Quote:
Auschwitz commandant Rudolf Höss and his wife Hedwig strive to build a dream life for their family in a house and garden beside the camp.

The.Zone.of.Interest.2023.1080p.AMZN.WEB-DL.DDP5.1.Atmos.H.264-FLUX.mkv

General
Container:  	Matroska
Runtime: 	1 h 44 min
Size: 	6.20 GiB
Video
Codec: 	h264
Resolution: 	1920x1080 
Aspect ratio:  	16:9
Frame rate: 	23.976 fps
Bit rate: 	7 699 kb/s
BPP: 	0.155
Audio
#1:  	German 5.1ch E-AC-3 JOC @ 768 kb/s

https://nitro.download/view/809D37A421219CD/The.Zone.of.Interest.2023.1080p.AMZN.WEB-DL.DDP5.1.Atmos.H.264-FLUX.mkv

Language(s):German, Polish, Yiddish
Subtitles:English (hardcoded)

The post Jonathan Glazer – The Zone of Interest (2023) first appeared on Cinema of the World.

Quote:
Berlin, the Romantic Era. Young poet Heinrich wishes to conquer the inevitability of death through love, yet is unable to convince his skeptical cousin Marie to join him in a suicide pact. It is whilst coming to terms with this refusal, ineffably distressed by his cousin’s insensitivity to the depth of his feelings, that Heinrich meets Henriette, the wife of a business acquaintance. Heinrich’s subsequent offer to the beguiling young woman at first holds scant appeal, that is until Henriette discovers she is suffering from a terminal illness

Amour.fou.AKA.Mad.Love.2014.576p.Bluray.AC3.x264-LAA.mkv

General
Container:  	Matroska
Runtime: 	1 h 35 min
Size: 	1.52 GiB
Video
Codec: 	x264
Resolution: 	1024x552 
Aspect ratio:  	1.85:1
Frame rate: 	23.976 fps
Bit rate: 	1 758 kb/s
BPP: 	0.130
Audio
#1:  	German 5.1ch AC-3 @ 448 kb/s
#2:  	English 2.0ch AAC @ 57.9 kb/s (Commentary by Director Jessica Hausner)

https://nitro.download/view/54D555A93BCBA11/Amour.fou.AKA.Mad.Love.2014.576p.Bluray.AC3.x264-LAA.mkv

Language(s):German
Subtitles:English

The post Jessica Hausner – Amour fou AKA Mad Love (2014) first appeared on Cinema of the World.

Quote:
Ever wonder about the ancestors of the murderous jocks in Funny Games? In the Palme d’Or-winning The White Ribbon, Michael Haneke time travels to rural Germany on the cusp of WWI to find the answer—or, rather, to make the audience’s collective skin crawl at the question. The setting is the small village of Eichwald, a bucolic commune that, presided over by such stern patriarchs as the landowning baron (Ulrich Tukur) and the pastor (Burghart Klaussner), is presented as a 19th-century holdover inexorably giving way to the darkening modernity of new times. Not that Haneke displays much nostalgia for the town’s traditions: Life here is dismal, oppressive, and rigidly hierarchical, erected on puritanical morals and reinforced with ritualized punishment. Hitler—the “bitter flower of German irrationalism,” as Hans-Jürgen Syberberg once put it—may still lurk beyond the horizon, but the seeds of fascism have already been sown in society’s unquestioning adherence to power structures.

Haneke hints at horrors to come in the series of disturbing, mysteriously connected events that hits the town, from the horse-tripping trap that nearly kills the local doctor (Rainer Bock) to the burning of a family barn. Malice oozes beneath immaculate surfaces, dread fills the air. Parents mete out brutal whippings, kids are hectored, molested, and mutilated: The town schoolteacher (Christian Friedel) may narrate the happenings, but it’s the young generation that both bears silent witness to and is contaminated by the free-floating distrust and anxiety. (Not for nothing is the film subtitled “A German Children’s Story.”)

Though it opens with an abrupt bit of animal abuse and includes at least one interlude of risible faux-Strindbergisms (“My God, why won’t you just die,” the doctor sneers at his long-suffering mistress), the film is thankfully light on the Austrian auteur’s patented high-handed shocks. Instead, Haneke unfurls a tapestry of barren relationships and deforming conformity in which the greatest jolt comes not from a director arrogantly sucker-punching his audience, but from the dawning realization that the strange crimes aren’t so much polluting the village as merely crystallizing the hypocritical rot that was always there.

Something of a distant Teutonic cousin to Henri-Georges Clouzot’s caustic Le Corbeau, White Ribbon amply displays Haneke’s filmmaking mastery, with dozens of characters introduced and explored in a meticulous, detail-rich flow. (Shot by Christian Berger in monochromatic tones, it at times has some of the scrubbed chiaroscuro of Ingmar Bergman’s early films.) In its not-a-hair-out-of-place rigidity, however, it’s a mastery that often feels deadening and threatens to turn its sins-of-the-father inquiry into a static, academic thesis on the Children of the Corn series.

What saves the film from becoming a coldly analytical ant farm is Haneke’s respect for each character, the way he refuses to turn their pain into items on a diagram. It’s there in the way the pastor’s young son offers to replace his father’s beloved slain canary with his own pet bird, or in the shy courtship between the teacher and a nanny (Leonie Benesch), a tentative bond that offers a convincing portrayal of positive emotion in the filmmaker’s dour worldview. Nobody will ever mistake Haneke for Jean Renoir, but his grudging humanism here suggests for the first time a flicker of warmth behind cinema’s reigning Ice King.

	
Michael Haneke - (2009) The White Ribbon.mkv

General
Container:  	Matroska
Runtime: 	2h 26mn
Size: 	3.02 GiB
Video
Codec: 	x264
Resolution: 	1024x560 
Aspect ratio:  	1.85:1
Frame rate: 	23.976 fps
Bit rate: 	2 746 Kbps
BPP: 	0.200
Audio
#1:  	German 5.1ch AC-3 @ 256 Kbps

https://nitro.download/view/1E05ADA95C2BDD2/Michael_Haneke_-_(2009)_The_White_Ribbon.mkv
or
https://nitro.download/view/9840104E5E2E6EE/Michael_Haneke_-_(2009)_The_White_Ribbon.part1.rar
https://nitro.download/view/B48CCF581CB4984/Michael_Haneke_-_(2009)_The_White_Ribbon.part2.rar
https://nitro.download/view/FB602075D772D86/Michael_Haneke_-_(2009)_The_White_Ribbon.part3.rar

Language(s):German
Subtitles:English

The post Michael Haneke – Das weisse Band – Eine deutsche Kindergeschichte AKA The White Ribbon (2009) first appeared on Cinema of the World.

Synopsis
Because the driver is unable to fulfill correctly his order to kill somebody, he and his friends have to pay the price. “Alabama” is a road-movie. The camera is constantly in the back of the car shooting through the back window… But more important than this story is how the song “All Along the Watchtower” by Bob Dylan is changing when it is interpreted by Jimi Hendrix. And the recurring album of the Stones “His Satanic Majesty’s Request”.
Kurzfilmtage – international short film festival Oberhausen

“The film starts with a shot of a cassette recorder, and it has a juke box in it. There’s always music in it. When I was asked by some critics at a festival press conference what the film was all about, I said ‘it’s about the song All Along The Watchtower, and the film is about what happens and what changes depending on whether the song is sung by Bob Dylan or by Jimi Hendrix.'” Well, both versions of the song appear in the film, and everybody thought I was pretty arrogant to explain the story this way. But the film really is about the difference between the Dylan version of All Along the Watchtower, and the Jimi Hendrix Version. One is at the beginning and one is at the end.”
Wim Wenders

187MB | 21m 09s | 720×448 | mkv

https://nitro.download/view/A04C07FEDFC6F65/Alabama__2000_Light_Years_from_Home_WEB.mkv
https://nitro.download/view/B58AF8D18981353/Alabama__2000_Light_Years_from_Home_WEB.srt

Language:German (almost no dialogue)
Subtitles:None

The post Wim Wenders – Alabama (2000 Light Years) (1969) first appeared on Cinema of the World.

Quote:
In November 1939, Georg Elser’s attempt to assassinate Adolf Hitler fails, and he is arrested. During his confinement, he recalls the events leading up to his plot and his reasons for deciding to take such drastic action.

Quote:
The German director Oliver Hirschbiegel impressed viewers the world over with his brutal and psychologically astute 2001 film “The Experiment,” but it was with 2004’s “Downfall,” a spectacularly effective picture about Hitler in his last days, that he not only made his reputation as a world-class filmmaker but also inadvertently created an Internet meme.

Yes, every time some wise guy puts a subtitled scene of Hitler reacting badly to something that has nothing to do with Hitler pops up on YouTube, it’s using “Downfall” as the source material. And yet—and this is a testimony to the power of that movie—one can to this day watch an unmodified “Downfall” and be engrossed and appalled by its whole, and by that scene. (The fact that Hitler is being played by the amazing Bruno Ganz is a bit plus here of course.)

Hirschbiegel’s career has had some dips since then. A curious 2007 rethink of “Invasion of the Body Snatchers,” titled “The Invasion,” was a fever-paced head-scratcher. His 2013 Princess Diana biopic proved a massive miscalculation. A cynic might say that after that disaster a revisitation of German history on the level of “Downfall” might be an apt way to revive a damaged career. But “13 Minutes” is too good on its own terms to support such a reading. It’s a genuine achievement on an inexhaustible subject.

The movie begins with its lead character, Georg Elser (Christian Friedel) rigging a bomb into a wall. It’s a big one, too; he’s packed at least a dozen sticks of dynamite in it. He then rigs a timing mechanism, and the camera dollies out to show a table with a placard on it reading “The Fuhrer’s Chair.”

It’s 1939, six years and change since Hitler took power. A few months ago, Britain and France declared war on Germany. The bomb is timed to go off on November 8, the anniversary of the-now-Fuhrer’s failed Beer Hall Putsch. And so it does—13 minutes after Hitler leaves the packed beer hall where he addressed a friendly crowd. Many died, many were injured, but Hitler escaped. And was infuriated.

Elser seems an unlikely assassin. True, he looks appropriately panicked when he is apprehended shortly after the explosion, but when the movie flashes back to 1932, and his life in a village by Lake Constance, he’s a cheerful accordion player and woodworker. One of the most effective aspects of the movie is its depiction of how the Nazi poison seeped into the provinces, abetted by bigots who recognized that der zeit was now on their side. One morning Elser is walking through the village square with a young boy, who parrots some anti-Semitic gossip he heard from his father. “When did you get to be a moron all of a sudden,” Elser says jokingly to the little boy. He hasn’t much time to remain cheerful.

While he describes himself as non-political to his Nazi torturers, he participates in some resistance, keeping lookout for friends painting anti-Nazi graffiti. He lives dangerously in other respects too, having an affair with a married woman, Elsa (Katharina Schüttler) at whose house he eventually boards. These scenes are interspersed between bouts of VERY enhanced interrogation at the hands of the Nazis, and there’s a behind-the-scenes intrigue too. SS honcho Heinrich Müller (Johann von Bülow) insists to police chief Arthur Nebe (Burghart Klaußner) that a full confession is necessary; as Germany goes to war, Goebbels and Hitler are both eager to bolster a conspiracy/martyrdom narrative. Once the Nazi’s dangle Elsa and her safety before Elser’s eyes, the confession, which he had been withholding despite gruesome, grisly torture (which is depicted in some detail), comes quickly. The psychological gamesmanship comes courtesy of Nebe, who’s the “good German” for the purposes of this scenario. (The film later reveals what those who know a little about the Third Reich are aware of: that Nebe was part of a subsequent assassination attempt against Hitler in July 1944. For all that, there is some substantial doubt in historical circles as to just how good of a good German he was.) The Nazis want Elser to admit to a conspiracy, but he insists, and the film shows, that he was a man alone.

He insists this was the case, and the reason he gives to his interrogators is simple: “Nobody would have joined me.” Looking at Germany from the end of World War I all the way to the beginning of the next World War, one is frequently moved to ask, “Why didn’t anybody do anything?” “13 Minutes” offers, in a more or less conventional narrative form, some tentative answers to that question, all of them uncomfortable. – Roger Ebert

1.87GB | 1h 49m | 1027×428 | mkv

https://nitroflare.com/view/18252BB9E16AA8E/Oliver_Hirschbiegel_-_(2015)_13_Minutes.mkv
or
https://nitroflare.com/view/D1AB9B6F74DEBF8/Oliver_Hirschbiegel_-_(2015)_13_Minutes.part1.rar
https://nitroflare.com/view/190F17B831C4FBC/Oliver_Hirschbiegel_-_(2015)_13_Minutes.part2.rar

Language:German
Subtitles:English

The post Oliver Hirschbiegel – Elser AKA 13 Minutes (2015) first appeared on Cinema of the World.