This series of vignettes offers ruminations on time, fate and other human mysteries, Each of the film’s seven directors conjures a scenario that speaks to some facet of universal experience.

Kaige Chen … (segment “100 Flowers Hidden Deep”)
Víctor Erice … (segment “Lifeline”)
Werner Herzog … (segment “Ten Thousand Years Older”)
Jim Jarmusch … (segment “Int. Trailer Night”)
Aki Kaurismäki … (segment “Dogs Have No Hell”)
Spike Lee … (segment “We Wuz Robbed”)
Wim Wenders … (segment “Twelve Miles to Trona”)

Ten.Minutes.Older.The.Trumpet.2002.DVDRip.x264-HANDJOB.mkv

General
Container:  	Matroska
Runtime: 	1h 31mn
Size: 	1.44 GiB
Video
Codec: 	x264
Resolution: 	706x480 ~> 706x529
Aspect ratio:  	4:3
Frame rate: 	23.976 fps
Bit rate: 	1 817 Kbps
BPP: 	0.224
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#1:  	5.1ch AC-3 @ 384 Kbps

https://nitro.download/view/C478ED2901B6227/Ten.Minutes.Older.The.Trumpet.2002.DVDRip.x264-HANDJOB.mkv

Language(s):English, German, Mandarin, Spanish, Finnish
Subtitles:English

The post Various – Ten Minutes Older: The Trumpet (2002) first appeared on Cinema of the World.

PLOT: The second part of Aki Kaurismaki “Finland” trilogy, the film follows a man who arrives in Helsinki and gets beaten up so severely he develops amnesia. Unable to remember his name or anything from his past life, he cannot get a job or an apartment, so he starts living on the outskirts of the city and slowly starts putting his life back on track.

Mies vailla menneisyyttä 2002 1080p BluRay DTS x264-EA.mkv

General
Container:  	Matroska
Runtime: 	1 h 36 min
Size: 	11.3 GiB
Video
Codec: 	x264
Resolution: 	1920x1080 
Aspect ratio:  	16:9
Frame rate: 	23.976 fps
Bit rate: 	14.8 Mb/s
BPP: 	0.297
Audio
#1:  	Finnish 5.1ch DTS @ 1 509 kb/s

https://nitro.download/view/454AD1B2EE0A4F8/Mies_vailla_menneisyytta_2002_1080p_BluRay_DTS_x264-EA.mkv

Language(s):Finnish
Subtitles:English, Danish, Finnish, Norwegian, Swedish

The post Aki Kaurismäki – Mies vailla menneisyyttä AKA The Man Without a Past (2002) (HD) first appeared on Cinema of the World.

Quote:
The enigmatically titled Take Care of Your Scarf, Tatjana [Pidä huivista kiinni, Tatjana] is Kaurismäki’s take on the road movie. It represents something of a contradiction for non-Finnish viewers, being one of the director’s most accessible films but also one whose subtleties are unlikely to be fully understood by a foreign audience, and I’m including myself in that sweeping suggestion.

The journey begins when the hulking, coffee-addicted Valto (Mato Valtonen – imagine a Finnish Ron Perlman with a rock ‘n’ roll haircut), who appears to make a living sewing clothing for his intolerant mother, is informed that the house is devoid of his favourite brew. In a quiet rage he locks his mother in a closet, steals her money and hits the road with a portable coffee maker and his vodka-swilling auto-mechanic friend Reino (Matti Pellonpää). When they take a break they are eyed up by Russian Klavdia (Kirsi Tykkyläinen) and Estonian Tatjana (a perkier than usual Kati Outinen), two women looking to catch a ride from these “two dumb Finns.” Despite the language barrier, the women attempt friendly communication with their hosts, only to have both men regress into a coffee and vodka-fueled state of sulking shyness.

The two lead characters may be as forlorn as ever, but the underlying sadness and unbroken misfortune of the Underdog Trilogy is completely absent here, making it one of Kaurismäki’s most openly humorous films. This doesn’t mean it’s crammed with funny one-liners and amusing pratfalls – the comedy comes totally from character moments, whether it be Valto’s peculiar snoring, Reino casually wiping the oil dipstick on his companion’s tie, or the hilarious 2-shot in which Reino gets stuck into a second vodka bottle while Valto stares ahead, jittering with the effects of a caffeine overload. The bulk of the humour stems from Valto and Reino’s cheerless discomfort at their female companions, highlighted when the pair are reluctantly obliged to share hotel rooms with their guests – traditionally a moment for the breakdown of interpersonal barriers and the blossoming of romance, here it proves nothing of the sort, with Reino drinking himself into a stupor and Valto gruffly reluctant to even acknowledge Klavdia’s presence.

This communication gap is clearly about more than gender shyness and it’s here that non-Finnish viewers are likely to miss out, as issues of culture and language and even history enter an equation that many of us do not have all the numbers needed to successfully calculate. But in a film this rich in character detail, this presents no real barrier to appreciation and enjoyment, and for me added an air of intrigue that prompted an immediate phone call my Finnish friends for their insights (which I’d be sharing right at this moment had they had actually been in).

With the barrier between the sexes seemingly insurmountable, the gentle, hesitant hints of attraction that develop seem all the more touching, encapsulated in the quietest of moments, as when Tatjana rests her head on Reino’s shoulder and he nervously puts his arm round her, or in the present that Klavdia later gives to Valto as she boards her train.

The decision to shoot in black and white may well be one prompted by a fondness for road movies of years past (I was occasionally reminded of Wim Wenders’ 1974 Alice in the Cities and 1976 Kings of the Road). It also shifts the narrative slightly out of the here and now, something whose relevance only really registers in the penultimate scene, an outrageous stop for coffee that at first seems like a flashback but proves most likely to be the product of Valto’s fantasy. The implications of this are intriguing. As he returns home to unlock his mother and return to normality, we are left to wonder if, as in fellow minimalist Takeshi Kitano’s 1990 3-4 x jûgatsu [Boiling Point], the entire journey was after all just one of the mind.

Either way, Take Care of You Scarf, Tatjana is a low key delight and probably Kaurismäki’s most upbeat (fictional) movie to date. It’s winning example of the appeal of this particular director’s style, and proof positive that unhappy people do not necessarily make for an unhappy film.

1.51GB | 1h 02mn | 1024×552 | mkv

https://nitroflare.com/view/2CCCC00734A3D63/Aki_Kaurismaki_-_(1994)_Take_Care_of_Your_Scarf,_Tatiana.mkv

Language:Finnish, Russian
Subtitles:English

The post Aki Kaurismäki – Pidä huivista kiinni, Tatjana AKA Take Care of Your Scarf, Tatiana (1994) first appeared on Cinema of the World.

Quote:
When I heard that Aki Kaurismaki was making a silent black-and-white feature, I expected something arch and postmodernist. Yet in spite of a few flashes of mordant humor, some wonderfully spare sound effects, and a few minimalist lighting schemes that suggest 50s Hollywood, this 1999 film is a moving pastiche whose strength is its sincerity and authenticity. A fallen-woman story set in the present, featuring a farm couple and an evil playboy from the city who lures the wife away, it conveys the sort of purity and innocence associated with silent cinema storytelling, including a love of nature and animals, a taste for stark melodrama, and an emotional directness in the acting–evocative at various times of Griffith in the teens and Murnau in the 20s. Accompanied by a live orchestra at the Berlin film festival, the film is now furnished with a music track featuring the same score and musicians that’s essential to its power. No other film by Kaurismaki has affected me as much as this one, but if you don’t love silent movies it may come across as a pointless exercise. – Jonathan Rosenbaum

1.84GB | 1 h 17 min | 1024×552 | mkv

https://nitro.download/view/5E9389C580E431A/Aki_Kaurismaki_-_(1999)_Juha.mkv

Language:Finnish intertitles
Subtitles:English

The post Aki Kaurismäki – Juha (1999) first appeared on Cinema of the World.

Quote:
The second part of Aki Kaurismäki’s “Finland” trilogy, the film follows a man who arrives in Helsinki and gets beaten up so severely he develops amnesia. Unable to remember his name or anything from his past life, he cannot get a job or an apartment, so he starts living on the outskirts of the city and slowly starts putting his life back on track.

2.23GB | 1 h 36 min | 1024×576 | mkv

https://nitro.download/view/4E8EE20DCD3A259/Aki_Kaurismaki_-_(2002)_The_Man_Without_a_Past.mkv

Language(s):Finnish
Subtitles:English

The post Aki Kaurismäki – Mies vailla menneisyyttä AKA The Man Without a Past (2002) first appeared on Cinema of the World.

Synopsis:
A married couple struggles with the repercussions of unexpected unemployment in this wry comedy drama from Finnish filmmaker Aki Kaurismaki. Ilona, the wife, works as restaurant hostess and her husband Lauri drives a tram. Though the couple has recently lost a child, they both seem at peace and happy. One night Ilona comes home and finds that Lauri has purchased a beautiful television on credit. Shortly thereafter disaster strikes when Ilona’s workplace closes and Lauri gets caught in a maelstrom of downsizing. Neither is able to find suitable work right away and as time crawls by, they become humiliated and testy with each other. Eventually Ilona gets a job cooking and bartending in a nameless sleazy dive while her husband, after having to sell their television and car, turns to booze. Things look bad for the marriage when suddenly Ilona decides to open a restaurant. With the backing of her former boss and using her coworkers, she and Lauri open the successful Worker’s Rest café and find renewed hope.– Sandra Brennan

2.32GB | 1 h 34 min | 1024×576 | mkv

https://nitro.download/view/703B44F29E5ACC3/Aki_Kaurismaki_-_(1996)_Drifting_Clouds.mkv

Language(s):Finnish
Subtitles:English .srt

The post Aki Kaurismäki – Kauas pilvet karkaavat AKA Drifting Clouds (1996) first appeared on Cinema of the World.

Quote:
In Goran Dukic’s Wristcutters: A Love Story, limbo is imagined as a place where no one ever smiles, where furnishings and cars all seem second-hand, where the colours are all drab and faded. “Everything’s the same here,” as one character puts it, “but it’s just a little worse.”

He might just as well be describing Finland – or at least Finland as it has been portrayed by its unofficial chronicler, the filmmaker Aki Kaurismäki, whose hilariously bittersweet visions of Helsinki’s downtrodden demi-monde have remained so consistent over the years that you can barely hold a candle between his third feature Shadows In Paradise, released way back in 1986, and his latest, Lights in The Dusk, made two decades later.
Copy picture

Both films feature a working-class antihero down on his luck, romance, social injustice, crime, a classic car, a nostalgic soundtrack, lots of smoking and drinking, and drolly understated dialogue – although the same might in fact be said of many other Kaurismäki films. Yet while they bear a striking family resemblance to each other, they are like nothing made by anyone else (with the exception of Werner Herzog’s Stroszek and the early works of Jim Jarmusch). Kaurismäki is a true original, endlessly championing his underdog characters against whatever fate can throw at them, and always finding it in his heart to reward them (and us) with a glimpse of hope – and love – at the end. Comedy rarely comes so bleak, and depression is rarely so funny.

In a key scene in Shadows In Paradise, Nikander (Matti Pellonpää) and Ilona (Kati Outinen) find themselves barred from an upmarket restaurant by the snooty maitre d’. Nikander is an ex-butcher now working as a garbage collector, and his one chance of advancement in life has recently died along with his only friend and colleague. Ilona is a saleswoman who has been forced to move from one job to the next by the “merciless machine” of the market. At first Nikander’s attraction to Ilona may be barely requited – and their first date, spent in a grim, smoke-filled bingo hall, may hardly be a success – but Ilona will turn to Nikander when she finds herself in trouble with the law, and eventually their shared sense of social exclusion and loneliness will keep them together.

Shadows In Paradise is a stony-faced comedy of underclass solidarity, as Nikander, Ilona and Nikander’s friend Melartin (Sakari Kuosmanen) all watch out for each other when no one else will. These three awkward, taciturn characters defy all cliché, and even if the no-nonsense lovers end up sailing off not so much into the sunset as into the dreary grey mists of the Baltic Sea, you will still be there with them, hoping that they find a better future. For while this is hardly Kaurismäki’s best film, it gives the stale conventions of the rom com the dark flipside they need, while downsizing that genre’s normally bourgeois sensibilities into a class all its own.

It is truly a love story with a wristcutter’s pain at its heart – and like its isolated protagonist, Shadows In Paradise recycles discarded treasures from trash.
Reviewed by: Anton Bitel

2.19GB | 1 h 13 min | 1024×576 | mkv

https://nitroflare.com/view/F425FA36D44D010/Aki_Kaurismaki_-_(1986)_Shadows_in_Paradise.part1.rar
https://nitroflare.com/view/AABCABDA4C8DE07/Aki_Kaurismaki_-_(1986)_Shadows_in_Paradise.part2.rar
https://nitroflare.com/view/B2C164EEDBAAD67/Aki_Kaurismaki_-_(1986)_Shadows_in_Paradise.part3.rar

Language:Finnish
Subtitles:English

The post Aki Kaurismäki – Varjoja paratiisissa aka Shadows In Paradise (1986) first appeared on Cinema of the World.