When Niko’s finances go astray, he hides out in thefamily house in the Greek mountain town of Siatista. Surrounded by ghosts of his past, Niko must uncover the mystery of his father’s death.

The.Winter.AKA.O.heimonas.2013.1080p.AMZN.WEB-DL.AAC.2.0.H.264-LONAPi.mkv

General
Container:	Matroska
Runtime:	1h 45mn
Size:	7.19 GiB
Video
Codec:	h264
Resolution:	1920x800
Aspect ratio:	2.40:1
Frame rate:	24.000 fps
Bit rate:	10 000 kb/s
Audio
Greek 2.0ch AAC LC @ 125 kb/s

https://nitro.download/view/ACCB401D2AFC80B/The.Winter.AKA.O.heimonas.2013.1080p.AMZN.WEB-DL.AAC.2.0.H.264-LONAPi.mkv

Language(s):Greek
Subtitles:English hardcoded

The post Konstantinos Koutsoliotas – O heimonas AKA The Winter (2013) (HD) first appeared on Cinema of the World.

A father and a son long lost. Love and hate. Digging deep into mud to find their roots. Revenge and Redemption. A Western, revisited.

1.45GB | 1h 41mn | 1280×534 | mkv

https://nitro.download/view/BC247D352F7265C/Digger.2020.720p.WEB.x264.mkv
or
https://nitro.download/view/F930275AB577791/Digger.2020.720p.WEB.x264.part1.rar
https://nitro.download/view/8C47A5251DB0684/Digger.2020.720p.WEB.x264.part2.rar

Language(s):Greek
Subtitles:English,Portuguese

The post Georgis Grigorakis – Digger (2020) first appeared on Cinema of the World.

Synopsis:
The Summer of 1987. Six friends from Salamina meet in one of the island’s cafes. Then, and over the following seven years, they experience maturation as a gradual drawing-away from the paradise of their adolescent unconcern, and the emotional bonds between them slowly wither. They realize that they are no longer the center of the world and that they have been absorbed by a social system that is deadly serious. Year-in-year-out, their meetings take place less and less frequently. Every time they return to the island, they carry with them traces of different personal experiences that all the more bear the marks of modern social reality. They experience this change as a kind of decay and corruption. At the same time, their once-solid friendship inevitably fades away.

1.59GB | 1h 51m | 775×436 | mkv

https://nitroflare.com/view/EDC70786D44A9FC/apontes.mkv
or
https://nitroflare.com/view/644F2ED1F106209/apontes.part1.rar
https://nitroflare.com/view/0EFE3656C723E9D/apontes.part2.rar

Language(s):Greek
Subtitles:English

The post Nikos Grammatikos – Apontes (1996) first appeared on Cinema of the World.

Synopsis wrote:
Trying to turn his back on a dark past, a thirty-year-old man returns to his hometown in the Peloponnese with the hope of making a fresh start. The local society treats him with hostility, but he doesn’t give up and manages to integrate into this new environment. When, however, a girl who knows about his past comes into his life, he is driven to conflict with the people around him and, in the end, to his own destruction.

Vrasidas Karalis wrote:
A special film was Nikos Grammatikos’ The King (O Vasilias), an attempt to explore the secretive and insular society of a Greek village as a young man returns to start anew after escaping his former life of drug addiction and urban squalor. The suspicion, fear, and malice of a society that has no place for the stranger (in this film the social outcast is the stranger) are explored through a realistic cinematic language reminiscent of Lars von Trier’s visual idiom—yet fierce social criticism and a deep empathy for the outcast stops the film short of pretension or self-indulgence. The main character (superbly performed by Vangelis Mourikis) moves through the claustrophobic village, the topos where presumably authentic Greek hospitality abides, with horror and detachment, unable to achieve the transforming redemption through interaction with the purity of natural life. The outcast discovers that the village is the ultimate infernal punishment for his inability to take control of his self and act with responsibility. Through unstable shots, constant camera movement and unnerving close-ups, Grammatikos constructs a story against the background of burnt forests and abandoned houses, creating a tragic atmosphere of absence and lack. The film stands out as the new parable of the character of the Greek countryside, depicting it as a place of imprisonment and exile.

Karalis, Vrasidas. A History of Greek Cinema. New York, NY: Continuum, 2012. link

https://nitro.download/view/8CC007C79093EA0/O_Vasilias_AKA_The_King__Nikos_Grammatikos__2002.mkv
https://nitro.download/view/AD3ECF310C0599F/O_Vasilias_Extras.rar

Language(s):Greek
Subtitles:English

The post Nikos Grammatikos – O Vasilias AKA The King [+Extras] (2002) first appeared on Cinema of the World.

Quote:
Manhood-measuring contests — in every imaginable sense of the phrase — are taken to brazenly literal extremes in “Chevalier,” the long-awaited third feature from Greek multi-tasker Athina Rachel Tsangari. Markedly different in focus and emotional temperature from her 2010 breakthrough, “Attenberg,” this committedly deadpan comedy of manners, morals and men behaving weirdly boasts a contained conceit seemingly ripe for unfettered absurdism: On a luxury yacht in the Aegean Sea, six male acquaintances embark on a rigorous series of personal and physical challenges, mercilessly grading each other to determine who is “the Best in General.” That Tsangari resists escalating the conflict, counting on subtle political insinuations to emerge as these perplexing social Olympics wear on, will leave as many viewers enervated as amused, but it’s an expertly executed tease.
That “Chevalier” is bowing in Locarno’s rarefied competish strand, rather than following “Attenberg” to Venice, suggests the new film is unlikely to match its predecessor’s relative breadth of international distribution, though it should enjoy numerous stops on the festival circuit. It remains to be seen, meanwhile, how the growing bracket of feminist and gender-focused fest programming will embrace a film in which not a single female character appears — even if its perspective on male group psychology is implicitly, and fascinatingly, feminine.
Since the magnetizing success of the Tsangari-produced “Dogtooth” in 2009, critics have been more vocal in identifying a “new wave” in Greek cinema than the disparate filmmakers it comprises. Between them, however, they may have inadvertently fashioned a distinct, film-traversing story world characterized by certain heightened modes of expression and behavior: The arguably sociopathic antics of the core sextet in “Chevalier,” profoundly eccentric in and of themselves, attain a peculiar kind of rationality in the fictional universe that Tsangari tangentially shares with such peers as Yorgos Lanthimos — whose regular collaborator, Efthimis Filippou, tellingly takes a co-writing credit here. (None of the pic’s prickly fishing buddies are transformed into actual lobsters, but one can hope.)
The premise is at once simple and outlandish, as well as foreplay-free. In all but one case, no explanation is offered as to the bond uniting the six principals, whose interactions don’t betray any close friendship, or why they have clubbed together on an expensive maritime vacation without their respective families. There’s a noticeable age gap between the group’s youngest and oldest members, though they appear to vary even more widely in terms of class and social status. At the top end of both spectra is an elegant sixtysomething GP known only as the Doctor (Yorgos Kendros); bringing up the rear in most respects is Dimitris (Makis Papadimitriou), a schlubby milksop of indeterminate profession who still lives with his mother — and isn’t permitted to go in the water.
It turns out Dimitris is present by way of pity, as his tersely bullying older brother, Yannis (Yorgos Pirpassopoulos), reminds him with too much venom; more benevolent in his approach is confident alpha type Yorgos (Panos Koronis), while Josef (Vangelis Mourikis) and Christos (Sakis Rouvas) occupy the middle ground. It might take viewers some time to distinguish each man’s individual identity — Tsangari and Filippou avoid pat archetypes — though the characters come into sharper relief once the aforementioned competition is proposed, livening up a hitherto awkward game night. The purpose of this long-term masculinity test is as hazily defined as its reward — the title refers to a signet ring to be worn by the ultimate champion — but the men throw themselves into it with aplomb.
The individual challenges range from the farcically mundane (an IKEA flatpack assembly race on the prow of the yacht) to the more invasively intimate, as the men verbally arouse each other to compare erection sizes. Tsangari doesn’t neglect the rich comic potential of this puffed-up oneupmanship; one setpiece involving fireworks, breakdancing and Minnie Riperton’s “Lovin’ You” reps a shot of screwball hilarity amid the dourer drollness. Yet there’s a sterner subtext to such lunacy, as the men’s petty competitiveness brings deeper-seated insecurities to the fore. Whether auds wish to read this as a broad statement on the human condition or an oblique metaphor for Greece’s drifting class structure in the age of economic crisis is up to them; an upstairs-downstairs dynamic is brought to proceedings via the detached, bemused perspective of the yacht’s staff.
Tsangari has no interest in guiding our interpretation, running in place with her ultra-arch joke until a deft double bluff of a conclusion. Likewise, she demonstrates and encourages little empathetic preference for one character over another — the advantageous outcome, perhaps, of a female filmmaker’s view on an exclusively, and aggressively, male rivalry. There’s a hint of feminist relish in the way “Chevalier” depicts the kind of personal infighting and aspirational comparison more commonly attributed in popular culture to women than men: “My thighs aren’t fat,” one of the guys repeats to himself in a bathroom-mirror pep talk, deliciously reversing at least one hoary gender stereotype.
The ensemble players, in keeping with the film’s democratically dispassionate approach, are uniformly perceptive, suggestive and vanity-free, with no one player attempting to seize the spotlight. The pic’s sleekly understated craft contributions are similarly sensitive to tone and directorial intent, with Christos Karamanis’ exactingly framed, seawater-hued lensing passively dictating focus. Only in her soundtrack selections, which range from Mark Lanegan to Petula Clark to throbbing EDM, does Tsangari lead with her oddball side: That it’s sometimes hard to tell if the music in a given scene is diegetic or not is just one of “Chevalier’s” many needling ambiguities.

1.74GB | 1h 44m | 1024×432 | mkv

https://nitro.download/view/C6A16FC754B7C04/Athina_Rachel_Tsangari_-_(2015)_Chevalier.mkv

Language:Greek
Subtitles:English

The post Athina Rachel Tsangari – Chevalier (2015) first appeared on Cinema of the World.

Synopsis:
Following his father’s death, Nikos leaves the provinces to work in Athens guarding his brutish uncle’s dogs. Nikos finds the dynamic of his relationship with his uncle changing when his uncle’s wife draws closer to him.

Knifer.2010.1080p.CINOBO.WEB-DL.DD5.1.H.264-Gloft.mkv

General
Container:  	Matroska
Runtime: 	1 h 43 min
Size: 	2.53 GiB
Video
Codec: 	h264
Resolution: 	1920x1080 
Aspect ratio:  	16:9
Frame rate: 	25.000 fps
Bit rate: 	3 036 kb/s
BPP: 	0.059
Audio
#1:  	Greek 5.1ch AC-3 @ 448 kb/s

https://nitro.download/view/200C86F0DF72A9A/Knifer.2010.1080p.CINOBO.WEB-DL.DD5.1.H.264-Gloft.mkv

Language(s):Greek
Subtitles:English

The post Yannis Economides – Macherovgaltis aka Knifer (2010) first appeared on Cinema of the World.