23 abril 2013

Yasujiro Ozu - Akibiyori (1960)


Japonès I Subs:Castellano/English/Français/Portugués
129 min I Xvid 640x480 I 1410 kb/s I 192 kb/s AC3 I 23.97 fps
1,44 GB + 3% de recuperación rar

Otoño tardío
Miwa acaba de fallecer, su mujer Akiko es ahora viuda y debe encargarse ella sola de su hija Ayako. Los amigos del fallecido piensan que Ayako ya está en edad de casarse, por lo que buscan un pretendiente adecuado, ella se niega a casarse, ya que no quiere dejar sola a su madre. Sus amigos deciden entonces buscar un nuevo marido para Akiko y que de esta manera Ayako también se case.

"Como se puede leer en la sinopsis de nuevo volvemos al tema del matrimonio, mejor dicho de la negativa al matrimonio. Pero en Otoño tardío existe un cambio importante, la figura paterna ha muerto, ahora la hija busca huir del matrimonio para no dejar sola a su madre. Eso le da un gran interés a esta película, ya que la figura que ahora cobra importancia no es la del padre, sino la de la madre (Setsuko Hara).
Formalmente la película es impresionante, en la obra en color Ozu superó lo que parecía imposible, la belleza de esos ambientes de su cine en blanco y negro. En lo demás no hace falta decir demasiado, ya se sabe, todos los actores están perfectos, todos los personajes son magníficos, los planos, el ritmo y la cadencia del cine de Ozu en todo su esplendor, y como no podía ser de otra manera, otra película absolutamente maravillosa." (Bruno en lucesdifusas)

Late Autumn
 On the death anniversary of the Miwa family patriarch, Miwa's gracious and noble widow Akiko (Setsuko Hara), their 24-year old daughter Ayako (Yôko Tsukasa), and brother Shukichi (Chishu Ryu), host a reunion with Miwa's longtime friends for a memorial service and intimate reception at a seaside resort. The three middle-aged friends, who once competed in their younger days for the affection of the captivating Akiko, then a familiar presence at her family's pharmacy store in Hongo, have now resolved to find a suitable husband for their former romantic adversary's equally beautiful daughter Ayako, despite her own casual indifference on the subject of marriage. The disorganized Taguchi (Nobuo Nakamura) believes that he has found a good candidate among his wife's acquaintances named Shige, and upon arriving home (to the humorously all too frequent sight of his newly married daughter's suitcase near the entrance after running home following a quarrel in the household), mentions the idea to his wife only to be reminded that the young man had been recently married and that they had even sent him a wedding gift. Chagrined upon hearing Taguchi's embarrassing oversight, Mamiya (Shin Saburi) proposes a substitute prospect to Akiko, a young man from the office named Goto (Keiji Sada) whom he readily admits, "Well, he's not an eye catcher, but he's a fine lad who works hard." Mildly disconcerted by the seemingly aggressive matchmaking efforts of her parents' well-intentioned friends, Ayako refuses Mamiya's offer to act as an intermediary between the two families, but is put in an awkward situation when she visits Mamiya at the office in order to deliver one of her father's old pipes, and is given a gibing, ill humored introduction to the shy young man.



Reflecting themes from Yasujiro Ozu's earlier film and personal favorite work, Late Spring, on the inevitable separation of a widowed parent and a devoted, adult child, Late Autumn is an understatedly poignant, captivating, and elegiac film on the dissolution of the nuclear family. Ozu's juxtaposition of green color tones - synthetic, often brighter hues (in particular, turquoise and aquamarine) contrasted against more muted, earth toned, tea shades - creates a curious visual dichotomy that obliquely symbolizes the diverging seasonal and existential stages in Akiko and Ayako's lives. Dour, green-gray scaped commercial interiors of Mamiya's and Ayako's offices and the exterior corridor leading to the Miwa's apartment convey an perceptual contrast to the warmer tones of the Mamiya home as Mrs. Taguchi (Kuniko Miyake) pays a visit to Mrs. Mamiya (Sadako Sawamura), and similarly, the private dining room of the resort where family and friends assemble for the memorial ceremony. In the exquisitely composed final sequence, Akiko subtly betrays an enigmatic smile after a brief visit from Ayako's spirited friend and colleague, Yukiko (Okada Mariko) - a serenely indelible and bittersweet affirmation of life's immutably evolving, but ultimately, constantly renewing process.
(Acquarello:, Strictly film school)


 DVD rip y capturas de rulle (FH), compartido por serdar202 (KG)



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Akibiyori.part2.rar
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Yasujiro Ozu en Arsenevich

Akibiyori (1960)

09 abril 2013

Yasuzo Masumura - Karakkaze yarô (1960)


Japonés/Japanese | Subs: Castellano/English/Français/Italiano
96 min | XviD 720x320 | 1438 kb/s | 23.976 fps | 192 kb/s AC3
1,09 GB + 3% recuperación/recovery


Miedo a morir
En Afraid to Die, Masamura, apuesta por el héroe solitario, rebelde y ajeno a las normas de la sociedad, muy en la línea del individualismo salvaje propio de la novela negra americana, un antihéroe incapaz de enderezar su vida en los márgenes de la legalidad, hace lo único que sabe: luchar por su vida sin importarle el precio.

Yukio Mishima, escritor de gran popularidad en su día, es el encargado de dar vida a Takeo Asahina, un yakuza recién salido de prisión que ve como su rival, Susumu Aikawa, en venganza por las heridas que le infligió en el pasado, intenta eliminarlo. En el camino conocerá a Ayako, una joven que trabaja en el cine.

Yasuzo Masumura convenció a Yukio Mishima para protagonizar la historia de Takeo Asahina, un yakuza que, tras salir de prisión, se enfrenta a sus enemigos, familia e incluso él mismo. La aparición de Mishima en la pantalla provocaría un escándalo entre el gran público de la época.

Le Gars des vents froids/La peur de mourir
Takeo, un jeune yakuza, sort de prison pour réintégrer un monde de kidnappings et meurtres prémédités. Partagé entre le devoir familial, l'instinct de survie et son amour pour sa nouvelle conquete Yoshie, Takeo suit la route de la trahison jusqu'à se rendre compte qu'il n'échappera pas à son destin.


Afraid to Die
Legendary/notorious Japanese novelist and cultural icon Yukio Mishima makes a rare screen appearance as Takeo, a young yakuza who reluctantly leaves prison to re-enter a dizzying world of kidnappings, attempted assassinations, attacks and retaliations. Torn by family duty, self-preservation, and his desire for his new-found love Yoshie (Ayako Wakao, "Manji" ), Takeo blasts and bluffs his way through this treacherous maze until he finds he can no longer outrun destiny. Japanese New Wave master Yasuzo Masumura propels this delirious, fast paced yakuza satire with a jazzy score, eye-popping visuals, and a trademark sense of the absurd.


AfraidtoDie.part1.rar
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AfraidtoDie.part2.rar
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AfraidtoDie.part6.rar
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08 abril 2013

Jean-Pierre Melville - Le Samouraï (1967)

Francés | Subs: Castellano/English (muxed)
105 min | x-264 720x470 ~> 835x470 | 1900 kb/s | 192 kb/s AC3 | 23.97 fps
1,54 GB + 3% recuperación/recovery

El silencio de un hombre
Jeff Costello (Alain Delon) es un metódico asesino a sueldo que en su último encargo ha cometido el error de dejarse ver por varios testigos.
Este admirable thriller policíaco, posteriormente imitado hasta la saciedad, constituye una de las cumbres de la filmografía del realizador Jean-Pierre Melville, y del cine francés en general. Partiendo de un minucioso guión escrito al alimón por el propio Melville y Georges Pellegrin sobre una novela poco conocida de Joan McLeod, la película se erige en el taciturno, trágico retrato de un killer al que interpreta de manera solvente un imperturbable Alain Delon en el que quizá sea supapel más recordado.
Melville otorga a su obra una puesta en escena sobria y desnuda, ajena a cualquier tipo de ornamento innecesario. Su dirección es puntillosa y elegante. La plomiza fotografía de Henri Decae y la jazzística partitura de François de Roubaix, contribuyen a favorecer la atmósfera melancólica de un relato con aura de tragedia clásica.

De entre sus muchas secuencias memorables, rescato la que transcurre en el interior del metro de París, ya casi al final, en la que diversos agentes tratan de no perder la pista del escurridizo Costello. Cine con mayúsculas. Simplemente impresionante. (johannes-esculpiendoeltiempo.blogspot.com)
Jeff Costello, dit le Samouraï est un tueur à gages. Alors qu'il sort du bureau où git le cadavre de Martey, sa dernière cible, il croise la pianiste du club, Valérie. En dépit d'un bon alibi, il est suspecté du meurtre par le commissaire chargé de l'enquête. Lorsqu'elle est interrogée par celui-ci, la pianiste feint ne pas le reconnaître. Relâché, Jeff cherche à comprendre la raison pour laquelle la jeune femme a agi de la sorte.
In a career-defining performance, Alain Delon plays a contract killer with samurai instincts. A razor-sharp cocktail of 1940s American gangster cinema and 1960s French pop culture—with a liberal dose of Japanese lone-warrior mythology—maverick director Jean-Pierre Melville’s masterpiece Le samouraï defines cool.

Melville's hombres don't talk a lot, they just move in and out of the shadows, their trenchcoats lined with guilt and their hats hiding their eyes. This is a great movie, an austere masterpiece, with Delon as a cold, enigmatic contract killer who lives by a personal code of bushido. Essentially, the plot is about an alibi, yet Melville turns this into a mythical revenge story, with Cathy Rosier as Delon's black, piano-playing nemesis who might just as easily have stepped from the pages of Cocteau or Sophocles as Vogue. Similarly, if Delon is Death, Périer's cop is a date with Destiny. Melville's film had a major influence in Hollywood: Delon lying on his bed is echoed in Taxi Driver, and Paul Schrader might have remade Le Samourai as American Gigolo. Another remake is The Driver, despite Walter Hill's insistence that he'd never seen it: someone on that movie had to have seen it.

 
DVD rip y capturas de ronnie (KG)


Le Samourai.part01.rar
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Le Samourai.part02.rar
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Le Samourai.part04.rar
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Le Samourai.part07.rar
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Le Samourai.part08.rar
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Le Samourai.part09.rar
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°°°°°°°°
Jean-Pierre Melville en Arsenevich

02 abril 2013

Otar Iosseliani - Aprili (1961)

Muda/Silent* | Subs: Castellano/English/Français para los créditos
45 min | XviD 608 x 448 | 1682 kb/s | 69 kb/s mp3 | 25 fps
570 MB + 3% recuperación/recovery

 Abril
 Dos enamorados recién casados ven a su felicidad amenazada cuando su casa es invadida por gente que padece hambre de adquisiciones y que constantemente trae muebles nuevos.

Abril es una parábola sobre la sociedad de consumo. Este corto, de los años de aprendizaje de Iosseliani durante la era soviética en su Georgia natal, es una encantadora, divertida, y afilada fábula contemporánea sobre la vida moderna.

*Sólo hay un breve diálogo en un idioma "inventado" por Iosseliani

 DVD rip y capturas de mteste (KG)

April
This short film, from Iosseliani's apprentice years during the Soviet era in his native Georgia, is a charming, humorous, yet barbed, contemporary fable of modern life and traditional values.

It shows the age-old tension between the tender intimacy of young love and the blundering officiousness of serious adult society. Along the way it shows the public mobilization of Labour in conflict with the private need for space in which to cultivate the personal, be it physical or musical culture, or the mutual rapture of intimacy. Indeed, the film may be said to deplore the increasing 'meuble-isation' of Soviet society, as its 'embourgement' proceeds apace to stuff the clean modern apartments of the new worker's housing development with heavy black furniture and fragile glass ornaments.
* "The film was deliberately without dialogues, we have invented a non-existent language". O.Iosseliani

Avril
Deux amoureux voient leur bonheur menacé quand leur maison est envahie par des gens charges d'objets et avides d'acquisitions. Avril est une parabole sur la société de consommation.


Aprili.part1.rar
http://www55.zippyshare.com/v/84456457/file.html
Aprili.part2.rar
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Aprili.part3.rar
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Otar Iosseliani en Arsenevich
 Aprili (1961)