Grace, a writer and young mother, is slowly slipping into madness. Locked away in an old house in and around Montana, we see her acting increasingly agitated and erratic, leaving her companion, Jackson, increasingly worried and helpless.

Die.My.Love.2025.1080p.iT.WEB-DL.DD5.1.H.264-FLUX.mkv

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Container:  	Matroska
Runtime: 	1 h 58 min
Size: 	8.65 GiB
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Language(s):English
Subtitles:English, English (SDH)

The post Lynne Ramsay – Die My Love (2025) first appeared on Cinema of the World.

A woman is determined to reveal the truth about an insidious political corruption. In doing so she risks her safety, career and reputation but will not stop asking questions until the truth is known.

Marie.1985.576p.BDRip-AVC.ZONE.mkv

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Container:  	Matroska
Runtime: 	1 h 52 min
Size: 	2.54 GiB
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Codec: 	x264
Resolution: 	1024x434 
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https://nitro.download/view/EB9278FAD8023F4/Marie.1985.576p.BDRip-AVC.ZONE.mkv

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Subtitles:English

The post Roger Donaldson – Marie (1985) first appeared on Cinema of the World.

Carrie White, a shy, friendless teenage girl who is sheltered by her domineering, religious mother, unleashes her telekinetic powers after being humiliated by her classmates at her senior prom.

Carrie.1976.576p.BluRay.x264-HANDJOB.mkv

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Runtime: 	1 h 38 min
Size: 	2.70 GiB
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https://nitro.download/view/E524BDC679BE27F/Carrie.1976.576p.BluRay.x264-HANDJOB.mkv

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The post Brian De Palma – Carrie (1976) first appeared on Cinema of the World.

A harrowing look at the 1960s and early 1970s through the eyes of Katherine Alman, a wealthy debutante who slowly, but inexorably spirals down into a fight for the causes that shook a nation, leading a path to the underground life.

Katherine.1975.480p.AMZN.WEB-DL.DDP2.0.H.264-PTP.mkv

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Container:	Matroska
Runtime:	1h 36mn
Size:	1.50 GiB
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The post Jeremy Kagan – Katherine (1975) first appeared on Cinema of the World.

Quote:
Costa-Gavras’s tense political drama opens in an unspecified South American country (though clearly intended to be Chile) in the throes of a military coup. American activist Charles Horman (John Shea), who has been a thorn in the side of the country’s military ever since his arrival, suddenly disappears. In trying to find out what has happened, his wife Beth (Sissy Spacek) is stonewalled, not only by the ruling junta but by the American consulate. His father, staunchly patriotic Ed Horman (Jack Lemmon), joins Beth in her search. Ed and his daughter-in-law have never seen eye to eye politically, and he refuses to entertain the notion that his son’s disappearance might be part of a larger conspiracy or cover-up. But as the days grow into weeks, Ed comes to the shattering conclusion that he and his family have been betrayed by the American government, on behalf of the “friendly” South American dictator who holds his people in a grip of iron. Adapted by Costa-Gavras and Donald E. Stewart from a book by Thomas Hauser, Missing was inspired by the true story of the late Charles Horman. In spite of (or perhaps because of) condemnation from certain high-ranking officials in the Reagan administration, the film went on to win an Academy Award for Best Adapted Screenplay, as well as nominations for Best Picture, Best Actor, and Best Actress. ~ Hal Erickson, Rov

2.60GB | 1h 57mn | 1024×556 | mkv

https://nitroflare.com/view/7D929B34FE70E97/Costa-Gavras_-_(1982)_Missing.mkv

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The post Costa-Gavras – Missing (1982) first appeared on Cinema of the World.

Quote:
An impressionable teenage girl from a dead-end town and her older greaser boyfriend embark on a killing spree in the South Dakota badlands.

Roger Ebert, in 1973, wrote:
They meet for the first time when she is in her front yard practicing baton-twirling. He has just walked off his job on a garbage truck. She thinks he is the handsomest man she’s ever seen — he looks just like James Dean. He likes her because he never knew a fifteen-year-old who knew so much: “She could talk like a grown-up woman, without a lot of giggles.” Within a few weeks, they will be the targets of a manhunt after he has shot down half a dozen victims.

Terrence Malick’s “Badlands” calls them Kit and Holly, but his characters are inspired, of course, by Charles Starkweather and Caril Ann Fugate. They went on a wild ride in 1958 that ended with eleven people shot dead. The press named him the Mad Dog Killer, and Sunday supplement psychoanalysts said he killed because the kids at school kidded him about his bowlegs. Starkweather got the electric chair on June 25, 1959. From time to time a story appears about Caril Fugate’s appeals to her parole board. She was sentenced to life.

She claimed she was kidnapped and forced to go along with Starkweather. When they first were captured, he asked the deputies to leave her alone: “She didn’t do nothing.” Later, at his trial, he claimed she was the most trigger-happy person he ever knew, and was responsible for some of the killings. It is a case that is still not closed, although “Badlands” sees her as a child of vast simplicity who went along at first because she was flattered that he liked her: “I wasn’t popular at school on account of having no personality and not being pretty.”

The film is tied together with her narration, written like an account of summer vacation crossed with the breathless prose style of a movie magazine. Some of the dialogue is loosely inspired by a book written by James Reinhardt, a criminologist who interviewed Starkweather on death row. Starkweather was offended by his death sentence. He viewed his crimes with total uninvolvement and asked how it was fair for him to die before he’d even been to a big city, or eaten in a fine restaurant, or seen a major-league game. That’s what the movie captures, too: The detachment with which Kit views his killings, as Holly eventually draws away from him. He gets no pleasure from killing. He sees it only as necessary. He offers explanations which satisfy her for a while: “I killed them because they was bounty hunters who wanted the reward money. If they was policemen, just being paid for doing their job, that would have been different.”

The movie makes no attempt to psychoanalyze its Kit Carruthers, and there are no symbols to note or lessons to learn. What comes through more than anything is the enormous loneliness of the lives these two characters lived, together and apart. He is ten years older than she is, but they’re both caught up in the same adolescent love fantasy at first, as if Nat King Cole would always be there to sing “A Blossom Fell” on the portable radio while they held their sweaty embrace. He would not. To discourage his daughter from seeing “the kind of a man who collects garbage,” her father punishes her by shooting her dog. She is “greatly distressed.”

Kit is played by Martin Sheen, in one of the great modern film performances. He looks like James Dean, does not have bowlegs, and plays the killer as a plain and simple soul who has somehow been terribly damaged by life (the real Starkweather, his father explained at the time, was never quite right after being hit between the eyes with a two-by-four).

Holly is played by the freckle-faced redhead Sissy Spacek. She takes her schoolbooks along on the murder spree so as not to get behind. She is in love with Kit at first, but there is a stubborn logic in her makeup and she eventually realizes that Kit means trouble. “I made a resolution never again to take up with any hell-bent types,” she confides.

After the first murder and their flight, they never have any extended conversations about anything, nor are they seen to make love, nor is their journey given any symbolic meaning. They hope to reach refuge in the “Far North,” where Kit might find employment as a mounted policeman. They follow their case in the newspapers, become aware of themselves as celebrities, and, in a brilliant scene at the end, the captured Kit hands out his comb, his lighter, and his ball-point pen as souvenirs to the National Guardsmen who had been chasing him.

The movie is very reserved in its attitude toward the characters. It observes them, most of the time, dispassionately. They are strange people, as were their real-life models; they had no rationalizations like Dillinger’s regard for the poor or Bonnie and Clyde’s ability to idealize themselves romantically. They were just two dumb kids who got into a thing and didn’t have the sense to stop. They’re something like the kids in Robert Altman’s “Thieves Like Us” and the married couple in “The Sugarland Express.” They are in over their heads, incapable of understanding murder as a crime rather than a convenience, inhabitants of lives so empty that even their sins cannot fill them.

2.34GB | 1 h 33 min | 1024×552 | mkv

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The post Terrence Malick – Badlands (1973) first appeared on Cinema of the World.

David Kehr, Chicago Reader wrote:
Robert Altman’s would-be American art film (1977) is murky, snide, and sloppy, but the director’s off the hook because he dreamed it all. Sissy Spacek and Shelley Duvall are two Texas girls who meet while working in a California sanatorium (courtesy of 81/2) and exchange identities while Altman struggles with feminism and the American dream. As usual, the director plainly despises his characters but offers no alternative to their pettiness, although his sneaky jokes at their expense give the film its only glimmer of style.

Altman’s ‘3 Women’ a Moving Film; Shelley Duvall in Memorable Role
Millie Lammoreaux is a joke. Her conversation is a confusion of clichés, brand names and affectations. “I’m famous for my dinner parties,” she might say, or, “This is my parking space. It’s the best one,” as if today’s Cosmopolitan Girls were graded on their parking spaces as well as on their grooming. Millie is nothing if not perfectly groomed, though when she hops into her car to go cruising for men she never quite succeeds in pulling all of her skirt inside. A bit always hangs out the door, like a distress pennant.

Millie Lammoreaux is the central figure in Robert Altman’s funny, moving new film, “3 Women,” and, as played as well as largely created by Shelley Duvall, she’s one of the most memorable characterizations Mr. Altman has ever given us. Miss Duvall’s large, round dark eyes are windows through which a tiny creature inside looks out upon a world whose complete disinterest Millie Lammoreaux refuses to accept.

Mr. Altman says that “3 Women,” which he wrote, directed and produced, had its origins in a dream he had in which he saw two young women in a desert setting. Ordinarily, I’m not sure that we should ever know too much about the particular inspiration for any work of fiction. Such knowledge has a way of sidetracking us from the work itself, or of prompting us to read into it things that are no longer there.

It’s apropriate in this case, though, since “3 Women” is still a dream—Mr. Altman’s—and, like a dream, it is most mysterious and allusive when it appears to be most precise and direct, when its images are of the recognizable world unretouched (as happens in the film from time to time) by camera filters or lab technicians.

It’s been a moviemaker’s convention for a long time to smear Vaseline around the edges of an image, or to blur it in some other way, to indicate a dream, even though an image of blinding clarity more accurately reflects the condensed nature of the dream experience, when, for example, without the slightest hesitation, we may accept one person as being two different people at the same time. Logic is beside the point in dreams.

Because “3 Women” is a dream, one must know what happens before one attempts to find out what it’s about. What happens, briefly, is this:

Millie Lammoreaux, a physical therapist in a Palm Springs spa for old folks with fat incomes, finds herself the adored object of another young therapist who calls herself Pinky Rose (Sissy Spacek). Pinky seems to have no past of her own, not even a Social Security number. At first, it seems that Pinky might be retarded but then it’s apparent she’s simply a blank, possessing nothing but her worshipful appreciation of Millie.

Millie accepts Pinky’s praise and affection as if she’d always been a prom queen instead of the figure of ridicule she really is, both at work and at the Purple Sage Apartments, the singles complex where she lives and that Pinky comes to share with her. Pinky doesn’t notice the snubs given to Millie. She doesn’t envy Millie. Because she loves Millie — idolizes her — she comes to be her, to take over her life being both herself and Millie.

The third woman in the composition is a reclusive painter named Willie Hart (Janice Rule), the wife of a philandering, middle-aged, ex-stunt man (Robert Fortier) and the owner, with her husband, of the seedy desert recreation area where Millie likes to hang out and look for men.

In the course of the film, in sequences that sometimes seem absolutely natural and at other times absurdist, these three women merge into one person, who is mother, daughter and granddaughter, isolated but serenely self-sufficient.

Now, I suppose, someone is bound to ask what it really is about. I’m not sure, but there are a number of possibilities. Since it is the moviemaker’s dream more than that of the characters within, it seems to be a consideration of today’s women. It’s not a narrative in any strict sense but a contemplation of three stages of a woman’s life by a man who appreciates women and may not be without a bit of guilt. It’s also about youth and age and (as are all Altman films) about the quality of American life. Let it go at that and don’t worry too much.

Having no easily discernible surface logic, “3 Women” must depend on internal logic, and this only falters when Mr. Altman loads his dream with more or less conventional dreams within, when we are given superimposed images, standard nightmare visions and images seen through water. This fanciness is unnecessary. “3 Women” is most strange and poetic when it’s played straight, as when poor Millie one night comes upon an elderly couple making love, or when someone says cheerily of a character in a deep coma, “I’m sure she’ll wake up when she sees you.”

Logic has nothing to do with films’ effeciveness, though it does with all of the performances, beginning with Miss Duvall’s. In this film Miss Spacek adds a new dimension of eeriness to the waif she played so effectively in “Carrie.” Also noteworthy are Miss Rule, Mr. Fortier and veteran actor-director John Cromwell and his real-life wife, Ruth Nelson, who play Pinky’s possible parents.
Vincent Canby, NY Times, April 11, 1977

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The post Robert Altman – 3 Women (1977) first appeared on Cinema of the World.