The true story of the biggest fraud in publishing history – the Hitler diaries.

Selling.Hitler.S01E01.DVDRip.x264-SUPERNAUT.mkv

General
Container:	Matroska
Runtime:	52mn 49s
Size:	988 MiB
DXVA:	Compatible
Minimum settings:	Met
Video
Codec:	x264
Resolution:	698x570 ~> 760x570
Aspect ratio:	4:3
Frame rate:	25.000 fps
Bit rate:	2 421 kb/s
Audio
English 2.0ch AC-3 @ 192 kb/s

https://nitro.download/view/86A87DA9E618EBF/Selling.Hitler.S01E01.DVDRip.x264-SUPERNAUT.mkv
https://nitro.download/view/9139E0F14CB9C14/Selling.Hitler.S01E02.DVDRip.x264-SUPERNAUT.mkv
https://nitro.download/view/6C819B3A9B7B40B/Selling.Hitler.S01E03.DVDRip.x264-SUPERNAUT.mkv
https://nitro.download/view/A550B44547A5F7F/Selling.Hitler.S01E04.DVDRip.x264-SUPERNAUT.mkv
https://nitro.download/view/39A45326EBBC852/Selling.Hitler.S01E05.DVDRip.x264-SUPERNAUT.mkv

Language(s):English
Subtitles:English

The post Alastair Reid – Selling Hitler (1991) first appeared on Cinema of the World.

Quote:
Through its wildly comic, furiously creative, and intensely moving façade, Terry Gilliam’s Brazil ponders a future made to sustain a draconian past molded by inequality. In this dystopia, the rich, having long knelt at the alter of radical capitalistic tyranny, spend their days having their flesh stretched, sliced, and injected with ultraviolet potions, while the working class types, files, signs, and stamps its way through pointless paperwork. Overrun by communicative ducts, coated wires, cement and metals, and magnified, miniature computer screens, the future conjured up by Gilliam averts the familiar prophecy of an anaesthetized, plastic world overrun by rampantly advancing technology. Indeed, men, who see advancing technology as an affront to their fiscal station and take the pecuniary gain of the morbid, perverse 1% as their modus operandi, unmistakably run the future of Gilliam’s film. New technology is expensive; paper is cheap.

Sam Lowry (Jonathan Pryce) is in the thick of it, one of the litter of suited drones who’s also tasked with performing the day-to-day needs of his sniveling, inept boss (Ian Holm). The son of a grotesquely materialistic mother (Katherine Helmond), Sam is given to flights of fantasy wherein he’s a winged knight, soaring through the sky and saving an angelic beauty (Kim Greist) from a dour, cold industrial zone, to distract himself from the unwarranted nepotism his mommy dearest insists on enacting. Gilliam, working from a script he co-wrote with Tom Stoppard and Charles McKeown, presents Sam as tellingly unambitious and apolitical but lovesick, feverishly seeing the beauty from his fantasies in the open spaces of the cityscape’s massive, oppressive stone buildings.

In reality, the beauty is Jill, a truck-driving courier who, in a chilling, darkly comic early sequence, witnesses her neighbor being violently taken away by the Ministry of Information (M.O.I.), where Sam is up for a promotion to the highly secretive Information Retrieval sector. The film brilliantly uses the ineptitude of the M.O.I. in all their dealings (notable exceptions: torture and killing) as the inciting incidents that lead not only to Sam’s eventual rebellion against the system, but also the continued bombings perpetrated by Archibald Tuttle, perfectly played by Robert De Niro. It is, in fact, a clerical error, via a bored drone’s obsessive need to kill a pesky fly, which sends the M.O.I.‘s militaristic security force after Jill’s neighbor, Mr. Buttle, instead of Tuttle.

Tar-black in its comic tone, Brazil nevertheless rouses a wide range of robust emotions through its stunningly coherent, madly inventive narrative. Sam and Jill’s romance is hard-won, delicate, and strangely sweet, their culminating roll in the hay radiating pure joy, but the filmmakers also tap potently into the ruthless irresponsibility that a privatized bureaucracy engenders. After Mr. Buttle is carelessly executed by M.O.I., Sam pays a visit to his widow (Sheila Reid) to pass on a check, only to be met with a potent vision of violent grief and loss that wouldn’t be completely out of place in a depiction of the Irish troubles. If Gilliam ultimately prefers the grotesque in his imagery, his predilections never limit the tremendous emotional experience that he imparts in Brazil.

Along with Sam, Jill, and Tuttle, Buttle’s widow cuts to the humanistic heart of Gilliam’s masterpiece (“We’re all in it together” is a repeated phrase), but there’s no mistaking the imprint of a Monty Python member. Physical and visual gags run through the film like those infernal ducts, and Gilliam makes great use of a brilliant supporting cast, from Bob Hoskins’s aggressive Central Services worker to Jim Broadbent’s pompously kiss-ass plastic surgeon to Michael Palin’s mild-mannered torturer-drone. The endless visual power of the film in all its Reed-Langian glory is matched by Gilliam’s unerring love for performers of untamed physical and verbal talents.

As Sam and Jill’s rebellion is cut short, it’s Palin’s torturer who brings upon Sam’s amazingly sad conclusion, and it’s here where Gilliam’s fanatical movie love comes to bare, as Sam is left to live inside a cinematic fantasia inside his mind as his body is left motionless. Besides the obvious Orwellian elements, the filmic pedigree of Brazil is richly layered, potently evoking The Third Man, the Marx brothers, Battleship Potemkin, Star Wars, Kurosawa, Casablanca, 8 ½, Modern Times, and, most vibrantly, Metropolis, among others. Such tremendous artists and films depicted both the harshness and necessity of reality, as well as the enveloping power and ultimate intangibility of imagination and expression, and Brazil is a glorious ode to that essential dichotomy. Ironically anticipating his own rebellious fight against Universal, the heads of which wanted to relegate the film to a simple, 94-minute fantasy, Gilliam presents an utterly singular vision of a world where the cold, exacting actions of an all-powerful plutocracy are at once fighting against and employing fantasy, where the individual can be eaten alive and erased by pieces of paper.

	
Terry Gilliam - (1985) Brazil.mkv

General
Container:  	Matroska
Runtime: 	2h 23mn
Size: 	2.78 GiB
Video
Codec: 	x264
Resolution: 	1024x576 
Aspect ratio:  	16:9
Frame rate: 	23.976 fps
Bit rate: 	2 541 Kbps
BPP: 	0.180
Audio
#1:  	English 2.0ch AC-3 @ 192 Kbps
#2:  	English 1.0ch AAC @ 44.3 Kbps (Commentary by Terry Gilliam)

https://nitro.download/view/CE764BF4C1DE72E/Terry_Gilliam_-_(1985)_Brazil.mkv

Language(s):English
Subtitles:English

The post Terry Gilliam – Brazil (1985) first appeared on Cinema of the World.

Quote:
Adapted by Sluizer from a screenplay written by Jim Barton, the film offers up an offbeat twist on a well-tread story — something akin to Knife in the Water meets The Hills Have Eyes, with the latter’s flesh-eating mutants replaced by a mournful loner who’s part-Native American (the “dark blood” of the title) and altogether horny and weird.
But the “Boy” (Phoenix), as he’s known as, only comes into the picture once married movie stars Harry (Jonathan Pryce) and Buffy (Davis) make their way as sightseers across the Arizona desert in their incongruously large Bentley, only to have it break down in the middle of a deserted nuclear testing ground. When Buffy sees a light in the distance, she treks over to an isolated cabin and, after much huffing and puffing, arrives on Boy’s doorstep and collapses into his open arms.
Such a moment normally would have been followed by what Sluizer describes as a “flesh opening scene” played up for its eroticism, in which Boy would have removed glass splinters from Buffy’s foot. Alas, this and other sequences — essential to such a sexually infused drama — are left to the viewer’s imagination, though the heat between the two characters is palpable from the get-go and only deepens when Harry comes back into the picture and quickly catches wind of their carnal tension.
Even though Boy sends the Bentley off to a local mechanic, he seems to be doing everything to keep the couple stranded in his desert hideout, and he offers plenty of early hints that he might be slightly, if definitely, crazed. We eventually learn that his wife died of cancer and his Hopi grandfather of melancholia, which helps to explain his offbeat gloominess, not to mention an underground atomic bunker he’s decorated with hundreds of Native idols, dusty psychology books and candlelit altars.
But it’s Phoenix’s performance that makes Boy such an intriguingly elusive character, and, not unlike his brother Joaquin’s recent turn in The Master, you never really know what he’s going to do next. This is most evident when Boy takes Harry on a hike in the surrounding cliffs, in a lengthy sequence Phoenix infuses with a mix of strange charm and gun-swinging menace, eventually ditching Harry — only to pick him up later, as he does again later on.
The sequence also is highlighted by stunning exterior cinematography from Ed Lachman (The Virgin Suicides, I’m Not There), which doesn’t feel a day old despite the two decades that have passed since the film was shot. Coupled with that are the convincingly creepy decors, especially Boy’s remote cottage – a hodgepodge of broken wood and atomic spare parts designed by the team of Jan Roefls and the late Ben van Os, both of whom worked extensively with Peter Greenaway, among other auteurs.
Indeed, Dark Blood is one of those slightly loopy and rare items that lies somewhere between Hollywood and the art house, combining the former’s genre know-how and talent (Pryce and Davis also are on point here) with the latter’s eccentricities and penchant for unhappy endings. This is no real surprise coming from Sluizer, whose 1988 Franco-Dutch existential thriller The Vanishing (which he remade, in a lesser studio version, in 1993), tackled similar themes, especially a man’s desire to possess a woman at all costs and the madness that results.
But there’s also something innately tender about what lurks beneath Boy’s lust for Buffy — a tenderness no doubt brought out by Phoenix’s innocent gaze and the foreknowledge that this would be his last role. “I guess you learn that the deepest wounds are self-inflicted,” Harry tells Boy early on, and as this three-way thriller comes to its sad, violent and rather surprising conclusion, his words unfortunately ring true on all levels.

980MB | 1h 23m | 720×460 | mkv

https://nitro.download/view/C32BFBB2D734F4D/Dark.Blood.2012.DVDRip.x264-BmP.mkv

Language(s):English
Subtitles:None

The post George Sluizer – Dark Blood (2012) first appeared on Cinema of the World.

Synopsis:
‘Public television’s “Mystery!” series has acquired a three-part romp through amorality that, right up to its overly pat ending, is bound to fascinate devoted viewers. “Praying Mantis,” which begins tonight at 9 on WNET/Channel 13, has been adapted quite skillfully by Philip Mackie from a novel by the French writer Hubert Monteilhet. So despite the preponderance of British accents, the flavor of the nasty machinations is strictly Gallic.
This is the kind of entertainment that should be approached with as little information as possible about the plot. It does involve four major characters: two rather ineffectual men and two awesomely formidable women. The youngish Vera (Carmen Du Satoy) is married to the oldish Paul (Pinkas Braun), a university professor. Paul’s first wife and their son have died under odd circumstances, and we quickly learn that an insurance company is suspicious about Vera’s possible roles in the deaths. Nevertheless, Paul seems content with his second marriage and has drawn up a new will with Vera as beneficiary to his considerable fortune.
Meanwhile, just off stage center for a while, there lurks Christian (Jonathan Pryce), Paul’s young assistant, who seems to be leading a remarkably quiet life dedicated wholly to his work. He does meet, however, Beatrice (Cherie Lunghi), a perky young woman with considerable secretarial skills. Beatrice, a bit of a free spirit, is pregnant, courtesy of a friend who is not interested in marrying her. Christian offers to help get her a job as secretary to the professor. Their individual roles now firmly fixed, the members of the quartet begin to play out a scenario that will set in motion a whirligig of deception, blackmail and, needless to say, murder, supposedly of the very French “crime of passion” variety.’
– John J. O’Connor

2.20GB | 2h 32m | 688×568 | mkv

https://nitro.download/view/F1113D11EA61BBE/Praying.Mantis.1983.Part.1.DVDRip.x264.AC3.mkv
https://nitro.download/view/D87F56DC4566214/Praying.Mantis.1983.Part.2.DVDRip.x264.AC3.mkv

Language:English
Subtitles:None

The post Jack Gold – Praying Mantis (1983) first appeared on Cinema of the World.

“A writer displays a troubling streak of opportunism in his personal and professional lives in this British drama. As the Falkland Islands war rages, journalist and aspiring historical writer James Penfield (Jonathan Pryce) is working on a book that will examine the 1965 Suez crisis in a manner compatible with the current political climate. James is also pursuing Susan Barrington (Charlie Dore), a documentary filmmaker whose mother Ann (Rosemary Harris) is a noted expert on the Suez crisis and an outspoken leftist. While James has assured his publisher that his book will take a conservative view, he tells Susan and Ann that he’s a socialist and that his book will reflect that position as he attempts to glean information from them. James also sleeps with Ann as his relationship with Susan hits a rough patch, but he isn’t especially forgiving when he discovers that Susan has had a fling with Jeremy Hancock (Tim Curry), a tabloid journalist who has worked with both of them. The Ploughman’s Lunch includes a sequence where the characters attend the 1982 Conservative Party conference, which was shot at the actual event (and includes a speech Margaret Thatcher delivered to the assembled Tories).”

1.65GB | 1 h 42 min | 849×566 | mkv

https://nitro.download/view/D9714B724EA2C3D/The_Ploughman’s_Lunch_(Richard_Eyre_1983).mkv

Language(s):English
Subtitles:English

The post Richard Eyre – The Ploughman’s Lunch (1983) first appeared on Cinema of the World.

Quote:
Carrington is the true story of the tragic relationship between the English painter Dora Carrington and writer, Lytton Strachey. Between the First World War and the early 1930’s, they experimented with a way of life beyond the conventional standards of their time, a life which broke all the taboos of society of their desire to live as freely and honestly as they could. They acknowledged openly what most of us are aware of but still reluctant to discuss: that a great many differences can exist between spiritual love and physical desire.

	
Christopher Hampton - (1995) Carrington.mkv

General
Container:  	Matroska
Runtime: 	2 h 2 min
Size: 	2.93 GiB
Video
Codec: 	x264
Resolution: 	1024x556 
Aspect ratio:  	1.85:1
Frame rate: 	23.976 fps
Bit rate: 	3 224 kb/s
BPP: 	0.236
Audio
#1:  	2.0ch AC-3 @ 192 kb/s

https://nitro.download/view/D759CDEDCC38B75/Christopher_Hampton_-_(1995)_Carrington.mkv

Language(s):English
Subtitles:English

The post Christopher Hampton – Carrington (1995) first appeared on Cinema of the World.

SYNOPSIS
Brazil constitutes Terry Gilliam’s enormously ambitious follow-up to his 1981 Time Bandits. It also represents the second installment in a trilogy of Gilliam films on imagination versus reality, that began with Bandits and ended in 1989 with The Adventures of Baron Munchausen. To create this wild, visually audacious satire, Gilliam combines dystopian elements from Orwell, Huxley and Kafka (plus a central character who mirrors Walter Mitty) with his own trademark, Monty Python-esque, jet black British humor and his gift for extraordinary visual invention. The results are thoroughly unprecedented in the cinema.

Jonathan Pryce stars as Sam Lowry, a civil servant who chooses to blind himself to the decaying, drone-like world around him. It’s a world marred by oppressive automatization and towering bureaucracy, and populated by tyrannical guards who strongarm lawbreakers. And Lowry is stuck in the middle of this nightmare. Whenever real life becomes too oppressive, Sam fantasizes (to the tune of Ary Baroso’s 1930s hit “Brazil”) about sailing through the clouds as a winged superhero, and rescuing beautiful Jill Layton (Kim Greist) from a giant, Samurai warrior. The omnipresent computer that controls everything in the “real” world malfunctions, causing an innocent citizen to be arrested and tortured to death. When Sam routinely investigates the error, he meets – and pursues Jill , literally the girl of his dreams. But in real life, she’s a tough-as-nails truck driver who initially wants nothing to do with him. It turns out that she is suspected of underground activities, in connection with a terrorist network wanted for bombing public places. The price Sam pays for his association with her is a close encounter with the man in charge of torturing troublesome citizens (Michael Palin). He is rescued – at the last minute – by maintenance man Harry Tuttle (Robert de Niro) who moonlights as a terrorist, but that only represents the beginning of his plight, for now the “system” is onto him.

Gilliam ran into enormous problems with Brazil. Universal – which produced the picture – originally slated it for release in 1984, but the studio – intimidated by the film’s whopping length of 142 minutes – demanded that Gilliam trim the film to bring it in under two hours and alter the pessimistic ending. Gilliam refused; Universal shelved the picture for a year. In response, the director took out a full page ad in Variety asking studio president Sid Sheinberg when the film would be released. Sensing tremendous pressure, Universal bowed to Gilliam’s insistence on fewer cuts but still demanded a happy ending. Gilliam trimmed only eleven minutes and altered the conclusion just slightly (instead of cutting to black, it fades into puffy white clouds on a blue sky, with a reprise of the title tune). It was thus released in early 1985 at 131 minutes, and of course became a seminal work; many critics regarded it at the time as the best film of the eighties.
Nathan Southern on All Movie Guide

Included:
* Main Feature (2:24:12)
* Audio Commentary by Director Terry Gilliam
* “The Screenwriters” featurette (9:21)
* “Costume Design” featurette (5:13)
* “The Score” featurette (9:38)
* “What Is Brazil?” documentary, directed by Rob Hedden (29:05)
* “The Battle Of Brazil: A Video History” documentary (55:06)
* Theatrical Trailer (2:37)

“What is Brazil?”

“The Battle of Brazil”

http://nitroflare.com/view/2D934EA5715EF1B/Brazil.1985.DVDRip.XviD.Dual.Audio.MP3-KG.avi
https://nitro.download/view/02445D062E02E9B/Brazil_Extras.rar
http://www.nitroflare.com/view/833C153F399ED48/Subs.rar

Language(s):English + English director’s commentary
Subtitles:English for hearing impaired (idx/sub)

The post Terry Gilliam – Brazil (1985) first appeared on Cinema of the World.