This film is the moving story of Edda Ciano, the daughter of Italian dictator Mussolini, who was unable to prevent the atrocious assassination of her husband by fanatics of her father.

Il processo di Verona-Carlo Lizzani.avi

General
Container:  	AVI
Runtime: 	1 h 52 min
Size: 	1.96 GiB
Video
Codec: 	DivX
Resolution: 	416x320 
Aspect ratio:  	4:3
Frame rate: 	25.000 fps
Bit rate: 	937 kb/s
BPP: 	0.282
Audio
#1:  	2.0ch PCM @ 1 536 kb/s

https://nitro.download/view/BD21D10852AE81D/Il_processo_di_Verona-Carlo_Lizzani.avi

Language(s):Italian
Subtitles:None

The post Carlo Lizzani – Il processo di Verona AKA The Verona Trial (1963) first appeared on Cinema of the World.

Aboard a ship late in the 19th-century, a middle-aged Italian tells his story of love to a Russian. In a series of flashbacks filmed almost entirely in creams, whites, and ochers, the clownish and superfluous Romano Patroni leaves his wife’s opulent home to visit a spa where he falls in love with a Russian woman whose marriage is a horror. He pursues her into the Russian heartland and returns to Italy resolved to leave his wife and marry his love.

Dark.Eyes.1987.WEBRIP.576p.x264.AC3.KJNU.mkv

General
Container:  	Matroska
Runtime: 	2 h 22 min
Size: 	3.08 GiB
Video
Codec: 	x264
Resolution: 	768x576 
Aspect ratio:  	4:3
Frame rate: 	24.000 fps
Bit rate: 	3 000 kb/s
BPP: 	0.283
Audio
#1:  	Italian 2.0ch AC-3 @ 224 kb/s

https://nitro.download/view/CC1160DD0C744BB/Dark.Eyes.1987.WEBRIP.576p.x264.AC3.KJNU.mkv

Language(s):Italian
Subtitles:English

The post Nikita Mikhalkov – Oci ciornie AKA Dark Eyes (1987) first appeared on Cinema of the World.

Quote:
A wealthy Italian household is turned upside down when a handsome stranger arrives, seduces every family member and then disappears. Each has an epiphany of sorts, but none can figure out who the seductive visitor was or why he came.

Quote:
A handsome, enigmatic stranger (Terence Stamp) arrives at a bourgeois household in Milan and successively seduces the son, the mother, the daughter and the father, not forgetting the maid. Then, as abruptly and mysteriously as he arrived, he departs. Unable to endure the void left in their lives, the father (Massimo Girotti) hands over his factory to the workers, the son (Andrs Jos Cruz) abandons his vocation as a painter, the mother (Silvana Mangano) abandons herself to random sexual encounters, and the daughter sinks into catatonia. The maid (Laura Betti, winner Best Actress, Venice 1968), however, becomes a saint. In this cool, richly complex and provocative political allegory, Pasolini uses his schematic plot to explore family dynamics, the intersection of class and sex, and the nature of different sexualities. After winning a prize at the Venice Festival, Teorema was subsequently banned on an obscenity charge, but Pasolini later won an acquittal on grounds of the film’s ‘high artistic value’.

Teorema.1968.576p.BluRay.DD1.0.x264-KG.mkv

General
Container:  	Matroska
Runtime: 	1 h 38 min
Size: 	2.66 GiB
Video
Codec: 	x264
Resolution: 	1024x552 
Aspect ratio:  	1.85:1
Frame rate: 	23.976 fps
Bit rate: 	3 500 kb/s
BPP: 	0.258
Audio
#1:  	Italian 1.0ch AC-3 @ 192 kb/s
#2:  	English 2.0ch AC-3 @ 160 kb/s (Commentary by film scholar Robert S. C. Gordon)

https://nitro.download/view/448338EEBAF2527/Teorema.1968.576p.BluRay.DD1.0.x264-KG.mkv

Language(s):Italian
Subtitles:English

The post Pier Paolo Pasolini – Teorema AKA Theorem (1968) first appeared on Cinema of the World.

Some stories need to be told after they are over. We need to know that all the events are past and gone, in order to feel the same nostalgia as the storyteller. When a story is happening “now,” there is always the possibility of surprise and happiness. But when a story happened “then,” and it is a love story, then even the happy moments feel bittersweet, and of course that is the whole point of the story.

“Dark Eyes” is a story told by a man who sits at a table in the lounge of an ocean liner, the bottle in front of him, the glass in his hand, his voice steady as if he has rehearsed these same facts many times before. He is a middle-age man with sad eyes and a weary face. His listener is about the same age, but not so sad and not so weary.

Neither one seems to much care about the ship’s destination. The man telling the story is Marcello Mastroianni, the most complete of movie actors, his face never seeming composed for the screen but acting simply as a window for his words. He tells the stranger that once he was married, comfortably if not ecstatically, to a rich wife (Silvano Mangano).

They were not in love, but they were content with one another. Then he went on a visit to a spa, and there he saw a young lady, and danced with her, and fell in love with her, and had one of those holiday romances that fade like postcards in the memory. After all, nothing could come of it; they were both married.

The problem with this romance, Mastroianni tells his listener, is that it did not fade. Back home again, he found he was still in love with the woman (Elena Sofonova). She grew stronger in his memory. He could not forget her. She was a Russian, and eventually he went to Russia in search of her, and found her, and they shared perfect love and vowed to divorce their spouses to marry each other. She went to tell her husband, and he returned to Italy to tell his wife, but at home he found his wife had lost all of her money and his sense of loyalty was such that he could not leave her under those circumstances, and so…

Mastroianni continues with his story, but I will stop here, before all of the twists and turns, the ironies and the final heartbreak. “Dark Eyes” tells one of those stories where you think you know everything, but you do not, and at the end of the story you know that everyone is very unhappy but you cannot see precisely what they should have done differently. The movie is based on stories by Anton Chekhov and has been directed by a Russian, Nikita Mikhalkov, who is not afraid of large romantic gestures and tragic coincidences. You realize after awhile that it doesn’t matter that Mastroianni can do nothing, that his tragedy is in the past; the telling of the story is the whole point, and he travels the world with his sad tale, telling it probably again and again, for the whole importance of his life has been reduced to his great loss.

This is a beautiful film, lavishly shot on location at Italian and Russian spas and in great houses. The 19th century period is important, not simply because it recalls a time before telephones (which could have solved the whole tragedy), but because it recalls a state of mind before telephones (a time when people did not much believe in easy solutions). The movie is intriguing because of its moral complexity. After it’s over, you find yourself asking hard questions about who did right and who did wrong, and you’re confronted with the ironic possibility that maybe it didn’t matter, that maybe everyone was doomed from the start. The ending of this film is a real stunner. If you see “Dark Eyes,” ask yourself this question afterward: How would it have felt if the movie had provided what we anticipate will be the last scene, but isn’t? Would it have been simply corny? Or too heartbreaking to be endured?

Roger Ebert

Dark.Eyes.1987.ITALIAN.1080p.AMZN.WEB-DL.DDP2.0.H.264-alfaHD.mkv

General
Container:  	Matroska
Runtime: 	2 h 16 min
Size: 	9.49 GiB
Video
Codec: 	h264
Resolution: 	1440x1080 
Aspect ratio:  	4:3
Frame rate: 	25.000 fps
Bit rate: 	10 000 kb/s
BPP: 	0.257
Audio
#1:  	Italian 2.0ch E-AC-3 @ 224 kb/s

https://nitro.download/view/4E2AE4472E180BF/Dark.Eyes.1987.ITALIAN.1080p.AMZN.WEB-DL.DDP2.0.H.264-alfaHD.mkv

Language(s):Italian
Subtitles:English, German, Spanish, (Italian on german spoken parts)

The post Nikita Mikhalkov – Oci ciornie AKA Dark Eyes (1987) first appeared on Cinema of the World.

Yugoslav partisans grimly crop the hair of a village quintet of women believed to have consorted with the occupational Nazis. Four, for various reasons, have indeed – and their seducer is a lone, swaggering sergeant whom the partisans briskly emasculate. Escorted out of town by the sheepish Nazis, the forlorn ladies link up, patriotically and romantically, with a band of tough mountain guerrillas

Filesize.....: 1,112 MB (or 1,139,244 KB or 1,166,586,176 bytes)
Runtime......: 01:41:06 (140,716 fr)
Video Codec..: XviD
Video Bitrate: 1390 kb/s
Audio Codec..: 0x0055(MP3) ID'd as MPEG-1 Layer 3
Audio Bitrate: 128 kb/s (64/ch, stereo) CBR
Frame Size...: 720x480 (1.50:1) [=3:2]

https://nitro.download/view/A9E44D84778338A/5_Branded_Women_(Martin_Ritt,_1960)_SATRip_VOSE__Cine-Clasico_.avi

Language(s):English
Subtitles:spanish hardsubs

The post Martin Ritt – 5 Branded Women (1960) first appeared on Cinema of the World.

Quote:
The year is 1972. Master Italian filmmaker Luchino Visconti is struck down by a stroke, rendering him, one would think, unable to continue making films—and this just two years after hitting a late-career high point with Death in Venice. But like many artists kept alive by their muse, Visconti heroically persevered, managing to complete two more films before finally succumbing to a heart attack in 1976. Adaptability being a key ingredient to any sort of artistic longevity, Visconti took his ailments not as hindrance, but as a challenge toward the realization of a new project. Taken by a story written by past collaborator Enrico Medioli and intrigued by the cinematic restrictions afforded such an intimate character study, Visconti—now very limited in his physical movements and activity—saw both personal and logistical promise in this tale of aging, nostalgia, and generational divide, which was entitled Conversation Piece after an illustrated novel of family portraits of the same name by Mario Praz. And the finished product, which indeed found Visconti working on just a few sets and stages and with only a handful of actors and longtime collaborators, while lacking the grandeur of such celebrated works as Senso and The Leopard, ultimately found inspiration in its limitations, and to this day stands as one of Visconti’s most personal, if necessarily least dynamic, works.

The perceived inability for an aging man to connect to a younger generation or even simply the outside world is a conceit that Visconti denied as reflective of his own situation at the time, yet Burt Lancaster—wisely playing his character of “The Professor” in direct correlation with the man he’d come to know so well over the prior decade—quickly identified the familiar traits that Visconti, Medioli, and co-screenwriter Suso Cecchi d’Amico imbued in this character. Resistant to change, the Professor has it instead foist on him when a divorced, hedonistic noblewoman rents the upper room of his old-style Italian duplex, her and her entourage—which includes her new lover, daughter, and her daughter’s boyfriend—upending the old man’s routine and convictions with their decadent displays of consumerism and sexuality.

Death looms large over Conversation Piece. And not just Visconti’s, but also, not coincidentally, the Professor’s; small glimmers of past lives (his wife, played by Claudia Cardinale, and his mother, by Dominque Sanda, both feature in brief flashbacks) and extracurricular interests (homosexuality is hinted at obliquely via a small hidden room where the Professor allows the marchesa’s young lover to spend the evening with him) are purposefully thwarted by his prized art collection which seemingly works as a salve against his discontent. The final scene brings with it a glimpse of realization on behalf of the Professor, one which Visconti himself may very well have never achieved. But Conversation Piece, as a “last will and testament” (as many have come to indentify it), feels both like a stylistic and thematic reconciliation on the filmmaker’s behalf, and as such a work of important insight into one of the cinema’s great anomalies.

2.49GB | 2h 01mn | 1024×436 | mkv

https://nitro.download/view/99DD61C3D836E37/Luchino_Visconti_-_(1974)_Conversation_Piece.mkv
https://nitro.download/view/9B2FD435A7DB6B9/Conversation.Piece.1974.srt
or
https://nitro.download/view/9D92745E7E2F190/Luchino_Visconti_-_(1974)_Conversation_Piece.part1.rar
https://nitro.download/view/86A5B8C17EA176B/Luchino_Visconti_-_(1974)_Conversation_Piece.part2.rar
https://nitro.download/view/884FD0AAD329702/Luchino_Visconti_-_(1974)_Conversation_Piece.part3.rar
https://nitro.download/view/9B2FD435A7DB6B9/Conversation.Piece.1974.srt

Language(s):English,Italian
Subtitles:English

The post Luchino Visconti – Gruppo di famiglia in un interno AKA Conversation Piece (1974) first appeared on Cinema of the World.

In the ancient Greek city of Ithaca, many impatiently await the return of their king Ulysses and his warriors from the Trojan War. Among these, Ulysses’ devoted wife Penelope and his grown son Telemachus. But Ulysses’ return is not eagerly awaited by everyone, especially by his enemies. They openly court Penelope and ask her to give her husband up for dead and re-marry one of the rowdy suitors who have taken up residence in her home since her husband’s departure. However, Penelope clings to her belief that Ulysses will soon return. To appease the aggressive suitors, Penelope promises that she would re-marry as soon as she finishes weaving a large tapestry depicting Ulysses’ deeds of bravery. In secret, she’s unraveling the day’s weaving, thus delaying the tapestry’s completion. Penelope knows that her trick won’t work forever. In Troy, Ulysses and his warriors use the Trojan Horse ruse to conquer the city. In his fervor, Ulysses destroys the Trojans’ temple to Neptune, god of the sea, incurring the ire of the witch Cassandra who curses him to suffer the wrath of Neptune. On the return home to Ithaca, Ulysses’ boat shipwrecks and he’s found unconscious on a Phaeacian island beach by beautiful princess Nausicaa. His long, arduous, treacherous and perilous odyssey begins.

2.82GB | 1h 44m | 790×576 | mkv

https://nitro.download/view/3DB60759C62AE66/Ulysses_(1954)_–_Mario_Camerini.mkv

Language(s):English, Italian (2 audio tracks)
Subtitles:English, Russian (muxed)

The post Mario Camerini – Ulisse AKA Ulysses (1954) first appeared on Cinema of the World.