Quote:
A chronicle of the emptiness felt when ones children have left home and there are no longer any barriers to exposing marital difficulties.

Ella Taylor wrote:
Several years ago, the gifted Argentine writer-director and Jewish worrier Daniel Burman, then aged 34, remarked in an interview that he was already fretting about being abandoned by his toddler children. In his new film, the dreaded day has arrived—or has it? Empty Nest seems to tell the tale of a mid-life crisis endured by a comfortably situated intellectual couple when the last of their three children emigrates to Israel with her new husband. The mother, Martha (All About My Mother’s Cecilia Roth), throws herself into a frenzy of activity, while her spouse, Leonardo (Oscar Martínez), a stalled playwright, retreats into contemplation of his accumulated fears, frustrations, and desires with dubious help from a bearded sage (Arturo Goetz) who specializes in Alzheimer’s disease. Like all of Burman’s existential comedies, Empty Nest comes thickly and pleasurably detailed with the minutiae of domesticity. Yet Burman toys mischievously with the way that dreams move in to help us cope with—or avoid—the impossible changes that take us by surprise even though we’ve anticipated them for years. Dark and light invariably go hand in hand in Burman’s work, but this tender, goofily circular portrait of how we fill up the cavernous space once occupied by children begins and ends, beautifully, with an image of a man and a woman floating head to head on water—hapless, helpless, happy.

1.75GB | 1h 31mn | 960×540 | mkv

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Language:Spanish
Subtitles:English,Spanish

The post Daniel Burman – El nido vacío AKA Empty Nest (2008) first appeared on Cinema of the World.

Quote:
Pedro Almodovar’s films are a struggle between real and fake heartbreak–between tragedy and soap opera. They’re usually funny, too, which increases the tension. You don’t know where to position yourself while you’re watching a film like “All About My Mother,” and that’s part of the appeal: Do you take it seriously, like the characters do, or do you notice the bright colors and flashy art decoration, the cheerful homages to Tennessee Williams and “All About Eve” (1950) and see it as a parody? Even Almodovar’s camera sometimes doesn’t know where to stand: When the heroine’s son writes in his journal, the camera looks at his pen from the point of view of the paper.

“All About My Mother” is one of the best films of the Spanish director, whose films present a Tennessee Williams sensibility in the visual style of a 1950s Universal-International tearjerker. Rock Hudson and Dorothy Malone never seem very far offscreen. Bette Davis isn’t offscreen at all: Almodovar’s heroines seem to be playing her. Self-parody is part of Almodovar’s approach, but “All About My Mother” is also sincere and heartfelt; though two of its characters are transvestite hookers, one is a pregnant nun and two more are battling lesbians, this is a film that paradoxically expresses family values.

The movie opens in Madrid with a medical worker named Manuela (Cecilia Roth) and her teenage son Esteban (Eloy Azorin). They’ve gone to see a performance of “A Streetcar Named Desire” (1993) and now wait across the street from the stage door so Esteban can get an autograph from the famous actress Huma Rojo (Marisa Paredes). She jumps into a taxi (intercut with shots from “All About Eve” of Bette Davis eluding an autograph hound), and Esteban runs after her and is struck dead in the street. That sets up the story, as Manuela journeys to Barcelona to inform Esteban’s father of the son’s death.

There is irony as the film folds back on itself, because its opening scenes show Manuela, now a transplant coordinator but once an actress, performing in a video intended to promote organ transplants. In the film, grieving relatives are asked to allow the organs of their loved ones to be used; later Manuela plays the same scene for real, as she’s asked to donate her own son’s heart.

The Barcelona scenes reflect Almodovar’s long-standing interest in characters who cross the gender divide. Esteban’s father is now a transvestite prostitute. In a scene worthy of Fellini, we visit a field in Barcelona where cars circle a lineup of flamboyant hookers of all sexes, and where Manuela, seeking her former lover, finds an old friend named Agrado (Antonia San Juan). The name means “agreeable,” we’re told, and Agrado is a person with endless troubles of her own who nevertheless enters every scene looking for the laugh. In one scene, she dresses in a Chanel knockoff and is asked if it is real. As a street hooker, she couldn’t afford Chanel, but her answer is unexpected: “How could I buy a real Chanel with all the hunger in the world?” There are unexpected connections between the characters, even between Esteban’s father and Sister Rosa (Penelope Cruz), a nun who works in a shelter for battered prostitutes. And new connections are forged. We meet the actress Huma Rojo once again, and her girlfriend and co-star Nina (Candela Pena): “She’s hooked on junk and I’m hooked on her.” When Nina flakes out, Manuela is actually able to understudy her role, having played it years ago. And Agrado finds a job as Huma’s personal assistant. Meanwhile, the search goes on for the missing lover.

Manuela is the heroine of the film and its center, but Agrado is the source of life. There’s an extraordinary scene in which she takes an empty stage against a hostile audience and tries to improvise a one-woman show around the story of her life. Finally she starts an inventory of the plastic surgeries that assisted her in the journey from male to female, describing the pain, procedure and cost of each, as if saying, “I’ve paid my dues to be who I am today. Have you?” Almodovar’s earlier films sometimes seemed to be manipulating the characters as an exercise. Here the plot does handstands in its eagerness to use coincidence, surprise and melodrama. But the characters have a weight and reality, as if Almodovar has finally taken pity on them–has seen that although their plights may seem ludicrous, they’re real enough to hurt. These are people who stand outside conventional life and its rules, and yet affirm them. Families are where you find them and how you make them, and home, it’s said, is the place where, if you have to go there, they have to take you in.

2.19GB | 1h 41m | 1024×440 | mkv

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https://nitro.download/view/274FC72D19F60B8/Pedro_Almodovar_-_(1999)_All_About_My_Mother.srt

Language(s):Spanish
Subtitles:English

The post Pedro Almodóvar – Todo sobre mi madre AKA All About My Mother (1999) first appeared on Cinema of the World.

Quote:
A low budget horror filmmaker gets in touch with an eccentric who is trying to film his consciousness during drug abuse.

2.40GB | 1h 54m | 936×576 | mkv

https://nitro.download/view/DC7C550EA6D3463/Arrebato.1979.576p.BluRay.AAC.x264.mkv

Language(s):Spanish
Subtitles:English, Spanish

The post Iván Zulueta – Arrebato AKA Rapture (1979) first appeared on Cinema of the World.

Ashes of Paradise (Spanish: Cenizas del Paraíso) is a 1997 Argentine film from director Marcelo Piñeyro. It tells in cutbacks how the untroubled private happiness of a family – a judge and his three grown-up sons – crumbles between loyalty and betrayal, blind trust and suspicions.

The film won several awards, among them a renowned Goya Award, for Best Spanish Language Foreign Film (Mejor Película Extranjera de Habla Hispana). It was Argentina’s official submission for the 1997 Academy Award for Best Foreign Language Film (“Oscar”), but did not receive a nomination for the award.

Plot Synopsis
The film opens with the fall of the respected judge Costa Makantasis (Héctor Alterio) from the Federal Courthouse. Next, his oldest son Pablo (Leonardo Sbaraglia) is seen dragging the body of young and beautiful Ana Muro (Leticia Brédice) through the house in which he lives with his two younger brothers.

Two different judges begin to investigate the two deaths. It is soon assumed that Costa Makantasis committed suicide. The case of Ana Muro, however, investigated by Beatriz Teller (Cecilia Roth), is complicated by the fact that all three sons confess the murder, each claiming that he acted alone and that the other two are innocent; and really some evidence speaks against each one of them. In addition, they urge Teller to believe that their father was murdered and that his case also requires investigation. Teller, on the other hand, is pressured by her superiors to hand over the case of the three brothers to the judge assigned to Costa Makantasis’ apparent suicide. Fearing that a dirty truth behind the supposed suicide shall be covered up, she risks her career by rejecting to give up her case.

Combining cutbacks with segments of the investigations and hearings, the film sets to unravelling the story leading up to the deaths. The remaining film is divided into four unequal parts, each dedicated to one of the sons and Ana Muro. In each part, fragments of the story are shown from the perspective of the respective character, combining to the complete picture only at the end of the film.

It becomes apparent that Costa Makantasis had investigated Ana Muro’s father, the powerful businessman Francisco Muro (Jorge Marrale), suspecting him to be involved in corruption and even murder. Unbeknown to the two, Makantasis’ youngest son, Alejandro (Nicolás Abeles), and Ana Muro fell in love with each other, and Ana Muro moved in with Alejandro and his brothers. When Costa Makantasis found out that Ana was Francisco Muro’s daughter, he was concerned, but believed that their private and his professional affairs with the Muro family should and could remain separate. For a short time, everything seemed perfect: Alejandro and Ana were a happy couple, and the Makantasis family celebrated the father’s anniversary with a frolicsome party.

Soon, however, tensions arose both from inside and outside of the family. Second-oldest son Nicolás (Daniel Kuzniecka) cheated with Ana on his brother, and later, Ana also tried to flirt with oldest brother Pablo; Pablo, who had in the past snatched some of Nicolás’ girl-friends, resisted Ana’s charm and instead found out about her infidelity with Nicolás.

Francisco Muro, on the other hand, found out about the relationship between his daughter and the son of his political opponent, assumed foul-play and came close to threatening Costa Makantasis to keep his son away from Ana. The conflict between the judge and the businessman generally increased, and Costa Makantasis suspected that Muro tapped his house. So, when Costa Makantatis saw that Ana Muro let employees of her father into his house, he and his oldest son told her to stop that and explained it with the suspicions against her father. Believing in a misconception, Ana took secret documents of her father to Costa Makantasis’ office to prove her father’s innocence. There, however, she had a closer look at the documents, realized that at least some of the suspicions were well-founded, and flew the office.

Just after she departed, two of Muro’s employees arrived and killed Makantasis by pushing him from the roof of the building. Ana Muro had just left the building, whereas the three Makantasis brothers were just arriving at the Courthouse to take their father to lunch. At the moment of the murder, Ana Muro looked up to the roof and saw that the judge was being pushed; Pablo watched Ana Muro look up and, mistaking her troubled look, believed her to be involved in what he instantly understands to be his father’s murder. So, when Ana leaves the scene, he shouts to his brothers that she had killed their father; when Alejandro objects, Pablo reveals that Ana had cheated on him with Nicolás. Then Pablo followed Ana, who raced to her father, threw the secret documents back at him and called him a murderer in public. Pablo, watching the scene, realized that Ana had not been part of the crime.

Alejandro, however, had now heard Pablo’s accusations and seen Nicolás’ guilty face. He turned home where he tore down and cut off the decorations that Ana and he had set up in his room. When Ana came home to him, he affronted her, telling her she cheated on him and killed his father. Ana, almost in tears, affirmed both, but added that she loved him. When Alejandro continued to offend her, she thrust herself into a knife that Alejandro still held in his hand from destroying the decorations.

The film ends with a confrontation of the three brothers in the office of investigating judge Teller. It remains unclear whether Teller eventually learns the truth or whether the story told in the cutbacks remains unknown to her. After she has sent the three brothers back to their prison cells, she comments that justice may not be possible to achieve. The film finishes with the three brothers sent further and further down in an escalator to where are presumably their prison cells.

2.13GB | 2 h 01 min | 576*432 | avi

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Language:Spanish
Subtitles:English

The post Marcelo Piñeyro – Cenizas del paraíso aka Ashes from Paradise (1997) first appeared on Cinema of the World.

Quote:
Carlitos is a seventeen-year-old youth with movie star swagger, blond curls and a baby face. As a young boy, he coveted other people’s things, but it wasn’t until his early adolescence that his true calling–to be a thief–manifested itself. When he meets Ramon at his new school, Carlitos is immediately drawn to him and starts showing off to get his attention. Together they will embark on a journey of discoveries, love and crime. Killing is just a random offshoot of the violence, which continues to escalate until Carlitos is finally apprehended. Because of his angelic appearance, the press dubs Carlitos “The Angel of Death.” Showered with attention because of his beauty, he becomes an overnight celebrity. Altogether, he is believed to have committed over forty thefts and eleven homicides. Today, after more than forty-six years in jail, Carlos Robledo Puch is the longest- serving prisoner in the history of Argentina.

7.65GB | 1h 54mn | 1920×1080 | mkv

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Language:Spanish
Subtitles:English

The post Luis Ortega – El Ángel (2018) (HD) first appeared on Cinema of the World.