“Seuls is a film about the symbolic order of love, a sort of fantastic thriller on Oedipus…” ~Francis Reusser

Synopsis:
Jean (Niels Arestrup), the lead character in this psychological journey is torn by a search for his lost childhood, the overwhelming need to love a woman of his dreams (someone he has invented), and a struggle with his latent bisexuality. Jean finds some photos inside an automatic photo station that look like his mother who died soon after he was born. He starts to fantasize about the woman, giving her a name and identity and waiting for her to appear. During this time, he meets Carole (Christine Boisson) and has an affair with her, all the while pretending he has this other relationship with the woman in the photo. Significantly, the couple who introduce him to Carole is childless, and they eventually split up – perhaps a comment on the importance of childhood to the adult world. In the end, Carole discovers that Jean’s “other woman” has no real existence, causing a crisis that finds a symbolic expression as the last scenes close on the story.

Seuls.1981.1080p.mkv

General
Container:  	Matroska
Runtime: 	1 h 40 min
Size: 	5.72 GiB
Video
Codec: 	h264
Resolution: 	1920x1080 
Aspect ratio:  	16:9
Frame rate: 	24.000 fps
Bit rate: 	7 992 kb/s
BPP: 	0.161
Audio
#1:  	French 2.0ch AAC LC @ 132 kb/s

https://nitro.download/view/0163FCD42B40C7D/Seuls.1981.1080p.mkv
https://nitro.download/view/9CD3AA2541628B1/Seuls.1981.1080p.DE.srt
https://nitro.download/view/55846507EAB6E90/Seuls.1981.1080p.EN.srt
https://nitro.download/view/74156BA481A3111/Seuls.1981.1080p.FR.srt
https://nitro.download/view/9E13AEBB784D64E/Seuls.1981.1080p.IT.srt

Language(s):French
Subtitles:English,French,Italian,German

The post Francis Reusser – Seuls (1981) (HD) first appeared on Cinema of the World.

In this run-of-the-mill crime drama, Bernard Giraudeau is Daniel Chetman, someone who wants to leave the life of violence he knew in his neighborhood — and cannot do so because his nemesis, a strutting street gangster now involved with organized crime, continues to terrorize the inhabitants of Chetman’s turf. After much spilled blood, a parade of ugly underground types, and various sexual scenes, Chetman reduces the forces of evil to a reasonable level of opposition — but who knows if the neighborhood will be different in the end.

1.77GB | 1h 43m | 1017×550 | mkv

https://nitroflare.com/view/F7AC39E602F0D1F/Rue.barbare.1984.DVDRip.x264.mkv
https://nitroflare.com/view/0FCD8A05B94BED7/Rue_Barbare_english.srt
https://nitroflare.com/view/97D8DA1E2E88D9A/Rue_Barbare_russian.srt
or
https://nitroflare.com/view/13C8E9B40822D42/Rue.barbare.1984.DVDRip.x264.part1.rar
https://nitroflare.com/view/BE409750AD41302/Rue.barbare.1984.DVDRip.x264.part2.rar
https://nitroflare.com/view/0FCD8A05B94BED7/Rue_Barbare_english.srt
https://nitroflare.com/view/97D8DA1E2E88D9A/Rue_Barbare_russian.srt

Language(s):French
Subtitles:English,Russian

The post Gilles Béhat – Rue barbare AKA Barbarous Street (1984) first appeared on Cinema of the World.

Quote:
A journalist is assigned to interview an eccentric anthropologist who has exhumed the skeleton of Jörg Jenatsch, a revered freedom fighter who was mysteriously murdered in 1639. Initially disinterested, the journalist begins to uncover unflattering truths about the national hero and experiences visions in which he seems to be witnessing events that transpired over 300 years ago. As he obsessively pursues the investigation, his personal life and his grip on reality disintegrate, drawing him relentlessly toward the fatal carnival at which Jenatsch was killed.

1.56GB | 1h 37m | 1024×576 | mkv

https://nitro.download/view/719954582285891/Jenatsch.1987.x264.AC3.DVDRip-JB666.mkv

Language:French,German,Italian
Subtitles:English

The post Daniel Schmid – Jenatsch (1987) first appeared on Cinema of the World.

In one of the oddest personifications of Death found in the cinema or elsewhere, first-time director (Rene Manzor) creates a Grim Reaper with his own control room, replete with high-tech wizardry in this sci-fi drama. Jean Diaz (Alain Delon) is a filmmaker working on an animated feature that would speak out against violence, when he is suddenly killed in an accident. Diaz comes around after death only to face Death personified, who wants to strike a bargain with him. Diaz can return to life if he agrees to make his film according to Death’s plan for the annihilation of the human race. If Diaz does not agree to these terms, then his young son — now in a coma from the accident — will also die.

1.25GB | 1 h 19 min | 1021×552 | mkv

https://nitroflare.com/view/BD9F43A994EF5FA/Le.passage.1986.DVDRip.x264.part1.rar
https://nitroflare.com/view/BED89350FC4654F/Le.passage.1986.DVDRip.x264.part2.rar

Language(s):French
Subtitles:English, German, French

The post René Manzor – Le passage AKA The Passage (1986) first appeared on Cinema of the World.

a title with a comma in the middle for a film divided in two parts. A film in black and white with a dark side and a jovial side. The first part of the title evokes politics, as the story recalls the days of the Algerian War of Independence; the second part represents the mood that hovers over the eminently painful images. There isn’t even a hint of daylight in the freedom of the title. It only lives metaphorically in the darkness and languor of the night. — description by Violeta Kovacsics in the book “Philippe Garrel: Filmmaking Revealed”

‘Liberté, la nuit’ is not really a political film, or, at least, a film about politics. Its central figures are an aging revolutionary helping Algerians in the anti-colonial war against France, his separated wife, a dressmaker who gives them guns, and his mistress, a French Algerian emigree. Such a set-up might offer opportunities for allegory – white Algeria returning to the aging bosom of the fatherland, and all that. The film’s most dynamic sequence is pure political thriller, an assassination by the OAS, confusingly shot and edited on grainy stock that evokes both documentary immediacy and the whirring of a surveillance camera, complete with exciting car chase. The human relationships – especially the drawn-out separation of Jean and Mouche, are said to be caused by his political activity, while his contact with others has some basis in his ‘work’. Even, as I say, his final escape with an apolitical menial has political overtones; and their idyll is ultimately no escape from history.

‘Liberté’ is shot in monochrome, a consciously artificial act in the context of 1983, allowing for the artificiality of talk, movement and composition throughout the film. Unlike most contemporary films that use black and white, for its shadowy Expressionist/film noir effect, Garrel privileges gleaming white over murky black. This, together with its concern with dream, memory and the past, connects ‘Liberte’ to another elegiac film about an aging revolutionary living past his moment, Resnais’ ‘La Guerre est finie’ – the gleaming white contributes to the dreamlike effect Garrel gives his static, mostly empty exteriors; near the end, there is an astonishingly beautiful silhouette of a pier and buoys in shadow against a sea that looks like it was lit from underneath. ‘Liberte’ can’t help recall that other famous, and famously banned, French classic about the Algerian War, Godard’s ‘Le Petit Soldat’, another black and white, dialogue-driven film in which political violence mingles with personal dilemmas.

The film is called ‘Liberté, la nuit’, and frames two types of liberty, the struggle for political freedom, and the more personal freedom within relationships (and in the conflict with one’s aging, one’s reputation) against the central scene of Mouche’s assassination. This pattern sees Mouche gravitating unwillingly towards political action, and Jean in the opposite direction. It’s never quite clear what Jean’s precise political activities are – when we first see him he is talking to a friend, their children in the back seat, about a retired film director. When they meet a group of Algerians, Jean could as easily be a drug dealer as a revolutionary – he speaks in a language which is not translated, emphasising the presumed audience’s outsider status and Jean’s sense of belonging or negotiating between two groups. However, this sense of being two seems to make him less of a man – throughout are interspersed sketchy, incomplete pictures that provide a kind of commentary.

3 August 2001 | Extract from Alice Liddel (on IMDb)

1.55GB | 1h 21mn | 775×436 | mkv

https://nitro.download/view/13B6C6A4EAFBAE9/Liberte,_la_nuit_-_Philippe_Garrel_(1983).mkv
http://nitroflare.com/view/7EAD57E87858DC6/Liberte%2C_la_nuit_-_Philippe_Garrel_%281983%29.srt

Language:French
Subtitles:English

The post Philippe Garrel – Liberté, la nuit (1983) first appeared on Cinema of the World.

‘Liberte, la nuit’ is not really a political film, or, at least, a film about politics. Its central figures are an aging revolutionary helping Algerians in the anti-colonial war against France, his separated wife, a dressmaker who gives them guns, and his mistress, a French Algerian emigree. Such a set-up might offer opportunities for allegory – white Algeria returning to the aging bosom of the fatherland, and all that. The film’s most dynamic sequence is pure political thriller, an assassination by the OAS, confusingly shot and edited on grainy stock that evokes both documentary immediacy and the whirring of a surveillance camera, complete with exciting car chase. The human relationships – especially the drawn-out separation of Jean and Mouche, are said to be caused by his political activity, while his contact with others has some basis in his ‘work’. Even, as I say, his final escape with an apolitical menial has political overtones; and their idyll is ultimately no escape from history.

‘Liberte’ is shot in monochrome, a consciously artificial act in the context of 1983, allowing for the artificiality of talk, movement and composition throughout the film. Unlike most contemporary films that use black and white, for its shadowy Expressionist/film noir effect, Garrel privileges gleaming white over murky black. This, together with its concern with dream, memory and the past, connects ‘Liberte’ to another elegiac film about an aging revolutionary living past his moment, Resnais’ ‘La Guerre est finie’ – the gleaming white contributes to the dreamlike effect Garrel gives his static, mostly empty exteriors; near the end, there is an astonishingly beautiful silhouette of a pier and buoys in shadow against a sea that looks like it was lit from underneath. ‘Liberte’ can’t help recall that other famous, and famously banned, French classic about the Algerian War, Godard’s ‘Le Petit Soldat’, another black and white, dialogue-driven film in which political violence mingles with personal dilemmas.

The film is called ‘Liberte, la nuit’, and frames two types of liberty, the struggle for political freedom, and the more personal freedom within relationships (and in the conflict with one’s aging, one’s reputation) against the central scene of Mouche’s assassination. This pattern sees Mouche gravitating unwillingly towards political action, and Jean in the opposite direction. It’s never quite clear what Jean’s precise political activities are – when we first see him he is talking to a friend, their children in the back seat, about a retired film director. When they meet a group of Algerians, Jean could as easily be a drug dealer as a revolutionary – he speaks in a language which is not translated, emphasising the presumed audience’s outsider status and Jean’s sense of belonging or negotiating between two groups. However, this sense of being two seems to make him less of a man – throughout are interspersed sketchy, incomplete pictures that provide a kind of commentary.

https://nitro.download/view/39D3D93889668AA/Liberte,.la.nuit.1984.1080p.CINET.WEB-DL.AAC2.0.x264-Cinefeel.mkv
http://nitroflare.com/view/9B08CCBB482B2DB/Liberte%2C_la_nuit_%281984%29.srt

Language(s):French
Subtitles:English

The post Philippe Garrel – Liberté, la nuit (1984) (HD) first appeared on Cinema of the World.

IMDB quote –

“In My time as a sucker for obscure exploitation and trash movies, I have seen quite a bunch of vile and disturbing stuff. Yet it is rare that I am shocked about anything. After all its just movies. There is exceptions though, and Denis Héroux’s ‘Born for Hell’, with the weird aka ‘Naked Massacre’, is one of those movies that hit Me straight in the heart. Let Me just point out clearly that ‘Born for Hell’ is a excellent movie! But it isn’t something I really would be in a hurry to re-watch! It ain’t often I get such a bad feeling in the stomach from a movie.

This movie is TRUE horror! Clearly inspired by the real crimes of Richard Speck. A Vietnam vet(Cain Adamson), with the line “born for hell” tattooed on his wrist, arrives in the war-plagues Ireland, start a life as a drifter and only dreams about being able to afford the travel back to USA. After several, more or less violent experiences with the civil occupation he decides to take drastic action. In order to find a huge sum of money, he invades the house of eight shapely student nurses. Our anti-hero is definitely going to raise hell for the poor girls and swells in rape, humiliation, mutilation, abuse, murder and suicide!

The movie is one long assault on the senses, ‘Born for Hell’ is direct in-your-face, raw, brutal and depressing. As I mentioned, it isn’t a movie I would be in a hurry to re-watch. But I am very glad I did see it. An excellent pic, but check it at own risk!”

https://nitro.download/view/922B656107BAD34/Born_For_Hell.1976.DVDRIP.x264.CG.mkv

no pass

The post Denis Héroux – Born For Hell (1976) first appeared on Cinema of the World.