Three couples share a large house in the country, along with Cécile, a babysitter, and Hélène, their guest. The relationships between these disparate individuals are far from straightforward. Pierre has been faithful to his wife Ariane, but she has been pursuing an affair with Matthieu, who is married to Sabine. Lena is married to Bertrand, but, in his absence, she has taken a young lover, Marc. She also has a son, Michel. Hélène returned to the house in the hope of finding the man she fell in love with 25 years ago.

Lifes.Little.Treasures.1994.DVD.AC3.2.0.x264-SaL.mkv

General
Container:  	Matroska
Runtime: 	1 h 42 min
Size: 	1.63 GiB
Video
Codec: 	x264
Resolution: 	720x552 ~> 1021x552
Aspect ratio:  	1.85:1
Frame rate: 	24.000 fps
Bit rate: 	2 076 kb/s
BPP: 	0.218
Audio
#1:  	French 2.0ch AC-3 @ 192 kb/s

https://nitro.download/view/FC80A642F330120/Lifes.Little.Treasures.1994.DVD.AC3.2.0.x264-SaL.mkv
https://nitro.download/view/0BAD7577F1692E8/Aux_petits_bonheurs_AKA_Life’s_Little_Treasures_(1994).drparallax.fix.srt

Language(s):French
Subtitles:English

The post Michel Deville – Aux Petits Bonheurs AKA Life’s Little Treasures (1994) first appeared on Cinema of the World.

A rookie policeman from provincial Le Havre volunteers for the high pressure Parisian homicide bureau and is assigned to a middle-aged woman detective.

1.89GB | 1h 50m | 858×464 | mkv

https://nitro.download/view/845C45580CD58B0/Le.Petit.Lieutenant.AKA.The.Young.Lieutenant.2005.DVDRip.x264.mkv
or
https://tezfiles.com/file/e91e2686c90e1/Le.Petit.Lieutenant.AKA.The.Young.Lieutenant.2005.DVDRip.x264.mkv

Language(s):French, Polish, Russian
Subtitles:English, Portuguese

The post Xavier Beauvois – Le Petit Lieutenant AKA The Young Lieutenant (2005) first appeared on Cinema of the World.

Le Vent de la Nuit bears little resemblance to the first film in our series, Les Amants Réguliers, made only six years later. The latter, with its rich, fathomless depths of black-and-white photography and insular, period setting stands in stark relief to the former’s auburn-tinged, deep-focus, wide-angle lensing of modern-day Paris, Naples and Berlin. Even so, Le Vent is unmistakably a film by Philippe Garrel, with its deliberate pacing, recurring themes of bitter regret, lost love and longing across generations and relentless focus on the emotional landscape of its three central characters, all which immediately connect it to his other work. There’s a memory-suffused beauty and extraordinary purity to the film, a careful attunement to the passage of time and an underlying pressure that swells beneath the glossy surface of its cross-country sprawl: a road movie and travelogue buttressed by John Cale and his wonderfully attuned soundtrack, the journeyman singer-songwriter-composer formerly of the Velvet Underground also responsible for scoring Garrel’s earlier, 1993 masterpiece, La Naissance de l’Amour, starring Jean-Pierre Léaud and Lou Castel, and whom Garrel first met on the set of his 1968 film, Le Lit de la Vierge, along with Nico, the director’s perennial muse and the woman to which the German sections in Le Vent directly relate.

The first scene of the Le Vent de la Nuit unfolds in characteristically indirect and allusive fashion. A middle-aged woman, Hélène (Deneuve), ascends a staircase to a third-floor flat, surreptitiously unlocks the door with a hidden key and opens it quickly, trying not to be noticed. After entering the room, she surveys the sparsely furnished space, and then begins to make the bed, spraying it with wisps of perfume. It is only later that we realize that her actions in this non-descript setting are in preparation for a secret tryst between the unhappily married woman and her much younger lover, Paul, played by the great, young French actor and director, Xavier Beauvois. It is especially important to take into consideration the backgrounds of the actors Garrel chooses to appear in his films, since many of them write much of their own dialogue and contribute liberally to the script, Le Vent being no exception. Their real-life biographies tend to influence the fictional universe of Garrel’s stories, turning the films’ scenarios into something strikingly intimate and personal. For instance, Xavier Beauvois’ working class upbringing is drawn on implicitly in the story. Beauvois grew up in the Pas-de-Calais, an out-of-the-way province of France subsisting primarily on the steel and mining industry, and owes his career to a number of benevolent mentors, like Jean Douchet, the filmmaker and critic who gave a lecture at his school, and the professor who helped enroll him at La Fémis. A class there at the time happened to be taught by Marc Cholodenko, the screenwriter with whom Garrel has collaborated on virtually every project since Les Baisers de Secours and J’Entends Plus la Guitare. Another mentor of Beauvois’s who championed his work early on was the late Serge Daney, an influential critic for Cahiers du Cinema, the famous French-language film journal responsible for the birth of the nouvelle vague, who became disenchanted with the publication’s political failings following the events of May ’68 and perhaps not so coincidently shares the same first name of the aging architect who befriends Paul in Garrel’s story. A further credit of note is Arlette Langmann, the wife of the late Maurice Pialat, another titan of French cinema whose slice-of-life films, particularly L’Enfance Nue, A Nos Amours and Le Garçu, mirror much in Garrel’s oeuvre.

Following the clandestine liaison that serves as a kind of prelude to Le Vent de la Nuit, Paul, a struggling young art student, explains to Hélène that he must leave Paris for a few days to attend a groundbreaking ceremony for a new building in Naples which features one of his sculptures (a surprise announcement which his partner initially protests and then accepts with anxious resignation) and it is there, in Italy, that he is first introduced to Serge, a wealthy architect who might be able to help further his career. The character of Serge has an aloof, wearily forlorn look about him, but there’s also something more deeply wounded in his dour mien which immediately connects him to Deneuve’s character. He’s played by the French character actor Daniel Duval.

The majority of Le Vent’s second act is devoted to following Serge and Paul as they travel cross-country in a cherry red sports car, Hélène’s damaged psyche hovering like a phantom over the two men as they drive on French and Italian motorways and endless autoroutes, stopping occasionally to eat, drink and critique the banal décor of roadside stands, rest stops and gas stations. They take detours to abandoned cathedrals and survey unfinished frescoes adorning the interior walls. They speak of philosophy and politics, and the architect’s background, particularly his participation in the riots of May ’68, an autobiographical touchstone for the director and the beginning of a series of further revelations regarding this lonely, suicidal character’s past. At one point in the journey, Paul awakes to find the car pulled over to the side of the road and Serge gone. He discovers the absent driver crying and shouting out at the trees alongside the highway. Towards the end of the film, Serge visits a woman’s grave in Berlin, an allusion to the director’s ten-year relationship with a German chanteuse from which he, like Duval’s character, never quite fully recovered. Eventually, some two-thirds into its running time, the story circles back to its central Parisian milieu for a fated meeting between Serge and Hélène. But their fleeting nighttime embrace, rendered simply and elegantly, provides only a brief respite before the tragic, inevitable denouement. (Jameson West)

Le.Vent.De.La.Nuit.AKA.The.Wind.Of.The.Night.1999.DVDRip.x264-HANDJOB.mkv

General
Container:  	Matroska
Runtime: 	1h 32mn
Size: 	1.49 GiB
Video
Codec: 	x264
Resolution: 	716x430 ~> 1010x430
Aspect ratio:  	2.35:1
Frame rate: 	25.000 fps
Bit rate: 	2 007 Kbps
BPP: 	0.261
Audio
#1:  	French 2.0ch AC-3 @ 256 Kbps

https://nitro.download/view/F292C6AC6645D91/Le.Vent.De.La.Nuit.AKA.The.Wind.Of.The.Night.1999.DVDRip.x264-HANDJOB.mkv

Language(s):French
Subtitles:English, Spanish

The post Philippe Garrel – Le vent de la nuit aka Night Wind (1999) first appeared on Cinema of the World.

Quote:
The movie begins with a startling, intimate sex scene. A hefty middle-aged man is making love with an attractive middle-aged woman. He is avidly concerned with bringing her to orgasm, each one worries that the other is worried that the other is taking too long—“I feel good. I’m good,” insists one of them— the sex ends in resignation. What’s startling about the scene is not its explicitness, which is not inordinate. It’s the way the characters are framed, in medium closeup, in compositions that emphasis the space between their faces as much if not more than their faces. (One is reminded of Elie Faure’s writing on Velasquez, quoted by Jean-Paul Belmondo in Jean-Luc Godard’s “Pierrot Le Fou.”)

This is the touch of a cinematic master. Claire Denis is the writer and director of this film, and she surely is this thing, as is her collaborator, the cinematographer Agnés Godard. “Let The Sunshine In” (the title is a horrifically bad translation/transposition of a pertinent phrase that is uttered in the last scene of the film) soon puts these characters into clothes and in conversation. The woman is Isabelle, a successful visual artist and divorced mom, played by the always astonishing Juliette Binoche. The man is Vincent, a married banker who’s got his stubby piggish fingers in the art world, and enjoys baiting Isabelle with who-slept-with-who gossip about gallery owners and former lovers. Vincent, incarnated with spectacular relish by Xavier Beauvois (the actor and filmmaker best known here for directing 2010’s “Of Gods And Men”) is a real piece of work, arrogant without end, a grotesquely pedantic and condescending whiskey snob (they’re worse than wine snobs if you can imagine such a thing) who in one scene requests a bartender bring him “gluten-free olives.” He is the first in a series of lovers whom Isabelle contends with in this.

Like Muddy Waters, Isabelle can’t be satisfied. The viewer is perhaps meant to drop their jaw at seeing this attractive woman stuck on a contained boor such as Vincent, but her reason, which she lets on late in the movie, makes perfect if perverse sense. After establishing some distance from him, she has a frustrating drinks-and-dinner session with an unnamed stage actor with whom she wishes to collaborate on an unnamed project. Even after he admits his alcoholism to her, she engineers an awkward seduction; their post-coital relationship feels more like boxers in a ring refusing to approach each other rather than a romantic or sexual affinity.

The film continues to chronicle Isabelle’s struggles. This isn’t a story of a smart woman making bad decisions; Denis’ mind isn’t as simplistic as that. The director has treated a pretty wide variety of topics over the course of her long and wonderful career. Female desire, as it happens, is not one she’s looked into often. 2002’s “Friday Night” was the last time she took it on quite so directly. In that film, a young woman on the verge of entering a permanent union found herself in circumstances that allowed her a brief escape that could also have been an epiphany. In this film, Isabelle, as beautiful and smart as she is, feels herself constricted by forces she can’t even confront. Is it the most appropriate thing for her, at her age, to live, as she puts it, a “life without desire?”

Clearly no. But the film does confront the fact that particularly for women, pursuing desire in middle age is a fraught path. To add a twist to this demonstration, Denis breaks it off late in the movie, and jumps briefly into someone else’s storyline, someone who had been a stranger up to this point. Then the filmmaker wraps it up in a final shot that’s both cerebral, whimsical and wry in its wisdom. The film’s confidence comes in part from the acceptance of the things that can’t be known.

https://nitro.download/view/DE97C6030DA7FDE/Claire_Denis_-_(2017)_Let_the_Sunshine_In.mkv

Language(s):French
Subtitles:English

The post Claire Denis – Un beau soleil intérieur AKA Let the Sunshine In (2017) first appeared on Cinema of the World.