A young copywriter moves to Rome in the wake of his screenwriter father’s death, where he meets a publisher who wants to release his dad’s autobiography.

Un.Ragazzo.D.Oro.2014.AVC.720p.AC3.Ita.Cpt.No.Export.mkv

General
Container:	Matroska
Runtime:	1h 35mn
Size:	3.71 GiB
DXVA:	Compatible
Minimum settings:	Not met
Video
Codec:	x264
Resolution:	1280x544
Aspect ratio:	2.40:1
Frame rate:	24.000 fps
Bit rate:	5 120 kb/s
Audio
Italian 5.1ch AC-3 @ 448 kb/s

https://nitro.download/view/A9284205AF57B84/Un.Ragazzo.D.Oro.2014.AVC.720p.AC3.Ita.Cpt.No.Export.mkv

Language(s):Italian
Subtitles:none

The post Pupi Avati – Un ragazzo d’oro (2014) first appeared on Cinema of the World.

A veteran hit man, Dekker is ready to call it quits and leave the profession. Dekker’s final job, however, proves to be trickier than expected when the sadistic Zidzyck recruits the assassin to kill his wife.

Diary of a Hitman Remux.1991.576p.BDRip-AVC.ZONE.mkv

General
Container:  	Matroska
Runtime: 	1 h 30 min
Size: 	2.04 GiB
Video
Codec: 	x264
Resolution: 	1024x554 
Aspect ratio:  	1.85:1
Frame rate: 	23.976 fps
Bit rate: 	3 000 kb/s
BPP: 	0.221
Audio
#1:  	English 2.0ch AC-3 @ 224 kb/s

https://nitro.download/view/295E8655DF7239C/Diary_of_a_Hitman_Remux.1991.576p.BDRip-AVC.ZONE.mkv

Language(s):English
Subtitles:English

The post Roy London – Diary of a Hitman (1991) first appeared on Cinema of the World.

Quote:
After her husband dies of mysterious circumstances, a widow becomes increasingly paranoid of the neighboring religious community that may have diabolical plans for her.

+Commentary with Horrorhound Magazine’s Sean Clark and director Wes Craven

2.02GB | 1h 42m | 1024×576 | mkv

https://nitro.download/view/07F5B1977F44DDB/Wes_Craven_-_(1981)_Deadly_Blessing.mkv

Language:English
Subtitles:English

The post Wes Craven – Deadly Blessing (1981) first appeared on Cinema of the World.

Like its predecessor (De l’origine du XXIe siècle), The Old Place examines the role of art in history, only this time in still rather than moving images. Says Michael Althen of this piece, commissioned by the New York Museum of Modern Art in 1999, “[T]he aim is not to give an overview of art history but to cut a path through the forest by asking how art relates to reality and its horrors.” Throughout its mid-length duration, reflections on art and its traces cross swords with future-oriented impulses. The questions it poses are not meant to be answered, but taken as wholesale embodiments of cultural memory, which tends to account for reality via myths and legends. As in the opening image of a monkey dangling from a tree, it is dependent on the presence of gravity to give hierarchical sensibilities a grounding from which to suspend our inhibitions.

Against a musical collage drawn from pigments mixed by Tomasz Stanko, David Darling/Ketil Bjørnstad, Keith Jarrett, Federico Mompou, Dimitri Shostakovich, and more, the role of text functions more greatly in this film than in its predecessor. Recognizing these snippets from the ECM catalogue provides a fleshly satisfaction, and lends new interpretations to their already-deep entrenchment in the bodies of those who create and consume them. In their usage is a coded message, which tells us that choosing materials is choosing mortalities. As if to say that agreement with the self is far more important than with the world, for only the self receives recognition in return for inviting interpretation, and touches upon the web of human activity by its remnants alone.

Crimes against humanity cannot be art because they shed light on darkness. It is the same with cinema: both are speaking the same language of death. The will to flight is humanity’s default setting, yet impossible to achieve, because creation has its hold on us so much so that we can only mock its divinity with illusions of our own. Image-based mediums render escape impossible because they are the undeniable incarnation of our fixation with darkness. As Godard puts it, “Maybe we’re the ghosts of people taken away when everybody vanished.” In that thought experiment is expressed the vagueness of expression, despite the explicitness of its products. In this respect, art and cinema equally tread the border zones of silence.

Moments can only be objects in art: paintings, sculptures, film stills. And as Godard and Miéville peek through the cinematic portal, we are reminded that construction is sovereign in both realms. The problem of progress, then, is not a lack of paths but of homes to return to. A paucity of materials, if you will, resulting from a ban on exploration. To be consciously alive is to articulate one’s vibrations in some form of impulsive communication, and shifts of color may be defined only in a realm of light and movement. Movement is essential in the artist’s brush, in transporting the work and giving it illusory stasis on a museum wall. The religiosity of painting is a means of asserting that humanity has a right to continue.

694MB | 46m 08s | 688×540 | mkv

https://nitro.download/view/C7B572FA728F2CB/Jean-Luc_Godard_&_Anne-Marie_Miéville_-_(2000)_The_Old_Place.mkv

Language(s):French
Subtitles:English

The post Jean-Luc Godard & Anne-Marie Miéville – The Old Place : Small Notes Regarding the Arts at Fall of 20th century (1998) first appeared on Cinema of the World.

In the new film from acclaimed writer/director Jim Jarmusch, which won the Grand Prix at this year’s Cannes International Film Festival, Bill Murray stars as Don Johnston. The resolutely single Don has just been dumped by his latest lover, Sherry (Julie Delpy). Don yet again resigns himself to being alone and left to his own devices. Instead, he is compelled to reflect on his past when he receives by mail a mysterious pink letter. It is from an anonymous former lover and informs him that he has a 19-year-old son who may now be looking for his father. Don is urged to investigate this “mystery” by his closest friend and neighbor, Winston (Jeffrey Wright), an amateur sleuth and family man. Hesitant to travel at all, Don nonetheless embarks on a cross-country trek in search of clues from four former flames (Frances Conroy, Jessica Lange, Sharon Stone, and Tilda Swinton). Unannounced visits to each of these unique women hold new surprises for Don as he haphazardly confronts both his past and, consequently, his present..

Broken.Flowers2005.576p.BDRip.x264-HANDJOB.mkv

General
Container:	Matroska
Runtime:	1h 45mn
Size:	2.20 GiB
DXVA:	Compatible
Minimum settings:	Met
Video
Codec:	x264
Resolution:	1024x556
Aspect ratio:	1.85:1
Frame rate:	23.976 fps
Bit rate:	2 474 Kbps
Audio
English 5.1ch AC-3 @ 448 Kbps

https://nitro.download/view/F881B9AB95A6D07/Broken.Flowers2005.576p.BDRip.x264-HANDJOB.mkv

Language:English
Subtitles:English

The post Jim Jarmusch – Broken Flowers (2005) first appeared on Cinema of the World.