Quote:
From the very beginning of Trust, Hal Hartley’s spellbinding second feature, snotty naïveté and cultured cynicism intertwine and dance in locked, hypnotic two-step. Just as teenaged Maria (Adrienne Shelly) tells her parents that she’s been knocked up by her high school’s alpha jock, leading her father to literally drop dead, Matthew (Martin Donovan) throws a tantrum of anti-technological philosophy in the repair division of a computer corporation where he works. While her idyllic future with quarterback Anthony comes crashing to the ground when he rejects her, Matthew remains stilted by his inability to cut ties with his abusive father (John MacKay). They meet-not-particularly-cute in an abandoned home and fall for each other in an odd, intriguingly deadpan way that underlines the unlikeliness of their union.

Like the romance that blooms between Donovan’s disillusioned thirtysomething and Shelly’s reformed teen-bopper, the film is strange in its very design, favoring a stunning use of imagistic symbolism over familiar dramatic lather; a Cape Holiday bumper sticker, Matthew’s heirloom grenade, and Maria’s spilled chicken soup are just as cathartic and revealing as anything they say to one another, if not more. If the story seems equally derivative of Hal Ashby and John Hughes, the tone and atmosphere of the film summons recollections of Bresson, and Godard’s more profound flirtations with familiarity, particularly Every Man for Himself.

Indeed, the film builds on concepts of compromise, growth, stagnation, and, most potently, rebellion, against both the accepted dirge of suburban workaday existence and the flaky anger and pomposity of educated artistry. Matthew is a skilled tradesman (he fixes computers and appliances), but his passionate belief in his work leads him to deeply despise the cheapness of consumerism and its effects on advancement. In this, Hartley offers a harsh rebuke to any sense of preciousness, as Matthew’s intellect is here both righteous and elitist. As such, Matthew is depicted as a sort of noble but posturing fool, able to attract Maria’s burgeoning fascinations and warmth as she begins to find her personal footing, but also prone to self-pity, self-loathing, and a repugnant strain of cynicism.

In essence, Matthew is more of a cautionary tale than Maria could ever be. Hartley consistently expresses an unerring fascination with women and the variety of opinions on mating, relationships, children, and, yes, love that are expressed give the film a remarkable breadth of character. Although Matthew’s relationship with his father is punctually tended to, it certainly doesn’t yield the ingenious bouts of conversing that go on between Maria, her mother, Jean (Rebecca Nelson), and her divorced sister, Peg (Edie Falco). One of the film’s best moments involves Maria asking Peg and one of her friend’s about marriage and kids, wherein the friend romanticizes life as a mother as Peg ambivalently refers to her children’s arrival as a good distraction from how bored she was with her husband.

As if splintering Maria’s future visually, the film is packed with women of varying backgrounds and traumas, including the abortion nurse who offers Maria a shot of whiskey before the operation and the teen mom who thoughtlessly parks her toddler, holding a bright-red toy gun, outside a bodega. The filmmaker skirts preciousness and pretentiousness in the directness of his language, the boldness of his imagery, and the percussive rhythm of his performers’ deliveries, but Trust is never cute and its whimsy is never taken as evasion of emptiness or of the more topical elements of the story. Hartley depicts Maria’s consideration of abortion as a thoroughly explored, purely personal decision, diffused of political or religious rhetoric, and in Matthew, the director-writer shows an elemental connection between the corporation’s lack of innovation and ethics and Matthew’s lack of respect for himself and his employer, which ultimately comes to violent ends.

The film’s title comes from a discussion between Matthew and Maria about how to define love, which they agree is equal parts admiration, respect, and trust. Maria trusts Matthew because he’s the only person who doesn’t use diatribes on progress and advancement as a way to condescend to her and make her a follower. And, of course, trust has always been an essential element of film, as the crew, the performers, and the audience can only fully engage with a director and their work if they trust the intentions and talent of the filmmaker in question. The key to Trust is that Hartley is never so naïve as to think that caprice is necessarily profound, nor is he so cynical to think that the familiar is inherently more enticing than the personal. In other words, his confidence in his art leads to a confidence in his audience, no matter who they might be or in what number they may appear.v

Hal Hartley - (1990) Trust.mkv

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Runtime: 	1h 46mn
Size: 	2.24 GiB
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https://nitro.download/view/06F1C90DC7AE208/Hal_Hartley_-_(1990)_Trust.mkv

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Subtitles:None

The post Hal Hartley – Trust (1990) first appeared on Cinema of the World.

Synopsis
Joseph Fulton, a famous director, wants to work at a cemetery.
Meanwhile, he has his last will and testament drawn up.
His girlfriend thinks he’s dying. Rumor spreads and soon everyone
he knows gathers to say their last farewells.

Where.to.Land.2025.Hal.Hartley.WEB-DL.1080p.mkv

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Container:  	Matroska
Runtime: 	1 h 14 min
Size: 	2.08 GiB
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Language(s):English
Subtitles:English, Spanish, French, German, Japanese

The post Hal Hartley – Where to Land (2025) first appeared on Cinema of the World.

Henry, or rather Ned, wants to leave his home town to travel the world or to look up a girlfriend. From the moment he wants to climb aboard the train, he is prevented or delayed by people from his surroundings. A friend has a car crash, a girl he knows is unhappy with her husband and tries to seduce Ned, several youths decide that, before he gets on board the train, he should be beaten up.The people in Kid don’t seem to communicate with each other, they continuously talk at each other and launch into monologues about the purpose of their lives. In this world,events determine the people and not the other way round.

Kid - 1984 - Hal Hartley_1080p.mkv

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Runtime: 	28 min 54 s
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https://nitro.download/view/15B2048C8006A4B/Kid_-_1984_-_Hal_Hartley_1080p.mkv

Language(s):English
Subtitles:English

The post Hal Hartley – Kid (1984) first appeared on Cinema of the World.

Henry and Fay’s son Ned sets out to find and kill his father for destroying his mother’s life. But his aims are frustrated by the troublesome Susan, whose connection to Henry predates even his arrival in the lives of the Rifle family.

Ned Rifle.2014.576p.BDRip-AVC.ZONE.mkv

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Runtime: 	1 h 24 min
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https://nitro.download/view/9800E2849F730D4/Ned_Rifle.2014.576p.BDRip-AVC.ZONE.mkv

Language(s):English
Subtitles:English, French, German, Spanish, Croatian, Greek, Italian, Polish, Portuguese, Serbian, Japanese

The post Hal Hartley – Ned Rifle (2014) first appeared on Cinema of the World.

A commercially realistic but artistically conflicted playwright lends his Berlin apartment to a young actress friend so she can rehearse her drama school audition while he goes off to save his doomed production in New York.

The.Apologies.2010.1080p.CRIT.WEB-DL.AAC2.0.H.264-Dacilla.mkv

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Runtime:	13mn 43s
Size:	483 MiB
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Language(s):English
Subtitles:English

The post Hal Hartley – The Apologies (2010) first appeared on Cinema of the World.

Hartley’s conscientious assistant in Berlin receives weekly letters from her boss and sends him the books he needs as he struggles in Amsterdam to create the staging for Dutch composer Louis Andriessen’s opera, “la Commedia.”

Implied.Harmonies.2010.720p.CRIT.WEB-DL.AAC2.0.H.264-Dacilla.mkv

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Container:	Matroska
Runtime:	29mn 25s
Size:	573 MiB
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Resolution:	1280x720
Aspect ratio:	16:9
Frame rate:	23.976 fps
Bit rate:	2 464 kb/s
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Language(s):English
Subtitles:English

The post Hal Hartley – Implied Harmonies (2010) first appeared on Cinema of the World.

An ambitious and idealistic young actress comes to Berlin to convince an American ex-pat filmmaker that she must be his next muse – the leading lady of his first great German film.

A.Muse.2010.1080p.CRIT.WEB-DL.AAC2.0.H.264-Dacilla.mkv

General
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Runtime:	11mn 2s
Size:	374 MiB
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https://nitro.download/view/5BC7BD9B21D3000/A.Muse.2010.1080p.CRIT.WEB-DL.AAC2.0.H.264-Dacilla.mkv

Language(s):English, German
Subtitles:None

The post Hal Hartley – A/Muse (2010) first appeared on Cinema of the World.