The ten-year-old boy lived through the events of May 1968 hidden away at his grandparents’ house, surrounded by his uncles and great-grandmother, all bivouacked around a mysterious hideout. Adapted from the novel by Christophe Boltanski.

La.Cache.2025.FRENCH.1080p.WEB.H264-TyHD.mkv

General
Container:	Matroska
Runtime:	1h 31mn
Size:	4.19 GiB
Video
Codec:	h264
Resolution:	1920x816
Aspect ratio:	2.35:1
Frame rate:	24.000 fps
Bit rate:	5 881 kb/s
Audio
French 5.1ch E-AC-3 @ 640 kb/s

https://nitro.download/view/5E9139CCA7D6F52/La.Cache.2025.FRENCH.1080p.WEB.H264-TyHD.mkv

Language(s):French
Subtitles:French

The post Lionel Baier – La cache AKA The Safe House (2025) first appeared on Cinema of the World.

The Girl on the Train is a 2009 French drama film directed by André Téchiné. Jeanne is a young woman, striking but otherwise without qualities. Her mother tries to get her a job in the office of a lawyer, Bleistein, her lover years ago. Jeanne fails the interview but falls into a relationship with Franck, a wrestler whose dreams and claims of being in a legitimate business partnership Jeanne is only too happy to believe. When Franck is arrested, he turns on Jeanne for her naivety; she’s stung and seeks attention by making up a story of an attack on a train. Is there any way out for her?

La.fille.du.RER.2009.1080p.AMZN.WEB-DL.DDP.5.1.H264-SPWEB.mkv

General
Container:  	Matroska
Runtime: 	1h 37mn
Size: 	8.93 GiB
Video
Codec: 	h264
Resolution: 	1920x816 
Aspect ratio:  	2.35:1
Frame rate: 	25.000 fps
Bit rate: 	12.3 Mbps
BPP: 	0.313
Audio
#1:  	French 5.1ch E-AC-3 @ 640 Kbps

https://nitro.download/view/91511D354CDDF57/La.fille.du.RER.2009.1080p.AMZN.WEB-DL.DDP.5.1.H264-SPWEB.mkv

Language(s):French
Subtitles:English, Dutch, French, Portuguese, Portuguese, Spanish, Romanian

The post André Téchiné – La fille du RER AKA The Girl on the Train (2009) (HD) first appeared on Cinema of the World.

Camille, a naive schoolgirl meets an intiguing influence in Joelle, a slightly older and much more experienced spirit. Camille follows her new friend through the discovery of sex and the darker side of life. As the film progresses Camille discovers Aids and the fear that she may have picked up the disease in her early encounters.

Merci la Vie.1991.576p.BDRip-AVC.ZONE.mkv

General
Container:  	Matroska
Runtime: 	1 h 58 min
Size: 	2.67 GiB
Video
Codec: 	x264
Resolution: 	1024x554 
Aspect ratio:  	1.85:1
Frame rate: 	24.000 fps
Bit rate: 	3 000 kb/s
BPP: 	0.220
Audio
#1:  	French 2.0ch AC-3 @ 224 kb/s

https://nitro.download/view/30250CDFE1EF484/Merci_la_Vie.1991.576p.BDRip-AVC.ZONE.mkv

Language(s):French
Subtitles:English, French, Russian

The post Bertrand Blier – Merci la vie AKA Thanks for Life (1991) first appeared on Cinema of the World.

The misadventures of an gangster who escapes from prison and who wants to quit the crime world. Having killed a criminal as pay-back, he goes to Marseille to head abroad with his girlfriend. But a lack of money forces him to accept a job, a hold-up, to settle accounts with the victim’s brother, all this with the cops on his tail.

3.77GB | 2h 35mn | 1024×576 | mkv

https://nitro.download/view/E03550D80C0F507/Le_Deuxieme_souffle_AKA_The_Second_Wind_(2007).576p.BDRip.France_KG.mkv

Language(s):French
Subtitles: English (SRT and SUP Muxed as Optional)

The post Alain Corneau – Le deuxième souffle AKA The Second Wind (2007) first appeared on Cinema of the World.

Quote:
Peter Greenaway’s “Prospero’s Books” is not a movie in the sense that we usually employ the word. It’s an experiment in form and content. It is likely to bore most audiences, but will enchant others — especially those able to free themselves from the notion that movies must tell stories. This film should be approached like a record album or an art book. Each “page” is there to be studied in its complexity and richness, while on the soundtrack we hear one of the great voices in theater history, John Gielgud’s.

Greenaway begins with a crucial piece of information from Shakespeare’s The Tempest, that final and most symmetrically perfect of the playwright’s works. Prospero, once duke of Milan, has been tossed by a storm onto a lost island, along with his daughter, Miranda, various crew members and such resident sprites and monsters as Ariel and Caliban. But he has managed to save his books from the tempest – books he prizes more than his dukedom – and Greenaway wonders about that water-soaked library. What books did he have, and how did he use them?

The books, their typography, calligraphy and illustrations, are photographed in voluptuous detail. As Gielgud takes center screen in a narrative adapted from Shakespeare, Greenaway overlays those basic images of Prospero with a series of transparencies. Pages of books appear over the central image or slide in from the sides, sometimes two or three deep, pausing for our consideration, and then vanishing to be replaced by still other images and words. The effect is something like those high school biology texts in which succeeding sheets of transparent plastic revealed the depths of the human body, one layer after another.

The human images in the film center around the idea of nudity. Here, as in such earlier films as “The Cook, the Thief, His Wife, and Her Lover,” the form and fleshiness of the nude is Greenaway’s visual obsession. There are, at various times, dozens or even hundreds of unclothed bodies on the screen, seen by the director in terms of Renaissance painting, and by the philistines at the Motion Picture Association of America as, needless to say, cause for an R rating. Gielgud presides over all of these images — printed and fleshy — as a sorcerer who alone understands their master purpose.

This is not the film to see if you want to witness a performance of The Tempest. It is,however, a fascinating film if you are interested in the play, in Shakespeare or in the breathtaking era when manuscripts and the printed word began to pull Europe out of the Dark Ages and into what we congratulate ourselves is a more enlightened time. “Prospero’s Books” would be an ideal film to watch on laserdisc, where with a hand-held remote you could freeze any frame and study its subtleties. It is also a wonderful film to listen to; Gielgud does a great many of the speaking roles, and, at 86, seems in full and sonorous command of his vocal instrument.

“Prospero’s Books” really exists outside criticism. All I can do is describe it. Most of the reviews of this film have missed the point; this is not a narrative, it need not make sense, and it is not “too difficult” because it could not have been any less so. It is simply a work of original art, which Greenaway asks us to accept or reject on his own terms.

2.67GB | 2h 06m | 1024×576 | mkv

https://nitro.download/view/1D6299DD6CC9C95/Peter_Greenaway_-_(1991)_Prospero’s_Books.mkv

Language(s):English
Subtitles:English

The post Peter Greenaway – Prospero’s Books (1991) first appeared on Cinema of the World.

Synopsis:
Camille, a naive schoolgirl meets an intiguing influence in Joelle, a slightly older and much more experienced spirit. Camille follows her new friend through the discovery of sex and the darker side of life. As the film progresses Camille discovers Aids and the fear that she may have picked up the disease in her early encounters.

Some films are impossible to synopsize, whether they be expressionist, surrealist or avant-garde. Such a film is Merci La Vie, and therefore I must regress into shallow comparison with other films and filmmakers. With that in mind Merci La Vie is like Thelma & Louise shot by Godard – but with all of the extravagant, taboo-busting flourish that makes up the best of Blier’s cinema. Cast your mind back to 1974 and the hedonistic voyage that was Les Valseuses; a tale of heedless sex and senseless violence – it’s a raw and liberated picture, equally sensuous and dangerous. Merci La Vie is a cinematic nod to that film, but instead of wandering thugs Jean-Claude (Gérard Depardieu) and Pierrot (Patrick Dewaere) we have a fractured, virginal loner named Camille (Charlotte Gainsbourg) and Joëlle (Anouk Grinberg), a sexually advanced spirit who invites the random violence of men. To provide a few key plot points (although the more accurate word would be interpretation; there is a narrative thread and plentiful exposition but presented in a framework of antagonistic surrealism) I shall say that Joëlle has been infected with an STD by Dr. Worms (Depardieu) so that he may find its cure – as he works she ravages men with aggressive disease. A promiscuous lover who may or may not exist – or may be the star of a period war film – she comes into and corrupts the life of young drifter Camille, whose loneliness hangs like a noose around her fragile neck.

Camille and Joëlle are not so much characters as poems; eloquent and caustic archetypes in a world of savagery and disease – it is little surprise that the film-within-a-film is one of Nazi Germany and the Holocaust as this heightened world seems, in the context of Dr. Worms, just as much about eradication for the purpose of self-enrichment and power. This allegory may be an intentional one but Blier seems much more interested in engaging with aesthetic and challenging the audience to recognize him as the guiding force of the picture. The most notable way in which he does this is through narration. The narrator is not embodied by a single person and is not limited to the four walls of fiction – in one scene Joëlle recalls an event from her past. But Camille, whom in the memory Joëlle would not know yet, pops up and asks “Is this a flashback” resulting in the characters reshaping past events to suit the mold of the present. Sometimes the narrator is omnipresent, sometimes he/she is a character – sometimes they acknowledge the audience (there is a notable dig at perverts and critics early on) and sometimes they’re not even born. Indeed, one scene sees Camille desperately trying to convince her father to make love to his mother (disturbingly, she suggests rape) who is clearly frigid. “I’m still in your balls” she says, “are you hard?” This would also be the same part of the movie where Nazi’s gag her father and enter his eyeball into Joëlle’s genitals – yes, it baffled me too. Camille displays some serious father issues throughout the film as one distressing scene sees her visited by a violent thug who speaks of sexually molesting his daughter; and her enjoying it.
@Michael Ewins

In terms of Blier’s work, there is no film in his extensive list of credits that I enjoy as much as this one, largely because his own enjoyment is so obvious. Almost everything that he had done before is included in Merci, La Vie but he still finds room for an entirely fresh look at his own work as well as a traditional view of the importance of friends and family within a life led well. In that sense, there is as much surprise in Blier being the messenger for that moral as there is for fans of Kubrick’s film being told of Burgess’ unfilmed twenty-first chapter in A Clockwork Orange. One thinks, therefore of Blier, finding space after the success of Trop Belle Pour Toi to deliver a reassuring message before Un, Deux, Trois, Soleil would take him into even greater controversy and from which, in the UK, he has never really recovered.

1.64GB | 1h 53m | 1006×544 | mkv

https://nitroflare.com/view/4DFE3B4C59B3F2D/Merci_La_Vie.mkv

Language:French
Subtitles:English,Spanish

The post Bertrand Blier – Merci la vie AKA Thanks for Life (1991) first appeared on Cinema of the World.