Apichatpong Weerasethakul – Thirdworld (1997)

June 26, 2016, 3:57 am

≫ Next: Patrick Bokanowski – Patrick Bokanowski Short Films (1972-2008)

≪ Previous: Samuel M. Delgado, Helena Girón – Sin Dios ni Santa María AKA Neither God Nor Santa Maria (2015)

Quote:
A depiction of the landscape, both metaphorically and realistically, of Panyi island.

http://nitroflare.com/view/5600227036C2EFF/Apichatpong_Weerasethakul_-_%281997%29_Thirdworld.mkv

https://filejoker.net/hbou8mmx56be/Apichatpong Weerasethakul – (1997) Thirdworld.mkv

Language(s):Thai
Subtitles:English (hardcoded)

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Patrick Bokanowski – Patrick Bokanowski Short Films (1972-2008)

July 24, 2016, 7:08 am

≫ Next: Raoul Ruiz – Colloque de chiens AKA Dog’s Dialogue (1977)

≪ Previous: Apichatpong Weerasethakul – Thirdworld (1997)

Quote:
Patrick Bokanowski, the ‘artist-alchemist of celluloid’, employs an extraordinary range of technical invention – combining live-action with optical experiments, drawing, performance, painting, and animation – to conjure magical forays into a parallel universe: moving from dread and terror in the early shorts, via bursts of zany humour, to sublime serenity in the landscape films and joyous kinetic energy in his most recent work.

“The pinnacle of experimentalism in the film arts.”
– Richard Curnutte, The Film Journal

“Magisterial images seething in the amber of transcendent soundscapes. Drink in these films through eyes and ears.”
– The Brothers Quay

Films included:

La Femme qui se poudre (1972, 18’)

Déjeuner du matin (1974, 12’)

La Plage (1992, 13’)

Au bord du lac (1994, 7’)

Flammes (1998, 3’45”)

Le Canard à l’orange (2002, 8’ 30”)

Éclats d’Orphée (2002, 4’ 45”)

Battements Solaires (2008, 18’)

Extras:

Interview Battement Solaires (5′)

Interview Bokanowski on Bokanowski (20′)

http://nitroflare.com/view/1C51A835A7EF6F5/Patrick_Bokanowski_Short_Films_%282009%29.rar

Language(s):None (extras in French)
Subtitles:None (hard

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Raoul Ruiz – Colloque de chiens AKA Dog’s Dialogue (1977)

August 9, 2016, 12:03 pm

≫ Next: Peter Whitehead – The Fall (1969)

≪ Previous: Patrick Bokanowski – Patrick Bokanowski Short Films (1972-2008)

Synopsis:
A charming tale of murder, perversity and narrative echoes told through shots of barking dogs and a La jetée-like series of stills.

Review:
Dogs’ Dialogue opens to a shot of an abandoned dog that has been tied to the structural frame of a discarded piece of broken furniture at a derelict open field, territorially barking to ward off an unleashed, stray dog hovering nearby. The image of vicious, primal social interaction carries through to an idiosyncratic visual transition: a sequence of photographic stills presented against the thoughtful, expressive voice of an off-screen narrator (Robert Darmel) as he recounts the tragic tale of a little girl taunted by her classmates who accidentally learns one day that her mother is in fact not her biological mother. The traumatic revelation would inevitably mark the young heroine’s life as she confronts her biological mother in an attempt find to the reason for her rejection only to discover even more heartbreaking evasion and ambiguity in her parental identity. Unable to find closure, Monique (Silke Humel) runs away to Bordeaux in order to escape her past and falls into a reckless, sordid, and emotionally vacuous existence as a prostitution and later, as a kept woman to a wealthy older man. Driven by a pathological attraction towards ephemeral and transitory affection, Monique would stumble through a series of meaningless affairs until an encounter with a television repairman named Henri (Eva Simonet) from her hometown seemingly offers her a glimpse for the possibility of a respectable, normal life away from the streets.

Recalling the photographic fictional essays of Chris Marker (most notably, La Jetée) infused with the tongue-in-cheek, sexual role-reversal chamber melodramas of R. W. Fassbinder (most notably, the staged, hermetic insularity of The Bitter Tears of Petra von Kant and In the Year of 13 Moons), Dogs’ Dialogue is a wryly overwrought and vertiginously intricate, yet intelligently constructed austere comedy on identity, longing, and inextricable destiny. Reducing character interaction and narrative progression into a series of highly formalized essential images supplemented through explicative third-person narration – a playfully synthetic and intentionally self-conscious distillation of the role of the actor that the filmmaker would subsequently re-examine in his integration of tableaux vivants in The Hypothesis of the Stolen Painting and Genealogies of a Crime – Raoul Ruiz presents an insightful (and incisive) exposition on the deconstruction of performance in the narrative and thematic development of a film. Ruiz juxtaposes recurring, interstitial active footage of leashed and caged barking dogs and aesthetically (and oppressively) commodified urban landscape of sidewalk barriers, multi-directional road signage, and architecturally identical (and visually interchangeable) high-density residential complexes against the film’s drolly convoluted and infinitely recursive plot (from a script co-written by Nicole Muchnik and Raoul Ruiz) in order to create an intrinsic sense of claustrophobia and inescapability that reflects the characters’ own circumstantial entrapment, anonymity, and existential limbo. It is this pervasive sentimental inertia and illusory search for transcendence that is invariably revealed in the static, lingering snapshots of the dissociated, archetypal characters: a subtly reinforcing image of transitory validation captured within the ephemeral frames of an alienated and impersonal conventional motion picture.

— Strictly Film School.
———————————————————————————————————

http://nitroflare.com/view/03FA3E577492614/Colloque_de_chiens_%281977%29_–_Raoul_Ruiz.mkv
http://nitroflare.com/view/F0A7FCD4C6FC927/Colloque_de_chiens_%281977%29_–_Raoul_Ruiz.srt

Language(s):French, English (2 audio tracks)
Subtitles:English, Portuguese, Russian (muxed). English (srt) (For the French audio)

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Peter Whitehead – The Fall (1969)

September 3, 2016, 7:36 am

≫ Next: ? – The Thieving Hand (1908)

≪ Previous: Raoul Ruiz – Colloque de chiens AKA Dog’s Dialogue (1977)

“I ran upstairs to the top floor and took the film out of my cine-camera, put it into a tin and sealed it with tape before dropping it from a window into the bushes below, unseen by the ranks of armed police waiting to free the university from the pagan forces of anarchy. Soon I was walking through the splintered wooden doors with the other students, to be arrested. Eagerly the cops opened my camera (I had been warned) to expose the incriminating film to the light. No film. I collected it the following day. A week later I was flying back to England with twenty hours of film which would later become “The Fall”, and be shown for the first time at the Edinburgh Festival, the last film I would make about the so-called Swinging Sixties; TIME magazine having given the era its belittling name.”

-Peter Whitehead

Considered by Whitehead to be his most important film, The Fall is an extraordinary piece of filmmaking, an extremely personal statement on violence, revolution and the turbulence within late sixties America. Filmed entirely in and around New York between October 1967 and June 1968, it features Robert Kennedy, The Bread and Puppet Theater, Paul Auster (fresh-faced as a Columbia student), Tom Hayden, Mark Rudd, Stokely Carmichael, H. Rap Brown, Arthur Miller, Robert Lowell, Robert Rauschenberg and The Deconstructivists. Richard Roud, co-director of the New York Film Festival wrote of the film, “…an attempt to come to grips with today, both in terms of its content as well as of its form.”

Peter Whitehead considers The Fall to be his most important film; LA Weekly recently described this “dizzyingly impressionistic” documentary as “the nearest Whitehead came to a masterpiece.” An extraordinary piece of personal and political filmmaking, shot in and around New York between October 1967 and June 1968, The Fall eyes America with the same psychedelic kaleidoscope, the same LSD-era aesthetic, that Whitehead earlier aimed at Swinging England in Tonite Let’s All Make Love in London. His subject here seems more urgent and substantial: rather than cheeky youth rebellions of mini skirts, pop music and premarital sex, this is about life-and-death matters of war, race, violence, and serious social unrest, with America deeply divided over Vietnam, and the assassination of Martin Luther King and the subsequent riots unfolding as we watch. Whitehead even manages to plant himself behind the barricades at Columbia University as student radicals and “resistors” occupy campus buildings and the police move in to force them out. A Godardian “fictional” conceit — or one that harks back to Vertov — has Whitehead onscreen as a Man with a Movie Camera, trying to raise money for the film he’s making while sleeping with Anna (Alberta Tiburzi), the fashion model he’s hired for a photo shoot. “The Fall is unlike any other record of the period, perhaps because its very obscurity has kept it fresh”
(LA Weekly).

http://nitroflare.com/view/AD435BCAF01EC0A/The_Fall__Whitehead_.avi

Language(s):English
Subtitles:None

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? – The Thieving Hand (1908)

September 10, 2016, 12:11 pm

≫ Next: Jonas Mekas – Diaries Notes and Sketches AKA Walden (1969) (HD)

≪ Previous: Peter Whitehead – The Fall (1969)

THE THIEVING HAND is one of the cleverest combinations of silent comedy and vaudeville-style talent Savant has seen. It’s the simple tale of a magic ‘artificial’ arm that, once in place in a host socket, begins stealing incessantly. Made probably only to provoke laughter, this weirdness might have something to say about the concept of charity. 1908.

From the brilliant “Treasures of the American Film Archives” collection

http://nitroflare.com/view/03EB2E6C7263A7A/Thieving_Hand.avi

Language(s):Silent, English intertitles
Subtitles: nONE

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Jonas Mekas – Diaries Notes and Sketches AKA Walden (1969) (HD)

September 23, 2016, 4:15 am

≫ Next: Ben Rivers – The Sky Trembles and the Earth Is Afraid and the Two Eyes Are Not Brothers (2015)

≪ Previous: ? – The Thieving Hand (1908)

Quote:
Jonas Mekas, the godfather of American “underground” cinema, shot literally miles of impromptu film on a tiny, touch-and-go Bolex camera before assembling his first “diary film” and screening it before an audience of friends and fellow indie artists in 1969. At that point the home-movie ethos was somewhat less than groundbreaking, but a glance at what Mekas’s contemporaries were working on or releasing at the time—Kenneth Anger was ensconced in off-and-on production for Lucifer Rising, Stan Brakhage was toiling on the 8mm Songs cycle, and Paul Morrissey had just morphed the Warhol aesthetic into the zeitgeist-preaching Flesh—suggests just how perpendicular his project stood in relation to the remainder of the bicoastal art-house scene. Mekas, as a distributor and critic in the ‘60s, had praised and promoted films both archetypically absurd (Anger’s Scorpio Rising) and angularly as well as legally shocking (Jack Smith’s Flaming Creatures); perhaps this is why the program notes prepared for the first showing of Diaries, Notes and Sketches, also known as Walden contained an uncharacteristically humble and ambivalent letter from the director of the evening’s presentation. “You are going to see maybe two, maybe three, maybe four reels, from the total of six,” it read. “It will depend on your patience, on your interest.”

The founder of Anthology Film Archives may or may not have had good reason to soft-peddle three hours of jerkily handheld, naturally-lit content set to occasional elliptical narration and folk music from an AM radio that just happened to be in the editing booth, but Walden is also notable for its anomalousness as an entry in Mekas’s micro-cinematic career. Anyone familiar with his later diary films—in particular the archival catharsis of Reminiscences of a Journey to Lithuania, which went on to become the artist’s most often-seen work after its completion in 1972—might note how flashily cross-woven this film appears in comparison. After the development of VHS camcorders, Mekas completed all of his cuts in-camera, eschewing the visual furbelows that other mainstream DIY filmmakers used to simulate professionalism. Walden, however, purposefully shuffles the chronological order of some events for dramatic effect, features multiple sped-up sequences, and leans rather heavily on primitive double-exposure techniques, which achieve a stunning crescendo in the segment entitled “Notes on the Circus”—an optically frenetic set piece that does for elephants, jugglers, and acrobats what Brakhage’s “Mothlight” did for dried, diaphanous wings, and leaf fragments.

So the birth of the Mekas film diary is not only the most pointedly “avant-garde” of the bunch but also the most aesthetically apprehensive, and the most vocal about its objectives (or lack thereof): One can feel churning hesitantly beneath the surface of the film’s images a fierce determination to not be misunderstood or misinterpreted, particularly given the political and artistic climate at the time—an intimate rendering of John and Yoko’s “bed-in” for peace is one of the final segments. This might be why halfway through the first reel, we hear the languid chords of a creaky accordion while Mekas semi-tonally croaks the lyric, “I am only celebrating what I see. I am searching for nothing—I am happy.” The repetition of this mantra throughout the soundtrack, which is ironically followed closely in reel one by a monologue about displacement and exile, makes one wonder who Mekas was attempting to convince. But the utterance comes from a source of creative, if not emotional, sincerity: As Brecht discovered, in socio-politically charged times, it becomes not only necessary but an act of bold artistic maturity to announce one’s lack of symbolic motive.

This is not to say, however, that just because Mekas isn’t shooting fodder for the Woodstock nation that the cultural strides of the ‘60s have not influenced him. On the contrary, there seems to have been something strenuously inspiring about the temporal and geographic sphere he was observing throughout the timeframe of Walden; it’s composed of footage captured circa 1964-69, whereas Lost, Lost, Lost would reveal that Mekas had been wandering the streets of New York with his 16mm alter ego since the late ‘40s, when he arrived in Brooklyn as a Lithuanian refugee. But the significance of this era’s motifs within Walden is entirely unrelated to the pop music or protests, or the various big names encountered throughout the three hours traffic—Allen Ginsberg, the Velvet Underground, and Carl Dreyer, for example. Far more crucial is the manner in which Mekas’s camera watches skaters in Manhattan, or climbs up the scrawny legs of a preadolescent girl innocently grasping a dandelion, or manages full-tilt 360-degree pans across a posh wedding party reveling in their Newport reception. Just as the final example not-so-subtly mimics the joyous loss of equilibrium after a glass of champagne, so Mekas seems to be on a contact high from the inebriatingly protean renaissance blooming around him; with Walden, he adapts the philosophy, if not the décor, of the time to invent a cinema from the pulp of individual consciousness, authoring a film quite literally about perspective without any of what the flower children might have referred to as “hangups” (i.e. ego). If the work of other underground New York filmmakers urged audiences toward visceral or intellectual reactions, Mekas is after a more primal, observational response; looking through his camera lens is an ends rather than a means.

In this sense, Walden more closely resembles the written diaries of poets like Ginsberg and Kerouac than the canonized publication whose title Mekas cribbed. The film’s narration often matches Thoreau’s unabashed self-congratulatory voice and love/hate relationship with urbanity, but Walden the diary film succeeds as a personal record where the novel-length essay failed due to self-contradictory soap-boxing; where Thoreau argues for seeking transcendence in life rather than art while penning consciously didactic and numinous prose, Mekas is able to make the same assertion by arhetorically celebrating what he sees. There are longueurs in the film, to be sure, but that’s also part of the point: In one sense (in the best sense), Walden is a depository of longueurs assembled for future generations. Unlike documentaries from the same period, there are few anachronisms that distract our attention with thoughts of how different attire or appliances or mannerisms were 50 years ago; Mekas skillfully omits these superficial details to instead capture domestic still-life scenarios, ocean-side landscapes darkening at sundown, perfunctory professional interactions, pea-coated masses braving snow and sleet, and, through it all, the immutable playfulness of children in nearby pastoral settings. It’s not only a living document of what quotidian existence was like in the ‘60s for a Lithuanian refugee residing in Manhattan, it’s an earnest homage to the elusive state of being—warts and all.

Joseph Jon Lanthier

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

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Ben Rivers – The Sky Trembles and the Earth Is Afraid and the Two Eyes Are Not Brothers (2015)

September 23, 2016, 6:58 am

≫ Next: Jonas Mekas – Walden – Diaries Notes and Sketches (1969)

≪ Previous: Jonas Mekas – Diaries Notes and Sketches AKA Walden (1969) (HD)

Shooting against the staggering beauty of the Moroccan landscape, from the rugged terrain of the Atlas Mountains to the stark and surreal emptiness of the desert, with its encroaching sands and abandoned film sets, a director abandons his own film set and descends into a hallucinatory, perilous adventure of cruelty, madness and malevolence. A Paul Bowles story combined with observational footage forms a multi-layered excavation into the illusion of cinema itself.

http://nitroflare.com/view/CA291E86001BB52/THE_SKY_TREMBLES_AND_THE_EARTH_IS_AFRAID_AND_THE_TWO_EYES_ARE_NOT_BROTHERS.mkv

http://rapidgator.net/file/693ae1cc1ce36d41f70438e22ab76134/THE_SKY_TREMBLES_AND_THE_EARTH_IS_AFRAID_AND_THE_TWO_EYES_ARE_NOT_BROTHERS.mkv.html

Language(s):None
Subtitles:None

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Jonas Mekas – Walden – Diaries Notes and Sketches (1969)

September 25, 2016, 9:01 am

≫ Next: Jonas Mekas – Lost, Lost, Lost (1976)

≪ Previous: Ben Rivers – The Sky Trembles and the Earth Is Afraid and the Two Eyes Are Not Brothers (2015)

http://nitroflare.com/view/1066296A9ADEF60/Jonas_Mekas_-_%281969%29_Walden.mkv

http://rapidgator.net/file/36acb4de3149b379457a07d5f16aafc9/Jonas_Mekas_-_(1969)_Walden.mkv.html

Language(s):English
Subtitles:English

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Jonas Mekas – Lost, Lost, Lost (1976)

September 25, 2016, 9:12 am

≫ Next: James Benning – 74.78 (2005)

≪ Previous: Jonas Mekas – Walden – Diaries Notes and Sketches (1969)

Quote:
These six reels of my film diaries come from the years 1949-1963. They begin with my arrival in New York in November 1949. The first and second reels deal with my life as a Young Poet and a Displaced Person in Brooklyn. It shows the Lithuanian immigrant community, their attempts to adapt themselves to a new land and their tragic efforts to regain independance for their native country. It shows my own frustrations and anxieties and the decision to leave Brooklyn and move to Manhattan. Reel three and reel four deal with my life in Manhattan on Orchard Street and East 13th St. First contacts with New York poetry and filmmaking communities. Robert Frank shooting The Sin of Jesus. LeRoy Jones, Ginsberg, Frank O’Hara reading at The Living Theatre. Documentation of the political protests of the late fifties and early sixties. First World Strike for Peace. Vigil in Times Square. Women for Peace. Air Raid protests. Reel five includes Rabbit Shit Haikus, a series of Haikus filmed in Vermont; scenes at the Film-Maker’s Cooperative; filming Hallelujah the Hills; scenes of New York City. Reel six contains a trip to Flaherty Seminar, a visit to the seashore in Stony Brook; a portrait of Tiny Tim; opening of Twice a Man; excursions to the countryside seen from two different views; that of my own and that of Ken Jacobs whose footage is incorporated into this reel.

The period I am dealing with in these six reels was a period of desperation, of attempts to desparately grow roots into the new ground, to create new memories. In these six painful reels I tried to indicate how it feels to be in exile, how I felt in those years. These reels carry the title Lost Lost Lost, the title of a film myself and my brother wanted to make in 1949, and it indicates the mood we were in, in those years. It describes the mood of a Displaced Person who hasn’t yet forgotten the native country but hasn’t gained a new one. The sixth reel is a transitional reel where we begin to see some relaxation, where I begin to find moments of happiness. New life begins. What happens later, you’ll have to see the next installment of reels …

http://nitroflare.com/view/FCBDD65904601EF/Jonas_Mekas_-_%281976%29_Lost_Lost_Lost.mkv

http://rapidgator.net/file/db2da3faf7f2a09c616d0371c4c4cfab/Jonas_Mekas_-_(1976)_Lost_Lost_Lost.mkv.html

Language(s):English
Subtitles:English

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James Benning – 74.78 (2005)

October 9, 2016, 4:39 am

≫ Next: Jean-Claude Rousseau – La vallée close AKA The Enclosed Valley (1995)

≪ Previous: Jonas Mekas – Lost, Lost, Lost (1976)

Quote:
The 16mm test roll for James Benning’s feature-length film TEN SKIES. 74.78 is part of Mike Plante’s Lunchfilm series of commissioned shorts (made for the cost of a lunch between Plante and filmmaker James Benning).

http://nitroflare.com/view/D2B31E0D4830974/2005_-_74.78.mkv

Language(s):None
Subtitles:none

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Jean-Claude Rousseau – La vallée close AKA The Enclosed Valley (1995)

October 18, 2016, 12:26 pm

≫ Next: Marcel Hanoun – Le printemps (1971)

≪ Previous: James Benning – 74.78 (2005)

Quote:
My films are like that: in a room, but looking out onto an open sky. I can’t really say it except to repeat that Bresson note, ‘that without a thing changing, everything is different.’ The film exists. The fiction is set up, and we believe in it. The justness of the agreement leads us to believe it, because everything plays equally at being a sign. That’s the arrangement of the elements. It’s an act of faith. La vallée close is just this: elements treated above all as if in a documentary that, without being changed, portray the story and reveal between them the elements of fiction. But above all seen as they are, insignificant. And then in the relations they set up, they can satisfy our desire for a story. – Jean-Claude Rousseau

http://nitroflare.com/view/3A7BFDC5DE02E03/Jean-Claude_Rousseau_-_%281995%29_The_Enclosed_Valley.mkv

http://uploadgig.com/file/download/6073B3543e380aDF/Jean-Claude Rousseau – 1995 The Enclosed Valley.mkv

Language(s):French
Subtitles:English, Japanese

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Marcel Hanoun – Le printemps (1971)

November 7, 2016, 7:25 am

≫ Next: Hans Richter – Dadascope (1961)

≪ Previous: Jean-Claude Rousseau – La vallée close AKA The Enclosed Valley (1995)

One could only enumerate the elements to let the film tell itself. And this is besides one possible purpose of Hanoun here. Just let things communicate between themselves without the coercition of usual continuums (space and time) and let’s see and feel what happens. Yet there are clues given, relations but they are separated when one could await a close editing and vice versa. There seems to have two worlds, cinematographic worlds I mean : B&W and colour and things circulate from one world to another, people too…

But let’s just enumerate

the man

a young girl in a click clock ?

black and white

colour

tears

http://nitroflare.com/view/F5C50751735BF3A/Le_printemps_24fps_-_Marcel_Hanoun_%281971%29.mkv

http://uploadgig.com/file/download/43e7121b88E9f49b/Le printemps 24fps – Marcel Hanoun 1971.mkv

Language(s):French
Subtitles:English custom, English retail

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Hans Richter – Dadascope (1961)

November 7, 2016, 9:59 am

≫ Next: Oldrich Lipský – Happy End (1967)

≪ Previous: Marcel Hanoun – Le printemps (1971)

Dadascope is a comprehensive portrait of the Dada movement with its specific techniques of sound and visual clash, word puns, chess, dice and other games of chance. Richter stated, “There is no story, no psychological implication except such as the onlooker puts into the imagery. But it is not accidental either, more a poetry of images built with and upon associations. In other words the film allows itself the freedom to play upon the scale of film possibilities, freedom for which Dada always stood – and still stands.”

Hans Richter (1888-1976), painter, graphic artist, filmmaker, and producer was one of the founders of the Dada movement. Richter opposed traditional approaches to art. His avant-garde style to filmmaking and art paved the way for many artists to come.

from:
link

Poems in German, French and English, written and performed by well-known Dada artists: Jean Arp, Marcel Duchamp, Raoul Hausmann, Richard Huelsenbeck, Marcel Janco, Georges Ribemont-Dessaignes, Walter Mehring, Kurt Schwitters, Tristan Tzara and Wladimir Vogel. Poems were recited against a backdrop of “sound and visual clash, word puns, chess, dice and other games of chance.” According to Richter, “To these poems I made a film collage. To these Anti-poems, I have made an Anti-film. There is no story, no psychological implication except such as the onlooker puts into the imagery.”

from:
link

http://nitroflare.com/view/6D29A78BD357709/dadascope.mkv

http://uploadgig.com/file/download/b2b6be7C95D079a8/dadascope.mkv

Language(s):German, Dada
Subtitles:none

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Oldrich Lipský – Happy End (1967)

November 8, 2016, 8:31 am

≫ Next: Shambhavi Kaul – Night Noon (2014)

≪ Previous: Hans Richter – Dadascope (1961)

Quote:
Delightfully witty and with a Kafkaesque spin, Oldřich Lipský‘s brilliant film Happy End (1967) is a quirky little gem from the archives of cinematic history. Crafted with unrelenting precision and grace, Stastny Konec (to give it its Czech name) really gives its audience a taste of the bleak humour renowned by Czech comedy. Without spoiling too much, the film concerns the wondrous (or tragic) life-story of the kind-hearted (or vengeful) butcher Bedrich Frydrych (Vladmír Mensík), his various ups and downs with his wife Julie (Jaroslava Obermaierová) and the tribulations of a surreal existence in reverse.

Now when we say ‘reverse’ we do not mean David Fincher’s The Curious Case of Benjamin Button (2008) or Christopher Nolan’s Memento (2000). Lipský‘s whole film is literally played backwards. If this seems gimmicky in any way you would be quite wrong. Lipský’s editorial prowess (considering it was done by hand) and nuanced direction makes the overall narrative of the film airtight forwards and backwards. Thus, providing the unique platform for the hilarious on-screen dialogue and host of teeth gratingly amusing visual gags that punctuate the inventiveness of Happy End (the corpse reanimation scene in the bathroom is unforgettable). Indeed, the film’s special effects are shockingly innovative for the time and the cinematography is pristine thanks to the work of Vladimír Novotný. Arguably, Lipský is aware of how this ‘reversal’ concept could become played out or fatigued easily; I do not believe it is a coincidence that the film is shorter in length than the average feature.

Made one year before the Prague Spring, the film does not directly deal with the trials of communist occupation reminiscent of other movies produced by the Czech New Wave. However, considering the political climate leading up to the film’s conception, Happy End embodies a subtext of joy, freedom and excitement in the wake of Alexander Dubček’s intentions to loosen the stronghold of Soviet Moscow on the Czech people. It is almost infectious and finds the perfect vehicle for expression in the exceptional performance from Vladmír Mensík, whose charming mannerisms and earnest narration cradle the viewer before chucking them into the fire.

http://nitroflare.com/view/C6180C20485C2CF/Oldrich_Lipsky_-_%281966%29_Happy_End.mkv

http://uploadgig.com/file/download/49da5279b1c04e50/Oldrich Lipsky – 1966 Happy End.mkv

Language(s):Czech
Subtitles:Czech, Russian, English

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Shambhavi Kaul – Night Noon (2014)

November 15, 2016, 8:42 am

≫ Next: Ranjan Palit – In Camera (2010)

≪ Previous: Oldrich Lipský – Happy End (1967)

Quote:
Amidst desert landscapes and splendid ocean views, a dog and a parrot appear. They emphasise the cosmic rhythm of day and night.

Amidst desert landscapes and splendid ocean views, a dog and a parrot appear. They emphasise the cosmic rhythm of day and night. Departing from Zabriskie Point, the film surreptitiously crosses over into Mexico, its creative geography never far from our cinematic memory.

– IFFR

http://nitroflare.com/view/160765FF2124DDD/Night_Noon.mkv

https://uploadgig.com/file/download/dF32be676073a318/Night Noon.mkv

Language(s):No Dialogue
Subtitles:None

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Ranjan Palit – In Camera (2010)

December 1, 2016, 1:14 am

≫ Next: Joshua Oppenheimer & Nish Saran – Hugh (1996)

≪ Previous: Shambhavi Kaul – Night Noon (2014)

In this meditative and strident overview of the career of Ranjan Palit, award-winning documentary cameraman, the filmmaker himself shows us the images and questions that have haunted him throughout his 25-year career. Celebrated for films that document the struggles of powerless people to save their homes and ancestral traditions, Palit still questions the good he has done for them and wonders if he’s merely turned their lives into images and then memories that are destined to be forgotten.

He reflects on his subjects and locations, from a sightless singer at village cremations to the fierce first lady of Indian cinema Kamlabai Gokhlae. He’s obsessed by the footage of an activist boy pointing him out in the crowd, accusing him of police surveillance. The children Palit captures on film – victimized and radicalized by the events around them, and not least of all his own daughter – most powerfully force him to confront his motives, as well as his suspicion that he has “used film as the ultimate alibi: frame first, act later.” Palit explores the connection between his professional and personal lives, inextricably entwined in his collaboration and marriage with filmmaker Vasudha Joshi, and eloquently answers his own question: “Isn’t being behind the camera better than looking away?”

– Frako Loden for RTF, UT Austin

http://nitroflare.com/view/4A7F53304B348B5/In_Camera.mkv

http://uploadgig.com/file/download/8F166e4BEBb5afbB/In Camera.mkv

Language(s):English, Hindi, Bengali
Subtitles:English (hardcoded, for non-English parts)

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Joshua Oppenheimer & Nish Saran – Hugh (1996)

December 3, 2016, 12:01 am

≫ Next: Joshua Oppenheimer – The Entire History of the Louisiana Purchase (1998)

≪ Previous: Ranjan Palit – In Camera (2010)

Hugh is the earliest demonstration of Oppenheimer’s key thesis that hate and extremism are not necessarily disruptive forces – they can be thoroughly bedded into society. The titular subject is an elderly man who makes furniture, teaches children to play the piano and is hailed by his friends as one of the most generous people you’ll ever meet. He also goes into town with his car plastered in sandwich boards and preaches about how homosexuality will destroy civilisation…
Hugh is ten minutes long, but has the complexity and nuance of a feature film, and as a bonus is shot in gorgeous high-contrast black-and-white reminiscent of Marc Singer’s excellent 2000 documentary cult classic Dark Days.
– Graham Williamson 2016

This short, co-directed by Nishit Saran, is the first clear hint of the political implications that will continue so strongly across Oppenheimer’s filmmaking.
– Clydefro Jones 2016

http://nitroflare.com/view/2B3408508DCFFC7/Hugh__%28Joshua_Oppenheimer%2C_1996%29.mkv

http://uploadgig.com/file/download/5591Eb255e4a6c31/Hugh Joshua Oppenheimer 1996.mkv

Language(s):English
Subtitles:None

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Joshua Oppenheimer – The Entire History of the Louisiana Purchase (1998)

December 3, 2016, 12:20 am

≫ Next: Gabriel Abrantes & Ben Rivers – The Hunchback (2016)

≪ Previous: Joshua Oppenheimer & Nish Saran – Hugh (1996)

“In Louisiana Purchase I wanted to examine the whole question of historical memory, the making of history…”
— Joshua Oppenheimer

The Entire History of the Louisiana Purchase is an imaginative and innovative film essay which combines faux and real documentary with lyrical fiction to paint a monstrous yet beautiful portrait of America at the end of the millennium. With unflinching originality, the film meditates humorously on faith, myth, scapegoats, the idea of the alien, the end of the world, and the beginnings of redemption…. Oppenheimer’s monstrous yet charming ‘history of my country’ is written by a poet, sweet and dark, joyous as the wet rats who save themselves from drowning in the film’s last sequence…. It opens a genre of film as revelatory and intelligent dream, stimulant of social memory, and means for re-examining the relationship between fact and fiction, historical truth and social myth.
– Dusan Makavejev, May 1997

If The Act of Killing uses reenactments to elicit horrible truths, Oppenheimer’s shenanigans here and apocalyptic voiceover (drawled by the microwaving mother character) conjure the unreality of fringe belief systems and myth creation. The raucous clip montages suggest a debt to Craig Baldwin or Bruce Conner, but Oppenheimer’s theatrical mélange is of its decade, showing a younger generation digging into American ur-history.
– Nicolas Rapold in Film Comment July/August 2015 Issue

http://nitroflare.com/view/027450714B8A0C1/The_Entire_History_of_the_Louisiana_Purchase__%28Joshua_Oppenheimer%2C_1997%29.mkv

http://uploadgig.com/file/download/357acD3e0d86fad3/The Entire History of the Louisiana Purchase Joshua Oppenheimer 1997.mkv

Language(s):English
Subtitles:None

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Gabriel Abrantes & Ben Rivers – The Hunchback (2016)

December 13, 2016, 11:27 am

≫ Next: Richard Pinhas & Oren Ambarchi – Tikkun (Rune 389, Cuneiform Records 2014) (2014)

≪ Previous: Joshua Oppenheimer – The Entire History of the Louisiana Purchase (1998)

In this delirious sci-fi take on the Arabian Nights’ Tale of the Hunchback, Dalaya.com, a mega-corporation reigning over a technological dystopia, forces its employees to “relax” at company-run medieval re-enactment (Festival del Film Locarno)

http://nitroflare.com/view/CBDF71122090951/O_Corcunda___The_Hunchback-HD.mkv

https://uploadgig.com/file/download/6c8ec9bBa92fda79/O Corcunda _ The Hunchback-HD.mkv

Language(s):Portuguese, english
Subtitles:English

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Richard Pinhas & Oren Ambarchi – Tikkun (Rune 389, Cuneiform Records 2014) (2014)

December 18, 2016, 12:37 am

≫ Next: Azadeh Navai – Friday Mosque (2014)

≪ Previous: Gabriel Abrantes & Ben Rivers – The Hunchback (2016)

Richard Pinhas, the founder of 70s progressive legends Heldon, is one of the most uncompromising artists on the international rock scene, having remained constantly innovative and true to his personal artistic vision for 40 years and some 35 full length releases.

Oren Ambarchi is a guitarist, drummer and sound-artist who has performed and/or recorded with a huge array of artists, including Fennesz, John Zorn, Jim O’Rourke, Otomo Yoshihide, Evan Parker, Merzbow and others. Since 2004, he has worked with the avant-metal band Sunn O))), contributing to many of their releases and side- projects.

Pinhas and Ambarchi first recorded together when Ambarchi contributed to recordings that were eventually tied together with other contributors into Pinhas’ 2013’s release Desolation Row. Since that time they have been working on ideas, recordings and concert / live collaborations.

The personnel for Tikkun is: Oren Ambarchi-guitar, loops Richard Pinhas-guitar, synth guitar, effects Joe Talia-drums, effects Masami Akita (Merzbow)-loops, noise, effects Duncan Pinhas-sequences, effects, noise Eric Borelva-additional drums Interestingly, Richard specifically thinks of this album as a duo project that was conceived as a duo project for himself and Oren, despite the very effective contributions of the other four musicians. The music on Tikkun, which consists of three very lengthy tracks, comes across as a very tasty cross between the heavy, synth-driven, sequencer beats of classic Heldon and the much more noisier aspects of Pinhas’ work over the last decade. In addition to the studio album, physical CD+DVD version also includes a DVD of a live performance of the duo. It was filmed at Paris’ main venue for experimental music, Les Instants Chavires, October 29, 2013.

“…it’s like the weird, beautiful music you think you only hear in dreams.”
– Q

Tracklist

1. Paris – Part One – TnVO [41:10]

Line-up / Musicians

Oren Ambarchi / guitar, loops
Richard Pinhas / guitar, synth guitar, effects

Composed By – Oren Ambarchi, Richard Pinhas

Performer [First Circle], Drums, Effects, Mixed By [Mix] – Joe Talia
Performer [First Circle], Guitar, Guitar Synthesizer [Analog Synth Guitar], Effects – Richard Pinhas
Performer [First Circle], Guitar, Loops [Spirit And Loops] – Oren Ambarchi
Performer [Second Circle], Drums [Additional] – Eric Borelva
Performer [Second Circle], Loops, Noises, Effects – Masami Akita, Merzbow
Performer [Second Circle], Sequenced By [Sequences], Effects, Noises – Duncan Pinhas

The DVD was recorded live in Paris, October 29, 2013 at Intstants Chavires, Montreuil, France. DVD authoring at Inner Pixels Studios, Sacramento, California.

http://nitroflare.com/view/CD8E315552AC2DD/Richard_Pinhas_%26_Oren_Ambarchi_-_Tikkun_2014.rar

http://uploadgig.com/file/download/c3dE90e5400C27d2/Richard Pinhas Oren Ambarchi – Tikkun 2014.rar

no pass

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