An opening title card from director Thom Andesen’s new feature film, The Thoughts That Once We Had, directly identifies the cinematic writings of philosopher Gilles Deleuze as the project’s primary subject and inspiration. Deleuze’s two volumes on film, Cinema 1: The Movement-Image (1983) and Cinema 2: The Time-Image (1985), are today synonymous with a certain modernist school of thought that, while integrated in academia to such a degree as to be all but understood, remains quite radical. Unquestionably dense and provocatively pedantic, the French empiricist’s filmic texts integrate an array of theories and conceptualizations into a fairly delineated taxonomy, and are therefore fairly conducive to Andersen’s established approach to essay filmmaking—and particularly to the director’s latest, which finds him deliberating on Deleuzian dogma while charting an alternate, personal path through film history.

Jordan Cronk, MUBI.

http://nitroflare.com/view/5E219CD9BB87DDF/THE_THOUGHTS_THAT_ONCE_WE_HAD_hd.mkv

Language(s):English
Subtitles:english (harcoded when necessary)

From PT’s website:

Aderlaß is a youthful attempt to process the inheritance of the Vienna Actionists through the use of a super 8 camera. In front of the camera is a performance from Armin Schmickl Sebastiano (Peter Tcherkassky). A game with light and sound that explodes out of the calm into a delirium of movement and finally returns, after the “blood-letting”, to rigidity.

Liebesfilm is an ironic attack on one of the durables of the Hollywood clichés – the film kiss. A short take of mouths approaching each other is shown 522 times. But the kiss never takes place, merely the speed of the movement is continually increased. This excessive repetition of the theme destroys the “happy clarity” that inhabits “the film kiss” myth.

The target of Tabula Rasa is the heart of cinema. Voyeuristic desire as the pre-condition for all cinema pleasure is at stake here. What Christian Metz and Jacques Lacan have established in theory is rendered as film in Tabula Rasa. At the beginning we can recognize only shadows from which the picture of a woman undressing herself hesitantly emerges. But exactly at the point when one believes one can make out what it is, the camera is located in front of the object. Tabula Rasa takes distance, the fundamental principle of voyeurism, in so far literally, as it shows us the object of desire but continually removes it from our gaze.

http://nitroflare.com/view/D6FB1F0D9EDE360/TSCHERKASSKY%2C_PETER.rar

Language(s):Some German and French
Subtitles:Not really needed

Where do images come from? This disturbing and essential question is posed by Philippe Grandrieux, and he already imposed it on himself the start, via Sombre (1999) up to the portrait recently devoted to Masao Adachi (FID 2011). From where, then? Maybe from the depths behind our eyes, ungraspable visions, night in suspension, promise of the end of an eclipse, between dream and nightmare. This is the start (and in truth the programme) of White Epilepsy. In a darkness barely broken by light, a mass advances: a nude back, in a long shot entirely centred on the shoulders.

The story (is it a story?) that follows this announcement has the necessity of the elementary: the encounter between this first (feminine) figure with a second masculine one. A familiar scenario. However, a slow-motion ballet between these two bodies takes place. Do we really know what became of Adam and Eve once they were cast out of Paradise? Maybe this is a representation of that. The bodies entwine, rub together, twist together, strip each other and wrestle like moving sculptures framed as a deliberately vertical image. In this choreography, Grandrieux chooses to present gestures from a chthonian, archaic world, full of mute intensities, which ultimately aspires to immobility. The first part of a trilogy to be completed, it is about the frontiers of cinema to be crossed and pushed back into the secluded space of secrets. (Nicolas Feodorof, FIDMarseille)

http://nitroflare.com/view/77326EA6A123E4D/WHITE_EPILEPSY_%28Philippe_Grandrieux%2C_2012%29.mkv

Language(s):No
Subtitles:no

Synopsis
A never-before-seen woodsman mysteriously appears aboard a submarine that’s been trapped deep under water for months with an unstable cargo. As the terrified crew make their way through the corridors of the doomed vessel, they find themselves on a voyage into the origins of their darkest fears.

http://nitroflare.com/view/54C0CEFA64CDC19/The_Forbidden_Room_%28HD%29.mkv

Language(s):English
Subtitles:None

Synopsis:
Sam wakes up, gets ready and goes to do his daily job. And then the unexpected happens. A bomb explodes in the center of the shopping mall where he works. He drags himself towards the entrance to save the victims. One by one he pulls them out, until something terrible takes place. In complete hysteria he runs off till he falls down from exhaustion. A woman’s voice makes him raise his head. She’s one of the victims he saved. She wants to know why the suicide bomber did it. This encounter projects him back in history and even in a surreal world. Thereafter he runs into everyone he saved and feels that their defeat shows many parallels with his own. Even his confrontation with the wrongdoer isn’t that straightforward as he thought it would be and confronts him with the fact that guilt and innocence can be pretty much alike.
— IMDb.

Review:
Confronting the immediacy of guilt and regret in the wake of an unexpected tragedy, 22nd of May is an atmospheric and emotionally intense film that probes our contemporary understanding of death and disaster. Opening with a bravura sequence of stark realism, the film shifts into an unreal dreamscape in which the characters are trapped in purgatory, desperately trying to resolve the individual traumas that haunt them.
After fleeing a devastating disaster, security guard Sam (Sam Louwyck) awakes to a nightmarish world where he is visited by victims of the tragedy. They draw Sam into the narrative of their own lives, revealing a harrowing glimpse of the sorrow they experience. A young woman accosts him for not saving her infant son; a lonely man confides his unrequited love for a shopkeeper; a frustrated slacker pines for the woman who rejected him. Several of the victims indict Sam’s failure to protect them, but their accusations are a pale reflection of the unremitting guilt he feels for a traumatic incident in his own past.
Director Koen Mortier was last at the Festival with the alarming Midnight Madness film Ex-Drummer. His new work enters entirely different territory – it unsettles more than shocks – but he displays the same masterful ability to combine image and sound to hit viewers straight in the gut. One sequence appears to use Antonio’s Zabriskie Point as both inspiration and challenge.
Mortier deploys his knowledge of cinema and impressive technical skills to make 22nd of May a compelling work of avant-garde narrative cinema. Blurring the line between nostalgia and longing, it creates a hypnotic procession of interwoven narratives, both present and past, all of which is grounded in the conflicted and soulful presence of Louwyck as the security guard. In confronting those he did and didn’t save, Sam is propelled into the remorse of his own past and forced to grapple with his longstanding sorrows.

http://nitroflare.com/view/58A1CA1BC2DEE92/22nd_of_May_%2822_mei%29_%282010%29_–_Koen_Mortier.mkv
http://nitroflare.com/view/0614794FDDFD102/22nd_of_May_%2822_mei%29_%282010%29_–_Koen_Mortier.srt
http://nitroflare.com/view/0570DD8AFDE8CCC/22nd_of_May_%2822_mei%29_%282010%29_–_Koen_Mortier.esp.srt

Language(s):Dutch, French
Subtitles:English, Russian, French (muxed), English, Spanish (srt)

Quote:
The first feature by Canadian experimental filmmaker Isiah Medina is an explosive digital diary dealing with ideas about time, love, philosophy, poverty, and poetry, all erupting within a densely layered montage that is as formally rigorous as it is emotionally raw. The film’s title derives from the reset digital clock display that appears when power is restored to dwellings where it had been abruptly severed because of overdue electricity bills &mdash a meaningless signature that Medina here resuscitates as a double-edged symbol that indicates how those who live in poverty also live in a state of suspended time.

A convulsive video collage of fragmented footage — of notes, sketches, reality, and re-enactments — shot on various formats (including the RED camera, mobile phones and 16mm), 88:88 depicts Medina and his friends trying to make sense of life’s chaos and confusion in down-and-out Winnipeg. Equating a sudden power outage with a rapid editing cut, the film progresses by way of a mathematical pattern of construction/​​deconstruction/​​repetition, creating a poetic, disjunctive tempo that ambitiously mixes late Godard, hip-hop freestyling, and Greek and French philosophy. Converting the flashing 88:88 clock into an equation of love and infinity, Medina’s film seeks to explore alternate ways of being in the world, resulting in one of the most unique representations of class and race in Canadian filmmaking and sounding the arrival of a fresh new voice.

http://nitroflare.com/view/BCA3940E19F90F8/88_88_%282015%29.mkv

Language(s):English, French
Subtitles:None

Quote:
Seldom has the idea of a film as a series of tableaux been so literally appropriate as in the latest work from Austrian filmmaker and artist Gustav Deutsch. Shirley – Visions of Reality is a look at the US from the 1930s to the 1960s as seen through a series of micro-stories set in and inspired by paintings by American realist artist Edward Hopper, painstakingly reproduced and reconstructed in a film studio as life-size sets. Each of 13 paintings is used as the setting for moments in the life of a fictional actress, Shirley (Stephanie Cumming), as she moves through life, houses, trips, situations, and milestones of world history taking place in the exact year of creation of each original painting.

The “blowing-up” of Hopper’s art into real rooms and furniture becomes a sort of conjuring trick, allowing Shirley to exist within them without betraying the original quality of the work, but suggesting the whole frame as a still-life of specific moments in the “American century”. Mr. Deutsch is working strictly within the realm of fiction inspired by each of the paintings’ meticulously recreated sets, but he does so within a clear, precise historical context feeding as much on actual events as on the mythical images of the United States art and film have imprinted on European viewers over the years. In doing so, Shirley – Visions of Reality becomes a strikingly “endless loop”, both highly formal and tenderly emotional, where the “American dream” and the reality of past history cross paths, collide, mesh, entangle. That, among the theoretical construct of the film’s continuous dialogue between art and life, Shirley manages to exist as a character with an inner life and a recognisable presence is much thanks to the excellent work of Ms. Cumming, a Canadian dancer and choreographer based in Vienna; conveyed mostly by presence and movement alone (most of the dialogue is spoken in voiceover), it is as if Ms. Cumming is performing a delicate choreography negotiated within the tight constraints demanded by the film’s device.

For his part, Mr. Deutsch creates, more than just a film, a mood, a tone whose constant (very American) striving towards hope and better days ahead is tempered by reality’s continuous insistence that it can’t always fulfill that endless optimism. In doing so, the film becomes a lovely meditation on the passing of time and on our relation with the world that surrounds us, bringing to life Mr. Hopper’s classic paintings with an attention to detail and colour that reminds you of what these works have meant throughout the years and of their importance in the creation of an image for the American dream.

There are two audio tracks. English (original one) and French (dub). French subtitles are for English audio track.

http://nitroflare.com/view/3F51004FEE594C3/Gustav_Deutsch_-_%282013%29_Shirley%2C_Visions_of_Reality.mkv

https://filejoker.net/3571nndpurzy/Gustav Deutsch – (2013) Shirley, Visions of Reality.mkv

Language(s):French, English
Subtitles:French

Set between Swaziland and South Africa, in a region still struggling with the divisions produced by an apartheid government, Greetings to the Ancestors documents the dream lives of the territory’s inhabitants as the borders of consciousness dissolve and expand.

http://nitroflare.com/view/C2C994CC9726112/GREETINGS_TO_THE_ANCESTORS_%28Ben_Russell%2C_2014%29.mkv

https://filejoker.net/na7iszr9umzu/GREETINGS TO THE ANCESTORS (Ben Russell, 2014).mkv

Language(s):English
Subtitles:None

Things is a travelogue in which the filmmaker leads himself and the viewer through a tour of the four seasons, without ever once setting foot across his doorstep – focusing on unexplored things inside his own four walls. A year-long journey through domestic surroundings that at the same time is a trip into imagination and collective memory – revealed in the collected fragments of images, film, objects and sounds, a bed, books and, observed through a window pane, a squirrel in the garden.

As the seasons change, parallels and associations are made with things previously seen; an intricate web of clues to a life, there for the viewer to unpick.

Commissioned by Film and Video Umbrella and Gareth Evans.

http://nitroflare.com/view/7EE0916FD34A881/THINGS_%28Ben_Rivers%29.mkv

https://filejoker.net/a8cmo18rh0ih/THINGS (Ben Rivers).mkv

Language(s):English
Subtitles:None

Smallpox was always present, filling the churchyard with corpses, tormenting with constant fear all whom it had not yet stricken, leaving on those whose lives it spared the hideous traces of its power, turning the babe into a changeling at which the mother shuddered, and making the eyes and cheeks of the betrothed maiden objects of horror to the lover. (1848)

— Lord Thomas Macaulay, History of England.

In the 1970s, D.A. Henderson and a group of determined scientists successfully eliminated smallpox — at least from the general population. How did they do it? Smallpox is highly contagious, but it is not spread by insects or animals. When it is gone from the human population, it is gone for good. By surrounding the last places on earth where smallpox was still occurring — small villages in Asia and Africa — and inoculating everyone in a wide circle around them, Henderson and the World Health Organization were able to starve the virus of hosts.

But did they really eliminate it? The answer — and I hope I’m not giving anything away here — is no. Not really. In a handful of laboratories around the world, there are still stocks of smallpox, tucked away in one freezer or another. How can you say it’s eliminated when it’s still out there, somewhere…? The demon in the freezer.

In the story from classical Greece, Pandora was warned: Don’t open the box. She opens it anyway. The various pestilences are unleashed on the world but Hope remains at the very bottom of the box. Today there are microbiologists who want to continue to research smallpox. If they are given a free hand, what might they unleash?

There are those who insist that these residual stocks of smallpox should not be destroyed because some ruthless super-criminal or rogue government might be working on a new smallpox, even more virulent than existing strains of the virus. We may need existing stocks to produce new vaccines to counteract the new viruses. New viruses, new vaccines. New vaccines, new viruses. An escalating arms race with germs.

Meanwhile, opponents of retention argue that there’s neither need nor practical reason for keeping the virus around. In a letter to Science magazine published in 1994, the Nobel laureate David Baltimore wrote, “I doubt that we so desperately need to study smallpox that it would be worth the risk inherent in the experimentation.” It all comes down to the question of how best to protect ourselves against ourselves. Is the greater threat to humanity our propensity for error and stupidity, or for dastardly ingenuity?

Errol Morris: ‘Demon in the Freezer’ at The New York Times

http://nitroflare.com/view/94998A366FB09DC/Errol_Morris_%E2%80%98Demon_in_the_Freezer%E2%80%99_-_The_New_York_Times.mkv

https://filejoker.net/be9ykefrvwgg/Errol Morris вЂ�Demon in the Freezer’ – The New York Times.mkv

Language(s):English
Subtitles:None

A hesitant female voice reads a poem by Henri Michaux, recounting a life lived in a distant land, full of faltering and mistakes. Island imagery of active volcanoes, underwater WW2 debris, children playing, and wrecked boats transform into intangible digital recollections of the island, made on the opposite side of the world. Images of the eroded land merge with eroding film, a lone figure on a boat drifts at sea.

http://nitroflare.com/view/1B044F40C4AABBC/THERE_IS_A_HAPPY_LAND_FURTHER_AWAAY_-_Ben_Rivers_%282015%29.mkv

https://filejoker.net/4y1d77j92bhj/THERE IS A HAPPY LAND FURTHER AWAAY – Ben Rivers (2015).mkv

Language(s):English
Subtitles:None

A technographic study of e-recycling and neo-colonial mining filmed in the Agbogbloshie electronic waste ground in Accra and illegal gold mines of Ghana. The video constructs a mise-en-abyme as critique in order to dispel the capitalist myth of the immateriality of new technology — thus revealing the mineral weight with which the Cloud is grounded to its earthly origins.

“As technological progress pushes forward in the West, enormous piles of obsolete computers are thrown away and recycled. Pushed out of sight and sent to the coast of West Africa, these computers are thrown into waste grounds such as Agbogbloshie in Accra, Ghana. On arrival the e-waste is recuperated by young men, who break and burn the plastic casings in order to extract the precious metals contained within. Eventually the metals are sold, melted and reformed into new objects to be sold; it is a strange system of recycling, a kind of reverse neocolonial mining, whereby the African is searching for mineral resources in the materials of Europe. Through showing these heavy processes, the video highlights the importance of dispelling the capitalist myth of the immateriality of new technology to reveal the mineral weight with which the Cloud is grounded to its earthly origins.”

— Louis Henderson

http://nitroflare.com/view/29D7D4C9FEDD234/All_That_Is_Solid.mkv

https://filejoker.net/0gszcsejfjbd/All That Is Solid.mkv

Language(s):English
Subtitles:None

When Jorge, a Chilean filmmaker living in New York, decides to seek a statue of a Portuguese neurologist in a park in Chile, a curious investigation begins in the streets of Santiago, Brooklyn and Lisbon, but also through the history of his native country and his own family memory – for which he tries to fi ll in the gaps. And what if the statue were really a bust? Or just a plaque? What if, instead of being in Chile, it were in Lisbon? And what if the film were really about something else? Because, from this starting point in anecdotal appearance, Jeronimo Rodriguez creates a refl ection on memory and disappearance – of people, places and things. Far from being a theoretical object, his character and alter ego is subjected to a real memorial piece of work, an investigation of the nether regions of his brain – which is lucky because his father was a neurosurgeon – which takes him to Patagonia, to see football matches dating back to the dictatorship, and leads to thoughts about Raoul Ruiz. The correspondences are forged, from anecdote to anecdote and from place to place, while throughout all the comings and goings, digressions, coincidences, reminiscences and false-tracks, one can measure the void left by the person who has died or soon will. (CG)
Synopsis taken from FIDMarseille.

http://nitroflare.com/view/C5C9AA2B347D646/RASTREADOR_DE_ESTATUAS.mkv

https://filejoker.net/4hv8xlzxtfyz/RASTREADOR DE ESTATUAS.mkv

Language(s):Spanish
Subtitles:English (harcoded)

Synopsis:
An instant in the memory of landscape: the smuggling that for centuries crossed the line between Portugal and Galicia. The Gerês Mountains knows no borders, and rocks cross from one country to another with insolence. Smugglers also disobey this separation. The rocks, the river, the trees: silent witnesses, help them to hide. They just have to wait for the night to cross the distance that separates them.

Statement:
Knowing my previous works the producer, Nuno Rodrigues, suggested me to focus the film on the border between Portugal and Galicia, and work through the stories that inhabit these spaces. The idea of ​​border seemed a very interesting topic, so I read about stories of the area, and I travelled through the border line, from the Atlantic and then along the Minho, that separates the two countries.

An element stands out among all others: as in all borders, smuggling was fundamental in the development of both countries, especially in crisis times. I wanted to work around the idea of ​​an instant in landscape´s memory. So I decided to represent a scene of smuggling in the Serra do Geres, in routes actually used by smugglers. Where the people from the area would participate also as actors (several were actually smugglers in his youth).

The idea of ​​border is also reflected in the formal aspect of the film, where fiction, documentary and experimental mingle. I used immobility and a extreme color treatment to emphasize the idea of ​​being in a spectral and timeless space. A landscape populated by ghosts of an indeterminated past.

http://nitroflare.com/view/5844319670A1FE6/Noite_Sem_Dista%CC%82ncia_%28Lois_Patin%CC%83o%2C_2015%29.mkv

https://filejoker.net/ivgz5akj4foi/Noite Sem DistaМ‚ncia (Lois PatinМѓo, 2015).mkv

Language(s):Portuguese, Galician
Subtitles:English (Hardcoded)

FROM THE GUARDIAN:

It’s extraordinary how potent cheap videotape is. That’s one of the lessons borne out by Standby for Tape Back-Up, a witty, resourceful and emotionally intense show by the 35-year-old performance poet Ross Sutherland. The stage is bare but for a chair, a TV and a wheezing VCR machine. Looking like a lone Reservoir Dog in his black tie and white shirt, Sutherland paces the stage brandishing a remote control, zipping back and forth through the images projected on the wall behind him.

What we are watching is the VHS tape bequeathed to him by his late grandfather. It’s made up entirely of a collage of films and programmes recorded partly over one another so that each clip gives way to the next through a descending curtain of fuzzy static. In the footage, Sutherland has found repeated patterns that provide gateways into his own memories, from neverending school holidays and soul-crushing day jobs, right up to the depression that consumed him shortly after his grandfather died in 2007. He shares with the audience the hidden meanings he has found within these loops of crackling, degraded video. It’s significant that what is on the tape is not The Seventh Seal. It’s The Crystal Maze and Ghostbusters and the title sequence from The Fresh Prince of Bel-Air. It is the electronic wallpaper of our lives.

Standby for Tape Back-Up was a hit at last year’s Edinburgh festival but Sutherland has been performing sections of it since 2012. “It’s exhausting to perform but it’s also exhilarating,” he tells me on the phone during the show’s current UK tour. “I have to hit a sound cue every couple of seconds for the entire hour so it’s like I’m sparring with the tape. Even though it’s just me on stage, it feels like a double-act.” One of the show’s most satisfying pleasures is the precision of those interactions with the video. As he delivers the line “I was drinking too much”, it coincides exactly with a straw popping the foil lid in a soft-drink commercial, the word “partying” matching the shot of garlanded extras in Hawaiian shirts boogieing by the pool.

When the audience files in each night, the mood is set by the sound of Pink Floyd’s The Dark Side of the Moon playing over The Wizard of Oz – a reference to the rumour, cultivated by generations of students, that album and movie are magically synchronised. Sutherland’s show is all about these cosmic patterns that lend our lives accidental meaning. “Doing the show and watching the tape over and over again, I recognised how repetition has always helped me – say, with controlling my asthma and my breathing. I was, like, ‘Oh, so I’ve been using repetition my whole life! It’s the central philosophy of my existence!’ Or maybe it’s just a version of Stockholm syndrome and I’ve simply fallen in love with my captors.”

The constraints presented by working so intimately with technology make Standby for Tape Back-Up a spiritual cousin to shows such as Daniel Kitson’s Analog.Ue (which was constructed from pre-recorded audio tapes) or Joseph Morpurgo’s Odessa (an extended riff on two minutes of US local TV news from the 1980s). “I knew I wanted to write about what was on the tape so I let that guide me,” Sutherland says. “It was really nice to relinquish responsibility and see what the tape gave me. That’s the way my brain works. Given the blank page, I’ll write doggerel and cliché. Put obstacles in my way and hopefully something else happens.” He has long been a practitioner of the Oulipo school, which insists on restrictions and impediments within which creativity is forced to flourish (examples include A Void, Georges Perec’s 1969 novel which avoids entirely the letter “e”, or univocalism, poetry that restricts itself to a single vowel). “The idea is that making it as difficult as possible to write forces you to go deeper. The Oulipo call themselves rats trying to escape from a labyrinth of their own devising.”

But it is significant also that Sutherland, like Kitson and Morpurgo, is working with outdated technology that provides an inbuilt reflection on the fragility of human memory. It also allows for some unexpected poignancy: you can date the average age of the audience by the volume of the knowing chuckles that spread around the theatre when Sutherland tightens the cogs of the videotape before inserting it into the machine, or the gasps of recognition that accompany the naff early-1990s NatWest advertisement.

“The quality of video was terrible, there were so many ways it was shitty, but now all those idiosyncrasies are gone, we find ourselves really missing them. Video was a physical, vulnerable medium. It wasn’t the cloud. We could hold it. It would misbehave.” He lets out a groan. “Oh man, I’ve just realised I sound like those people who moan about the death of vinyl.” But then every generation has its equivalent of “it was all fields around here when I was a boy.” It’s only the iconography that changes.

In a nice instance of circularity, he recently completed a film version of the show, co-adapted with Beyond Clueless director and Guardian Guide contributor Charlie Lyne. With Sutherland’s amiable stage presence gone, replaced by his voice alone, the film is a thorough reimagining that feels colder and creepier than the show. But there’s something fitting about taking an idea spawned by videotape and returning it now to the recorded image. It resembles a kind of interment. “This is me closing the loop,” he says. “Maybe I should transfer it on to video and put the whole thing back in the loft where I found it.”

http://nitroflare.com/view/77D21B693E37E08/Stand_By_for_Tape_Back-Up_%28Ross_Sutherland%2C_2015%29.mkv

https://filejoker.net/u40b51d5hd6u/Stand By for Tape Back-Up (Ross Sutherland, 2015).part1.rar
https://filejoker.net/2b9e9y5c8p70/Stand By for Tape Back-Up (Ross Sutherland, 2015).part2.rar
https://filejoker.net/6cf0hb67qp4d/Stand By for Tape Back-Up (Ross Sutherland, 2015).part3.rar

Language(s):English
Subtitles:None

Quote:
If the scorpion could see and the viper could hear, there would be no escape”. The viper is deaf and the scorpion can’t see, so it is and so shall be, the same way the countryside is peaceful and the city bustling and the human being impossible to satisfy. Lacrau demands the return “to the curve where man got lost” in a journey from the city towards nature. The escape from chaos and emotional void we call progress; matter without spirit, without will. The search for the most ancient sensations and relationships of mankind. The amazement, the fear of the unknown, the loss of basic comforts, loneliness, the meeting with the other, the other animal, the other vegetable. A dive looking for a connection with the world. Where beginning and end are the same, but I am not. (João Vladimiro)

http://nitroflare.com/view/2E75BEAE2DA274A/Lacrau.2013.720p.WEB-DL.x264-MaZ.mkv

https://filejoker.net/y5a2qeh8581h/Lacrau.2013.720p.WEB-DL.x264-MaZ.mkv

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

One of the first Soviet sound films, it deals with the Five Year Plan of the late 1920s, and represents Vertov’s radical attempt to link economic progress with the introduction of sound in cinema.

Quote:
A lyrical documentary on the lives of Coal miners in the Donbass who are struggling to meet their production quotas under the Five Year Plan.

http://nitroflare.com/view/63E168750278E5A/Entuziazm_%28Simfoniya_Donbassa%29_AKA_Enthusiasm_%28The_Donbass_Symphony%29_1931_720p_BluRay_AAC2.0_x264-KESH..mkv

https://filejoker.net/4gp2p1eix29z/Entuziazm (Simfoniya Donbassa) AKA Enthusiasm (The Donbass Symphony) 1931 720p BluRay AAC2.0 x264-KE.rar
https://filejoker.net/94wwpy3b6vwb/Entuziazm (Simfoniya Donbassa) AKA Enthusiasm (The Donbass Symphony) 1931 720p BluRay AAC2.0 x264-KE.rar
https://filejoker.net/tkmi3dkfgduo/Entuziazm (Simfoniya Donbassa) AKA Enthusiasm (The Donbass Symphony) 1931 720p BluRay AAC2.0 x264-KE.rar
https://filejoker.net/t6n34cnig0au/Entuziazm (Simfoniya Donbassa) AKA Enthusiasm (The Donbass Symphony) 1931 720p BluRay AAC2.0 x264-KE.rar

Language(s):Russian
Subtitles:English, French

Experimental short by Chris Kraus.

http://nitroflare.com/view/B308795040DDA98/Terrorists_in_Love.mkv

Language(s):English
Subtitles:None

Hyperlinks or it Didn’t Happen questions the identity of the mediated subject. “PHIL,” a “bad copy” of recently deceased actor Philip Seymour Hoffman, narrates a procession of bodies generated or augmented by computers. The most alluring among them is the Invisible Woman, who—like the anti-hero of Ralph Ellison’s 1952 novel Invisible Man—is invisible not because of magic but because she is unseen. She is a metaphor for all the women in the film: Yowane Haku, the synthesized, holographic pop star developed in Japan; AGNES, the bot that Evans was recently commissioned to embed in the Serpentine Galleries’ website; the Computer Girls, programmers in the 1960s; and Evans herself—all of them under-recognized workers who maintain the system that oppresses them.

http://nitroflare.com/view/01ED26E874E6E4A/Hyperlinks_or_It_Didn%27t_Happen.mkv

https://filejoker.net/hucj1hripnbw/Hyperlinks or It Didn’t Happen.mkv

Language(s):English
Subtitles:None

“Part ethnography, part mystic cinematic mirage, this beautiful and evocative portrait of Yé, a remote village on the island of Lanzarote, is a paradoxically opaque work of tactile pleasures. Shot on expired 16mm celluloid, the film makes a virtue of its degraded textures, granting its images of flora and fauna, coastal vistas and mountainous contours, the look of an excavated travelogue, with scratches and imperfections resonating on the soundtrack as ambient accompaniment to the vast topographical phenomena peering through the fog-shrouded atmosphere. Meanwhile, audio recordings made in the late-sixties by the ethnographer Luis Diego Cuscoy act as ominous narration, the voices relating stories of witchcraft and the occult that, over centuries, have taken on local legend. With an acute eye and ear for natural detail and speculative history, directors Samuel M. Delgado and Helena Girón have constructed both an oral diary and an archaeological account of a far-off land, all the more vivid for never quite coming into focus.” — Jordan Cronk, Fandor

http://nitroflare.com/view/D37A523C1F5F37A/SIN_DIOS_NI_SANTA_MARI%CC%81A_%28Samuel_Marti%CC%81n_Delgado%2C_Helena_Giro%CC%81n%2C_2015%29.mkv

https://filejoker.net/ync98qcfmoim/SIN DIOS NI SANTA MARIМЃA (Samuel MartiМЃn Delgado, Helena GiroМЃn, 2015).mkv

Language(s):Spanish
Subtitles:English (harcoded)