PLOT: A young piano tuner befriends two rich old-ladies, and plots, with the help of his girlfriend, to betray their trust and steal from them.

The.Tuner.2004.Kira Muratova.SD.WEB-DL.AAC2.0.x264.mkv

General
Container:  	Matroska
Runtime: 	2 h 35 min
Size: 	1.92 GiB
Video
Codec: 	x264
Resolution: 	854x512 
Aspect ratio:  	5:3
Frame rate: 	25.000 fps
Bit rate: 	1 511 kb/s
BPP: 	0.138
Audio
#1:  	Russian 2.0ch AAC LC @ 253 kb/s

https://nitro.download/view/F26FF5CB418D831/The.Tuner.2004.Kira_Muratova.SD.WEB-DL.AAC2.0.x264.mkv

Language(s):Russian
Subtitles:English, French

The post Kira Muratova – Nastroyshchik AKA The Tuner (2004) first appeared on Cinema of the World.

Quote:
The matriarchal clan led by gorgeous Margarita (Renata Litvinova) enters a turbulent period when her son loses his beloved fiancée. Using the structure of a repetitive ritual, the action spans years but takes place mostly during the annual gatherings of Margarita’s extraordinary family in their mansion on New Year’s Eve. Margarita believes in the magical 13th hour that can break the eternal circle of repetition, defeat death and bring her much-awaited love.

The North Wind is an artistic tour de force by cult actress, scriptwriter and filmmaker Renata Litvinova. A romantic, baroque and decadent Gothic fairy-tale, it is full of fantastic characters, peculiar objects and exuberant clothes, as well as myriad oddities and surprises. Echoing legendary makers of Russian cinematic extravaganza Kira Muratova and Rustam Khamdamov, Litvinova creates a unique universe in which the mind-blowing set and visual design serves as an entrance to a penetrating reflection on love and (female) fate.

4.84GB | 2h 03m | 1920×804 | mkv

https://nitro.download/view/5E9E8F53FCB0056/The_North_Wind_(2021).mkv
or
https://tezfiles.com/file/db3a9e92ee044/The_North_Wind_%282021%29.mp4

Language(s):Russian
Subtitles:English

The post Renata Litvinova – Severnyy veter AKA The North Wind (2021) first appeared on Cinema of the World.

Quote:
At the heart of Kira Muratova’s newest film, The Tuner (Nastroishchik, 2004), is her characteristic and enduring love of predation—predation for its own sake. Of course, any talk of “the heart of Muratova’s work” is a judgment of anatomy rather than sentiment, as any admirer would attest. With The Tuner, she has produced an extraordinary new film that offers a complex assessment of the human subject, civilization, and the creative act.

As those who follow Muratova will know, and as she herself has commented, her work divides into two categories: the plotless and the plotted. The plotless, a rarer category, arguably includes Asthenic Syndrome and Passions. Among the plotted films are the two early, provincial melodramas, as well as Sentimental Policeman, Three Stories, and Chekhovian Motifs. Muratova’s latest work, The Tuner, continues this dominant, plotted lineage, one that is more merciful to her audience.

Of course, to expect consistency from Muratova is to reveal an unfamiliarity with her work; at the same time, it is reasonable to speculate that the shift we are seeing is one marked by a certain uncharacteristic minimalist range—a sustained plot line; black-and-white composition; a limited set of devices; a recurring troupe of known actors—that balances the stochastic quality of her unpredictable logic. This minimalism—a relative category, of course, with respect to a highly mannered and ornamental cinema—permits the viewer more conceptual freedom, more autonomy to observe the larger connections through work that is markedly less cluttered than even her previous film. The insistent, aural repetition so closely associated with her cinema has been exhausted and is blessedly set aside, the dolls are gone, yet the same, inexhaustible curiosity about the elusive human subject continues in her scattered and associative logic.

Muratova’s tight and intricate narrative is punctuated by familiar cinematic devices, red herrings, and pranks immediately identifiable—even beyond cinema production—with Muratova’s sui generic style. I will mention three: first, her inclusion of a “cultural intermezzo” by an amateur artist-enthusiast. Aficionados of Muratova’s work will remember this device, most memorably Aleksandra Svenskaia’s trumpet solo performance of “Strangers in the Night” in Asthenic Syndrome (Astenicheskii sindrom, 1989) and declamatory lyrics by the amateur poet, Gena (Leonid Kushnir), from “Boiler Room No. 6,” the first novella of Three Stories (Tri istorii, 1997). In The Tuner, this device takes the form of a girl singer-songwriter performing on public transport and a number of other charmingly inept musicians (a clarinetist, two tuba players, random, elderly singers, and Andrei’s spontaneous “Uzbek” improvisation). This is the utopian dimension of Muratova’s creative act: irredeemably unprofessional, yet utterly complete, self-sufficient in itself, the flawless conjuration of an inner hallucination.

A second kind of stylistic punctuation is Muratova’s episodic, anonymous eccentrics, who can be traced from the nameless old man at the roadside café (Brief Encounters), whose children had been killed by the fascists; to the nameless old man in the post office (Long Farewells), who dictates a telegram to his children; to the nameless young man whose strict mother would not admit him after 11.00 pm (Sentimental Policeman [Chuvstvitel’nyi militsioner, 1992]); to the disapproving, nameless neighbor-woman of “Ophelia” (the second novella of Three Stories), who repetitively intones “There is no toilet here” [“zdes’ net tualeta”]. These figures, like the rapturous amateur artists described above, are also allocated their cameo roles in The Tuner: a deaf-mute, retarded woman, fed by Lina; a toga-clad wine-seller, who offers rosé for free; a rowdy, but harmless neighbor boy who harasses Andrei; a nameless blind man who is granted the film’s final lines. When we were younger, we might have mistaken these vignettes as evidence of a certain redemptive pathos in Muratova’s work; now retrospectively, we observe them with cooler eyes as minor sightings in Muratova’s game preserve of the human species. The deaf-mute of The Tuner is an amusing freak, no more or less a child of the universe than the “homicido-philiac” Litvinova.

A third recognizable decoration is Muratova’s fascination with doubles, twins, and buddies: the reader might remember Vera and Zoia from Getting to Know the Wide World (Poznavaia belyi svet, 1979); Liliia and Violetta (Passions [Uvlechen’ia, 1994]); the two Mashas (Asthenic Syndrome); El’vira and Al’bina in the novella “Ophelia” (Three Stories). Just as we think that this decorative line must have been discarded, two sets of twins make their appearance at the very end of The Tuner.

One could continue the list of stylistic trademarks—the soundtrack’s buzzing fly (repeated here from Long Farewells, Passions, and “Little Girl and Death,” the third novella of Three Stories); the special status of animals (echoed here from Asthenic Syndrome, Passions, and elsewhere)—but the larger function of the orchestrated repetitions is of greater interest here: these stable and recurrent elements assure us that we are indeed watching the same, gifted madwoman, for whom these eccentric “passions” have become the cinematic norm. It is against these now familiar devices that Muratova contrapuntally develops her new rhapsody on the human condition. The current rhapsody is markedly more restrained, selective, and (dare I utter the word?) disciplined than her earlier work.

1.89GB | 2h 35mn | 768×460 | mkv

http://nitroflare.com/view/AAFB347748BB66D/Kira_Muratova_-_(2004)_The_Tuner.part1.rar
http://nitroflare.com/view/935C42413F4606F/Kira_Muratova_-_(2004)_The_Tuner.part2.rar

Language(s):Russian
Subtitles:English

The post Kira Muratova – Nastroyshchik AKA The Tuner (2004) first appeared on Cinema of the World.

The movies of Rustam Khamdamov are impossible to find in the West, and for the most part in his native Russia as well.

Vokaldy paralelder [Vocal Parallels] , which happily has reached its audience, but only after nine years of production due to numerous obstacles and stoppages. What is THIS film about? Again, no definite plot, but a kind of a concert-film. You most probably exclaim in astonishment, absolutely disappointed: What?! A concert? Yes, it’s a surreal, impressionistic concert of classical opera pieces performed by several retired Soviet opera divas: Roza Dzhamanova, Araksiia Davtian, Bibigul’ Tulegenova, and the late Erik Salim-Meriuert (Kurmangaliev), a fantastic countertenor.

https://nitro.download/view/499F86CF0DEEF6F/Vokaldy_Paralelder_(2005__writed_and_performed_by_Renata_Litvinova).avi
http://nitroflare.com/view/EA305013E80E48B/vocal_parallels.srt

Language:Kazakh / Russian
Subtitles:English

The post Rustam Khamdamov – Vokaldy Paralelder AKA Vocal Parallels (2005) first appeared on Cinema of the World.

Passions is a 1994 romantic comedy by Russian-Ukrainian director Kira Muratova based on the novellas of Boris Dedyukhin.
Blonde Lilia and brunette Violetta are fascinated by horse racing, and the young racers are more than a little attracted to them, too. However, the worlds of sporting and romance don’t always coexist peacefully as the two girls learn the hard way through a series of touching, surreal, and sometimes heartbreaking encounters. One of the most beautifully photographed Russian films in recent years, this acclaimed modern classic was hailed at numerous film festivals including the Berlin Film Festival and Russia’s Kinotavr Festival, where it won the Jury and Critics Prizes.

1.40GB | 1h 46m | 710×532 | mkv

https://nitro.download/view/2D2F78FED92068F/Kira_Muratova_-_(1994)_Passions.mkv

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

The post Kira Muratova – Uvlecheniya AKA Passions (1994) first appeared on Cinema of the World.