Quote:
So the story goes: Having completed only two (Duelle and Noroît) of the proposed four films in his quick-succession series Scenes from a Parallel Life, Jacques Rivette found himself hounded by investors and teetering on the edge of sanity. The result: Merry-Go-Round—a fascinatingly nonsensical ramble through the director’s own inland empire, featuring a scruffy Joe Dallesandro, as American abroad Ben Phillipps, and a sleepy-eyed Maria Schneider, as mystery woman Léo Hoffmann, wandering the French countryside in search of the elusive Elisabeth (Danièle Gegauff), the former’s girlfriend and the latter’s sister. There are tenuous connections to the two completed Parallel Life films (as in the on-screen musical accompaniment performed by double bass player Barre Phillips and clarinetist John Surman) though Merry-Go-Round stands quite defiantly on its own. As suggested by its opening titles, which scan like jagged, blooming-white slashes from a highly disturbed psyche, this is a film explicitly about schisms and parallel realities. Oftentimes, Rivette will cut away from Ben and Léo’s shared quest to enter a paranoid headspace where each character imagines the other as a murderous antagonist. Furthering the sense of disconnection is that Léo is played in these scenes by Out 1‘s Hermine Karagheuz, a result of an extended and tumultuous shoot that culminated in Schneider’s unplanned exit. Dallesandro’s drug addiction and Rivette’s increasing weariness (he would suffer a nervous breakdown upon Merry-Go-Round‘s late-‘70s completion) likewise inform the twists and turns of this fractured fairy tale; indeed, it’s almost impossible to divorce the film, which sat unreleased in its home country until 1983, from the behind-the-scenes chaos out of which it grew. And yet there is beauty in Merry-Go-Round‘s madness, especially in its sand dune-set climax (one of Rivette’s finest finales) where Ben and Léo quite literally find peace, respite, and tranquility in their own heads.

2.69GB | 2h 40m | 800×576 | mkv

https://nitro.download/view/3F65AF9CFC63060/Jacques_Rivette_-_(1981)_Merry-Go-Round.mkv

Language:French,English
Subtitles:English

The post Jacques Rivette – Merry-Go-Round (1981) first appeared on Cinema of the World.

From Amos Vogel’s Film as a Subversive Art:
A bizarre, yet mild version of “Sunset Boulevard” a la Warhol, with a bevy of voracious females of varying proportions vying for the casual favors of a passive Joe Dallesandro. The dialogue is fresh, simple, funny, as is the relaxed, improvised acting. Fellatio and demythologized sex make their usual appearance, though – for Morrisey – in a curiously reserved manner. While these desperate people and their always-interrupted sex acts are perhaps too small really to engage one’s concern, Morrisey’s talent for a new, weird kind of naturalism (as in his Trash) now seems fully established. Most notably, sex is both ubiquitous and joyless, an almost inevitable chore that can neither be avoided nor really enjoyed.

1.48GB | 1h 40m | 762×572 | mkv

https://nitroflare.com/view/094EEDA93045746/Heat_(1972)_Paul_Morrissey.mkv
or
https://nitroflare.com/view/608E079CB4427C7/Heat_(1972)_Paul_Morrissey.part1.rar
https://nitroflare.com/view/30996B935AEE98D/Heat_(1972)_Paul_Morrissey.part2.rar

Language:English
Subtitles:French

The post Paul Morrissey – Heat AKA Andy Warhol’s Heat (1972) first appeared on Cinema of the World.

From Amos Vogel’s Film as a Subversive Art:
A high-camp “love story” of an outrageously handsome heroin junkie and his trash-scavenging girlfriend (played by a female impersonator), this film skips from fellatio to seduction to foot fetishism in its attacks on soap opera myths and Hollywood. A playful perversity, an acceptance of the soft underbelly of bourgeois society, a strange poignancy informs this fable of impotence, drugs, and sex. In the climactic love scene, the hero — remaining impotent — suggests to the lusting “girl” — reclining on a rumpled bed among objects gathered from garbage cans — that she use a beer bottle instead; she does, while he solicitously inquires whether she is coming, then holds her hand and promises to do better next time. In a second scene, she accuses him, in rage, of not even letting her “suck” him off. What with an antiwar Welfare worker revealed as a malignant foot fetishist, assorted females as sexual aggressors against the forever innocent male, drug-fixes or penises casually displayed, the mounting intrusions upon the viewers’ value system mark this as a truly seditious work.

1.61GB | 1h 49m | 762×572 | mkv

https://nitroflare.com/view/E8ABBB8384A173C/Trash_(1970)_Paul_Morrissey.mkv
or
https://nitroflare.com/view/8E00AF058E91B50/Trash_(1970)_Paul_Morrissey.part1.rar
https://nitroflare.com/view/515238311483757/Trash_(1970)_Paul_Morrissey.part2.rar

Language:English
Subtitles:French

The post Paul Morrissey – Trash AKA Andy Warhol’s Trash (1970) first appeared on Cinema of the World.

Synopsis:
Udo Kier is without a doubt the sickliest of vampires in any director’s interpretation of the Bram Stoker tale. Count Dracula knows that if he fails to drink a required amount of pure virgin’s [pronounced “wirgin’s”] blood, it’s time to move into a permanent coffin. His assistant (Renfield?) suggests that the Count and he pick up his coffin and take a road trip to Italy, where families are known to be particularly religious, and therefore should be an excellent place to search for a virgin bride. They do, only to encounter a family with not one, but FOUR virgins, ready for marriage. The Count discovers one-by-one that the girls are not as pure as they say they are, meanwhile a handsome servant/Communist begins to observe strange behaviour from the girls who do spend the night with the Count. It’s a race for Dracula to discover who’s the real virgin, before he either dies from malnourishment or from the wooden stake of the Communist!

2.73GB | 1h 43mn | 1024×552 | mkv

https://nitroflare.com/view/48D512C876E2B76/Blood.for.Dracula.1974.576p.BluRay.AAC.x264.mkv

Language:English+commentary
Subtitles:None

The post Paul Morrissey – Blood for Dracula (1974) 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.

In Serbia, Baron Frankenstein lives with the Baroness and their two children. He dreams of a super-race, returning Serbia to its grand connections to ancient Greece. In his laboratory, assisted by Otto, he builds a desirable female body, but needs a male who will be superbody and superlover. He thinks he has found just the right brain to go with a body he’s built, but he’s made an error, taking the head of a gay aesthete. Meanwhile, the Baroness has her lusts, and she fastens on Nicholas, a friend of the dead lad. Can the Baron pull off his grand plan? He brings the two zombies together to mate. Meanwhile, Nicholas tries to free his dead friend. What about the Baron’s children?

2.88GB | 1h 35m | 1024×436 | mkv

https://nitro.download/view/B8DD3463766385A/Paul_Morrissey_-_(1973)_Flesh_for_Frankenstein.mkv

Language:English
Subtitles:English

The post Paul Morrissey & Antonio Margheriti – Flesh for Frankenstein (1973) first appeared on Cinema of the World.

The Margin (French: La Marge, also known as The Streetwalker and Emmanuelle 77) is a 1976 French erotic drama film written and directed by Walerian Borowczyk and starring Sylvia Kristel. It is loosely based on the novel The Margin by André Pieyre de Mandiargues.

Sigismond (Joe Dallesandro) is a man lost in an erotic haze which clouds his judgment. Early in the film, it is evident that the man has a physically passionate relationship with his wife, with whom he has a son. While on a business trip to Paris, he comes under the spell of a famous, beautiful prostitute (Sylvia Kristel) who resembles his wife. However, his efforts to monopolize her attention are not appreciated by her pimp, and he is severely beaten. When he gets a letter informing him of the death of his wife and son, he is totally devastated.

1.79GB | 1h 26m | 960×576 | mkv

https://nitro.download/view/9D1A6B56A613F68/La_marge_(1976)_-_Web-DLRip.576p.RuSub.mkv

Language:French
Subtitles:Russian, English, French

The post Walerian Borowczyk – La Marge AKA Emmanuelle ’77 (1976) first appeared on Cinema of the World.