Victor Vautier is incorrigible: he’s in constant motion, working several cons at once, using different names and changing disguises. He’s charming and outrageous, incapable of uttering a sentence that isn’t embellished or an outright lie. His life goal is to make enough money to build a sea wall to protect Mont-Saint-Michel. Charlotte, a parole officer, shows up: she’s young and seems taken in by Victor. He discovers she lives above the Senlus Museum, where her parents are the curators. With two pals he decides to steal a priceless El Greco triptych and then ransom it back to the cultural ministry. What will Charlotte do when she realize he’s used her to make a fortune?

L'Incorrigible.1975.576p.BluRay.AAC2.0.x264-BV.mkv

General
Container:  	Matroska
Runtime: 	1 h 39 min
Size: 	2.54 GiB
Video
Codec: 	x264
Resolution: 	962x576 
Aspect ratio:  	5:3
Frame rate: 	24.000 fps
Bit rate: 	3 500 kb/s
BPP: 	0.263
Audio
#1:  	French 2.0ch AAC LC @ 151 kb/s

https://nitro.download/view/3E470DF41E504C3/L’Incorrigible.1975.576p.BluRay.AAC2.0.x264-BV.mkv

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

The post Philippe de Broca – L’Incorrigible AKA Incorrigible (1975) first appeared on Cinema of the World.

IMDb wrote:
Two teenage girls go to winter carnival in Quebec City for the first time. Their ambiguous, tentative relation with a young boy brings both of them the sweet intensity and disillusionment of first love.

This short movie, directed by Michel Brault, is part of a four-episode film titled La fleur de l’âge (the other segments are: Gian Vittorio Baldi’s Fiammetta, Hiroshi Teshigahara’s Ako and Jean Rouch’s Les veuves de quinze ans).

Here’s a French text about the “genesis and commercial failure” of La fleur de l’âge https://1895.revues.org/318

Genevieve.1964.1080p.Web-DL.mkv

General
Container:  	Matroska
Runtime: 	28mn 19s
Size: 	1 014 MiB
Video
Codec: 	h264
Resolution: 	1440x1080 
Aspect ratio:  	4:3
Frame rate: 	23.976 fps
Bit rate: 	Variable
BPP: 	
Audio
#1:  	2.0ch AAC

https://nitro.download/view/C812A0BA0117111/Genevieve.1964.1080p.Web-DL.mkv
https://nitro.download/view/5A62CB64737F6E0/Genevieve.1964.1080p.Web-DL.srt

Language(s):French
Subtitles:English

The post Michel Brault – Geneviève (1964) first appeared on Cinema of the World.

Quote:
New Orleans single dad and cop Wes Block goes after a serial rapist-killer but when he gets too close to the target the hunter suddenly becomes the hunted.

Tightrope.1984.576p.BluRay.x264-HANDJOB.mkv

General
Container:	Matroska
Runtime:	1h 54mn
Size:	3.05 GiB
DXVA:	Compatible
Minimum settings:	Met
Video
Codec:	x264
Resolution:	1016x576
Aspect ratio:	16:9
Frame rate:	23.976 fps
Bit rate:	3 370 kb/s
Audio
English 5.1ch AC-3 @ 448 kb/s

https://nitro.download/view/E9394C277455CA2/Tightrope.1984.576p.BluRay.x264-HANDJOB.mkv

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

The post Richard Tuggle & Clint Eastwood – Tightrope (1984) first appeared on Cinema of the World.

A woman with a troubled past is saved from drowning in a river and brought to a strange community hidden in the woods.

Found drifting down the Saguenay River, half-drowned and clinging to a log, a woman is rescued by Boulder, who carries her to Undersky, his commune in the Quebec wilderness. Named after the river from which she was saved, Saguenay is haunted by memories of her past and remains unresponsive for days, drifting in and out of consciousness. She gradually becomes aware of the life going on around her and begins to explore it. But she senses she has brought ill fortune to this community and fears something in her past has doomed her and all who know her.

A young woman clinging to a log and drifting down the Saguenay river is struggling for her life when she is rescued by a large man. Boulder Allin, her savior, carries her back to his primitive wilderness commune called Undersky hidden in the woods. Boulder is the leader of the inhabitants who have fled their modern urban lives to return to the simplicity of nature. The woman, half-drowned and suffering from some type of amnesia, is named Saguenay after the river from which she was saved. Saguenay’s dreams are haunted by memories of her past and she remains unresponsive for days, drifting in and out of consciousness. When she finally comes to, she observes the group in utter silence and passively explores her new surroundings. She eventually returns to some type of normalcy and begins to become part of the group until strange phenomena appear and paranoia takes hold of the people. Saguenay senses she has brought ill fortune to this community and fears something in her past has doomed her and all who know her. She decides she must confront the nightmare of her past once and for all.

Journey (1972).mkv

General
Container:  	Matroska
Runtime: 	1 h 28 min
Size: 	562 MiB
Video
Codec: 	x264
Resolution: 	640x480 
Aspect ratio:  	4:3
Frame rate: 	29.970 fps
Bit rate: 	779 kb/s
BPP: 	0.085
Audio
#1:  	2.0ch AAC LC @ 128 kb/s

https://nitro.download/view/EAA90E3B9ADDBDE/Journey_(1972).mkv

Language(s):English
Subtitles:None

The post Paul Almond – Journey (1972) first appeared on Cinema of the World.

From nytimes.com

Brash, handsome, ruthless, reckless, ambitious, brilliant and corrupt: these are the thrillingly paper thin qualities undoubtedly possessed by Father John Flaherty in the novel upon which ”Monsignor” is based. As played by a more or less real person (Christopher Reeve), Father Flaherty cannot help but lose some of his two-dimensional luster.

Still, ”Monsignor” manages to make itself the most extravagant piece of Hollywood junk since ”Mommie Dearest,” for which the producer Frank Yablans and the director Frank Perry were also responsible. Mr. Yablans also produced ”The Other Side of Midnight,” a schlock masterpiece in whose unwittingly hilarious tradition ”Monsignor” follows. Mr. Yablans didn’t even need to read the French novel by Jack Alain Leger; according to production notes, he ”fell in love with the concept” and decided to make ”Monsignor” on the basis of an English synopsis. Here’s a man who knows what he likes.

Production notes for ”Monsignor,” which opens today at Loew’s State and other theaters, maintain that the film cannot be accused of savaging the Vatican. This is the same logic by which ”Mommie Dearest” was not unkind to Joan Crawford. Father Flaherty, this sacrilegious story’s main character, is a monumentally crooked priest, and the Church appears to condone his every trespass. A few sticklers object to his black-marketing, his fornicating, his Mafia ties and the like, but most Church officials regard him as a real gogetter. By the end of the story, even the Pope has learned of this priest’s corruption, yet Flaherty remains a key figure in the Church’s business affairs.

Audiences, should they decide to stay, will wonder all through ”Monsignor” why none of Flaherty’s sins brings him a job change, not to mention a well-aimed bolt of lightning. From innocently jitterbugging at a friend’s wedding, he graduates swiftly to firing a gun in battle, proposing a Mafia-linked black market operation using church funds, and seducing a postulant nun with scruples much like his own. The love affair between Flaherty and Clara (Genevieve Bujold) is the movie’s comic centerpiece, from their tentative rendezvous in a shop selling religious articles to a scene in which Flaherty, pretending to be a non-clerical Army officer, lures Clara to a seduction den filled with illicit Campbell’s soup and Hershey bars. Clara looks troubled, even reluctant, when she first spies the silken-draped bed. ”I only have an hour,” she says.

The other Sisters, she tells Flaherty, ”don’t think my reasons for leaving ordinary life are profound enough. They doubt my commitment. Do you think they are” – she wriggles out of her blouse as she says this – ”right?” Absolutely not. Has a group of nuns ever been so unreasonable?

Soon Clara and Flaherty are on a Roman rooftop, with – such is the measure of the film’s symbolic deftness – the Vatican dome right smack between them. ”How can your aunt leave this apartment?” Flaherty asks of Clara, who is subletting. The conversation soon turns to more serious matters. ”You have a secret – I feel it!” cries Clara. ”I’m living with a need to tell you something I can’t tell,” says Flaherty. ”Let it out!” Clara hollers. This exchange drew much applause and merriment from a preview audience, as did the next scene, in which Flaherty and Clara bump into each other at a Papal audience. When she sees Flaherty in his clerical robes, Clara stops in her tracks, creating a traffic jam among the other nuns and doing one of the longest, craziest double-takes in movie history.

Mr. Reeve runs into trouble at the most basic level of acting, namely script-reading: this is one he should have passed right by. Father Flaherty is an unplayable pulp fiction character at best, and he’s meant to have a mean, calculating streak that’s way off base for the guileless-looking Mr. Reeve. Everyone else in the film is cast physically to type, which makes the star seem even more outstandingly out of place; though he’s meant to be the crook of the piece, he appears too much an innocent in the midst of a surly-looking supporting cast. The Pope himself is played by a tiny, wizened actor, Leonard Cimino, who (as a rude but not inaccurate person in the preview audience remarked) bears a resemblance to E.T.

Among the other supporting players are Jason Miller, graduating from Exorcist to Mafia don; Fernando Rey, as a gently dishonest Cardinal; Joe Cortese, offering a stock, hand-waving Italian-American caricature as an obnoxious pal from Flaherty’s boyhood; and Tomas Milian, nastily effective as Flaherty’s arch-enemy within the Church.

The Roman scenery looks wonderful. The small Italian villages are suitably populated with boys in knee pants and peasants driving donkey carts. The screenplay is by Abraham Polonsky and Wendell Mayes. It’s not clear whether one or both of them wrote the line ”You’re a very ambitious man and that’s a very ambitious plan,” which is the kind of thing that either makes a film avoidable or makes it a must, depending on what you’re after.

1.46GB | 2h 01m | 853×480 | mkv

https://nitro.download/view/59600380BD9C3C8/Monsignor.1982.DVDrip.x264-CG.mkv
or
https://tezfiles.com/file/bafdad26638d5/Monsignor.1982.DVDrip.x264-CG.mp4

Language(s):English
Subtitles:None

The post Frank Perry – Monsignor (1982) first appeared on Cinema of the World.

A woman believes she is beginning to lose her mind when she begins seeing ghosts and spirits.

As a comment on religious repression, familial ostracism, and subliminal incestuous urges, this film might have some value.

1.43GB | 1h 48m | 632×480 | mkv

https://nitroflare.com/view/0D3B1466E299F0A/Isabel_(1968).mkv

Language:English, French
Subtitles:English hardsubs for French parts

The post Paul Almond – Isabel (1968) first appeared on Cinema of the World.

from rogerrobert.com
The hero of the film (Yves Montand) is a Spanish citizen who has been engaged ever since the war’s end in a variety of underground anti-Franco movements. He is part of a network that moves people and information in and out of Spain, prepares reports, calls general strikes, prints propaganda newspapers and does everything else that seems to be indicated. But the members of the underground are weary; they subscribe to political dogmas that no longer seem relevant, except to a few of them; they can show few tangible results.

Resnais conceives his entire film in terms of the one character. He has loyally served the underground, but he begins to believe their decisions are the wrong ones. They sit in Paris and call general strikes, and when he returns from Madrid to protest, they tell him he had been “misled by reality.”

In the course of exchanging a passport, he meets a young girl (Genevieve Bujold) who is involved in another, much younger, movement against Franco. One afternoon after he argues with futility that his superiors are following the wrong policy, he encounters the girl and her young associates.

They plan violence, plastic bombs, anarchy. They believe that the tourist trade can be stopped if terrorists attack popular resorts. Their reasoning is alien to the methodical nature of his own work over three decades, and suddenly he finds himself in the middle, convinced both approaches are wrong, almost convinced at last that nothing can be done.

Resnais’ previous films (“Hiroshima, Mon Amour,” “Last Year at Marienbad”) were explorations of the subconscious. With “La Guerre Est Finie” he unexpectedly gives us not only psychology but an exciting thriller, done with great artistry.

The hero of the film (Yves Montand) is a Spanish citizen who has been engaged ever since the war’s end in a variety of underground anti-Franco movements. He is part of a network that moves people and information in and out of Spain, prepares reports, calls general strikes, prints propaganda newspapers and does everything else that seems to be indicated. But the members of the underground are weary; they subscribe to political dogmas that no longer seem relevant, except to a few of them; they can show few tangible results.

Resnais conceives his entire film in terms of the one character. He has loyally served the underground, but he begins to believe their decisions are the wrong ones. They sit in Paris and call general strikes, and when he returns from Madrid to protest, they tell him he had been “misled by reality.”

In the course of exchanging a passport, he meets a young girl (Genevieve Bujold) who is involved in another, much younger, movement against Franco. One afternoon after he argues with futility that his superiors are following the wrong policy, he encounters the girl and her young associates.

They plan violence, plastic bombs, anarchy. They believe that the tourist trade can be stopped if terrorists attack popular resorts. Their reasoning is alien to the methodical nature of his own work over three decades, and suddenly he finds himself in the middle, convinced both approaches are wrong, almost convinced at last that nothing can be done.

Resnais’ previous films (“Hiroshima, Mon Amour,” “Last Year at Marienbad”) were explorations of the subconscious. With “La Guerre Est Finie” he unexpectedly gives us not only psychology but an exciting thriller, done with great artistry.

1.65GB | 1 h 56 min | 918×574 | mkv

https://nitroflare.com/view/5A994F61D03B4F6/La_Guerre_est_finie_AKA_The_War_is_Over_(1966).mkv

Language(s):French
Subtitles:English

The post Alain Resnais – La guerre est finie AKA The War Is Over (1966) first appeared on Cinema of the World.