This video presents a portrait of fiction writer Bret Easton Ellis, who was catapulted to notoriety with the publication of American Psycho. Ellis, who was born in 1964 in New York, rose to fame and fortune in his early twenties for this and other controversial works, vilified by many for their misogynistic and violent content. His defenders say the author’s work is satirical in style, and realistic in its representation of pop culture of the 1980s. The film features an interview with Ellis, as well as comments from friends, relatives, and other artists. Also included are selected dramatizations from American Psycho and other books by the author. ~ Rose of Sharon Winter, All Movie Guide

Duration: 1:18:35
Data Size: 896.7 MB

Video Tracks:
Generic MPEG-4
640 × 480
Codec: XviD
1501 kbps
FPS: 29.96

Audio Tracks:
MPEG Layer-3
Audio stereo
44.1 kHz
128 kbps
Audio track: 1

https://nitro.download/view/9C753CA59AA5372/This_Is_Not_An_Exit.avi

Language(s):English
Subtitles:None

The post Gerald Fox – This Is Not an Exit: The Fictional World of Bret Easton Ellis (2000) first appeared on Cinema of the World.

Quote:
With The Deep Blue Sea, Terence Davies selectively transforms a lesser-known Terence Rattigan play into a broody rumination on emotional freedom and frustrated desire. Davies abandons Rattigan’s linear narrative and compressed timeline in favor of a more free-form structure, one that underlines the ebb and flow of memory as it shuttles between past and present. At the same time, The Deep Blue Sea confirms Davies’s continued engagement with the period melodrama—in this case, the variety of “woman’s picture” exemplified by the doomed romanticism of David Lean’s Brief Encounter, a touchstone that The Deep Blue Sea on several occasions blatantly references. Set against the backdrop of post-WWII Britain, a dowdy period of rationing and reconstruction, The Deep Blue Sea hinges on the seemingly irresolvable predicament of its heroine, Hester Collyer (Rachel Weisz). Trapped within the confines of a passionless marriage to older, well-to-do Sir William (Simon Russell Beale), Hester vainly seeks satisfaction in an ardent affair with young, impulsive Freddie Page (Tom Hiddleston). Absorbed in memories of his carefree pre-war days, Freddie ultimately cannot return Hester’s affection, and their relationship soon degenerates into noisy rows and mutual recriminations.

Signaling from the onset its emancipation from stage-bound prolixity, The Deep Blue Sea opens with a remarkable, nearly wordless sequence as Hester prepares to commit suicide by gassing herself, a fragmented montage punctuated by periodic fades to black, and set to Samuel Barber’s dolorous violin concerto. Losing consciousness, Hester’s mind casts back to earlier times: a fireside evening spent with William that brilliantly illuminates both the growing chasm between husband and wife, as well as the glow of almost paternalistic warmth that yet unites them; and other evenings at the pub with Freddie, the two of them chiming in on choruses of popular songs with the other patrons. Davies captures Hester and Freddie’s vertiginous, all-consuming sensuality with a bold overhead shot of the pair making love, the camera dizzily swirling through several 360-degree pivots.

A testament to Davies’s pictorial prowess, The Deep Blue Sea opens and closes with two elaborate tracking shots. The camera moves along an anonymous suburban London street, passing across the façade of a particular domicile as though at random, winding up at the window of Hester’s flat. (The final shot reverses the direction.) During a flashback to the war, another bravura shot (fully two minutes long) tracks along a subway platform. Evacuated underground by the Blitz, a cross-section of London citizenry listens, and slowly joins in, as a lone voice wails the mournful Irish ballad “Molly Malone.” Only at the end of the shot do we see Hester and William huddled together. Taken together, these moments reinforce the notion that the story we’re privy to at the moment is only one among countless untold others.

The Deep Blue Sea is amply and aptly generous to its three main characters, refusing easy conventions that would render William as entirely cold, aloof, and unlikeable; nor does it stint on showing Freddie’s callous brutality toward Hester, even as it suggests a number of plausible reasons for his behavior. Ultimately, this isn’t an either/or film. Caught, as its title indicates, “between the devil and the deep blue sea,” Hester can only grow into a fully realized human being by letting go, releasing the hold that both men have on her. Davies again manages to convey this through the simplest of visual means: matched shots of Hester drawing closed the curtains of her dingy room on the night that sees her attempt her own death, and then, at film’s end, throwing the curtains open on the uncertain light of a new day.

The.Deep.Blue.Sea.2011.576p.BluRay.x264-HANDJOB.mkv

General
Container:  	Matroska
Runtime: 	1 h 38 min
Size: 	3.14 GiB
Video
Codec: 	x264
Resolution: 	1024x552 
Aspect ratio:  	1.85:1
Frame rate: 	24.000 fps
Bit rate: 	4 046 kb/s
BPP: 	0.298
Audio
#1:  	English 5.1ch AC-3 @ 448 kb/s
#2:  	English 2.0ch AAC LC @ 72.0 kb/s (Commentary by Director Terence Davies and Journalist Ian Haydn Smith)

https://nitro.download/view/BC47F21F2E76AAB/The.Deep.Blue.Sea.2011.576p.BluRay.x264-HANDJOB.mkv

Language(s):English
Subtitles:English

The post Terence Davies – The Deep Blue Sea (2011) first appeared on Cinema of the World.

Quote:
“This neo-noir British crime drama, set at a decaying English beach resort, begins with a body dropped from a pier. Hairdresser Helen (Rachel Weisz) goes with local deejay Bob (Ben Daniels), but mute bicyclist Honda (Luka Petrusic), who secretly tapes people’s conversations, meets Helen at the beachfront and begins sending her flowers. Honda’s sad nympho sister Smokey (Macedonian-born Labina Mitevska) sings at a local club. A figure from Helen’s past, the enigmatic, mysterious Martin (Alessandro Nivola) checks out Helen but keeps his distance. Irritated that Helen won’t sleep with him, Honda plans a way to embarrass Bob with the secret tapes, while Martin and Helen renew their relationship. Polish cinematographer Slawomir Idziak, famed for his filtered filming for Krzysztof Kieslowski’s (Blue), captures the dark, visual tone of obsessive love, while Elvis Costello’s 1986 song I Want You is heard throughout.”

1.24GB | 1 h 23 min | 1032×430 | mkv

https://nitro.download/view/6B46B896EDE669B/I_Want_You__Michael_Winterbottom_1998_.mkv

Language:English
Subtitles:None

The post Michael Winterbottom – I Want You (1998) first appeared on Cinema of the World.

Quote:
In early 18th century England, a frail Queen Anne occupies the throne and her close friend, Lady Sarah, governs the country in her stead. When a new servant, Abigail, arrives, her charm endears her to Sarah.

2.52GB | 1 h 59 min | 1024×552 | mkv

http://nitroflare.com/view/7FF24AB2CA6C174/Yorgos_Lanthimos_-_%282018%29_The_Favourite.part1.rar
http://nitroflare.com/view/4A194E83F77FF37/Yorgos_Lanthimos_-_%282018%29_The_Favourite.part2.rar
http://nitroflare.com/view/CCD66BB6AE4AB31/Yorgos_Lanthimos_-_%282018%29_The_Favourite.part3.rar

Language(s):English
Subtitles:English

The post Yorgos Lanthimos – The Favourite (2018) first appeared on Cinema of the World.