Quote:
Using their sound and film equipment like musical instruments, the members of the band GUI AIUEO:S create an audiovisual work of art. On their journey, they search for UFOs, meet odd hermits, and are introduced to the sustainable toilet. Go SHIBATA, winner of the 2011 NIPPON VISIONS AWARD, presents an eccentric performance-roadmovie-documentary. Hop on board and step on the gas!

1.74GB | 1h 26m | 1920×1080 | mkv

https://nitroflare.com/view/4BDBB0A01E7213A/Gui.aiueo.S.2016.WEB-DL.x264.AAC.DLB-KG.mkv
or
https://tezfiles.com/file/64e8cf65e8f8f/Gui.aiueo.S.2016.WEB-DL.x264.AAC.DLB-KG.mp4

Language:Japanese
Subtitles:None

Eroding ideologies shift sands of unreality. Shadow cast narratives reflecting surface. Polarizing algorithms weathering perceptions. The organism creates the environment. Return to the elements.

135MB | 8m 11s | 1280×720 | mkv

https://nitroflare.com/view/E4148BA73CC1470/Locus_Suspectus_-_J.M_Martinez_(2020).mkv
or
https://tezfiles.com/file/690595110f67b/Locus_Suspectus_-_J.M_Martinez_%282020%29.mp4

Language:None
Subtitles:None

Toto est un marcassin accueilli par Madeleine. La bête va grandir, dans les cœurs, mais sur ses pattes aussi. Vincent affectionne les singes, dont il part retrouver les facéties en Inde. Et le pauvre Joseph souffre de cauchemars causés par la machine artificielle à respirer qu’il est contraint d’utiliser. C’est Pierre qui se trouve à nouer toutes ces aventures. Pierre Creton, ouvrier agricole et cinéaste, qui vit à Vattetot, et qui retrouve ici la veine de L’Heure du Berger (Grand Prix FIDMarseille 2008). Autrement dit avec l’autobiographique teinté de fantastique, avec l’extraordinaire pêché dans l’ordinaire, avec l’affection et l’amour portés aux êtres, humains et animaux confondus, avec l’humour saupoudrant chaque amorce de drame. À cette nuance près que Creton s’autorise cette fois nombre de libertés formelles. Split screen, par exemple, mais aussi voix off des personnages dits par des actrices ou acteurs de renom. En bref, le film épaissit sa matière, s’affirme joueur et décidé, sans jamais, miraculeusement, perdre en grâce. Et ce sont du même coup toutes les connexions audacieuses qu’avance le film qui gagnent en émotions, qui enchevêtrent encore davantage leurs complexités, qui proposent leurs mystères de manière toujours plus lumineuse. Même si, en termes de mystères, seul celui de l’amour, répété, martelé ou fugué, fait la basse continue de ce splendide plain-chant.

An elderly woman discovers an adolescent wild boar on her doorstep and decides to adopt the beast as her last – and most beloved – child.

1.25GB | 1h 32m | 1024×576 | mkv

https://nitroflare.com/view/98CBB0EECC1A5FE/2017___Va__Toto___-____Pierre_Creton.mkv
or
https://tezfiles.com/file/e63ae4a2f5b5d/2017___Va__Toto___-____Pierre_Creton.mp4

Language:French
Subtitles:None

Filmed at Benning’s home in Val Verde during the first month of the pandemic, the film is a portrait of that time.

372MB | 1h 15m | 1920×1080 | mkv

https://nitroflare.com/view/76FD320AA13DCD8/On.Paradise.Road.2020.1080p.WEB-DL.x264-gooz.mkv
or
https://tezfiles.com/file/383bb041b5724/On.Paradise.Road.2020.1080p.WEB-DL.x264-gooz.mkv

Language:None
Subtitles:None

Metastasis presents layered projections of a toilet but both the name and the equipment (Matsumoto used an Electro Color Processor a machine commonly used by doctors) convey the ever-present fear of cancer in Japan of that time.

166MB | 8m 09s | 768×576 | mkv

https://nitroflare.com/view/8EF9688553B2097/Metastasis.1971.576p.Bluray.x264-DeMT.mkv
or
https://tezfiles.com/file/0664c9bcb232a/Metastasis.1971.576p.Bluray.x264-DeMT.mp4

Language(s):No dialogue
Subtitles:not needed

ĀTMAN is a visual tour-de-force based on the idea of the subject at the centre of the circle created by camera positions (480 such positions). Shooting frame-by-frame the filmmaker set up an increasingly rapid circular motion. ĀTMAN is an early Buddhist deity often connected with destruction; the Japanese aspect is stressed by the devil mask of Hangan, from the Noh, and by using both Noh music and the general principle of acceleration often associated with Noh drama.

328MB | 11m 49s | 768×576 | mkv

https://nitroflare.com/view/866B35480841CF6/Atman.1975.576p.BluRay.AAC.x264.mkv
or
https://tezfiles.com/file/97e2b53ac1d94/Atman.1975.576p.BluRay.AAC.x264.mp4

Language(s):No dialogue
Subtitles:not needed

While extracting and polishing their blocks of stone, stonecutters used to say the stone is coming to life. This paradox provided Matsumoto with the best metaphor for what making a film is all about. In his opinion, filmmakers work images in the same way that stonecutters work stones.

637MB | 24m 29s | 768×576 | mkv

https://nitroflare.com/view/1B54F2880185ADE/Ishi.no.uta.AKA.The.Song.of.Stone.1963.576p.BluRay.x264-J2GHJ.mkv

or
https://tezfiles.com/file/b4f3b54d789fc/Ishi.no.uta.AKA.The.Song.of.Stone.1963.576p.BluRay.x264-J2GHJ.mp4

Language(s):Japanese
Subtitles:English (Muxed)

Quote:
LIGHT YEARS is a collage film and a journey through the Swedish landscape, traversing stellar distances in units of 5878 trillion miles. It is a film acutely in the present reflecting our temporal existence … continuous and imperfect.

“LIGHT YEARS continues to develop the concerns and techniques begun in her earlier film FRAME LINE. In LIGHT YEARS Nelson blends collage animation with highly textured live-action material to create a haunting evocation of her displacement from her native Swedish culture. Particularly striking is her use of wet ink on glass to create a constantly shifting image of a path leading to a house. With these passages of the house and moving images of the Swedish landscape as threads, LIGHT YEARS becomes a tapestry of change as experienced through constant motion. It is a personal reflection on the filmmaker’s memories of her past.

“The film is so filled with visual ideas that Gunvor Nelson has extended the film’s themes and techniques in her subsequent effort LIGHT YEARS EXPANDING. All her recent films suggest that while the distance of time makes home further, the intensity of memory makes it richer.” – Parabola

1987, 16mm, color/so, 28m, $80

307MB | 26m 08s | 352×288 | avi

https://nitroflare.com/view/FCF768D1DF7FE08/Gunvor_NELSON_-_1986_-_Light_years.mpg
or
https://tezfiles.com/file/efeade0e3f9d7/Gunvor_NELSON_-_1986_-_Light_years.mp4

Language(s):Some swedish on the soundtrack, most likely snippets of some radio programme
Subtitles:None

Independent filmmaker Nina Hedenius Det speglar i mitt öga [My Eye Is Reflecting] is a poetic film on the act of seeing and on the details that rarely gets our attention. The film is a collage of diverse scenes depicting life, death, objects and people; a Swedish crayfish party, a classroom, cows in the meadow, the Stockholm subway… With musical effects by Ralph Lundsten.

Quote:
Nina Hedenius is a special filmmaker. She started out as a still photographer, then later became a documentary filmmaker, where she usually does everything; idea, script, production, photography, direction and editing. However, it is the photo you mainly focus on when you see her films – the details, the moods, the light.
nordicwomeninfilm.com

1.34GB | 58m 19s | 1440×1080 | mkv

https://nitroflare.com/view/6CD141205F6DA6A/Det_speglar_i_mitt_öga_(Nina_Hedenius,_1992).mkv
https://nitroflare.com/view/6368155BD1AA8C2/Det_speglar_i_mitt_öga_(Nina_Hedenius,_1992)_English.srt
https://nitroflare.com/view/6CBB416AB692930/Det_speglar_i_mitt_öga_(Nina_Hedenius,_1992).srt
or
https://tezfiles.com/file/4f83fad015482/Det_speglar_i_mitt_%D1%86%E2%95%A4ga_%28Nina_Hedenius%2C_1992%29.mp4
https://tezfiles.com/file/f4a79a3d86bd9/Det_speglar_i_mitt_%C3%83%C2%83%C3%82%C2%B6ga_%28Nina_Hedenius%2C_1992%29_English.srt
https://tezfiles.com/file/4e34aa7883516/Det_speglar_i_mitt_%D1%86%E2%95%A4ga_%28Nina_Hedenius%2C_1992%29.srt

Language(s):Swedish
Subtitles:English,Swedish

Quote:
A horrifying series of murders, committed by a teenaged killer in 1968, prompted a group of filmmakers to chart his path, capturing the things he might have seen before committing his crimes. Their result is this provocative, rarely-screened meditation on geography and society.

Quote:
In 1969, Adachi, who had already made a number of important films, led a group of people, who were all in the vanguard of filmmaking in Japan, in making a film called “AKA. Serial Killer.” The camera eye mostly shows various landscapes across Japan, following the itinerary of a young informal worker, Norio Nagayama, who ended up committing a series of shootings in these places. Then a relatively known film director made a narrative film about Nagayama’s miserable upbringing and tried to make a statement about the social inequality that was supposed to have been responsible for his crime (The film is “Naked Nineteen -Hadaka no Jyuukyuu-sai-” directed by Kaneto Shindo, 1970). Meanwhile this group decided to pursue a totally different approach, which, precisely speaking, is neither a story film nor documentary. It is an attempt to see exactly what Nagayama saw along his itinerary looking for a better job, a better place, which never existed. The resulting film shows a series of terrains that have been transformed to the effect of losing genius loci or the singularities of place and became a series of postcard-like landscapes. This was the most straightforward critique of capital’s “real subsumption,” namely, the overall commodification of the everyday, which corresponds to the critique of “spectacle” by Guy Debord (The key word used in the debate provoked by the film was fukei in Japanese, which is commonly translated as “landscape.” As opposed to that, the music critic Yuzo Sakuramoto suggested to use “spectacle.”).

1.47GB | 1h 26m | 1280×720 | mkv

https://nitroflare.com/view/19A3EBE665B7FA2/Masao_Adachi_-_Ryakusho_renzoku_shasatsuma_AKA_Serial_Killer_(1969).mkv
or
https://tezfiles.com/file/f08c29f119234/Masao_Adachi_-_Ryakusho_renzoku_shasatsuma_AKA_Serial_Killer_%281969%29.mkv

Language(s):Japanese
Subtitles:English (Hardcoded)

Quote:
David Gladwell is perhaps best-known for his celebrated work as editor on Lindsay Anderson’s If…. and O Lucky Man! Requiem for a Village, along with the four exquisite and startling short films also included in this BFI Flipside Dual Format Edition, reveal him to be an unfairly overlooked director of ground-breaking work.

The idyllic, rural past of a Suffolk village rises to life in Requiem for a Village (1975) through the memories of an old man who tends a country graveyard. With influences that range from the poet TS Eliot to the artist Stanley Spencer, and using real village residents as amateur actors, the film powerfully suggests that history and memory are ever-present in our lives, regardless of the unrelenting drive towards modernisation.

This extraordinary, little-seen film, an archetypal Flipside discovery, is preserved in the BFI National Archive and newly transferred in High Definition.

Writing in the 1975 London Film Festival programme, Lindsay Anderson commented: ‘David Gladwell’s film is an authentic, lyrical pastoral of absolute and obstinate originality – the work of a unique artist… Requiem for a Village is one of that handful of works which prove that the English poetic genius is fully capable – given the right, rare circumstances – of expressing itself in cinema, as it always has in literature and painting.’

Since his wide and accomplished career as a film editor, writer and director, David Gladwell has returned to painting. He enjoyed a residency at Lambeth College in South London in 2004-2005 and currently lives and works in South London.

3.26GB | 1h 19m | 1280×960 | mkv

https://nitroflare.com/view/31F0AE0AA335622/Requiem.For.A.Village.1975.720p.BluRay.x264-BiRDHOUSE.mkv
or
https://tezfiles.com/file/9252aa6b95a6f/Requiem.For.A.Village.1975.720p.BluRay.x264-BiRDHOUSE.mkv

Language(s):English
Subtitles:None

Quote:
Correction Please is a formally adventurous and rigorously philosophical essay on the nature of early cinema, made under the auspices of the Arts Council of Great Britain in the late 1970s. It emerged in the era of works like Laura Mulvey and Peter Wollen’s Riddles of the Sphinx (1977) and Anthony McCall and Andrew Tyndall’s Argument (1978), two other instances of filmmaking-as-film-theory to which Burch’s otherwise singular project might be compared. The topic of Correction Please is the development of narrative cinematic language from film’s inception to the period of sound—what Burch has dubbed “the gestation of the Institutional Mode”—investigated through a series of tautly structured segments, including ten archival examples of so-called “primitive” films made prior to 1906, animated diagrams explicating these early works, quotations from Maxim Gorky, Christian Metz, and Lillian Gish, and, most dramatically, a series of five staged sequences that recapitulate and analyze emblematic formal properties of five different chapters in cinema’s evolution.

Shot with actors on a stunning Art Deco set, these scenes construct a tale of international intrigue, as a young man delivers a secret message to a mysterious and mesmerizing Countess. “For the record,” Burch explains in a series of notes written to accompany the film’s first screenings, “I should indicate that while true pastiche is never intended, the periods alluded to in the five sequences staged by me are: the mature primitive years (ca. 1905), Griffith’s middle period at Biograph (ca. 1910), the more mature films which Reginald Barker made for Thomas Ince (ca. 1915), Fritz Lang’s Mabuse diptych (1922)—a crucial moment in the elaboration of the visual and symbolic structures of the Cinema Institution—and, finally, the era of ‘canned theatre,’ insofar as it is that of so many films made between 1929 and today.”

321MB | 49m 48s | 720×576 | mkv

https://nitroflare.com/view/1CAB6F8774FE611/Correction_Please_(Burch,_1979).mkv
or
https://tezfiles.com/file/67fe337162f2c/Correction_Please_%28Burch%2C_1979%29.mp4

Language(s):English
Subtitles:None

“Secret Tear / Secret White / Secret Language / The Secret Soul” (MH)

661MB | 31m 57m | 768×576| mkv

https://nitroflare.com/view/71640402B4BAFD8/Marc.Hurtado.-.1995.-.Blanche.DVDRip.x264.Zog.mkv
or
https://tezfiles.com/file/fd6fe8663354e/Marc.Hurtado.-.1995.-.Blanche.DVDRip.x264.Zog.mp4

Language(s):French
Subtitles:None

IMDB:
For two years, HPG has daily pointed his camera on his work, his friends, his lovers. Exposed, sometimes with unusual tenderness, his thoughts, his emotions, his body, his sex. He thus delivers a hilarious and poetic filmed diary, a piece of raw brutal art, Bukowskien until the end of the night.

https://nitroflare.com/view/67A2FDDBEEC9FC8/DISC_1.rar
https://nitroflare.com/view/DAEF790C00F059B/DISC_2.rar

Format : Matroska at 1 519 Kbps
Length : 91.1 MiB for 8mn 22s 840ms
Video #0 : AVC
Aspect : 720 x 594 (1.291)
Audio #0 : AAC
Infos : 2 channels, 48.0 KHz
Details:
Year………….: 1999
Country……….: FR
Runtime……….: 52 Minutes

Language(s):French
Subtitles:None

From Amos Vogel’s Film as a Subversive Art:
One of the very few Brakhage films to have a plot and be acted, this bitter and wise polemic pits an actor who constantly confesses his role against an unseen audience. He sarcastically mocks our belief in filmic truth, disclaiming the omnipotence we ascribe to him and the director and insists on the falsehood and artificiality of the art work. This is a very modern film of ambiguity, mixed tenses, skepticism, and ultimately, anguish at the realization that the artist is both con-man and magician, impotently straining for unattainable perfection yet inevitably being taken seriously by an audience panting to be duped.

157MB | 10m 25s | 720×540 | mkv

https://nitroflare.com/view/5CA66A2A082DAA9/Blue_Moses_(1962)_Stan_Brakhage.mkv

Language:English
Subtitles:None

Synopsis:
The film interprets a story from the Uttara Kanda of the epic poem Ramayana, where Rama sends his wife, Sita, to the jungle to satisfy his subjects. Sita is never actually seen in the film, but her virtual presence is compellingly evoked in the moods of the forest and the elements. The film retells the epic from a feminist perspective, and is about the tragedy of power and the sacrifices that adherence to dharma demands, including abandoning a chaste wife.

2.07GB | 1h 26m | 768×576 | mkv

https://nitroflare.com/view/4F30AFB88AC92B7/Kanchana_Seeta_(1977)_–_Govindan_Aravindan.mkv
or
https://tezfiles.com/file/cad5ffab6d456/Kanchana_Seeta_%281977%29_–_Govindan_Aravindan.mp4

Language:Malayalam
Subtitles:English (hardcoded)

Quote:
Filmed from the artist’s window during lockdown, short fragments from British Prime Minister Boris Johnson’s speeches relating to COVID-19 are combined with views of the London skyline.

565MB | 16m 16s | 1920×1080 | mkv

https://nitroflare.com/view/C2554B6252A98D6/John_Smith_-_Citadel.mkv

Language:English
Subtitles:English, French, Spanish, Portuguese, Italian, Turkish

During its presentation at the 1976 Cannes Film Festival, Fang and Claw was a sensation. The fruit of labours which spanned over two years, and whose editing amalgamated some 65,000 meters of film and 37 hours of sound, the film was unlike anything from the world of wildlife documentary. Not only was it technically interesting at the time (the construction and transportation of two large high powered spotlights for night scenes, as well as special trucks to carry them), nor the exceptional preparation required to craft each scene, but what all this work is in the service of. Totally without dialogue, with a soundtrack crafted by Michel Fano from natural sounds as well as an electronic instrumentarium, using an editing technique devoted to the rhythm and rhyme between each shot. Between plastic beauty and bloody cruelty, hunting scenes and scenes of rut, stillness, quickness, carnivorous, and nocturnal and diurnal races hound this feral world which becomes savage, becomes fragmented and alien.

—

UN FILM DOCUMENTAIRE DE FRANÇOIS BEL ET GÉRARD VIENNE
FRANCE – 1976 – 90 MN – COULEUR

DÉCIBEL D’OR POUR LA BANDE SON : CANNES 1976
GRAND PRIX DE L’ACADÉMIE DU CINÉMA FRANÇAIS 1976
GRAND PRIX DE LA COMMISSION SUPÉRIEURE TECHNIQUE DU CINÉMA CANNES 1976
—

955MB | 1h 27mn | 712×460 | mkv

https://nitroflare.com/view/DB08EBBD439C6AE/La_Griffe_Et_La_Dent.mkv
https://nitroflare.com/view/FAA95CB040F3387/La_Griffe_Et_La_Dent.Entretiens.mkv
https://nitroflare.com/view/AD028865AC29DE8/La_Griffe_Et_La_Dent.MakingOf.mkv
or
https://nitroflare.com/view/F1DB6074F7068E0/La_Griffe_et_Le_Dent_MKV.part1.rar
https://nitroflare.com/view/D0E46903C86666D/La_Griffe_et_Le_Dent_MKV.part2.rar

Language:None
Subtitles:None

Quote:
“Wavelength” was shot in one week in December, 1966, preceded by a year of notes, thoughts, mutterings. It was edited and first print seen in May, 1967. (The Film-Makers’ Cooperative)

Quote:
I wanted to make a summation of my nervous system, religious inklings, and aesthetic ideas. I was thinking of, planning for a time monument in which the beauty and sadness of equivalence would be celebrated, thinking of trying to make a definitive statement of pure Film space and time, a balancing of “illusion” and “fact,” all about seeing. The space starts at the camera’s (spectator’s) eye, is in the air, then is on the screen, then is within the screen (the mind). The film is a continuous zoom which takes 45 minutes to go from its widest field to its smallest and final field. It was shot with a fixed camera from one end of an 80 foot loft, shooting the other end, a row of windows and the street …. The room (and the zoom) are interrupted by four human events including a death. The sound on these occasions is sync sound, music and speech, occurring simultaneously with an electronic sound, a sine-wave …. It is a total glissando while the film is a crescendo and a dispersed spectrum which attempts to utilize the gifts of both prophecy and memory which only film and music have to offer. (Michael Snow)

1.82GB | 45m 59s | 1920×1080 | mkv

https://nitroflare.com/view/C6121A615B75156/Wavelength_(Michael_Snow,_1967).mkv
or
https://nitroflare.com/view/FE23AA64752D0B6/Wavelength_(Michael_Snow,_1967).part1.rar
https://nitroflare.com/view/99FE842487D6D98/Wavelength_(Michael_Snow,_1967).part2.rar

Language:English
Subtitles:None

Naqoyqatsi, also known as Naqoyqatsi: Life as War, is a 2002 documentary film directed by Godfrey Reggio and edited by Jon Kane, with music composed by Philip Glass. It is the third and final film in the Qatsi trilogy.

Naqoyqatsi is a Hopi word meaning “life as war”. In the film’s closing credits, Naqoyqatsi is also translated as “civilized violence” and “a life of killing each other”. While Koyaanisqatsi and Powaqqatsi examine modern life in industrial countries and the conflict between encroaching industrialization and traditional ways of life, using slow motion and time-lapse footage of cities and natural landscapes, about eighty percent of Naqoyqatsi uses archive footage and stock images manipulated and processed digitally on non-linear editing (non-sequential) workstations and intercut with specially-produced computer generated imagery to demonstrate society’s transition from a natural environment to a technology-based one. Reggio described the process as “virtual cinema”.

According to Reggio, the film has no screenplay per se, but three movements (like those of a symphony) with different themes:
1) Numerica.com: Language and place gives way to numerical code and virtual reality.
2) Circus maximus: Competition, winning, records, fame, “fair play” and the love of money are elevated to the prime values of life. Life becomes a game.
3) Rocketship twentieth century: A world that language can no longer describe. The resulting explosive tempo of technology is war, civilized violence.

The music is more in the traditional orchestral tradition than much of Glass’s work as a familiar doorway to images so disconnected from the familiar world. One instrument, the cello played by Yo-Yo Ma, plays through much of the piece. Some unconventional instruments are used in addition to traditional ones, including a didgeridoo and an electronically-created jaw harp.

1.31GB | 1h 29mn | 704×400 | mkv

https://nitroflare.com/view/8FCA9715B27A93F/Naqoyqatsi.mkv
or
https://nitroflare.com/view/E1D11CD256F24BD/Naqoyqatsi.part1.rar
https://nitroflare.com/view/C3132DE47D6C1E9/Naqoyqatsi.part2.rar

Language:None
Subtitles:None