A young couple out for a walk decide to take a stroll through a large cemetery. As darkness begins to fall they realize they can’t find their way out, and soon their fears begin to overtake them.

La.rose.de.fer.AKA.The.Iron.Rose.1973.576p.Indicator.Bluray.AAC.1.0.x264-SaL.mkv

General
Container:  	Matroska
Runtime: 	1 h 20 min
Size: 	2.40 GiB
Video
Codec: 	x264
Resolution: 	956x576 
Aspect ratio:  	5:3
Frame rate: 	23.976 fps
Bit rate: 	4 080 kb/s
BPP: 	0.309
Audio
#1:  	French 1.0ch AAC LC @ 123 kb/s
#2:  	English 1.0ch AAC LC @ 69.1 kb/s (Commentary with film historian Tim Lucas (2025))

https://nitro.download/view/890313584CC0AF8/La.rose.de.fer.AKA.The.Iron.Rose.1973.576p.Indicator.Bluray.AAC.1.0.x264-SaL.mkv

https://tezfiles.com/file/d828231fa9f58/La.rose.de.fer.AKA.The.Iron.Rose.1973.576p.Indicator.Bluray.AAC.1.0.x264-SaL.mp4

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

The post Jean Rollin – La rose de fer AKA The Iron Rose (1973) first appeared on Cinema of the World.

A young couple out for a walk decide to take a stroll through a large cemetery. As darkness begins to fall they realize they can’t find their way out, and soon their fears begin to overtake them.

La.rose.de.fer.AKA.The.Iron.Rose.1973.576p.BluRay.AAC.x264-KG.mkv

General
Container:  	Matroska
Runtime: 	1 h 20 min
Size: 	2.15 GiB
Video
Codec: 	x264
Resolution: 	964x576 
Aspect ratio:  	5:3
Frame rate: 	23.976 fps
Bit rate: 	3 655 kb/s
BPP: 	0.275
Audio
#1:  	French 2.0ch AAC LC @ 162 kb/s

https://nitro.download/view/931D9A0399788E6/La.rose.de.fer.AKA.The.Iron.Rose.1973.576p.BluRay.AAC.x264-KG.mkv

Language(s):French
Subtitles:English

The post Jean Rollin – La Rose de fer AKA Rose of Iron (1973) first appeared on Cinema of the World.

“Alain Tanner’s sparse, beautiful film is a philosophical reflection on and a poetic, atmospheric representation of human homelessness.”

Synopsis:
“No man’s land” tells the story of four people trying to fulfil their most basic desires in life. A group of young people meet up regularly in a nightclub situated in a former customs house on the Swiss-French border, as a means of escape from their drab lives. No Man’s Land is an “in- between” film. Between staying and leaving, between Paul and Jean, about friendship, between Paul and Madeleine, Jean and Mali, Jean and Lucie, about love. Between Paul and his route of escape, Jean and his territory, Madeleine and her music, Mali and her exile.

No.Mans.Land.1985.1080p.mkv

General
Container:  	Matroska
Runtime: 	1 h 48 min
Size: 	2.83 GiB
Video
Codec: 	h264
Resolution: 	1920x1080 
Aspect ratio:  	16:9
Frame rate: 	24.000 fps
Bit rate: 	3 626 kb/s
BPP: 	0.073
Audio
#1:  	French 2.0ch AAC LC @ 125 kb/s

https://nitro.download/view/925535F6189B934/No.Mans.Land.1985.1080p.mkv
https://nitro.download/view/64804B54D1EE005/No.Mans.Land.1985.1080p.AR.srt
https://nitro.download/view/C0D647A074155E0/No.Mans.Land.1985.1080p.DE.srt
https://nitro.download/view/FB0C39E42350BD5/No.Mans.Land.1985.1080p.EN.srt
https://nitro.download/view/F86A5B5CECC0185/No.Mans.Land.1985.1080p.FR.srt
https://nitro.download/view/3B68B3A5FF11E5B/No.Mans.Land.1985.1080p.RO.srt
https://nitro.download/view/92981D28A2EE568/No.Mans.Land.1985.1080p.SPA.srt

Language(s):French
Subtitles:English,Arabic,Spanish,German,French,Romanian

The post Alain Tanner – No Man’s Land (1985) first appeared on Cinema of the World.

Quote:
Raúl Ruiz’s City of Pirates is (de)composed under the sign of Surrealism, with its trust in ecstasy, scandal, the call of the wild, mystification, prophetic dreams, humour, the uncanny. Given the surprising swerves and disorientations evoking Buñuel and Dalí, and the confidence in a poetic discourse recalling Eluard and Péret, one wonders if Ruiz didn’t elaborate his scenario using the Surrealist mode of automatic writing. Troubled, graceful Isidore – Ducasse and Duncan? – is a purely Surrealist heroine, part Ophelia, Salomé, Bérénice, prone to trances, somnambulism, hysterical seizure, contact with the ‘other side’. Her calm violence links her to the real life murderesses – Germaine Berton, the Papin sisters – exalted by Breton’s circle, and by Jacques Lacan. Indeed, Lacan’s notion of a psychoanalysis in which the analyst stays off his patient’s wavelength, inspired by the idea of ‘surrealist dialogue’ in which paired monologues at cross purposes strike sparks of meaning off each other, underpins the scatty trajectory of Ruiz’s own graphomania, snared this time as the tale of a Pirate’s City.

There is no city of course, just a spooky castle on a rocky island (although Tobi [Hugues Quester] does tell us that his madness is due to a hatred of big cities). The rocks and the sea are not the only echoes of the quintessential Surrealist film, L’Age d’or (1930). Cryptic and humorous touches in Ruiz are like reprises of Buñuel’s dialogue, as when the dying cyclist offers Isidore (Anne Alvaro) anything she wants, ‘a radio, corned beef, calamari’. The kiss in the garden shared by Isidore and Tobi completes one consummated by Gaston Modot and Lya Lys. The Spaniards who must fight the pirates once a year evoke the invading Majorcans who built Rome in a day in 1930. The Surrealist object as seen in L’Age d’or – Modot fantasies a woman’s masturbating finger in an ad for cold cream – lives again in Isidore’s suitcase containing chicken legs, cabbage leaves and a severed prophet’s head that lights up when read poetry. The jokes in Ruiz’s film partake of the ‘Umour’ of Jacques Vaché, anarchist dandy, Breton’s mentor. Indeed, the paper boats that Isidore and Malo (Melvil Poupaud) float on the oozing blood of her murdered father directly echo one of Vaché’s black tales. And when a bouncing ball is interpreted with much aplomb by Isidore’s parents as their lost son, we are reminded of a similar enigmatic ball ricocheting through a scenario by the Surrealist poet Robert Desnos.

If it is useful to map out this constellation of congruencies – in an attempt to extend not empty the richness of Ruiz’s work – then perhaps City of Pirates should be read as a film fantastique, sharing something of the trance-like, morbid poetry of Maya Deren and the paranoid Manicheism of English SF cinema of the early ‘60s. The drawing of the baleful child Malo owes something to the intense, malign ‘children of the damned’ in the film of the same name. The willing suicide of the cyclist, destroyed as much by the amoral stare of the boy as by his skill with a razor, echoes the unforgettable shotgun death of Mervyn Johns (although it is difficult to remember which of the Damned cycle this was in, Leander’s, Rilla’s, or even Losey’s). The tumescent, terrible sexuality that drives the narrative along takes on a vampirish quality. The ghoulish and lascivious Malo eats only garlic; Tobi’s alter ego, his sister Carmela, evokes Le Fanu’s lesbian bloodsucker Carmilla; Isidore’s pregnancy makes us think of raw liver-eating Rosemary: oral sadism, cannibalism even, underpins these images.

Much of the pleasure in Ruiz comes from the aesthetic means he employs to suggest the Surreality inhabited by his desiring machines. (Of course their world looks exactly like our own.) His maniacs live in, and for, contradiction. When the tide is on the turn, as the opening shot shows, it comes in and goes out at the same time. Surprise, invention, paradox are Ruiz’s touchstones. He believes in affirmation through irony, the clarity of enigma, deferred resolution, outlandish change of mood.

He moves forward by staying in the same place. The tales his characters tell echo each other in certain details, enough to suggest an occult order behind discrete events. (The literal device of a vicious secret society controlling events is a delicious deus ex machina.) A newspaper is repeatedly read in preference to hearing real-life stories. Father’s aching teeth recall the cyclist’s soaking in a glass, and evoke the cadaverous Isidore’s gaping maw.Ruiz’s striking framing, with enormous foreground objects united through deep focus to background subjects, recalls not so much Welles as Hitchcock’s experiments in his Freudian melodrama (Spellbound [1945], with its dream sequence by Dalí), or even the beach nude photographs of Bill Brandt. In one extraordinary and hilarious shot, the camera peeps from inside a mouth, teeth and gums framing the image top and bottom. Kitschy, tinted seascapes add little but themselves. The music persistently suggests imminent climax, but never delivers. Switches from colour to monochrome seem to add credence to the idea that Ruiz’s whole film is a gratifying and elaborate subterfuge intended to keep meaning at a distance. For many audiences, the free-associating, poetic dialogue will ensure this is so.

Attempting to sum up City of Pirates, one finds phrases like ‘family romance’ (Freud), ‘puer aeternus’ (Jung), ‘the myth of the androgyne’ (Boehme), springing to mind. What binds Ruiz’s lost souls to each other’s desire is an Oedipal, narcissistic quest for identity, for a place in the world other than by a poolside, by water. A sister wants to meet her brother, a mother and father their son. A boy kills a father and a brother. A son wants to be his sister and his mother. A mother offers advice on how to live with the Eternal Return.

Desire depends upon creating an unbridgeable distance to ensure infinite pursuit of the object. If Ruiz’s film palls in its compulsive retreading of trod ground, in its insistent miracle-working, it is because such desiring fictions are by definition interminable, and autonomous. The cinema, of course, is the ideal location for such doomed searches for the cathartic image, for recapturing the eternal, dangerous moment of looking: ‘Risk introduced in thought as much as in the world, in the realness of thought as in external reality, that which is not found, that which is only met in meeting itself’ (Maurice Blanchot).

© Paul Hammond 1985, adapted from a review in Monthly Film Bulletin. Reprinted with permission of the author at Rouge Press

2.31GB | 1h 48m | 768×576 | mkv

https://nitro.download/view/493A89EB66808ED/Raoul_Ruiz_-_(1984)_City_of_Pirates.mkv

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

The post Raoul Ruiz – La ville des pirates AKA City of Pirates (1983) first appeared on Cinema of the World.

Quote:
Simple conversations engender complicated human interactions. Jeanne is open and even-tempered, a philosophy teacher at a lycée. Her fiancé is away and she doesn’t want to stay at his messy flat; she’s loaned hers to a cousin, so she accepts the invitation of Natasha, a music student whom she meets at a party, to sleep in her father Igor’s bedroom.

3.10GB | 1h 47min | 958×576 | mkv

https://nitroflare.com/view/F331721A10420FD/Conte.de.printemps.AKA.A.Tale.of.Springtime.1990.576p.BluRay.AAC.x264.mkv

Language:French
Subtitles:English, German

The post Éric Rohmer – Conte de printemps AKA A Tale of Springtime (1990) first appeared on Cinema of the World.

Quote:
Serge Gainsbourg’s Je T’Aime Moi Non Plus, the iconic singer-songwriter’s 1976 directorial debut, is on the surface the story of a love triangle. But nothing about this film is conventional. It’s set in an almost postapocalyptic wasteland that’s supposed to be somewhere in the American Midwest, if the signage and the locals’ penchant for fractious roller derbies is to be believed. (There’s even a visual joke that seems to riff on John Boorman’s Deliverance.) Two sides of the triangle are gay garbagemen, while the third is a boyish truck stop waitress. And Gérard Depardieu puts in a glorified cameo as an amorous hayseed who’s just a little too much into his horse.

What the film is really about is twofold. On the one hand, it offers a nuanced examination of the fluidity of sexual identity, depicting a world where the laws of desire seem to operate with absolute capriciousness. And, interrelatedly, it’s an unabashed celebration of the physical expression of lovemaking. Gainsbourg, ever the provocateur, chooses here the almost taboo topic of heterosexual anal sex. The only other film of the period to broach this particular territory would be Bernardo Bertolucci’s Last Tango in Paris. There, though, the infamous butter scene is an expression of sexual aggression and domination. In Je T’Aime Moi Non Plus, it’s a gesture of physical connection and mutual gratification that flagrantly defies what’s considered natural and civilized.

When Krassky (Joe Dallesandro) meets Johnny (Jane Birkin), he first glimpses her from behind, and mistakes her for a boy. But his instantaneous attraction to her remains undiminished even when she turns around. Krassky’s behavior soon draws the ire of his partner, Padovan (Hugues Quester), who takes every opportunity to malign Johnny and impugn Krassky’s burgeoning relationship with her. In these moments, the film takes on a distinctly Shakespearean quality, as Padovan suggests the Iago to Krassky’s Othello.

Krassky and Johnny’s attempts to consummate their ill-starred love leaven the aura of tragedy with some well-delivered comedy, since they’re repeatedly tossed out of one flophouse after another owing to Johnny’s ear-piercing screams upon being penetrated. Gainsbourg’s worldview is certainly not without its relentlessly down-market sense of humor. Farts and other bodily functions, the asperities of almost ritualistic abuse, all play a role in the film. Here, too, there’s a link to Shakespeare, with a layer of bawdy raunch that’s fit to split the ears of the groundlings. It’s also the earthy, carnivalesque humor of Rabelais, meant to praise the body at the expense of the head, placing physical indulgence and desire ahead of pale reason.

Amid a wasteland of buzzing flies and burnt-out wrecks, it seems somehow poetically apt that Krassky and Johnny manage to make love in the bed of his garbage truck. When the world is running down, as Gordon Sumner once put it, you make the best of what’s still around. Tellingly, Johnny finally gets past the shrieking stage and achieves moans of actual pleasure. Later in Je T’Aime Moi Non Plus, Krassky nails it down, thematically speaking, when he tells her: “Whichever side I take you from, as long as we’re linked, and we come together, that’s love.” Trouble is, the world and all-too-human jealousy see fit to intrude.

But the ultimate downfall of the relationship doesn’t come from the outside. It comes from a failure of imagination, the inability to exist without taxonomies that impose a fixed identity on things. At one point, Johnny informs Krassky that she is a boy, in an imaginative suspension of stereotypical gender relations. Just as, on another occasion, she rejects her tomboy attire for a frilly pink dress and makeup, the ultimate “uniform” of femininity. When Padovan attempts to smother her with a plastic sack, she urges Krassky to beat him to a pulp. His refusal prompts her to turn on him. She slaps his face and calls him a “fag,” thus reducing him to a single identity, shutting him back up in the box of what’s normative. This betrayal, as much as his obvious sympathy for Padovan’s clearly distraught state, signals the end of their relationship.

2.33GB | 1h 27m | 960×576 | mkv

https://nitro.download/view/2A47EC1573EF795/Serge_Gainsbourg_-_(1976)_I_Love_You,_I_Don’t.mkv

Language:French
Subtitles:English

The post Serge Gainsbourg – Je t’aime moi non plus AKA I Love You, I Don’t (1976) first appeared on Cinema of the World.

Synopsis:
Another planet in the period of medieval times. An employee of the institute of experimental history from Earth, who is send under the name of noble don Rumata of Estor as a spy with a mission to contact the local resident of the institute, arrives in the city of Arkanar. But the resident perishes under an unlucky attempt to make a palace coup, and Rumata have to take his place as the resident. Soon he meets all the horrors of the medieval society – a peasant war, palace coups, mass executions. To continue to be an indifferent watcher of all these horrors turns out to be simply impossible…

2.13GB | 2h 13mn | 947×570 | mkv

https://nitro.download/view/FF84066AF27E204/Hard_to_Be_a_God_(1989)_–_Peter_Fleischmann.mkv
or
https://fikper.com/IQkZz7kPes/Hard_to_Be_a_God_(1989)_–_Peter_Fleischmann.mkv.html

Language:German
Subtitles:English (Muxed)

The post Peter Fleischmann – Es ist nicht leicht ein Gott zu sein AKA Hard to Be a God (1989) first appeared on Cinema of the World.