barbe (Leroux). One day, Demester and his comrades are conscripted into a war out east, where they brutalise, and are brutalised. Not every viewer will find it easy to subscribe to Dumont’s picture of a bestial humanity, toiling and rutting in harsh proximity with the earth. But the film’s economical style makes its extremity all the more trenchant, its war sequences suggesting a Samuel Fuller-like concision. With its gestures at Iraq and North Africa underpinned by allusions to the local scars of World War One, Flanders is a savage, confrontational work. FLANDRES won the Grand Prix prize at the 2006 Cannes Film Festival. (Soda Pictures)

+Commentary with director Bruno Dumont

2.60GB | 1h 31m | 1024×438 | mkv

https://nitro.download/view/63B1C2ACC9CB58F/Flandres.AKA.Flanders.2006.576p.Bluray.AC3.x264-LAA.mkv

Language:French
Subtitles:English,French

The post Bruno Dumont – Flandres AKA Flanders (2006) first appeared on Cinema of the World.

Lawrence Garcia, Cinemascope wrote:
In the seven years since P’tit Quinquin, it has become impossible to continue tagging Bruno Dumont with the longstanding clichés of Bresson criticism. Epithets like “ascetic,” “severe,” “punishing”—already limited descriptors of his first two works, La vie de Jésus (1997) and L’humanité (1999)—have only become more obviously incapable of describing Dumont’s recent films, from the carnivalesque contortions of Ma Loute (2016) to the musical extremes of his Jeanne d’Arc movies. Still, as Dumont’s methods (particularly his increasingly frequent use of professionals alongside non-actors) have ostensibly moved away from those of Bresson, the deeper affinities between the two filmmakers have only become clearer. More effectively than did Camille Claudel 1915 (2013), Ma Loute demonstrated that the affective qualities of Bresson’s “involuntarily expressive models” and the high camp of a Juliette Binoche or Fabrice Luchini are not irreconcilable extremes so much as alternate angles of approach to the same fundamental questions. Now, with France—a film quite literally anchored by Léa Seydoux, playing celebrity TV journalist France de Meurs—Dumont has chosen an ideal milieu in which to explore this principle.

Despite appearances, though, France is not a satire of the contemporary media landscape—or, insofar as it functions as one, it is not terribly interesting. An early scene that sees France digitally inserted into a Macron press conference, trading mimed sex acts with her assistant before asking the president about the “insurrectional state of French society,” is lightly amusing, but hardly indicative of the film to follow. Likewise, when France inadvertently injures a motorcyclist (Jewad Zemmar) with her car, the accident does not become the film’s central incident as we might expect, but simply takes its place as just one crisis among many.

[…]

There is in this moment a conviction that runs throughout all of Dumont: that no secondary context (narrative, historical, or otherwise), however violent or extreme, can ultimately determine one’s presentness to a person or event. Again like Bresson, Dumont is often charged with putting his characters through arbitrary stations of the cross, thereby affirming the so-called metaphysical absurd. But what one often ends up feeling at the conclusion of his films is that it is our own sense of narrative expectation and desire for coherence that is absurd. Seen in this way, the undeniably shocking endings of Twentynine Palms (2003) or Hadewijch (2009), like the car crash here, are not meant to just provoke us or convey some vague sense of ultimate meaninglessness. Rather, they are meant to push us past the arbitrary strangeness of cause and effect in order to see the irreducible strangeness of presence—again, not the mystery of how things are, but that they are. “Only the present remains. Here and now,” France says towards the end of the film, in a reunion as surprising, as inevitable, as the one at the close of Pickpocket (1959); “Forget all expectations.” And as Dumont pushes into a close-up of Seydoux one final time, we are reminded that presentness is grace.

3.39GB | 2h 13m | 1920×1080 | mkv

https://nitro.download/view/60744DBB883138A/France_(2021).mkv
https://nitro.download/view/796AC742986085C/France_(2021).srt
or
https://nitro.download/view/44E4DBD73FFCF8A/France_(2021).part1.rar
https://nitro.download/view/9C86AFE58B8E7ED/France_(2021).part2.rar
https://nitro.download/view/9E558E3435248B9/France_(2021).part3.rar
https://nitro.download/view/316FEC5FD5037B5/France_(2021).part4.rar
https://nitro.download/view/796AC742986085C/France_(2021).srt

Language(s):French
Subtitles:Portuguese (hard),English

The post Bruno Dumont – France (2021) first appeared on Cinema of the World.

A young woman of privilege compensates a familial spiritual emptiness with her love of Christ. When she consumes herself too zealously, she is kicked out of the convent, being told that she’ll find her freedom in the world… Her thirst of absolute, her inclination for sacrifice and for a meaning to her life guides her to the “right person” who turns her aspirations into action…

2.34GB | 1h 45m | 958×576 | mkv

https://nitro.download/view/5F16BF50F379B4D/Hadewijch_-_Bruno_Dumont_(2009).mkv

Language:French
Subtitles:English,French

The post Bruno Dumont – Hadewijch (2009) first appeared on Cinema of the World.

In the 15th century, both France and England stake a blood claim for the French throne. Believing that God had chosen her, the young Joan (Lise Leplat Prudhomme) leads the army of the King of France. When she is captured, the Church sends her for trial on charges of heresy. Refusing to accept the accusations, the graceful Joan of Arc will stay true to her mission.
—Production

5.11GB | 2 h 12 min | 1916×1036 | mkv

https://nitro.download/view/A16B07B209C56BA/Jeanne.2019.FRENCH.1080p.WEB.H264-PREUMS.mkv

Language(s):French
Subtitles:English here

The post Bruno Dumont – Jeanne (2019) (HD) first appeared on Cinema of the World.

A couple equipped with digital cameras travels by the Trans-Siberian Train. She (Joana Preiss) is a known actress and a model. He (Bruno Dumont) is a world-famous and valued director who decides for the first time to stand on the other side of a camera. Instead of the picture of the merry couple, the bitter portrait of the relationship that is falling apart emerges from “Siberie”. Bruno and Joana record theirs confessions, doubts, moments of happiness and moments of weakness. They talk about love, desire and art. Austere and endless space of Russia that is seen behind the windows of the train puts their feeling to the test.
Quote:
What begins as a road trip doco becomes a shockingly intimate on-camera portrait of a disintegrating relationship.
Art actually is life in Sibérie, the confronting and unflinchingly honest new film from actor-director Joana Preiss. As Preiss and her lover, acclaimed French director Bruno Dumont, embark on a train journey across the Trans-Siberian Railway, they bring along two video cameras to document their travels. But rather than the expected portrait of a happy couple, the cameras instead capture the sharp and unexpected dissolution of their relationship.
Intensely personal and stylistically unadorned, Sibérie is a relationship drama of exceedingly raw nature. Filmed entirely by Joana and Bruno and capturing much more than traditional documentaries ever could, their break-up becomes a piercing psychological meditation on love, attachment and the inescapable eye of the camera. –BIFF.com.au

1.30GB | 1h 22mn | 720×526 | mkv

https://nitro.download/view/14D72EEE756FD39/Siberie.mkv

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

The post Joana Preiss – Sibérie (2011) first appeared on Cinema of the World.