The current wave of kidnappings in Latin America inspired this tense suspense drama. Martin (Jean Paul Leroux) and Carla (Mía Maestro) are a wealthy young couple who, after a night of club hopping, head back to their car to go home. However, three kidnappers — Bubu (Pedro Perez), Niga (Carlos Madera), and Trece (Carlos Julio Molina) — are waiting for them; seeing how free they are with their money, the men figure that Martin and Carla should fetch a decent ransom for their release. The kidnappers demand 20,000 dollars to set Martin and Carla free, and Carla’s father (Rubén Blades) struggles to raise the cash, with the criminals insisting upon payment in a mere two hours.

	
Secuestro Express.2005.DVDRip.x264-mafalda.mkv

General
Container:  	Matroska
Runtime: 	1 h 27 min
Size: 	1.96 GiB
Video
Codec: 	x264
Resolution: 	720x458 ~> 847x458
Aspect ratio:  	1.85:1
Frame rate: 	23.976 fps
Bit rate: 	2 750 kb/s
BPP: 	0.348
Audio
#1:  	Spanish 5.1ch AC-3 @ 448 kb/s (Surround)

https://nitro.download/view/57CBE5FE49E75F4/Secuestro_Express.2005.DVDRip.x264-mafalda.mkv

Language(s):Spanish
Subtitles:English, Spanish, Portuguese

The post Jonathan Jakubowicz – Secuestro express (2004) first appeared on Cinema of the World.

Synopsis:
In 1952, twenty-three year old medical student Ernesto Guevara de la Serna – Fuser to his friends and later better known as ‘Ernesto Che Guevara’ – one semester away from graduation, decides to postpone his last semester to accompany his twenty-nine year old biochemist friend ‘Alberto Granado’ – Mial to his friends – on his four month, 8,000 km long dream motorcycle trip throughout South America starting from their home in Buenos Aires. Their quest is to see things they’ve only read about in books about the continent on which they live, and to finish that quest on Alberto’s thirtieth birthday on the other side of the continent in the Guajira Peninsula in Venezuela. Not all on this trip goes according to their rough plan due to a broken down motorbike, a continual lack of money (they often stretching the truth to gain the favor of a variety of strangers to help them), arguments between the two in their frequent isolation solely with each other, their raging libidos which sometimes get them into trouble, and dealing with Fuser’s chronic asthma. But a chance encounter with a couple of Communists in the Chilean desert and an extended visit to the San Pablo Leper Colony in the Perúvian Amazon Basin among other things profoundly affects what each will want to do with his life and the bond each has with the other.

2.95GB | 2h 5mn | 1024×556 | mkv

http://nitroflare.com/view/AC1BF892D9A7455/Diarios.de.motocicleta.2004.576p.part1.rar
http://nitroflare.com/view/F302242DA6D287F/Diarios.de.motocicleta.2004.576p.part2.rar
http://nitroflare.com/view/9D844DD2AE40699/Diarios.de.motocicleta.2004.576p.part3.rar

Language:Spanish
Subtitles:English, French, Dutch, Turkish (muxed)

The post Walter Salles – Diarios de motocicleta AKA Motorcycle Diaries (2004) first appeared on Cinema of the World.

When the idea of a film about the tango was proposed to director Carlos Saura by a producer, the director spent several months hammering out a scenario that used dance to propel the story about a dancer, Mario Suárez (Miguel Ángel Solá), injured in a recent car accident and freshly divorced, using a film about the tango to heal some deep personal wounds.

Woven into the dances-within-a-film-within-a-film are pieces evoking the tango as the social glue of Argentinian culture, as well as the music’s function during the dark years under Juan Peron, when tango music was played loud by the secret service to smother the cries of torture sessions.

Repression is more or less linked through Mario’s own need to repress his still-broiling feelings for ex-wife Laura Fuentes (Cecilia Narova) who’s a key dancer in his film, as well as emerging feelings for Elena Flores (Mía Maestro), the young dancer he casts at the behest of the production’s biggest financier, a major mafia figure.

While the synopsis sounds sordid and awfully melodramatic, Saura seems to know a literal dramatization, particularly on location, wouldn’t have worked. A major problem with films about filmmakers (or dancers mounting a production, for that matter) is steering the dramatic angles away from sudsy soap opera; for all the admiration that’s heaped upon Francois Truffaut’s Day for Night / La nuit américaine (1973), it’s still a movie about artists struggling to be artistic while sex, death, and betrayal are underscored with grating emotions.

Granted, he bears a strong love of dance, but Saura’s ode to the tango is as impressionistic as the style director Mario has opted for his film, much to the annoyance of his financiers, who want to know exactly how his epic narrative is supposed to end.

Mario uses a gigantic indoor soundstage where he’s interlocked performance and rehearsal sets in which dancers audition, train, refine, and perform their pieces. During all of this ongoing action, Mario wanders through the menagerie while Saura breaks his own film’s fourth wall by showing us Tango’s camera, as it follows actor Solá playing Mario as he directs his own film’s cast.

The sets are reminiscent of Gene Kelly’s fifties musicals, where the dancer traveled through stylized and minimalist sets, and used dance to evoke his character’s shifting emotions with women, although in Tango, the music is virtually instrumental. (Even an extract from Verdi’s Nabucco near the end features blurry chorals.)

Saura’s emphasis on physical performances is what’s key to the dance sequences, because it’s figures moving through a diversity of panels and colour backdrops, and through his collaboration with renowned cinematographer Vittorio Storaro, that the background panels are sometimes evocative of fifties cartoons and commercial art.

A prime example has dancers moving in front of three large metallic walls drenched in verdant light, and from a distance, it’s as though the human figures are framed by three panels of the kind of stylish neo-abstract commercial art that decorated album covers (particularly jazz LPs). As Saura moves his camera closer, the abstract patterns are revealed to be reflections of the metallic set scaffold – steel tubing, ladders – as well as Mario’s robotic camera rig, poised in the distance like a tree branch.

It’s one of the film’s most clever visual sequences, and it’s counter-pointed by the dancers and Lalo Schifrin’s music. Later sequences involve frosty white screens of differing dimensions and scope, or simple sets that have dancers partially silhouetted – like Elena watching her dancing in a wall-sized mirror, while Storaro’s crimson lighting is specifically designed to allow her body to move between saturated crimson and pools of shapely blackness.

Tango is an art film, but it does provide a stylized impression of the music, as well as the periods of repression and cruelty that affected the country, the latter told primarily through a gorgeous dance piece that sprawls across a large, dramatic set.

Perhaps the most intriguing aspect (and most frustrating to those wanting a linear, formal fiction narrative) is the blurring of perspectives: at times Saura has the dancer/director becoming the subject of the film-within-a-film’s camera lens, as well as Saura’s; and the music score has characters dancing to live and pre-recorded performances, as well as one sequence that shows the staff musicians performing a piece like a jam session extract from Fernando Trueba’s Calle 54 (2000) documentary.

— Mark R. Hasan, KQEK

Tango.1998.1080p.WEB-DL.AAC.2.0.x264.mkv

General
Container:	Matroska
Runtime:	1h 50mn
Size:	7.82 GiB
DXVA:	Compatible
Minimum settings:	Met
Video
Codec:	x264
Resolution:	1920x948
Aspect ratio:	2.025
Frame rate:	25.000 fps
Bit rate:	9 993 kb/s
Audio
Spanish 2.0ch AAC LC @ 128 kb/s

https://nitro.download/view/7B4BA539EEB3CF9/Tango.1998.1080p.WEB-DL.AAC.2.0.x264.mkv

Language(s):Spanish
Subtitles:English

The post Carlos Saura – Tango (1998) first appeared on Cinema of the World.