Quote:
In the year following the Paris riots of 1968, a young poet (Louis Garrel) dodging military service falls for a beautiful sculptor (Clothilde Hesme).

Quote:
1968 and 1969 in Paris: during and after the student and trade union revolt. François is 20, a poet, dodging military service. He takes to the barricades, but won’t throw a Molotov cocktail at the police. He smokes opium and talks about revolution with his friend, Antoine, who has an inheritance and a flat where François can stay. François meets Lilie, a sculptor who works at a foundry to support herself. They fall in love. A year passes; François continues to write, talk, smoke, and be with Lilie. Opportunities come to Lilie: what will she and François do?

Les.amants.reguliers.AKA.Regular.Lovers.2005.576p.BluRay.x264-HANDJOB.mkv

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Container:  	Matroska
Runtime: 	3 h 4 min
Size: 	5.01 GiB
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https://nitro.download/view/3E1B013C6AF9176/Les.amants.reguliers.AKA.Regular.Lovers.2005.576p.BluRay.x264-HANDJOB.mkv

Language(s):French
Subtitles:English, Chinese, Japanese, Korean

The post Philippe Garrel – Les amants réguliers AKA Regular Lovers (2005) (HD) first appeared on Cinema of the World.

Quote:
Poor theatre actor Louis lives with his girlfriend and his daughter by another woman; their lives are complicated but they are happy. When his girlfriend cheats on him and walks out he feels he simply cannot go on and tries to end it all. Can he be saved by his love for the theatre?

La.jalousie.2013.1080p.AMZN.WEB-DL.DDP5.1.H.264-WELP.mkv

General
Container:  	Matroska
Runtime: 	1 h 15 min
Size: 	5.31 GiB
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https://nitro.download/view/5FBE4C89443F8E3/La.jalousie.2013.1080p.AMZN.WEB-DL.DDP5.1.H.264-WELP.mkv

Language(s):French
Subtitles:English, Italian

The post Philippe Garrel – La jalousie AKA Jealousy (2013) (HD) first appeared on Cinema of the World.

Synopsis:
A young American studying in Paris in 1968 strikes up a friendship with a French brother and sister. Set against the background of the ’68 Paris student riots.

The.Dreamers.2003.1080p.BluRay.DDP5.1.x264-ZoroSenpai.mkv

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Container:  	Matroska
Runtime: 	1 h 55 min
Size: 	18.2 GiB
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#2:  	English 2.0ch AAC LC @ 98.5 kb/s (Commentary by director Bernardo Bertolucci, writer Gilbert Adair, and producer Jeremy Thomas)

https://nitro.download/view/F82E5D5095E2E60/The.Dreamers.2003.1080p.BluRay.DDP5.1.x264-ZoroSenpai.mkv

Language(s):English
Subtitles:English (Forced), English, English (SDH), Arabic, Catalan, Chinese (Simplified), Chinese (Traditional), Danish, Dutch, Finnish, French (Parisian), German, Greek, Norwegian, Portuguese (Brazilian), Romanian, Spanish (Castilian), Spanish (LA) and more.

The post Bernardo Bertolucci – The Dreamers (2003) (HD) 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
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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.

Quote:
1968 and 1969 in Paris: during and after the student and trade union revolt. François is 20, a poet, dodging military service. He takes to the barricades, but won’t throw a Molotov cocktail at the police. He smokes opium and talks about revolution with his friend, Antoine, who has an inheritance and a flat where François can stay. François meets Lilie, a sculptor who works at a foundry to support herself. They fall in love. A year passes; François continues to write, talk, smoke, and be with Lilie. Opportunities come to Lilie: what will she and François do?

Quote:
”Garrel’s work is less ‘first person cinema’ than something more collective – a ‘family romance’ based on ages, generations, transmissions. Regular Lovers brings everything to a peak in its three-way dinner table scene of son-playing-father (Louis Garrel), ex-wife (Brigitte Sy, Louis’s mother) playing his own mother, and Maurice Garrel as now the somewhat dotty but hypnotically appealing grandfather.

With Regular Lovers, at last, the great myth of origin underlying the entire Garrel œuvre is revealed, re-created, and directly depicted: 1968 and the riots, the life-and-death struggles with police at the barricades… And now, the paranoia, the sense of being an eternal outsider to society, the fragility of sanity and the anxiety of ever holding onto a glorious moment, all this suddenly make perfect sense in the light of that momentous origin in a divided Paris of ’68 that resembles nothing so much (in Garrel’s retrospective depiction) as a Bosnian war zone.”
~Adrian Martin

Les.amants.réguliers.2005.576p.BluRay.DD2.0.x264-KG.mkv

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Container:  	Matroska
Runtime: 	3 h 4 min
Size: 	5.38 GiB
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https://nitro.download/view/0DCCB7154B5B1B7/Les.amants.reguliers.2005.576p.BluRay.DD2.0.x264-KG.mkv

Language(s):French
Subtitles:English, Japanese, Korean

The post Philippe Garrel – Les amants réguliers AKA Regular Lovers (2005) first appeared on Cinema of the World.

Florence wants to introduce David, the man she’s madly in love with, to her father. But David isn’t attracted to her and wants to throw her into the arms of his friend Willy. The characters meet in a restaurant in the middle of nowhere.

Le.Deuxieme.Acte.2024.FRENCH.1080p.WEB.H264.mkv

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Runtime: 	1 h 19 min
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https://nitro.download/view/41133575A3A5E94/Le.Deuxieme.Acte.2024.FRENCH.1080p.WEB.H264.mkv
https://nitro.download/view/43C12C4849DD2E4/Le.Deuxieme.Acte.2024.FRENCH.1080p.WEB.H264.EN-v2.srt

Language(s):French
Subtitles:French, English

The post Quentin Dupieux – Le deuxième acte AKA The Second Act (2024) first appeared on Cinema of the World.

Quote:
When Isabelle and Theo invite Matthew to stay with them, what begins as a casual friendship ripens into a sensual voyage of discovery and desire in which nothing is off limits and everything is possible.

Quote:
Bertolucci’s most recent film The Dreamers revisits the defining moments of the director’s generation, the May 1968 riots in France, through its look at the erotically charged friendship of Matthew (Michael Pitt), an American film buff, and two sexually precocious French twins (Eva Green and Louis Garrel) who, after meeting at the Cinémathèque française, withdraw indoors while Paris ignites around them. (One is tempted to define this as the milieu of Partner, but for all that film’s nouvelle vague pretensions it was still set in Italy.) It’s a remarkable work coming from Bertolucci, not the least because the director manages to keep a surprisingly objective distance from ideological debate, despite the highly contentious setting. In earlier films, he had held up activism as an ennobling ideal, one his middle-class protagonists were desperate to live up to; here, the clearly bourgeois French twins (they are the children of a successful poet and an English mother) have no lack of ideological conviction. Indeed, it’s an American who provides the film’s conscience. At the end, in direct opposition to his comrades, Matthew rejects direct action, arguing against violence, and Bertolucci seems to side with him. It’s a complete turnaround from the man who made Partner, a paradox the film seems to acknowledge: the film ends with the American and the French children bitterly parting ways in the midst of a riot; the police begin charging, as the credits roll and the soundtrack plays Edith Piaf’s “Je ne regrette rien”.

That The Dreamers ends with its characters in the midst of a street riot is quite telling. Many of Bertolucci’s earlier works often climax with their protagonists among the masses, often in the midst of street parades and political demonstrations, as if to symbolise the charge of history. The isolation of the later works suggest that the characters have begun to exist outside history, perhaps understandable coming from a director whose social convictions had melted away with the end of the Cold War. Very significantly, the solitude of the kids in The Dreamers is punctured when a brick from the rioting outside smashes through the window of their house. One could almost say that it interrupts an idyll, but it also interrupts a suicide attempt (perhaps, in Bertolucci’s later films, the two are not so different). It’s a remarkable moment for the director’s cinema: an acknowledgement that, for all its comforts, the time for isolation may have come to an end. Indeed, one could see that brick as a challenge from the young Bertolucci to his older self – it may turn out to be the harbinger of a more politically engaged cinema from one of the most fascinating and gifted filmmakers of his, or any other, generation.
© Bilge Ebiri, September 2004

The.Dreamers.2003.RESTORED.1080p.BluRay.x264-CiNEPHiLiA.mkv

General
Container:  	Matroska
Runtime: 	1 h 54 min
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#2:  	English 2.0ch AAC LC @ 106 kb/s (Commentary by Director Bernardo Bertolucci, Author/Writer Gilbert Adair, and Producer Jeremy Thomas)

https://nitro.download/view/D8DEE30EB56B753/The.Dreamers.2003.RESTORED.1080p.BluRay.x264-CiNEPHiLiA.mkv

Language(s):English
Subtitles:English

The post Bernardo Bertolucci – The Dreamers (2003) (HD) first appeared on Cinema of the World.