“Those who assume classical musicians are sissies may have to adjust their thinking after Tomorrow At Dawn, in which classical music meets historical battle re-enactments to excellent effect…

The film starts involvingly with a cluster of men in late 18th century military attire preparing for a swordfight in a misty field. The effort expended by the two adversaries, punctuated by the clang of metal, is thrilling. One opponent draws blood. Cut to a contemporary setting in which concert pianist and composer Mathieu (Vincent Perez) is giving a piano lesson in the tasteful salon of the apartment he shares with his wife and young son. After the lesson, he drives to the suburban Paris house where his seriously ailing mother (Françoise Lebrun) lives with Mathieu’s younger brother Paul (Jérémie Renier). She will soon leave for a long hospital stay and knows Paul’s emotional stability depends on Mathieu’s support in her absence. Paul works in a warehouse but devotes all his spare time to a clandestine battle re-enactment group centred on two regiments of Emperor Napoleon’s forces. To say that participants are deadly serious about dressing up and pointing vintage weapons at each other while speaking in the ultra-formal language of a bygone France would be an understatement…

Straightforward but effective widescreen filming and editing keep several emotional layers percolating simultaneously. Dercourt doles out information in gradual doses, toggling back and forth between the demands of the Napoleonic Wars and the obligations of everyday life, until the two are intertwined on a level that demands action… As with Dercourt’s five previous features, the musical score is perfectly chosen and smartly applied.” – Screen Daily

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https://nitro.download/view/A676D02968FA8A0/Demain_des_l’aube.en.srt

Language(s):French
Subtitles:English

The post Denis Dercourt – Demain dès l’aube AKA Tomorrow at Dawn (2009) first appeared on Cinema of the World.

Quote:
Olivier Assayas is about as protean as today’s great filmmakers come, but the last thing I expected from the mad genius behind the globe-trotting, gorgeously kinetic Boarding Gate is a Chekhovian chamber drama whose mantra could be essentially reduced to: posterity cares. If Boarding Gate convincingly documented a 21st century where human beings can be bought, sold, and shipped from New York to Paris to Hong Kong like shares on the NASDAQ, Summer Hours is the sobering requiem for the safety of objects, for the shape and weight of everything we leave behind when we give in to perpetual flux. Together the two films offer a deeply affecting inquiry into the meaning (and market necessity) of attachment in an age of unfettered globalization.

In Summer Hours, a group of adult siblings inherit a French country estate and their great uncle’s collection of 19th-century art when their mother dies, and weigh their pragmatic interests against a family legacy. Adrienne (Juliette Binoche) lives in New York, can rarely visit, and would rather sell the heirloom. Jeremie (Jérémie Renier) is preparing a move to China to help manufacture Puma shoes with cheap labor, and could definitely use another financial boost. It’s left to Frederic (Charles Berling) to be the standard bearer. He’s a university professor pushing an awkward dictum that “the economy is the opposite of a science”; perhaps as a result, he sees the peculiar aesthetic value in the pieces of a broken Degas plaster his mother kept in a plastic bag.

In stark contrast to the hyperbolic monsters of Arnaud Desplechin’s chaotic reunion epic A Christmas Tale, the family members here treat each other with a credible civility. When the skeletons are eventually unearthed, the siblings are inquisitive but hardly get worked up. It’s a testament to Assayas’s empathy that he is able to build the entirety of his drama in the distance between his principals’ forgivable self-interest and their quiet kindness. Yes, on one level Jeremie is getting ready to turn a profit from sweatshop labor, but he’s also seeking a safety net for his children, so that they too can one day puzzle over their inheritance. Adrienne seems egocentric and frazzled, but Binoche’s gestures suggest that she’d rather serve as her art’s purveyor than as its guardian.

In his thrilling Irma Vep, Assayas depicted an artist maddeningly fraying all human bonds in the hot pursuit of an epiphany. The world of Summer Hours is a couple generations removed from the madness of creation; it offers the idea that any “finished product”—artistic or otherwise—is subject to decay, or at least a perpetual adaptation. The broken Degas plaster may have lost its market value, but it might also serve as a vivid reminder of the time the siblings ran a bit too quickly down the hallway. As such, the drunken teenage house party that closes Summer Hours, seemingly pitched as a didactic lament for the future, eventually about-faces into something rare and beautiful and surprising. The past may be decomposing, but the kids are all right.

Olivier Assayas - (2008) Summer Hours.mkv

General
Container:  	Matroska
Runtime: 	1h 43mn
Size: 	2.16 GiB
Video
Codec: 	x264
Resolution: 	1024x560 
Aspect ratio:  	1.85:1
Frame rate: 	23.976 fps
Bit rate: 	2 746 Kbps
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Audio
#1:  	French 5.1ch AC-3 @ 256 Kbps

https://nitro.download/view/BCC01AD60767F39/Olivier_Assayas_-_(2008)_Summer_Hours.mkv

Language(s):French, English
Subtitles:English

The post Olivier Assayas – L’heure d’été AKA Summer Hours (2008) first appeared on Cinema of the World.

Quote:
With its bigger-name cast and audio-visual sparkle, “Saint Laurent” also seems the safer commercial bet for international distribs, effectively the “Coco Before Chanel” to its rival’s “Coco Chanel & Igor Stravinsky.” Sony Pictures Classics has already snatched it the film off the rack for the U.S., and should be feeling a little more confident than “Yves Saint Laurent” guardians the Weinstein Co. Still, Bonello’s sexier number must gamble on sustained audience interest in a chilly figure whose life — notwithstanding the drugs, desires and debauchery that go with the high-fashion terrain — wasn’t extraordinarily dramatic.

Bonello’s film covers less chronological ground than “Yves Saint Laurent” but goes a little harder on the hedonism, as you’d expect from the heedless director of “House of Pleasures” and “The Pornographer.” Bonello’s script, written with regular Jacques Audiard collaborator Thomas Bidegain, focuses less on Saint Laurent’s troubled romance with life partner Pierre Berge (which formed the spine of Lespert’s film) than on his individual neuroses, insecurities and delusions. As such, it’s a less flattering portrait, with machete-cheekboned Gaspard Ulliel an aloof, glassy presence throughout; he’s a more dreamily charismatic presence than Pierre Niney, the twitchy lead of the last film, though he bears less of a physical or behavioral resemblance to the subject. The upside for Saint Laurent’s admirers is that Bonello’s film reflects more of the designer’s tortured creative drive in its dark onyx surfaces; it’s the slightly deranged auteur portrait that a fellow artist and iconoclast deserves.

Entirely skipping past Saint Laurent’s youth, his early apprenticeship with Christian Dior and the foundation of his relationship with Berge (a fine, under-exploited Jeremie Renier), the film instead begins with the designer at the zenith of his celebrity — coinciding, unsurprisingly enough, with his emotional and spiritual nadir. Somewhat randomly, we open on an addled, depleted Saint Laurent conducting a telephone interview in 1974 — fleetingly recounting his traumatizing Algerian War experience and subsequent electroshock therapy — before rewinding to 1967, where his thriving company hums with high-pressure activity. (Production designer Katia Wyszkop’s pristine white re-creation of the YSL atelier evokes an emergency room more than it does a fashion house, perhaps foreshadowing Saint Laurent’s self-imposed physical decline.)

This moderate rewind is one of several odd structural decisions in the film, which Bonello evidently intends as more of a sensory history than a personal one — though that interpretation doesn’t excuse a rather banal montage that races through his 1968-1971 collections, crassly split-screened with archive footage from the May 1968 unrest and the Vietnam War. Key friends and collaborators are introduced without ceremony, and developed little beyond that. Models Betty Catroux (Aymeline Valade) and Loulou (Lea Seydoux, in what amounts to little more than a cameo) provide muse-like inspiration and vague emotional support, while more time is expended on Saint Laurent’s frustrated sexual dalliance with preening Karl Lagerfeld model Jacques de Bauscher (a perfectly cast Louis Garrel) than on his more lasting, conflicted partnership with Berge.

More detail, surprisingly, is expended on Berge’s deft, thankless management of Saint Laurent’s business affairs, well captured in an extended, busily bilingual scene in which Berge defends the independence of the YSL name (which he touchingly claims as his own) from an American investor (Brady Corbet) wary of the designer’s apparent decline. The Yank has reason to be: The further Bonello’s film delves into the 1970s, the less disciplined the storytelling becomes, frenziedly evoking Saint Laurent’s substance-hazed mental breakdown with recurring religious imagery, CGI serpents slithering across the frame and a homoerotic troupe of singing army legionnaires. Some pointed domestic detail survives the chaos, however: One grimly witty scene finds the designer’s beloved pug pup Moujik fatally strung out on assorted pills found on the floor.

Like “Yves Saint Laurent,” Bonello’s film chooses to omit the 1980s and 1990s, similarly climaxing with the triumphant creative comeback of his Moroccan-inspired 1976 collection — presented by editor Fabrice Rouaud in a fragmented split-screen format that appears to visually cross-reference the designer’s Piet Mondrian period of the previous decade. That’s all well and good, but the decision to intercut this final act with scenes of Saint Laurent (now played with crepe-surfaced weariness by Helmut Berger) in his 21st-century dotage is a misguided one, needlessly cluttering an overlong film that has hitherto demonstrated no allegiance to conventional biopic timelines.

Tech credits, as ever with Bonello, are mouth-wateringly accomplished, ensuring that its subject suffers as beautifully as possible from first scene to last. Cinematographer Josee Deshaies lights the film as shimmeringly in its neon-night club scenes as in more intimate glimpses from Saint Laurent’s gilded apartment, suggesting that no small moment of his life was ever left entirely undesigned. Bonello’s musical choices, meanwhile, range from soaring if over-familiar opera cues to Creedence Clearwater Revival to occasional Moroder-esque synths on his self-composed score.

The clothes, however, are obviously the prize contribution here, with Anais Romand’s wardrobe all the more impressive considering the absence of the YSL house’s blessing. Every garment here is covetable, from Saint Laurent’s own loudly natty tailoring to the iridescent jewel tones of his Marrakech-chic gowns to a simple shift dress created in his studio that he deems “as short, neat and precise as a gesture.” Not one word of that description applies to Bonello’s film, but Yves Saint Laurent also knew as well as anyone where excess was required.

Bertrand Bonello - (2014) Saint Laurent.mkv

General
Container:	Matroska
Runtime:	2h 30mn
Size:	2.91 GiB
DXVA:	Compatible
Minimum settings:	Met
Video
Codec:	x264
Resolution:	1024x556
Aspect ratio:	1.85:1
Frame rate:	23.976 fps
Bit rate:	2 463 Kbps
Audio
French 5.1ch AC-3 @ 256 Kbps

https://nitro.download/view/6EF5B5725BCC565/Bertrand_Bonello_-_(2014)_Saint_Laurent.mkv

Language(s):French, English
Subtitles:English

The post Bertrand Bonello – Saint Laurent (2014) first appeared on Cinema of the World.

A dispossessed young couple living in a bleak industrial Belgian town live off unemployment benefits, panhandling and petty theft. Their lives change forever when they have a baby. The father learns how one avaricious decision can affect the lives of everyone in his orbit.

The.Child.2005.720p.AMZN.WEB-DL.DDP5.1.H.264-Kitsune.mkv

General
Container:  	Matroska
Runtime: 	1 h 35 min
Size: 	4.30 GiB
Video
Codec: 	h264
Resolution: 	1200x720 
Aspect ratio:  	5:3
Frame rate: 	24.000 fps
Bit rate: 	6 000 kb/s
BPP: 	0.289
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#1:  	French 5.1ch E-AC-3 @ 640 kb/s

https://nitro.download/view/1B45142718E5FEF/The.Child.2005.720p.AMZN.WEB-DL.DDP5.1.H.264-Kitsune.mkv

Language(s):French
Subtitles:English

The post Jean-Pierre Dardenne & Luc Dardenne – L’Enfant AKA The Child (2005) first appeared on Cinema of the World.

A biopic of French pop star Claude Francois, most famous for co-writing the song ‘My Way’. Tracing his life from his childhood in Egypt through his success in France to his untimely death in Paris in 1978.

6.55GB | 2h 28m | 1280×544 | mkv

https://nitro.download/view/3D8B9C7D2A198FF/noscreens-cloclo.2012..720p.BluRay.x264.mkv
or
https://fikper.com/e2P7GNryvt/noscreens-cloclo.2012..720p.BluRay.x264.mkv

Language(s):French
Subtitles:Muxed English

The post Florent-Emilio Siri – Cloclo (2012) first appeared on Cinema of the World.

Pascale (Isabelle Huppert) lives with her adult twin sons, aimless François (Yannick Renier) and headstrong Thierry (Jérémie Renier, star of Jean-Pierre and Luc Dardenne’s L’ENFANT and LA PROMESSE), in a renovated Belgian farmhouse. Each is still reeling from the divorce that divided the family some years earlier. Both boys pursue their respective interests, but neither seems compelled to embrace adulthood or the responsibilities that come with it. However, all that is about to change. Pascale has fallen in love again and dreams of a new life for herself and her lover a countryside B&B that they aspire to own together. But what would seem to be a happy time in her life takes a turn for the worse as she finds herself unable to rise from the shadow of her ex-husband and selfish children. In a bid for survival, Pascale leaves the house in the hands of Thierry and François, never suspecting that in her absence, long-buried resentment and rivalry will boil over, igniting a war between the brothers. (DVD Backcover)

1.71GB | 1h 28m | 704×400 | mkv

https://nitro.download/view/0FFF7BD3476063D/Nue.propriete.2007.DVDRip.AAC.h264.mkv

Language:French
Subtitles:English,Spanish,Russian,Brazilian Portuguese

The post Joachim Lafosse – Nue propriété AKA Private Property (2006) first appeared on Cinema of the World.

Roger uses his son Igor to ruthlessly traffic and exploit undocumented immigrants. When one of the immigrants is killed, Igor is guilt-ridden and wants to care for the dead man’s family against his father’s orders.

2.01GB | 1h 34m | 960×576 | mkv

https://nitroflare.com/view/691D39F78AEF545/La.Promesse.1996.TRUEFRENCH.Criterion.Collection.BDRip.576p.x264.AC3-zitoune69.mkv
or
https://nitroflare.com/view/14BED11047EA280/La.Promesse.1996.TRUEFRENCH.Criterion.Collection.BDRip.576p.x264.AC3-zitoune69.part1.rar
https://nitroflare.com/view/16C41E8E015E7BF/La.Promesse.1996.TRUEFRENCH.Criterion.Collection.BDRip.576p.x264.AC3-zitoune69.part2.rar
https://nitroflare.com/view/3D207B4BB7BE669/La.Promesse.1996.TRUEFRENCH.Criterion.Collection.BDRip.576p.x264.AC3-zitoune69.part3.rar

Language(s):French,Romanian
Subtitles:English

The post Jean-Pierre Dardenne & Luc Dardenne – La promesse AKA The Promise (1996) first appeared on Cinema of the World.