Lucia Bosé and Maurice Ronet in the movie “The Golden Mass”
Rome: “I’m finishing to shoot a movie about women’s delirium and men’s tiredness in the world of today”, says Beni Montresor, the young scenographer at his second direction with the movie called “The Golden Mass” (The Deep Light of Senses). A movie which tells the story of a party during which all the participants want to get rid of their tabooes. The party takes place by night in a luxurious baroque castle in France. The lead actors: Lucia Bosé and Maurice Ronet.

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https://nitro.download/view/46F5D66B215C1E1/The.Golden.Mass.1975.avi

Language(s):French
Subtitles:English hardcoded

The post Beni Montresor – La messe dorée AKA La profonda luce dei sensi (1975) first appeared on Cinema of the World.

Paola is a young, beautiful woman married to a wealthy entrepreneur. She meets her former lover Guido after seven years, but their relationship is marked by tragic events.

Letterboxd reviews
Quote:
★★★½ Watched by Noah Gibson-Baker 18 Jun 2021

‘Story of a Love Affair’ – sexy, self-aware, thriller fueled by the notion of eventual bliss. Really clever, simple techniques; overly blown out whites, purposeful lack of establishing shots pre-encounter(s), and backwards construction of 1 on 1 Paolo – Guido scenes, are used frequently, and without drawing attention to be reflective of the characters.

Quote:
★★★★½ Watched by Edgar Cochran 19 Jul 2018

Very intrigued I became after beholding that two of the greatest Italian auteurs in cinema, Visconti and Antonioni, literally had the same plot concept as their debuts… the same concept, not the same thematic development. The Americana influence was strong worldwide, from Europe to Asia when it came to cinema (even Egypt), and Italy was no exception.

While I was contemplating this alternate (and very free) adaptation of James M. Cain’s story, patterns emerged and, shockingly, they seemed to be swapped among both auteurs. Visconti undeniably explored all social classes in Italian history, but his first works during the 40s belonged to the movement that was shaking the Italian nation as well as many others: Neorealism. The aristocracy would be first treated by him until 1954 with a contrast between their opulent lifestyle and their disgusting motives. Antonioni didn’t wait. Contrary to Ossessione (1943), Story of a Love Affair received (biased) criticisms as it was supposedly exalting the aristocracy against the struggles of the “lower” social classes. It is true that the approach towards crime in both films is exceedingly different. Visconti’s approach was Dostoyevskian, whereas this contemplated another possibility and, more concerned with bringing an “obvious” sense of justice”, it courageously took a more dangerous path where irony can work in such a way that it leaves you miserable. “Be careful what you wish for” is a clichéd phrase by today’s standards, but it is so damn true.

The film is plagued with Americana film-noir influence and pays proper homage. Absolutely devoid of all “pretentiousness” and “self-indulgence” that Antonioni haters attributed to him during the 60s, this is his most accessible film, but also consistently gripping and suspenseful, with a conclusion that Hollywood very rarely would be capable of bringing along. Filthiness exists among all social classes; the film was misunderstood as glorification rather than condemnation.

Finally, I must also highlight the assured direction Antonioni displayed through confidence in the performances, pacing, the building-up of scenarios and situations, and the impressively high minutes/shots ratio. It was surprisingly dynamic. For becoming an auteur fully, it was just a matter of time before he found the inspiration and experience to portray stories that would finally delve deeply into the psychological, into unspoken alienation and emotional detachment.

For what it is worth, as a start, this is a great effort, less daring and ambitious than Visconti’s, but with a jazzy, refined style that displayed confidence.90/100

2.42GB | 1h 42m | 768×576 | mkv

https://nitro.download/view/F97AD0CF6360E52/Cronaca.di.un.amore.AKA.Story.of.a.Love.Affair.1950.576p.BluRay.AC3.x264-KG.mkv
or
https://tezfiles.com/file/e245f9d95c450/Cronaca.di.un.amore.AKA.Story.of.a.Love.Affair.1950.576p.BluRay.AC3.x264-KG.mp4

Language(s):Italian
Subtitles:English

The post Michelangelo Antonioni – Cronaca di un amore AKA Story of a Love Affair (1950) first appeared on Cinema of the World.

The most insidious thing about the nouveau movie, which is a polite way of describing Marguerite Duras’s newest, most minimal film, “Nathalie Granger,” is that it traps you in its own time, unlike the nouveau roman, which can be skipped through or read at leisure in an afternoon or a year. You can’t skip through “Nathalie Granger.” To see it you are forced to watch it for as long as it lasts, while, in turn, it watches its characters, rather as if the camera were a Siamese cat whose feelings had been hurt. Without betraying the slightest interest, the camera records the physical appearance of two expressionless women who look a lot like Jeanne Moreau and Lucia Bose. They share a house with their two children, one of whom, Nathalie, is apparently a problem. “She wants to kill everyone,” says one of the women, who seem to be interchangeable. “She wants to be an orphan, or a Portuguese maid.” Nathalie, however, remains docile—this being a minimal movie.

The camera paces through the house, looking into mirrors, down hallways, through windows. There is a report on the radio about a murder and a police manhunt. The telephone rings. Wrong number. “There is no telephone here, madame,” Miss Moreau says into the receiver.” Funny? Not really. It’s too pretty and solemn. A salesman calls. He tries desperately to sell a Vedetta Tambour OO8 washing machine that comes in three colors. For a brief moment, the ghost of Pinter’s wit walks over the grave of the film. Miss Bose goes into the garden, again. Miss Moreau falls asleep. A cat saunters through. The camera just stares. When a person or a cat leaves a room, Miss Duras seems to say, that room is empty. Such are the discoveries of “Nathalie Granger,” a dead-end movie that, I confidently hope, few of us are ready for. “Nathalie Granger” was shown last night at the New York Film Festival and is a dismal follow-up to “La Musica” and “Destroy, She Said,” the two earlier directorial efforts by the novelist turned filmmaker. (Vincent Canby)

It would seem logical to characterize Marguerite Duras’ organic, elliptical anti-melodrama Nathalie Granger as a precursor of sorts to the implosive isolation and domestic violence of Chantal Akerman’s Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles. Both films depict a silent ritualism to the performance of domestic chores through stationary shots and disembodied framing, and intimated acts of violence that surface within the perturbation of these rituals (in Duras’ film, the stoking of a bonfire in the backyard and the tearing of contractual papers that are then thrown into the burning fireplace correlate to Jeanne Dielman’s disorientation after accidentally burning potatoes on the stovetop).

An early sequence of a radio news broadcast playing in the background that chronicles the manhunt for a pair of escaped convicts similarly establishes a sense of disquiet and foreboding in the quotidian ritual, as the two women, Isabelle Granger (Lucia Bosé) and an unnamed (and perhaps representationally identified) “other woman” (Jeanne Moreau) clear the breakfast table, wash dishes, and replace the dinnerware into the cupboards in silence.

However, a subsequent telephone call to local authorities – an inquiry into the immigration status of their unexpectedly deported housekeeper – suggests that, unlike Jeanne Dielman who performs her tasks with a seemingly catatonic disarticulation from reality, their actions are borne of ennui, a self-created distraction to fill the empty hours of their domestic prison (note the repeated image of the window bars that overlook the street, a theme that is also aurally represented by the recurring sound of the radio broadcast on the escaped prisoners as well as the variations of a set of rudimentary notes played on a piano). Meanwhile, another domestic crisis plays out in the background as Isabelle petitions to get her young daughter Nathalie (Valerie Mascolo), already on the verge of expulsion for a pattern of misbehavior in school, admitted into another school in the resolute (if not over-magnified) belief that her daughter’s entire life prospect would somehow be irrevocably “finished” if she cannot gain admission and continue with her piano lessons. A final dynamic is added in the comical appearance of an ineffective door-to-door washing machine salesman (Gérard Depardieu) who misconstrues the women’s bored indifference as an open invitation to continue to insinuate himself into their company.

In creating a tone of languid texturality, Nathalie Granger can also be seen a prefiguration to the cinema of Claire Denis, a visual convergence that is particularly evident in the tracking shot of Isabelle’s reflection in a pond that is reversed (and figuratively wipe away) in the subsequent match cut to Nathalie’s playmate, Laurence (Nathalie Bourgeois) trawling plankton as the rowboat slowly drifts away from the camera. This countervalent intertextuality of entropy and inertia, melody and dissonance, physical presence and mirror image (a metaphoric device that is also incorporated in Duras’ subsequent film, India Song) inevitably define the idiosyncratic affectation of the women in the Granger household – the internalized psychological warfare and violent revolution between identity and erasure. (filmref)

extras:
A propros de Nathalie Granger (40mn – english subs) :

Interviews with Geneviève Dufour : Script on Nathalie Granger ; Benoît Jacquot : He was first assistant director on Nathalie Granger, La Femme du Gange and India Song and he was the male voice in Le Navire Night… ; Luc Moullet : the prolific director produced Nathalie Granger within his production company, Moullet et Cie.

L’Ecriture filmique de Marguerite Duras (18mn – english subs) :

Interview with Madeleine Borgomano.

http://nitroflare.com/view/635BD9D53F89028/Nathalie_Granger.avi
http://nitroflare.com/view/06EA70D47001DE6/Nathalie_Granger.rar
https://nitro.download/view/34D4B8CA4B15704/A_propos_de_Nathalie_Granger.rar
https://nitro.download/view/174078DE2D57BAF/L’Ecriture_filmique_de_Marguerite_Duras.rar

Language(s):French
Subtitles:English, Portuguese

The post Marguerite Duras – Nathalie Granger [+Extras] (1972) first appeared on Cinema of the World.

Plot Synopsis by Gönül Dönmez-Colin
Following the success of Hamam, Turkey-born, Italy-based Ferzan Ozpetek delivers another exotic film that delves into the traditions of his origin. Once again, the exotic city of Istanbul is the place of intrigue. But, unlike Hamam, which was a contemporary story, Harem Suare takes place at the turn of the century in the last days of the Ottoman Empire. The locale of this ornate story of love, power, and fear is the magnificent Yildiz Palace, where Sultan Abdulhamit whiles away the time listening to the finale of La Traviata as rebellions rage all over the country. The Sultan cannot stand unhappy endings, so he has asked Safiye, his favorite concubine, who is Italian, to rewrite the libretto so that Violetta does not die. Nadir, one of the black eunuchs, has plans for Safiye, whom he thinks should become the official wife. Nadir’s plans take a different turn when he and Safiye fall in love. In the harem, which is isolated from the rest of the world, life goes on with its plots and subplots, loyalties and betrayals, happiness and tragedies as if time did not exist. The story is told from the point of view of Safiye, concentrating more on human relations than on palace politics. The director plays with mirror images to reflect the two faces of personalities and the complexities of intercultural relations. Mythology is blended with sexuality, emphasizing the delicate nuances of language. The exotic element is not abused and historical details are used sparingly and only when necessary. Acting by young French actress Marie Gillain, who plays Safiye, and Lucia Bose, who plays her in old age, as well as Alex Descas as the eunuch Nadir and famous Turkish actor Haluk Bilginer as Sultan Abdulhamid are all commendable. 52nd Cannes Film Festival, 1999.

1.85GB | 1h 48mn | 700×550 | mkv

https://nitro.download/view/37A15124078F95A/Harem.Suare.1999.DVDRip.x264-KG.mkv
https://nitro.download/view/B92AA1E7D0F8FB3/Harem.Suare.1999.DVDRip.x264-KG.en.srt
https://nitro.download/view/0EFB3C3B05AB6F9/Harem.Suare.1999.DVDRip.x264-KG.fr.srt
https://nitro.download/view/647E1356528ED5C/Harem.Suare.1999.DVDRip.x264-KG.it.srt

Language(s):Turkish,French,Italian
Subtitles:English,French,Italian

The post Ferzan Ozpetek – Harem suaré (1999) first appeared on Cinema of the World.