Фильмы без русского перевода, Открыто для обсуждения Опции

[Chase Riddler]

Sin City Recut & Extended




Год выхода: 2005
Жанр: Noir, Action, Crime, Drama
Производство: Dimension Films, USA

Director: Robert Rodriguez, Frank Miller, Quentin Tarantino (as Guest Director)
Shot and Cut =): Robert Rodriguez
Music: Robert Rodriguez, John Debney, Graeme Revell
Written: Frank Miller, Robert Rodriguez
IMDB: ]]>http://imdb.com/title/tt0401792/]]> TOP 250: #62
Рейтинг: R (Restricted)

Actors: Bruce Willis, Mickey Rourke, Jessica Alba, Klive Owen, Brittany Murphy, Elija Wood, Josh Hartnett, Nick Stahl, Michael Madsen, Carla Gugino, Powers Boothe, Michael Clarke Duncan, Rutger Hauer, Frank Miller

Описание: Город грехов полностью оправдывает свое название. Здесь страшно ходить по улицам – убийства уже никого не пугают, а полиция погрязла в коррупции. Люди ко всему привыкают – вот и жители города, несмотря на царящее беззаконие, отчаянно пытаются быть обычными горожанами. До тех пор, пока беда не приходит в их дом. И тогда они сталкиваются с теми, кто уже давно утратил иллюзии и живет по волчьим законам… Каждый из героев фильма по своему уникален. Все они похожи на героев комикса, и все желают одного – любить и быть любимыми. Роберт Родригез так хотел, чтобы автор сюжета ленты Фрэнк Миллер стал его сорежиссером, что, когда Гильдия режиссеров запретила ему работать с человеком, не состоящим в ней, предпочел выйти из Гильдии, чем уступить. Несмотря на участие в фильме десятка звезд, Бюджет – всего $40 млн.
Расширенная версия примерно на 7 минут длиннее кинотеатральной (хотя везде заявлены 25). Также, теперь фильм представляет собой 4 отдельные истории, которые идут по порядку. Подробнее с изменениями можно ознакомиться здесь:

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Формат: XVid
Качество: DVDRip
Видео: 592x320, 1072 Kbps, 24 fps
Аудио: AC3, 448 Kbps, 6 channel
Язык: английский
Размер: 1.36 Гб
Продолжительность: 128 мин






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Сообщение отредактировано Chase Riddler - 5.03.2006 - 01:13

[AtEX]

Шепоты и крики
Ингмар Бергман, 1972
Шведский, англ. субтитры
The Criterion Collection

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"Cries and Whispers" is like no movie I've seen before, and like no movie Ingmar Bergman has made before; although we are all likely to see many films in our lives, there will be few like this one. It is hypnotic, disturbing, frightening.
It envelops us in a red membrane of passion and fear, and in some way that I do not fully understand it employs taboos and ancient superstitions to make its effect. We slip lower in our seats, feeling claustrophobia and sexual disquiet, realizing that we have been surrounded by the vision of a film maker who has absolute mastery of his art. "Cries and Whispers" is about dying, love, sexual passion, hatred and death - in that order.

Сообщение отредактировано AtEX - 15.03.2006 - 21:51

[AtEX]

L'Enfant, 2005, Francais
Directed by Jean-Pierre Dardenne, Luc Dardenne
Palme D'Or 2005

Бруно продал мутным парням своего девятидневного ребенка точно так же, как сдавал барыгам краденые плееры и вывалившиеся из кузова грузовика товары. Подруга — Мадонна из бессмысленного бельгийского городка, не поняла его поступок. Он не понял, почему она не поняла: "Ничего, другого сделаем". Братья Дарденн, второй раз заслуженно получившие каннское золото, слишком внимательны к бытовым деталям, чтобы их можно было назвать реалистами. Их камера слишком приклеена к лицам и спинам героев, чтобы их можно было зачислить в адепты "киноправды". Высочайший, невиданный со времен Роберто Росселини, почему-то считающегося отцом неореализма, уровень мистического натурализма, дара довести зрителей до такого состояния, что они не понимают, режиссер ли снимает это кино или сам Господь. А может быть, камеру случайно включили и забыли выключить?

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Сообщение отредактировано AtEX - 17.03.2006 - 20:51

[vYuran]

ЗАБАВНЫЕ ПРИКЛЮЧЕНИЯ ДИКА И ДЖЕЙН /FUN WITH DICK AND JANE/
Комедия
США
Год: 1977;
1,40;

Режиссер: Тед Котчефф /Ted Kotcheff/

В ролях: Джейн Фонда /Jane Fonda/, Хэнк Гарсиа /Hank Garcia/, Дик Готье /Dick Gautier/, Эд МакМэхон /Ed McMahon/, Джон Денер /John Dehner/, Аллен Миллер /Allan Miller/, Джордж Сигал /George Segal/

Дик (Сигал) и Джейн (Фонда) были обычной американской семьей среднего класса Америки. Дик работал в крупной аэрокосмической компании, а Джейн вела хозяйство и воспитывала сына. Они только что переехали в новый дом, и вдруг Дика увольняют с работы. Новой работы он найти не может и оказывается в очереди за пособием. За дом еще нужно выплатить 75 тыс. долларов. Джейн находит малооплачиваемую работу, обращается за помощью к родителям, но отец отказывается одолжить денег, утверждая, что трудные дни только закалят их с мужем. После того как Дик лишается пособия, супруги идут за ссудой и получают всего 1000 долларов под 18% годовых. Напавшие на банк грабители забрали у Дика только что взятую ссуду. Джейн взяли в заложницы. В суматохе она упала на пакет с деньгами, который почти машинально унесла с собой домой. Так супруги стали обладателями 2000 долларов. Дику первому приходит в голову мысль взять пистолет и пойти на преступление. Но Джейн никак не могла отпустить супруга одного... (Иванов М.)

DirectConnect:

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Сообщение отредактировано vYuran - 17.03.2006 - 21:53

[AtEX]

Persona, 1966 (Swe; Eng/Es/Fr sub)
Ingmar Bergman

Shakespeare used six words to pose the essential human choice: "To be, or not to be?" Elizabeth, a character in Ingmar Bergman's "Persona," uses two to answer it: "No, don't!"
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Susan Sontag on Persona

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One impulse is to take Bergman's masterpiece for granted. Since 1960 at least, with the breakthrough into new narrative forms propagated with most notoriety (if not greatest distinction) by Last Year in Marienbad, audiences have continued to be educated by even more elliptical and complex work. As Resnais' imagination was subsequently to surpass itself in Muriel, a succession of ever more difficult and rewarding films has turned up in recent years. But that good fortune releases nobody who cares about films from acclaiming work as original and triumphant as Persona. It is depressing that the film has thus far received only a fraction of the attention it deserves - at least in New York and Paris. (At the moment of writing, it hasn't yet opened in London.)

Of course, some of the paltriness of the critics' reaction may be more a response to the signature Persona carries than to the film itself. That signature has come to mean a prodigal tirelessly productive career; a rather facile, often merely beautiful, by now (it seemed) almost over-size body of work; a lavishly inventive, sensual, yet somewhat melodramatic talent, employed with what appeared to be a certain complacency, and prone to embarrassing displays of intellectual bad taste. From the Fellini of the North, exacting filmgoers could hardly be blamed for not expecting, ever, a truly great film. But Persona happily forces one to put aside such dismissive preconceptions about its author.

The rest of the neglect of Persona may be set down to emotional squeamishness; the film, like much of Bergman's recent work, bears an almost defiling charge of personal agony. I'm thinking particularly of The Silence - most accomplished, by far, of the films made before this one. And Persona draws heavily on the themes and schematic cast established in The Silence. (The principal characters in both films are two women bound together in a passionate agonised relationship, one of them the mother of a drastically neglected small boy. Both films take up the themes of the scandal of the erotic, the polarities of violence and powerlessness, reason and unreason, language and silence, the intelligible and the unintelligible.) But the new film ventures at least as much beyond The Silence as the distance separating that film, by its emotional power and subtlety, from Bergman's entire previous work.

That distance gives, for the present moment, the measure of a work which is undeniably 'difficult'. Persona is bound to trouble, perplex and frustrate most filmgoers - at least as much as Marienbad did in its day. Or so one would suppose. But, heaping imperturbability upon relative neglect, critical reaction has shied away from associating anything very baffling with the film. The critics have allowed, mildly, that the latest Bergman is unnecessarily obscure. Some add that this time he's overdone the mood of unremitting bleakness. It's intimated that with this film he has ventured out of his depth, exchanging art for artiness. But the difficulties and rewards of Persona are much more formidable than such banal objections would suggest.

Of course, evidence of these difficulties is available anyway. Why else all the discrepancies plain misrepresentations in critics' accounts of what actually happens during the film? Like Marienbad, Persona seems to be full of obscurity. Its general look has nothing of the built-in, abstract evocativeness of the chateau in Resnais' film: the space and furnishings of Persona are anti-romantic, cool, clinical, and bourgeois modern. But there's no less of a mystery lodged in this setting. Images and dialogue are given which the viewer cannot help but find puzzling, not being able to decipher whether certain scenes take place in the past, present or future; and whether certain images and episodes belong to 'reality' or 'fantasy'.

One common approach to a film presenting difficulties of this now fairly familiar sort is to declare such distinctions to be irrelevant, and the film to be actually all of one piece. What's happened is that its action has been situated in a merely (or wholly) 'mental' universe. But this approach merely postpones the difficulty, it seems to me. Within the structure of what is shown, the elements continue being related to each other in the ways that might have led the viewer to settle for supposing some events to be 'real' and' others visionary (whether dream, fantasy, hallucination or extra-worldly visitation). For example: causal connections observed in one portion of the film are flouted in another part; several equally persuasive but mutually exclusive explanations are given of the same event. These discordant internal relations are only transposed, intact, when the whole film is relocated in the mind.

Actually, it's no more helpful to describe Persona as a wholly subjective film, one taking place entirely within someone's head, than it was (how easy to see that now) in elucidating Marienbad, a film whose disregard for conventional chronology and a clearly delineated border between fantasy and reality could scarcely have constituted more of a provocation than Persona.

What first needs to be made clear about Persona is what can't be done with it. The most skilful attempt to arrange a single, plausible anecdote out of the film must leave out or contradict some of its key sections, images and procedures. It's the failure to perceive this critical rule that has led to the flat, impoverished and partly inaccurate account of the film promulgated almost unanimously by reviewers.

According to this account, Persona tells the story of two women. One is a successful actress, evidently in her mid-thirties, named Elizabeth Vogler (Liv Ullmann), now suffering from an enigmatic mental collapse whose chief symptoms are muteness and a near-catatonic lassitude. The other is the pretty young nurse of twenty-five named Alma (Bibi Andersson) charged with caring for Elizabeth - first at the mental hospital, then at the beach cottage loaned to them by the woman psychiatrist who is Elizabeth's doctor and Alma's supervisor. What happens in the course of the film, according to the critics' consensus, is that, through some mysterious process, each of the two women becomes the other. The officially stronger one, Alma, gradually assumes the problems and confusions of her patient, while the sick woman, felled by despair and/or psychosis, regains her power of speech and returns to her former life. (The viewer doesn't see this exchange consummated: what he sees at the end of Persona looks like an agonised stalemate. But it was widely reported that the film, until shortly before it was released, contained a brief closing scene which showed Elizabeth on the stage again, apparently completely recovered. From this, presumably, the viewer was to infer that the nurse is now mute and has taken on the burden of her despair.)

Proceeding from this constructed version, half 'story' and half 'meaning', critics have read off a number of further meanings. Some regard the transaction between Elizabeth and Alma as illustrating some impersonal law which operates intermittently in human affairs, no ultimate responsibility pertains to either of them. Others posit a conscious cannibalism of the innocent Alma by the actress - and thus read the film as a parable of the predatory energies of the artist, forever scavenging life for 'material'. Other critics move quickly to an even more general plane, and extract from Persona a diagnosis of the contemporary dissociation of personality, a demonstration of the inevitable failure of good will and trust and predictably correct views on such matters as the alienated affluent society, the nature of madness, psychiatry and its limitations, the American war in Vietnam, the Western legacy of sexual guilt, and the Six Million. (Then they often go on, as Michel Cournot did in Le Nouvel Observateur, to chide Bergman for this vulgar didacticism which they have imputed to him.)

My own view is that, even when turned into a 'story', this prevailing account of Persona grossly oversimplifies and misrepresents. True, Alma does seem to grow progressively more vulnerable; in the course of the film she is reduced to fits of hysteria, cruelty, childish dependence and (probably) delusion. It's also true that Elizabeth gradually becomes stronger, that is, more active, more responsive; though her change is far subtler and, until virtually the end, she still refuses to speak. But all this is hardly tantamount to an 'exchange' of attributes and identities. Nor is it established that Alma, however much she does come, with pain and longing, to identify herself with the actress, takes on Elizabeth's dilemmas, whatever these may be. (They're far from made clear.)

With Persona, it's the temptation to invent more 'story' that has to be resisted. Take, for instance, the scene which starts with the abrupt presence of a middle-aged man wearing dark glasses (Gunner Bjцrnstrand) near the beach cottage. All we see is that he approaches Alma, addressing her and continuing to call her, despite her protests, by the name of Elizabeth, that he tries to embrace her; that throughout this scene Elizabeth's impassive face is never more than a few inches away; that Alma suddenly yields to his embraces, saying "Yes, I am Elizabeth" (Elizabeth is still watching intently), and goes to bed with him amid a torrent of endearments. Then we see the two women together (shortly after?); they are alone, behaving as if nothing has happened. This sequence can be taken as illustrating Alma's growing identification with Elizabeth, and gauging the extent of the process by which she is learning (really? in her imagination?) to become Elizabeth. While Elizabeth has voluntarily (?) renounced being an actress, by becoming mute, Alma is involuntarily and painfully engaged in becoming that Elizabeth Vogler, the performer, who no longer exists. Still, nothing we see justifies describing this scene as most critics have done as a 'real' event - something that happens in the course of the plot on the same level as the initial removal of the two women to the cottage. But neither can we be absolutely sure that this, or something like it, isn't taking place. After all, we do see it happening. (And it's in the nature of cinema to confer on all events, without indications to the contrary, an equivalent degree of reality: everything shown on the screen is 'there', present.)

The difficulty is that Bergman withholds the kind of clear signals for sorting out what's fantasy from what is 'real' offered, for example, by Buсuel in Belle de Jour. Buсuel has put the clues there, he wants the viewer to be able to decipher his film. The insufficiency of the clues Bergman has planted must be taken to indicate that he intends the film to remain partly encoded. The viewer can only move towards, but never achieve, certainty about the action. However, so far as the distinction between fantasy and reality has any use in understanding Persona, I should argue that much more than critics have allowed of what happens in and around the beach cottage is most plausibly understood as Alma's fantasy. One prime piece of evidence is a sequence occurring soon after the two women arrive at the seaside. It's the sequence in which, after we have seen (i.e., the camera has shown) Elizabeth enter Alma's room and stand beside her and stroke her hair, we see Alma, pale, troubled, asking Elizabeth the next morning "Did you come to my room last night?" And Elizabeth, slightly quizzical, anxious, shaking her head No.

Now, there seems no reason to doubt Elizabeth's answer. The viewer isn't given any evidence of a malevolent plan on her part to undermine Alma's confidence in her own sanity nor for doubting Elizabeth's memory or sanity in the ordinary sense. But if that is so, two important points may be taken as established early in the film. One is that Alma is hallucinating - and, presumably, will continue doing so. The other is that hallucinations or visions will appear on the screen with the same rhythms, the same look of objective reality, as something 'real'. (However, some clues, too complex to describe here are given in the lighting of certain scenes.) And once these points are granted, it seems highly plausible to take at least the scene with Elizabeth's husband as Alma's fantasy, as well as several scenes in which there is a charged, trance-like physical contact between the two women.

But even to make any headway sorting out what Alma imagines from what may be taken as really happening is a minor achievement. And it quickly becomes a misleading one, unless subsumed under the larger issue of the form of exposition employed by the film. As I have suggested, Persona is constructed according to a form that resists being reduced to a 'story' - say, the story about the relation (however ambiguous and abstract) between two women named Elizabeth and Alma, a patient and a nurse, a star and an ingenue, alma (soul) and persona (mask). The reason is that reduction to a 'story' means, in the end, a reduction of Bergman's film to the single dimension of psychology. Not that the psychological dimension isn't there. It is. But a correct understanding of Persona must go beyond the psychological point of view.

This seems clear from the fact that Bergman allows the audience to interpret Elizabeth's mute condition in several ways - as involuntary mental breakdown, and as voluntary moral decision leading either towards self-purification or suicide. But whatever the background of her condition, it is much more in the sheer fact of it than in its causes that Bergman wishes to involve the viewer. In Persona, muteness is first of all a fact with a certain psychic and moral weight, a fact which initiates its own kind of causality upon en 'other'.

I am inclined to impute a privileged status to the speech the psychiatrist makes to Elizabeth, before she departs with Alma to the cottage. The psychiatrist tells the silent, stony-faced Elizabeth that she has understood her case. She has grasped that Elizabeth wants to be sincere, not to play a role; to make the inner and the outer come together. And that having rejected suicide as a solution, she has decided to be mute. She advises Elizabeth to bide her time, to live her experience through; and at the end of that time, she predicts, the actress will return to the world... But even if one treats this speech as setting forth a privileged view, it would be a mistake to assume that it's the key to Persona; or even to assume that the psychiatrist's thesis wholly explains Elizabeth's condition. (the doctor could be wrong, or at least be simplifying the matter.) By placing this speech early in the film, and by never referring explicitly to this 'explanation' again, Bergman has, in effect, both taken account of psychology and dispensed with it. Without indicating that he regards psychological explanation as unimportant, he clearly consigns to a relatively minor place any consideration of the role the actress's motives have in the action.

In a sense, Persona takes a position beyond psychology. As it does, in an analogous sense, beyond eroticism. The materials of an erotic subject are certainly present, such as the 'visit' of Elizabeth's husband. There is, above all, the connection between the two women themselves which, in its feverish proximity, its caresses, its sheer passionateness (avowed by Alma in word, gesture and fantasy) could hardly fail, it would seem, to suggest a powerful, if largely inhibited, sexual involvement. But in fact, what might be sexual in feeling is largely transposed into something beyond sexuality, beyond eroticism even. The only purely sexual episode is the scene in - which Alma, sitting across the room from Elizabeth, tells the story of the beach orgy. Alma speaks, transfixed, reliving the memory and at the same time consciously delivering up this shameful secret to Elizabeth as her greatest gift of love.

Entirely through discourse, without any recourse to images (through a flashback), a violent sexual atmosphere is generated. But this sexuality has nothing to do with the 'present' of the film, and the relationship between the two women.

In this respect, Persona makes a remarkable modification of the structure of The Silence, where the love-hate relationship between the sisters had an unmistakable sexual energy. In Persona, Bergman has achieved a more interesting situation by delicately excising or transcending the possible sexual implications of the tie between the two women. It is a remarkable feat of moral and psychological poise. While maintaining the indeterminacy of the situation Bergman can't give the impression of evading the issue, and he mustn't present anything that is psychologically improbable.

The advantages of keeping the psychological aspects indeterminate (while internally credible) are that Bergman can do many other things besides tell a 'story'. Instead of having a full-blown 'story' on his hands, he has something that is in one sense cruder, and in another more abstract: a body of material, a subject. The function of the 'subject' or 'material' may be as much its opacity, its multiplicity, as the manner in which it yields itself up to being incarnated in a determinate plot. One predictable result of a work constituted along these principles is that the action would appear intermittent, porous shot through with intimations of absence, of what could not be univocally said.

This procedure doesn't mean that a narration of this type has forfeited 'sense'. But it does mean that 'sense' isn't necessarily tied to a determinate plot. What is envisaged instead is the possibility of an extended narration composed of events which are not (wholly) explicated, but which are nevertheless possible. The 'forward' movement of such a narrative might be measured by reciprocal relations between its parts e.g. displacements - rather than by ordinary realistic (mainly psychological) causality. Often there might exist what could be called a dormant plot. Still, critics have better things to do than ferreting out the story line as if the author had - through mere clumsiness or error or frivolity or lack of craft concealed it. In such narratives, it isn't a question of a plot that has been mislaid but of one that has been (at least in part) annulled. That intention, whether conscious on the artist's part or merely implicit in the work, should be taken at face value and respected.

Take the matter of information. One tactic upheld by traditional narrative is to give 'full' information, so that the ending of the viewing or reading experience coincides, ideally. with full satisfaction of one's desire to 'know', to understand what happened and why. (This is, of course, a highly manipulated quest for knowledge. It's the business of the artist to convince his audience that what they haven't learned at the end they can't know, or shouldn't care about knowing.) But one of the salient features of new narratives is a deliberate, calculated frustration of the desire to 'know'. Did anything happen last year at Marienbad ? What did become of the girl in L'Avventura? Where is Alma going when she boards a bus alone in one of the final shots of Persona?

Once it is conceived that the desire to 'know' may be (in part) systematically thwarted, the old expectations about plotting can no longer hold. At first, it may seem that a plot in the old sense is still there; only it's being related at an oblique, uncomfortable angle, where vision is obscured. Eventually though it needs to be seen that the plot isn't there at all in the old sense, and therefore that the point isn't to tantalise but to involve the audience more directly in other matters, for instance in the very processes of 'knowing' and 'seeing'. (A great precursor of this conception of narration is Flaubert. And the method can be seen in Madame Bovary, in the persistent use of the off-centre detail in description.)

The result of the new narration, then, is a tendency to de-dramatise. In, for example, Journey to Italy or L'Avventura we are told what is ostensibly a story. But it is a story which proceeds by omissions. The audience is being haunted, as it were, by the sense of a lost or absent meaning to which even the artist himself has no access.

The avowal of agnosticism on the artist's part may look like unseriousness or contempt for the audience. But when the artist declares that he doesn't 'know' any more than the audience knows, what he is saying is that all the meaning resides in the work itself. There is no surplus, nothing 'behind' it. Such works seem to lack sense or meaning only to the extent that entrenched critical attitudes have established as a dictum for the narrative arts that meaning resides solely in this surplus of 'reference' outside the work - to the 'real world' or to the artist's intention. But this is, at best, an arbitrary ruling. The meaning of a narration is not the same as a paraphrase of the values associated by an ideal audience with the 'real life' equivalents or sources of the plot elements, nor with the attitudes projected by the artist towards them. And there are other kinds of narration besides those based on a 'story'.

For instance, the material can be treated as a thematic resource - from which different, perhaps concurrent, narrative structures can be derived as variations. Once this possibility is consciously entertained, it becomes clear that the formal mandates of such a construction must differ from those of a 'story' (or even a set of parallel stories). The difference will probably appear most striking in the treatment of time.

A 'story' involves the audience in what happens, how it comes out. The movement is strongly linear, whatever the meanderings and digressions. One moves from A to B, only to look forward to C, whereupon C (if the affair is satisfactorily managed) points one's interest in the direction of D. Each link in the chain is, so to speak, self-abolishing - since it has served its turn.

But the development of a theme-and-variation narrative is much less linear. The linear movement can't be altogether suppressed, since the experience of the audience remains a movement in time. But this forward movement can be sharply qualified by a competing retrograde principle, which could take the form, say, of continual backward- and cross-references. Such a work would invite re-experiencing, multiple viewing. It would ask the spectator, ideally, to be able to position himself at several points in the narrative simultaneously. Time may appear in the form of a perpetual present, or as a conundrum in which it's made impossible to establish exactly the distinction between past, present and future (Marienbad and Robbe-Grillet's L'Immortelle are fairly pure examples of the latter procedure). In Persona, Bergman uses a mixed approach. The treatment of sequences in the centre of the film seems realistically chronological, while distinctions of 'before' and 'after' are drastically bleached out, almost indecipherable at the beginning and close of the film.

But despite this more moderate use of the procedure of temporal dislocation, the construction of Persona is best described in terms of the form: variations on a theme. The theme is that of doubling, and the variations are those that follow from its leading possibilities - duplication, inversion, reciprocal exchange, repetition. Once again, it would be a serious misunderstanding to demand to know exactly what happens in Persona; for what is narrated is only deceptively, secondarily, a 'story' at all. It's correct to speak of the film in terms of the fortunes of two characters named Elizabeth and Alma who are engaged in a desperate duel of identities. But it is no less true, or relevant, to treat Persona as what might be misleadingly called an allegory: as relating the duel between two mythical parts of a single 'person', the corrupted person who acts (Elizabeth) and the ingenuous soul (Alma) who founders in contact with corruption.

Bergman is not just telling a 'story' about the psychic ordeal of two women: he is using that ordeal as a constituent element of his theme. And that theme, for which I've used the name of doubling, is no less a formal idea than a psychological one. We know this in two ways. First, by the fact already stressed that Bergman has withheld enough information about the 'story' of the two women to make it impossible to determine clearly the main outlines, much less all, of what passes between them. Second, by the fact that he has introduced a number of reflections about the nature of representation (the status of the image, of the word, of action, of the film medium itself). Persona is not just a representation of transactions between the two characters, Alma and Elizabeth, but a meditation on the film which is 'about' them.

The most explicit vehicle for this meditation is the opening and closing sequence, in which Bergman tries to create that film as an object: a finite object, a made object, a fragile perishable object, and therefore existing in space as well as time.

Persona begins with darkness. Then two points of light gradually gain in brightness, until we see that they're the two carbons of the arc lamp; after this, a portion of the leader flashes by. Then follows a suite of rapid images, some barely identifiable - a chase from a slapstick silent film, an erect penis; a nail being hammered into the palm of a hand; a shot from the rear of a stage of a heavily made-up actress declaiming to the footlights and darkness beyond (we see this image soon again and know that it's Elizabeth playing her last role, that of Electra); the immolation of a Buddhist monk in Vietnam, assorted dead bodies in a morgue. All these images go by very rapidly, mostly too fast to see; but gradually they're slowing down, as if consenting to adjust to the time in which the viewer can comfortably perceive them. Then follows a final set of images, run off at normal speed. We see a thin, unhealthy-looking boy around eleven lying under a sheet on a hospital cot against the wall of a bare room; the viewer, at first, is bound to associate to the corpses he's just seen. But the boy stirs, awkwardly kicks off the sheet, puts on a pair of large round glasses, takes out a book and begins to read. Then we see that ahead of him is an indecipherable blur, very faint, but on its way to becoming an image. It's the face of a beautiful woman. As if in a trance, the boy slowly reaches up and begins to caress it. (The surface he touches suggests a movie screen, but also a portrait and a mirror.)

Who is the boy? It seems easy for most people to say he's Elizabeth's son, because we learn later on that she does have a son, and because the face on the screen is the actress's face. But is it? Although the image is far from clear (this is obviously deliberate) I'm almost sure that Bergman is modulating it from Elizabeth's face to Alma's to Elizabeth's again. And if that is the case, does it change anything about the boy's identity? Or is his identity, perhaps, something we shouldn't expect to know ?

In any case, the abandoned 'son' (if that's who he is) is never seen again until the close of the film, when again, more briefly, there is a complementary montage of fragmented images, ending with the child again reaching tentatively, caressingly, towards the huge blurry blow-up of the woman's face. And then Bergman cuts to the shot of the incandescent arc lamp; the carbons fade; the light slowly goes out. The film dies, as it were, before our eyes. It dies as an object or a thing does, declaring itself to tee 'used up' and thus virtually outside the volition of the maker.

Any account which leaves out or dismisses as incidental the way Persona begins and ends hasn't been talking about the film that Bergman made. Far from being extraneous (or pretentious), as many reviewers found it, this so-called 'frame' of Persona is, it seems to me, only the most explicit statement of a motif of aesthetic self-reflexiveness that runs through the entire film. This element of self-reflexiveness in the construction of Persona is anything but an arbitrary concern, one superadded to the 'dramatic' action. For one thing, it states on the formal level the theme of doubling or duplication-that is present on a psychological level in the transactions between Alma and Elizabeth. The formal 'doublings' are the largest extension of the theme which furnishes the material of the film.

Perhaps the most striking episode, in which the formal and psychological resonances of the double theme are played out most starkly, is the monologue in which Alma describes Elizabeth's relation to her son. This is repeated twice in its entirety, the first time showing Elizabeth's face as she listens, the second time Alma's face as she speaks. The sequence closes spectacularly, terrifyingly with the appearance of a double or composite face, half Elizabeth's and half Alma's.

Here, in the very strongest terms, Bergman is playing with the paradoxical nature of film - namely, that it always gives us the illusion of having a voyeuristic access to an untempered reality, a neutral view of things as they are. But what contemporary film-makers more and more often propose to show is the process of seeing itself - giving the viewer grounds or evidence for several different ways of seeing the same thing which he may entertain concurrently or successively.

Bergman's use of this idea here seems to me strikingly original, but the larger intention is certainly a familiar one. In the ways that Bergman made his film self-reflexive, self- regarding, ultimately self-engorging, we should recognise not a private whim but an example of a well-established tendency. For it is precisely the energy for this sort of 'formalist' concern with the nature and paradoxes of the medium itself which was unleashed when the 19th century formal structures of 'plot' and 'characters' were demoted. What is commonly patronised as the over-exquisite self-consciousness in contemporary art, leading to a species of auto-cannibalism, can be seen - less pejoratively - as the liberation of new energies of thought and sensibility.

This, for me, is the promise behind the familiar thesis that locates the difference between traditional and so-called new cinema in the altered status of the camera - "the felt presence of the camera," as Pasolini has said. But Bergman goes out beyond Pasolini's criterion, inserting into the viewer's consciousness the felt presence of the film as an object. He does this not only at the beginning and end but in the middle of Persona, when the image - it is a shot of Alma's horrified face - cracks like a mirror, then burns. When the next scene up immediately begins (again, as if nothing had happened) the a viewer has not only an almost indelible after-image of Alma's anguish but an added sense of shock, a formal-magical apprehension of the film - as if it had collapsed under the weight of registering such drastic suffering and then had been, as it were, magically reconstituted.

Bergman's procedure, with the beginning and end of Persona and with this terrifying caesura in the middle, is more complex than the Brechtian strategy of alienating the audience by supplying continual reminders that what they are watching is theatre (i.e., artifice rather than reality). Rather, It is a statement about the complexity of what can be seen and the way in which, in the end, the deep, unflinching knowledge of anything is destructive. To know (perceive) something intensely is eventually to consume what is known, to use it up, to be forced to move on to other things.

This principle of intensity lies at the heart of Bergman's sensibility, and determines the specific ways in which he uses the new narrative forms. Anything like the vivacity of Godard, the intellectual innocence of Jules et Jim, the lyricism of Bertolucci's Before the Revolution and Skolimowski's Le Depart, is far from Bergman's range. His work is characterised by its slowness, its deliberateness of pacing, something like the heaviness of Flaubert. And this sensibility makes for the excruciatingly unmodulated quality of Persona (and of The Silence before it), a quality only very superficially described as pessimism.

What is emotionally darkest in Bergman's film is connected particularly with a sub-theme of the main theme of doubling: the contrast between hiding or concealing and showing forth. The Latin word persona means the mask worn by an actor. To be a person, then, is to possess a mask, and in Persona both women wear masks. Elizabeth's mask is her muteness. Alma's mask is her health, her optimism, her normal life (she is engaged; she likes and is good at her work). But in the course of the film, both masks crack.

One way of putting this is to say that the violence the actress has done to herself is transferred to Alma. But that's too simple. Violence and the sense of horror and impotence are, more truly, the residual experiences of consciousness subjected to an ordeal. It isn't, as I have suggested, that Bergman is pessimistic about the human situation - as if it were a question of certain opinions. It's that the quality of his sensibility has only one true subject: the depths in which consciousness drowns. If the maintenance of personality requires the safeguarding of the integrity of masks, and the truth about a person is always the cracking of the mask, then the truth about life as a whole is the shattering of the total faзade behind which lies an absolute cruelty.

It is here, I think, that one must locate the ostensibly political allusions in Persona. I do not find Bergman's references to Vietnam and the Six Million genuinely topical, in the manner of seemingly similar references in Godard's films. Unlike Godard, Bergman is not an historically oriented film-maker. The TV newsreel of a Buddhist immolating himself, and the famous photograph of the little boy from the Warsaw Ghetto, are for Bergman, above all, images of total violence, of unredeemed cruelty. It's as images of what cannot be imaginatively encompassed or digested that they occur in Persona and are pondered by Elizabeth - rather than as occasions for right political and moral thoughts. History or politics enters Persona only in the form of pure violence. Bergman makes an 'aesthetic' use of violence - far from ordinary left-liberal propaganda.

His subject is, if you will, the violence of the spirit. If each of the two women violates the other in the course of Persona, they can be said to have at least as profoundly violated themselves. More generally the film itself seems to be violated - to merge out of and descend back into the chaos of 'cinema' and film-as-object.

Bergman's film is profoundly upsetting, at moments terrifying. It relates the horror of the dissolution of personality (Alma crying out to Elizabeth at one point, "I'm not you!"). And it depicts the complementary horror of the theft (whether voluntary or involuntary is left unclear) of personality, what is rendered mythically as vampirism: at one point, Alma sucks Elizabeth's blood. But it is worth noting that this theme need not necessarily be treated as a horror story. Think of the very different emotional range in which this material is situated in Henry James' late novel, The Sacred Fount. The vampiristic exchanges between the characters in James' book, for all their undeniably disagreeable aura, are represented as partly voluntary and, in some obscure way, just. But the realm of justice (in which characters get what they 'deserve') is rigorously excluded by Bergman. The spectator isn't furnished (from some reliable outside point of view) with any idea of the true moral standing of the two women, their enmeshment is a donnйe, not the result of some prior situation we are allowed to understand. The mood is one of desperation: all we are shown is a set of compulsions or gravitations, in which they founder, exchanging 'strength' and 'weakness'.

But perhaps the main contrast between Bergman and James on this theme derives from their differing positions with respect to language. As long as discourse continues in the James novel, the texture of the person continues. The continuity of language, of discourse, constitutes a bridge over the abyss of loss of personality, the foundering of the personality in absolute despair. But in Persona it is precisely language - its continuity - which is in question.

It might really have been anticipated. Cinema is the natural home of those who don't trust language, a natural index of the weight of suspicion lodged in the contemporary sensibility against 'the word'. As the purification of language has been envisaged as the peculiar task of modernist poetry and of prose writers like Stein and Beckett and Robbe-Grillet, so much of the new cinema has become a forum for those wishing to demonstrate the futility and duplicities of language.

In Bergman's work, the theme had already appeared in The Silence, with the incomprehensible language into which the translator sister descends, unable to communicate with the old porter who attends her when she lies ill, perhaps dying, in the empty hotel in the imaginary garrison city. But Bergman did not take the theme beyond the fairly banal range of the 'failure of communication' of the soul isolated and in pain and the 'silence' that constitutes abandonment and death. In Persona, the notion of the burden and the failure of language is developed in a much more complex way.

Persona takes the form of a virtual monologue. Besides Alma, there are only two other speaking characters, the psychiatrist and Elizabeth's husband: they appear very briefly. For most of the film we are with the two women, in isolation at the beach - and only one of them, Alma, is talking, talking shyly but incessantly. Though the verbalisation of the world in which she is engaged always has something uncanny about it, it is at the beginning a wholly generous act, conceived for the benefit of her patient who has withdrawn from speech as some sort of contaminating activity. But the situation begins to change rapidly. The actress's silence , becomes a provocation, a temptation, a trap. For what Bergman shows us is a situation reminiscent of Strindberg's famous one-act play The Stronger, a duel between two people, one of whom is aggressively silent. And, as in the Strindberg play, the one who talks, who spills her soul, turns out to be weaker than the one who keeps silent. (The quality of that silence is changing all the time, becoming more and more potent: the mute woman keeps changing.) As real gestures - like Alma's trustful affection - appear, they are voided by Elizabeth's relentless silence.

Alma is also betrayed by speech itself. Language is presented as an instrument of fraud and cruelty (the blaring newscast; Elizabeth's cruel letter to the psychiatrist which Alma reads); as an instrument of unmasking (Alma's excoriating portrait of the secrets of Elizabeth's motherhood); as an instrument of self-revelation (Alma's confessional narrative of the beach orgy) and as art and artifice (the lines of Electra that Elizabeth is delivering on stage when she suddenly goes silent; the radio drama Alma turns on in her hospital room that makes the actress smile). What Persona demonstrates is the lack of an appropriate language, a language that's genuinely full. All that is left is a language of lacunae, befitting a narrative strung along a set of lacunae or gaps in the 'explanation'. It is these absences of sense or lacunae of speech which become, in Persona, more potent than words while the person who places faith in words is brought down from relative composure and confidence to hysterical anguish.

Here, indeed, is the most powerful instance of the motif of exchange. The actress creates a void by her silence. The nurse, by speaking, falls into it - depleting herself. Sickened almost by the vertigo opened up by the absence of language, Alma at one point begs Elizabeth just to repeat nonsense phrases that she hurls at her. But during all the time at the beach, despite every kind of tact, cajolery and anguished pleading, Elizabeth refuses (obstinately? maliciously? helplessly?) to speak. She has only one lapse. This happens when Alma, in a fury, threatens her with a pot of scalding water. The terrified Elizabeth backs against the wall screaming "No, don't hurt me!" and for the moment Alma is triumphant. But Elizabeth instantly resumes her silence. The only other time the actress speaks is late in the film - here, the time is ambiguous - when in the bare hospital room (again?), Alma is shown bending over her bed, begging her to say just one word. Impassively, Elizabeth complies. The word is 'Nothing'.

At the end of Persona, mask and person, speech and silence, actor and 'soul' remain divided - however parasitically, even vampiristically, they are shown to be intertwined.

Сообщение отредактировано AtEX - 17.03.2006 - 22:48

[Chase Riddler]

Cry_Wolf




Год выхода: 2005
Жанр: Thriller, Slasher
Производство: Rogue Pictires, USA

Director: Jeff Wadlow
Cinematography: Romeo Tirone
Music: Adema, Michael Wandmacher
Written: Beau Bauman, Jeff Wadlow
Editing: Seth Gordon
IMDB: ]]>http://imdb.com/title/tt0384286/]]>
Рейтинг: PG-13 (Parents Strongly Cautioned)

Actors: Julian Morris, Lindy Booth, Jared Padalecki, Jon Bon Jovi, Sandra McCoy, Kristy Wu, Jane Beard, Gary Cole, Jesse Janzen, Paul James, Ethan Cohn

Описание: Никто не поверит лжецу... даже если он говорит правду. Найден труп молодой женщины. Группа студентов, чтобы еще больше напугать своих однокурсников, распускают слух, будто бы это проделки серийного убийцы по кличке "Волк". Их игра заключается в том, что они описывают следующих жертв "Волка" в интернете и наблюдают за реакцией, смотрят скольких людей они убедили, и не найдется ли того, кто раскроет их обман. Но описываемые жертвы вдруг и правда начинают погибать, и уже никто не может сказать, где кончается ложь и начинается истина. А когда кто-то, или что-то, начинает охотится за самими шутниками, игра становится ужасно правдоподобной...

Формат: XVid
Качество: DVDRip
Видео: 560x226, 956 Kbps, 23.98 fps
Аудио: MP3, 128 Kbps, 48 KHz, stereo
Язык: английский
Субтитры: английские
Размер: 700 мб
Продолжительность: 90 мин






]]>скачать через Private Reaktor]]>

Сообщение отредактировано Chase Riddler - 24.03.2006 - 18:18

[totaktoedak]

 f_planet.jpg ( 18,84 килобайт ) Кол-во скачиваний: 0


Фильм: Фантастическая планета / Fantastic Planet, The (Planete sauvage, La)
Год выхода: 1973
Производство: Франция — Чехословакия
Жанр: Animation
Режиссер: Renй Laloux
Продолжительность 72 мин.
Экранизация произведения, автор которого — Стефан Вул.
Язык: Французский
Субтитры: Английские,Русские

=Сюреализм в духе Стругацких. Мультипликационная история о социальной катастрофе на одной планете.

=Сюжет фильма Фантастическая планета: Действие происходит на фантастической планете. Здесь правят гиганты, а крохотные люди должны бороться за жизнь и равенство - отчего некоторые усматривают в мультфильме метафору классовой борьбы. Режиссёр - Рене Лалу ("Властелины времени").

=Полнометражный фантастический мультфильм оригинальнейшего французского аниматора Рене Лалу, поставленный им при участии известного художника Ролана Топора и кинематографистов ЧССР по роману Стефана Вула "Серийные человечки".
Далекая и суровая планета Игам, затерянная где-то в глубинах космоса. Планетой управляют великаны драги, стоящие на высокой ступени развития, но не замечающие, что рядом с ними постепенно растет самосознание угнетаемой нации рабов - лилипутов омсов, которые рано или поздно восстанут против драгов..
Лента отличается аскетичностью художественного решения, минимализмом выразительных средств, строгостью и простотой, и это-то и производит поразительный эффект, особенно на взрослого вдумчивого зрителя.

Премии и награды:

1973 - КАННСКИЙ КИНОФЕСТИВАЛЬ
МКФ в Триесте и Атланте

Ссылка:
]]>http://10.0.90.17/La.Planete.Sauvage.Divx....on.Cannes.1973/]]>

Сообщение отредактировано Dr. Strangelove - 17.04.2006 - 14:16

[deranged]

Match Point



Country: UK / USA / Luxembourg
Year: 2005
Genres: Drama, Romance, Thriller
Director: Woody Allen
Actors: Jonathan Rhys Meyers, Alexander Armstrong, Paul Kaye, Matthew Goode, Brian Cox, Scarlett Johansson
Run Time: 124 minutes.
Video Format: XviD
Video Bitrate: 1379 kbs
Video Resolution: 640x336
Aspect: 1.85:1
Frame Rate: 23.976 fps
Audio Format: CBR AC3
Audio Bitrate: 192 kbs
Subtitles: English
CDs: 2x733 mb

Tagline: Passion Temptation Obsession

Plot Outline: At a turning point in his life, a former tennis pro falls for a femme-fatal type who happens to be dating his friend and soon-to-be brother-in-law.

Plot Synopsis: Chris Wilton is a former tennis pro, looking to find work as an instructor. He meets Tom Hewett, a well-off pretty boy. Tom's sister Chloe falls in love with Chris but Chris has his eyes on Tom's fiancée, the luscious Nola. Both Chris and Nola know it's wrong but what could be more right than love? Chris tries to juggle both women but at some point, he must choose between them...

]]>http://tracker.zelnet.ru/details.php?id=7251&uploaded=1]]>

[Chase Riddler]

Dead End




Год выхода: 2003
Жанр: Horror, Mystery, Thriller
Производство: Captain Movies and Sagittaire Films, USA

Director: Jean-Baptiste Andrea, Fabrice Canepa
Cinematography: Alexander Buono
Music: Greg De Belles
Written: Jean-Baptiste Andrea, Fabrice Canepa
IMDB: ]]>http://imdb.com/title/tt0308152/]]>

Actors: Ray Wise, Lin Shaye, Mick Cain, Alexandra Holden, Billy Asher, Amber Smith

Описание: Все последние 20 лет Фрэнк отвозил семью на Рождество к своей теще и всегда ездил одной и той же дорогой. На это раз он решил сократить путь, проехав через лес. И совершенно напрасно… По лесу бродит таинственная женщина в белом, сеющая смерть. Ужасный черный автомобиль с невидимым шофером увозит жертвы в ночную тьму. На каждом дорожном знаке указан пункт назначения, которого невозможно достичь...

Формат: XVid
Качество: DVDRip
Видео: 520x270, 991 Kbps, 25.00 fps
Аудио: AC3, 192 Kbps, 48 KHz, stereo
Язык: английский
Субтитры: английские
Размер: 676 мб
Продолжительность: 1.19






]]>скачать через торрент]]>

Сообщение отредактировано Chase Riddler - 16.06.2006 - 13:10

[AtEX]

7 печать - Criterion - Swe, mult subs
Sjunde inseglet, Det (1957)
Directed by Ingmar Bergman
A man seeks answers about life, death, and the existence of God as he plays chess against the Grim Reaper during the Black Plague.
]]>http://tracker.zelnet.ru/details.php?id=8608]]>


Мост на реке Квай - Eng
The Bridge on the River Kwai (1957)
Directed by David Lean
Most war movies are either for or against their wars. ``The Bridge on the River Kwai'' (1957) is one of the few that focuses not on larger rights and wrongs but on individuals. Like Robert Graves' World War I memoir, Goodbye to All That, it shows men grimly hanging onto military discipline and pride in their units as a way of clinging to sanity.
]]>http://tracker.zelnet.ru/details.php?id=8611]]>

[ЛuС]

]]>Sleepy Hollow/ Сонная Лощина]]>

Сообщение отредактировано Хранитель Тьмы - 6.07.2006 - 11:07

[Am Shegar]

Мне нравятся такие фильмы например"страсти христовы"

[AtEX]

Brick (2005) - Eng., TELESYNC
Film noir in high school
Специальный приз жюри фестиваля Sundance за оригинальность взгляда
]]>http://tracker.zelnet.ru/details.php?id=8760]]>

A number of films have attempted to take and contemporize the film noir aesthetic, but never has it been done so precisely and earnestly as in Rian Johnson's scintillating debut, Brick.

Brendan Fry is a loner at his high school, someone who knows all the angles but has chosen to stay on the outside. When the girl he loves turns up dead, he plunges into the school's social strata like a fist through a honeycomb to find the "who" and "why," with the same single-minded devotion to his self-appointed task as the hard-boiled heroes of old.

The film is rife with familiar character types in deliciously unfamiliar roles: the sociopathic sexpot is the queen of the drama geeks; the chief of police is the vice principal; the trusty operative is a nerd in coke-bottle glasses; the heavy (brilliantly portrayed by Lukas Haas) is a 26-year-old drug dealer who lives in his mom's basement; and of course the femme fatale is now the head cheerleader.

Joseph Gordon-Levitt unleashes an inspired performance as the fast-talking, ultracool protagonist. Johnson displays a complete understanding of cinematic language, paying homage to the classics but also creating his own style by injecting the film with contemporary exuberance, humor, and locale. Brick is a directorial debut of extraordinary promise.

Сообщение отредактировано AtEX - 11.07.2006 - 14:05

[Fantomax]

Vacuuming Completely Nude in Paradise (2001)

 Vacuuming.Completely.Nude.in.Paradise._2001_.jpg ( 14,69 килобайт ) Кол-во скачиваний: 0


Режиссер: Дэнни Бойл
Производство: Великобритания, 2001
В ролях: Тимоти Сполл, Кэти Кавано, Майкл Бегли
Продолжительность: 76 мин.

British filmmaker Danny Boyle offers a darkly comic glimpse of life in Britain in this short feature (shot on digital video equipment) produced for the BBC. Vacuuming Completely Nude in Paradise concerns Tommy Rag (Timothy Spall), a door-to-door vacuum cleaner salesman whose passion for salesmanship firmly outstrips his scruples. Tommy's new partner on his route is Pete (Michael Begley), a younger man who has dreams of working in the music industry. Pete's girlfriend, however, demands that he get a steady job, and has decided to withhold sex until Pete starts bringing home a steady paycheck. Tommy coaches Pete in his ruthless and shameless sales techniques, and together they start selling an impressive number of vacuums; Tommy thinks they may both be up for Salesman of the Year, but then Pete has to consider what could be a better offer.

Video: 628 MB, 1169 Kbps, 29.970 fps, 496*288 (16:9), XVID = XVID Mpeg-4
Audio: 69 MB, 129 Kbps, 48000 Hz, 2 channels, MPEG Layer-3

Скачать с ]]>ФТП]]>.



Сообщение отредактировано Fantomax - 11.07.2006 - 19:21

[Junky7]

Clerks 2 (2006) TS



]]>http://www.imdb.com/title/tt0424345/]]>
8.2/10 (2,453 votes)

A calamity at Dante and Randall's shops sends them looking for new horizons - but they ultimately settle at Mooby's, a fictional Disney-McDonald's-style fast-food empire. Free from his dead-end job (and lodged in a new one), Dante begins to break free of his rut, planning to move away with his clingy fiancй. Dante is ready to leave the horrors of minimum-wage New Jersey behind, but Randal - always the more hostile of the two - starts to become overwhelmed by his own rancor.

Brian O'Halloran .... Dante Hicks
Jeff Anderson .... Randal Graves
Jason Mewes .... Jay
Kevin Smith .... Silent Bob
Jake Richardson .... Teen #1
Ethan Suplee .... Teen #2
Rachel Larratt .... Counter Girl with Ear Guy
Shannon Larratt .... Ear Guy
Jennifer Schwalbach Smith .... Emma (as Jennifer Schwalbach)
Ben Affleck .... Gawking Guy
Sarah Ault .... Catholic Schoolgirl #1
Lalida Sujjavasin .... Catholic Schoolgirl #2
Trevor Fehrman .... Elias
Gail Stanley .... Elias' Mom
Bruce Macintosh .... Elias' Dad

Quality: TS
592x368, 736 kbps, 137 kbps mp3 English

]]>Скачать]]> !

Сообщение отредактировано Junky7 - 29.07.2006 - 08:10

[deranged]

Dark Angel



Created by: James Cameron, Charles H. Eglee
Genre: Action, Sci-Fi
Year: 2000-2002
Cast: Jessica Alba, Michael Weatherly, Alimi Ballard, Jennifer Blanc, Richard Gunn, J.C. MacKenzie, Valarie Rae Miller
Video: 720x576, 25 FPS, h.264 codec
Sound: English 2.0, French 2.0
Subtitles: English, French, Danish, Swedish, Norsk, Finnish
Duration: ~40 min

Tagline: Engineered To Raise Hell.

In a future of political, economic and moral collapse, a genetically enhanced superhuman prototype named Max escapes from military confines and dwells amidst the decadent underground street life of *Seattle* to avoid government agents who want to bring her back into the fold. Searching for others of her kind who were scattered in the aftermath of her escape, Max encounters Logan, an idealistic cyber-journalist battling repression and corruption in post-apocalypse America. Eventually, Logan calls her to the highest part of her being and Max becomes his samurai as the pair takes on the ruthless power-brokers of the new millennium. Max and Logan's odyssey leads them closer to the secret of her past, deepening and complicating their relationship in the process.

Season 1:
01 - Pilot
02 - Heat
03 - Flushed
04 - Cream
05 - 411 on the DL
06 - Prodigy
07 - Cold Comfort
08 - Blah Blah Woof Woof
09 - Out
10 - Red
11 - Art Attack
12 - Rising
13 - The Kidz Are Aiight
14 - Female Trouble
15 - Haven
16 - Shorties In Love
17 - Pollo Loco
18 - I And I Am A Camera
19 - Hit A Sista Back
20 - Meow
21 - ...And Jesus Brought The Casserole
Bonus:
Q&A On The Set With James Cameron And Charles Eglee
Interview With Jessica Alba (Max)
Interview With Michael Weatherly (Logan)
Interview With John Savage (Lydecker)
Game Trailer - James Cameron's Dark Angel

Season 2:
01 - Designate This
02 - Bag Em
03 - Proof Of Purchase
04 - Radar Love
05 - Boo
06 - Two
07 - Some Assembly Required
08 - Gill Girl
09 - Medium Is The Message
10 - Brainiac
11 - The Berrisford Agenda
12 - Borrowed Time
13 - Harbor Lights
14 - Love In Vein
15 - Fuhgeddaboudit
16 - Exposure
17 - Hello, Goodbye
18 - Dawg Day Afternoon
19 - She Aint Heavy
20 - Love Among The Runes
21 - Freak Nation
Bonus:
Game Trailer - James Cameron's Dark Angel
Featurette - Seattle Ain't What It Used To Be

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[Junky7]

The Cremaster Cycle (1995-2002)

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Год выхода: 1995-2002
Жанр: Сюрреализм
Режиссер: Мэттью Барни

Cremaster 4: "Рыжеволосый сатир Лоутонский Кандидат (Барни) медленно идет, отбивая чечетку, по прогнившему полу к морю, в то время как соревнующиеся, помеченные каждая своим цветом команды мотоциклистов выезжают в разных направлениях, чтобы окружить остров Мэн".

"Сюрреалистическая фарсовая фантазия; сексуальность, превращенная в странное варьете".
Стивен Холден, "The New York Times"

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Cremaster 1: Между двумя парящими огромными шарами компании "Goodyear" платиновая блондинка выкладывает из красных и зеленых виноградин геометрические узоры, которые повторяют танцовщицы в стиле Басби Беркли на покрытом звездами поле внизу.

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Cremaster 5: Урсула Андресс ("Доктор Ноу") исполняет главную роль Королевы Цепи — единственной зрительницы пышного оперного спектакля, исполненной Будапештской Оперой и Филармоническом оркестром в большом здании оперного театра 19 века; ее сопровождают феи, волшебник (Барни верхом на коне), различные служители необозначенного пола и биологического вида и стая живых голубей.

"Восхитительное кино... роскошное и очень, очень странное".
Дейвид Франкел, "Artforum"

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Cremaster 2:
"Беспорядочное, похожее на галлюцинацию соединение великолепно снятых сцен и зловещей органной музыки медленно развертывается перед нами посредством извилистого сюжета с участием Гари Гилмора (Барни), совокупляющихся пчел, членов клана Гилмора, Гудини (Норман Мейлер), быка брахмана, храма мормонов и разнообразных пейзажей — от слепяще-ярких соляных полей штата Ута до ледяных полей Джаспера (Канада)... Столь же странный параллельный мир, как мир Льюиса Кэррола."
Стивен Генри Мадоф, "Time"

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Cremaster 3: Ученик (первая ступень посвящения в масоны) в исполнении Барни встречается лицом к лицу на фоне памятника архитектуры ар деко Крайслер-Билдинг с архитектором Хирамом Абиффом (его играет скульптор Ричард Серра) и сражается с бандами хулиганов, похожими на девушек из труппы "Рейдио-Сити-Рокетс" хористками и индианкой-полукровкой (Эйми Маллинз) в атриуме музея Гуггенхайма.

Порядок
"Порядок" — это эпизод из фильма Мэттью Барни "Кремастер 3" (2002). Поставлен в Ротонде музея Гуггенхайма. "Порядок" символизирует весь состоящий из пяти частей цикл "Кремастер". Интерлюдия обладает энергией и драматизмом спортивного состязания в прямом эфире и транслируется зрителям с помощью антенны наверху Крайслер-Билдинг, где происходит большая часть повествования фильма. В своем подражании спортивной телепрограмме атмосфера граничит с кичем: теле-игра встречается с Национальной футбольной лигой или, быть может, "Давай договоримся" встречается с "Американским гладиатором". Единственный участник состязания в "Порядке", которого играет Барни, — это причудливое воплощение главного героя фильма — Ученика.

"Бесконечно завораживающее... самое гипнотическое произведение Барни на сегодняшний день".
"New York Magazine"

"Эпохальное произведение. Проникнуто ощущением веселых приключений, которое практически исчезло из фильмов серии "Звездные войны", начиная со "Скрытой угрозы". "Кремастер-3" излучает легкую игривость мюзикла Басби Беркли и примитивное возбуждение спортивного зрелища".
Стивен Холден, "The New York Times"

"Лучший фильм года".
Джонатан Ромни, "Film Comment"

-----------------------------------------

О цикле "Кремастер"

"Первый великий сплав искусства и кино со времен "Андалузского пса"
Джеффри Джонс, "The Guardian"

Легендарный цикл Мэттью Барни "Кремастер", работа над которым шла восемь лет, является главным кинематографическим событием года. Все пять фильмов впервые будут показаны вместе на большом экране. Хотя эти фильмы не обязательно смотреть в определенном порядке, вместе они сплетаются в богатый ковер тем, среди которых сексуальная дифференциация и мужское начало. Построенный на захватывающих дух образах и сплавляющий столь непохожие жанры, как мюзикл, готический вестерн и кельтские легенды, цикл "Кремастер" является, как написал в "Нью-Йорк Таймс" Майкл Киммелман, "отмеченной честолюбием, масштабом и откровенной провокацией вдохновляющей вехой для искусства нового столетия".

Барни начал работу над циклом "Кремастер" в 1994 году. Пренебрегая хронологическим порядком, сначала он снял "Кремастер 4" (1994), затем — "Кремастер 1" (1995), "Кремастер 5" (1997), "Кремастер 2" (1999) и "Кремастер 3" (2002). Параллельно с каждым фильмом цикла, в котором Барни выступал в качестве сценариста и режиссера, а также исполнителя одной или нескольких ролей, этот художник и кинематографист создавал сопутствующие скульптуры, рисунки и фотографии. Этот эпический цикл имеет своей концептуальной отправной точкой мужскую кремастерную мышцу, которая контролирует тестикулярное сжатие в ответ на внешнее воздействие. Проект изобилует анатомическими аллюзиями на положение репродуктивных органов во время эмбрионального процесса сексуальной дифференциации: в "Кремастере 1" представлено самое "поднятое" (или недифференцированное) состояние, в "Кремастере 5" — самое "опущенное" (или дифференцированное). Цикл постоянно возвращается к тем моментам сексуального развития, в которые результат процесса еще неизвестен. В метафорическом мире Барни эти моменты олицетворяют состояние абсолютной потенции. Пока цикл снимался (в течение восьми лет), Барни вышел за границы биологии как способа исследовать создание формы, стал использовать нарративные модели из других областей — таких как биография, мифология и геология.

Джон Рокуэлл писал в "Нью-Йорк Таймс": "Как и к любому произведению искусства, к творчеству мистера Барни возможны два подхода — интеллектуальный и интуитивный, и не обязательно они противоречат друг другу. Вы можете мучительно искать смыслы в знаках и образах мистера Барни. А можете просто отдаться потоку этих необычных образов".

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Качество: разное, в основном VHSRip

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[Chase Riddler]

Renaissance (2006)



Год выхода: 2006
Жанр: Animation / Action / Drama / Sci-Fi / Thriller
Производство: Onyx Films, Millimages

Director: Christian Volckman
Music: Nicholas Dodd
Written: Alexandre de La Patelliere, Mathieu Delaporte
Editing: Pascal Tosi
IMDB: ]]>http://imdb.com/title/tt0386741/]]>
Рейтинг: R (Restricted)

Описание: Париж, декабрь 2054 года. В высокотехнологичном обществе, где каждое действие контролируется и записывается, кто-то похищает молодую ученую Илону, которой многие завидуют за красоту и ум. Полицейский по имени Карас, чьи методы часто подвергаются критике, занимается расследованием этого преступления. Вскоре он начинает чувствовать чье-то присутствие — похоже, Илону ищет не только он, причем таинственные силы идут на все, чтобы опережать копа на один шаг. Чем ближе Карас подбирается к правде, тем туже стягивается удавка на его шее: Илона оказывается ключом к "Возрождению" — открытию, которое способно сделать Человека подобным Богу. Полицейский уже не знает, кем на самом деле является пропавшая девушка — жертвой или палачом? Ангелом или демоном? Найти ее становится для Караса вопросом жизни и смерти. А может, и не только для него, а для всей нашей цивилизации.

Формат: DivX
Качество: DVDRip
Видео: 576x240, 951 Kbps, 25.00 fps
Аудио: MP3, 128 Kbps, 48 KHz, stereo
Язык: французский
Субтитры: английские
Размер: 781 мб
Продолжительность: 1.41





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[Chase Riddler]

A Scanner Darkly (2006)



Год выхода: 2006
Жанр: Animation / Drama / Mystery / Sci-Fi / Thriller
Производство: Warner Independent Pictures

Director: Richard Linklater
Cinematography: Shane F. Kelly
Music: Graham Reynolds
Written: Richard Linklater (based on Philip K. Dick novel)
Editing: Sandra Adair
IMDB: ]]>http://imdb.com/title/tt0405296/]]>
Рейтинг: R (Restricted)

Описание: Округ Оранж, штат Калифорния. Будущее. В полностью параноидальном мире, похоже, каждые два из десяти американцев наняты правительством, чтобы следить за оставшимися восемью – во имя национальной безопасности и для пресечения употребления наркотиков. После того, как один государственный служащий поневоле получает приказ начать слежку за своими друзьями, он обнаруживает, как на самом деле абсурдна ситуация, когда общество в значительной степени состоит из осведомленной группы информаторов, когда нет никакой уверенности ни в личности, ни в преданности человека, когда нельзя доверять даже своей подружке...

Формат: XVid
Качество: DVDScr
Видео: 576x320, 863 Kbps, 23.98 fps
Аудио: MP3, 115 Kbps, 48 KHz, stereo
Язык: английский
Субтитры: отсутствуют
Размер: 700 мб
Продолжительность: 1.40

Примечание: т.к. это промо-копия, периодически появляется назойливая надпись "not for sale or rental" и пропадает цвет.





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[Chase Riddler]

Primer




Год выхода: 2004
Жанр: Sci-Fi
Производство: хз

Director: Shane Carruth
Cinematography: Shane Carruth, Anand Upadhyaya
Music: Shane Carruth
Written: Shane Carruth
Editing: Shane Carruth
IMDB: ]]>http://imdb.com/title/tt0390384/]]>
Рейтинг: PG-13

Описание: Два друга, Эйб и Аарон занимаются разработкой приборов и изделий по нуждам заказчиков. Однажды, когда они испытывают прибор для уменьшения массы, они понимают - есть побочный эффект, который является чем-то большим... Снятый всего за 7.000 $, фильм Primer заслужил две награды на фестивале в Санденс-2004 и был восторженно встречен прессой...

Запутанней сюжета я ещё не встречал. =) Всем любителям НФ и конкретно темы путешествий во времени. На сайте wikipedia.org есть схема, если что. ;-)

Формат: XVid
Качество: DVDRip
Видео: 608x336, 1076 Kbps, 23.98 fps
Аудио: AC3, 192 Kbps, 48 KHz, stereo
Язык: английский
Субтитры: английские
Размер: 700 мб
Продолжительность: 1.17

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