The culmination of New Wave master Jacques Rivette’s legendary middle period (which ranged from L’Amour fou through Out 1, Céline and Julie Go Boating, Duelle, Noroît, and Merry-Go-Round), Le Pont du Nord envisions Paris as a sprawling game-board marked off with tucked-away conspiracies, where imagination and paranoia intermingle; where the hinted-at stakes are sanity, life, and death.

Regular Rivette actress Bulle Ogier stars as Marie, a claustrophobic ex-con who, shortly after wandering into Paris, encounters the wild and potentially troubled young woman Baptiste (Pascale Ogier, Bulle’s actual 22-year-old daughter). Baptiste, a knife-wielding, self-proclaimed karate expert with a drive to slash the eyes from faces in adverts (including, in one instance, those on a placard for Akira Kurosawa’s Kagemusha), accompanies Marie on her quest to solve the mystery behind the contents of her former lover’s (Pierre Clémenti’s) suitcase: an amalgam of clippings, patterns, and maps of Paris that points to a vastly unsettling labyrinth replete with signs and intimations whose menacing endgame remains all too unclear.

Gorgeously shot by the master cinematographer William Lubtchansky, Le Pont du Nord is a freewheeling, powerful experience whose hypnotic rhythm and ominous undercurrents resolve into a frightening and exhilarating portrait of post-revolutionary, early-’80s Paris – and in turn form a prime example of Rivette’s uncanny, occult cinema.

Le.pont.du.Nord.1981.576p.BluRay.FLAC1.0.x264-BV.mkv

General
Container:  	Matroska
Runtime: 	2 h 8 min
Size: 	3.27 GiB
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Codec: 	x264
Resolution: 	790x576 
Aspect ratio:  	1.372
Frame rate: 	24.000 fps
Bit rate: 	3 500 kb/s
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Audio
#1:  	French 1.0ch AAC LC @ 124 kb/s

https://nitro.download/view/3A97F93BB10C487/Le.pont.du.Nord.1981.576p.BluRay.FLAC1.0.x264-BV.mkv

Language(s):French
Subtitles:English, French, Chinese (Traditional), Chinese (Simplified)

The post Jacques Rivette – Le Pont du Nord (1981) first appeared on Cinema of the World.

Quote:
Louise lives with Rémi in Marne-la-Vallée. He is an architect, she is an interior decorator. Their lives would be perfect if Rémi were less of a homebody, and if Louise were not such a night owl. Conscious of preserving her independence, Louise rents a pied-à-terre in Paris. Octave, her friend and confidant, is always ready to accompany her during her night prowls. One evening, beneath a full moon, and Octave’s jealous, loving gaze, she succumbs to the charms of a sensual dancer. As day breaks she realises, however, that she would much rather be with Rémi.

Les nuits de la pleine lune 1984 720p BluRay AC3 x264-EA.mkv

General
Container:  	Matroska
Runtime: 	1h 41mn
Size: 	7.16 GiB
Video
Codec: 	x264
Resolution: 	988x720 
Aspect ratio:  	1.372
Frame rate: 	24.000 fps
Bit rate: 	9 662 Kbps
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#1:  	1.0ch AC-3 @ 256 Kbps

https://nitro.download/view/32C5C73ADEA11D0/Les_nuits_de_la_pleine_lune_1984_720p_BluRay_AC3_x264-EA.mkv

Language(s):French
Subtitles:English

The post Eric Rohmer – Les nuits de la pleine lune AKA Full Moon in Paris (1984) first appeared on Cinema of the World.

In the apartment of Benjamin Baltimore, cinema poster designer, we discover the universe of the early 80’s in Paris.

Radio Serpent - UNGLEE (1980).mkv

General
Container:  	Matroska
Runtime: 	10 min 54 s
Size: 	141 MiB
Video
Codec: 	x264
Resolution: 	720x540 
Aspect ratio:  	4:3
Frame rate: 	25.000 fps
Bit rate: 	1 556 kb/s
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#1:  	2.0ch AAC LC @ 253 kb/s

https://nitro.download/view/E1A245ECC1C722A/Radio_Serpent_-_UNGLEE_(1980).mkv

Language(s):None
Subtitles:None

The post Unglee – Radio Serpent (1980) first appeared on Cinema of the World.

Before Le Pont du Nord Rivette films Paris s’en va, a short film of approximately 25 minutes. He works with the same actors and the same technical team on both films. Henry Chapier who produced the short: “At the beginning of the ’80s nobody was interested in Rivette’s highly imaginative project Le Pont du Nord. Therefore Rivette came up with a kind of ‘transposition’ of the themes of Le Pont du Nord in the shape of Paris s’en va. Just like a painter in the Renaissance who does a sketch for a future project.”

Promenade dans Paris avec les deux actrices du film ‘Le Pont du nord’, en suivant la règle du jeu de l’oie. Dans le cadre de la première ‘Année du patrimoine’, l’association Paris audiovisuel, liée à la Maison européenne de la photographie et à la Ville de Paris, et dirigée par Henry Chapier, passa commande à plusieurs cinéastes de films courts sur Paris pour refaire ‘un Paris vu par …’, année 1980. La Ville décida finalement de ne pas diffuser le segment réalisé par Jacques Rivette qui montrait un Paris en chantier.

389MB | 30m 05s | 640×480 | avi

<https://nitro.download/view/7DA933BE9CB938C/Paris.s.en.va.1981.DVDRip.XviD.avi
https://nitroflare.com/view/27E1E28F9097BB1/Paris.s.en.va.1981.DVDRip.XviD.srt

Language(s):French
Subtitles:English

The post Jacques Rivette – Paris s’en va (1981) first appeared on Cinema of the World.

” Cinema plus Psychoanalysis equals the Science of Ghosts” – Jacques Derrida

“At first I thought that ghosts would be forgotten in this new electronic age. But as things turn out, they began to use electronic gadgets for their own purpose. Now they often fly down telephone lines, jump on radio waves, and take you by surprise when you are listening to music. There are many recorded cases of ghosts appearing in electrical shops…”
GHOSTDANCE

Any synopsis gives inevitably a very selective account of Ghost Dance. In particular, it gives no sense of the importance of the various voices -sometimes associated with the film’s characters, sometimes not – which are woven around the images and the ‘action’. These voices are the most obvious (dis)embodiment of the film’s concern with the role of ghosts in the electronic age’, and also provide sub-texts which, by by introducing myth, history, dreams, ritual, etc. both shape and fragment the text. Perhaps the single most important observation inserted this way is the suggestion that at times when society is breaking up, there is a concomitant psychic fragmentation. Myths then spring up as a way of ‘making historical sense of historical chaos’. Fragmentation invades every area of the film, from its mix of of present and post-industrial landscapes, to the division into chapters which bear no fixed relation to any narrative progression, to the treatment of character.

The latter is appropriately ‘flexible’. A feeling expressed by a female voice-over of the self being split (‘I and me became separate people’) is diagnosed by a male voice as an effect of social decay. But the idea of identity fracturing is given positive force for the two female central characters, who gain strength and magical powers as their disparate personae come to complement each other. Elsewhere figures adopt roles according to the requirements of individual scenes, embodying Derrida’s suggestion that ‘memory is the past that never had the force of the present’. Thus the man who violently refuses to repurchase Pascale’s electrical goods (explaining, in a short, sharp economics lesson that they are only worth something at the point where he originally sells them to her) later turns up as a guide delivering a lecture on the Paris Commune revolution. Similarly Robbie Coltrane, whose George is as stable as he is manic, is allowed a brief vignette as a photo-copier operator with a ghost in his machine which refuses to copy Pascale’s thesis). And this flexibility likewise allows the figure of Derrida, playing himself, to function appropriately as a source of ideas and reflections, simultaneously within and outside the function.

With a narrative structure in which such elements can be played off against each other, there is an inevitable tendency for ideas to spill out of the film, in a ‘playful’ manner, rather than be developed to any degree. And occasionally, with casually offered lines such as ‘History’s just a point of view like anything else’ there is a sense of glibness (particularly when coupled with a sometimes over-obvious use of metaphor). Also the predominant association of female characters with the eruption of repressed myths is a tricky area, leading perhaps into rather reactionary mysticism. But these doubts aside, and given the anti-pleasure strategies still so earnestly adopted by so much post-68 British independent cinema, Ghost Dance still has much to offer. In particular, the constant tempering of its overt intellectual content with a sense of atmosphere and humour, coupled with an excellent music track, makes this particular dance on capitalism’s grave a highly enjoyable one.
Steve Jenkins
Monthly Film Bulletin
February 1984

extras include: interviews with Leonie Mellinger ,(Actress, Uk), Dominique Pinon ( Actor, France) Bernard Steigler ,(Philospher, France, Oscar Guardiola- Rivera (Philosopher, Columbia), Jean-Max causse (Director, Filmoteque, France) and David Cunnigham (Composer, Uk -(as labeled in file)

1.08GB | 1 h 34 min | 704×544 | svi

https://nitroflare.com/view/4469244C5B8DA9F/Ghost_Dance.part1.rar
https://nitroflare.com/view/6736273AAF158F5/Ghost_Dance.part2.rar

Language(s):English/French
Subtitles:English srt

The post Ken McMullen – Ghost Dance [+Extras] (1983) first appeared on Cinema of the World.