sábado, 30 de marzo de 2019

Kauwboy (Boudewijn Koole, 2012)

 


Dutch with English subtitles and other languajes I don´t remember.

Bluebird (Mijke de Jong, 2004)


























Dutch and Russian (2 audios) with Russian subtitles for now.

Pas a nivell (Pere Vilà i Barceló, 2007)


























Catalan without subtitles yet.

Brava (Roser Aguilar, 2017)


























Spanish without subtitles yet.

Majid (Nassim Abassi, 2010)





Arabic with English subtitles.

Rabat (Victor D. Ponten & Jim Taihuttu, 2011)


























Dutch with some dialogues in Arabic, English, Spanish. With French, English and Spanish subtitles. Coming soon.

La prière (Cédric Kahn, 2018)


























French with French, English...subtitles.

El Bosque de Karadima (Matias Lira,2015)


























Spanish with subtitles (I need to check them).

Amanda (Mikhaël Hers, 2018)


























French with English subtitles. Coming soon.

Alamar (Pedro González-Rubio, 2009)


























Spanish with ukranian subtitles for now. Coming soon.



Cobain (Nanouk Leopold, 2018)


























Dutch without subtitles yet. Coming soon.

domingo, 24 de marzo de 2019

Paths of Glory (Stanley Kubrick, 1957)



























Original title: Paths of Glory
Germany/Austria: Wege zum Ruhm
LatinAmerica: La patrulla infernal
Spain: Senderos de gloria
France: Les sentiers de la gloire
Brazil: Glória Feita de Sangue
Portugal: Horizontes de Glória
Russia: Тропы славы


Year 1957
Running time 86 min.
Country United States
Filming locations: Bavaria (Germany)
Director Stanley Kubrick
Screenwriter Stanley Kubrick, Calder Willingham, Jim Thompson (Novel: Humphrey Cobb)
Music Gerald Fried
Cinematography Georg Krause (B&W)
Cast
Kirk Douglas,  George MacReady,  Adolphe Menjou,  Ralph Meeker,  Wayne Morris, Joe Turkel,  Richard Anderson,  Timothy Carey,  Peter Capell,  Susanne Christian, Bert Freed,  Emile Meyer




ENGLISH
Colonel Dax (Kirk Douglas) is the commander of the battle-decimated 701st Infantry Regiment of the French Army, dug in along the Western Front in a stalemated WWI. It is 1916 and the Allies have been struggling to overcome an equally determined German war machine for two years. Dax, who was a criminal lawyer during peacetime, hopes that his regiment will be relieved from front-line duty. The high command has other plans. The generals General Broulard (Adolphe Menjou), corps commander and suave representative of the high command arrive at the placid, beautiful chateau that serves as headquarters for General Mireau (George Macready), the divisional general in charge. Broulard tells Mireau that his division has been dormant and must now make an all-out attack against an impregnable German position nicknamed the Ant Hill and that this position must be captured within 48 hours.

SPANISH
Primera Guerra Mundial (1914-1918). En 1916, en Francia, el general Boulard ordena la conquista de una inexpugnable posición alemana y encarga esa misión al ambicioso general Mireau. El encargado de dirigir el ataque será el coronel Dax. La toma de la colina resulta un infierno, y el regimiento emprende la retirada hacia las trincheras. El alto mando militar, irritado por la derrota, decide imponer al regimiento un terrible castigo que sirva de ejemplo a los demás soldados.






"An antidote to false movies about the glories of war (...) We can still take inspiration from the idealism and cool mastery of Kubrick's undying art"
Michael Wilmington: Chicago Tribune

"'Paths of Glory' was the film by which Stanley Kubrick entered the ranks of great directors, never to leave them (...) Rating: ★★★★ (out of five)"
Roger Ebert: Chicago Sun-Times

"Mr. Kubrick has made it look terrific. The execution scene is one of the most craftily directed and emotionally lacerating that we have ever seen."
Bosley Crowther: The New York Times

"Though a minor achievement, it’s certainly his most humane film (...) [It] may be first-rate humanity, but it's also second-rate art (…) Rating: ★★★ (out of 5)"
Slant

"Kubrick's first world war masterpiece (…) Rating: ★★★★★ (out of 5)"
Peter Bradshaw: The Guardian

"Terse and remorseless it may be, but the final flourish is perhaps the most fitting gracenote in all of cinema (…) Rating: ★★★★★ (out of 5)"
Colin Kennedy: Empire

"This superb 1957 film (...) is a reminder both of [Kubrick's] extraordinary formal virtuosity and powers as a satirist."
Geoffrey Macnab: The Independent





"'Paths of Glory' fue la película con la que Stanley Kubrick entró en el rango de los grandes directores, que ya no abandonó nunca (...) Puntuación: ★★★★ (sobre 4)"
Roger Ebert: Chicago Sun-Times

"La obra maestra de Kubrick sobre la primera guerra mundial (…) Puntuación: ★★★★★ (sobre 5)"
Peter Bradshaw: The Guardian

"Puede que sea brusca y despiadada, pero la floritura final es quizá la nota de gracia más apropiada de todo el cine (…) Puntuación: ★★★★★ (sobre 5)"
Colin Kennedy: Empire

"El señor Kubrick ha hecho que su aspecto sea increíble. La escena de la ejecución es una de las mejor dirigidas y emocionalmente más dolorosas que hemos visto nunca."
Bosley Crowther: The New York Times

"Esta excelente película de 1957 (...) es un recordatorio del extraordinario virtuosismo y del poder para satirizar [de Kubrick]"
Geoffrey Macnab: The Independent




Awards
1957: BAFTA Awards: Nominated for Best Film
1957: Writers Guild of America (WGA): Nominated for Best Drama Screenplay





Audio: English (original), Spanish (dubbed 2 audios)
Subtitles: English, Spanish, French, Portuguese, Brazilian Portuguese (muxed)
Resolution: 1192x720 pixels
Weight: 6,83 GB











jueves, 21 de marzo de 2019

Dulces horas (Carlos Saura, 1982)


























Original title:  Dulces horas
English  title:  Sweet hours


Year 1982
Running time 106 min.
Countries: Spain, France
Filming locations: Guadalajara, Segovia, Madrid (Spain)
Director Carlos Saura
Screenwriter Carlos Saura
Cinematography Teo Escamilla
Cast
Iñaki Aierra,  Assumpta Serna,  Ofelia Angélica,  Álvaro de Luna,  Marion Game, Magdalena García,  Alicia Hermida,  Pablo Hernández Smith,  Jacques Lalande, Clara Merin,  Isabel Mestres,  Luisa Rodrigo,  Alicia Sánchez,  Antonio Saura, Julien Thomas




SPANISH
Juan es un dramaturgo atormentado por su pasado. Su padre está perdiendo la memoria y su madre se suicidó, aún siendo joven, en 1942. Con la voluntad de averiguar más sobre esos oscuros años, Juan ha escrito una obra de teatro titulada ‘Dulces horas’, en la que recompone sus recuerdos. Juan asiste a los ensayos atento y absorbido por lo que pasa en el escenario. Busca alguna clave que le permita averiguar la verdad que se le escapa. Los pensamientos del autor saltan de lo que ve sobre las tablas a sus propias vivencias, hasta conseguir iluminar aquellas fases que permanecen en tinieblas. Al fin rememora la verdadera naturaleza de la relación con su madre, de carácter edípico. En coherencia con estos sentimientos, Juan acaba por enamorarse de Berta, la deslumbrante actriz que interpreta a su progenitora.


ENGLISH
Juan Sahagún, since childhood, feels passion for his mother. A day in the street sees a woman identical to her. He follows her and finds out that she works as an actress in a theater company, so Juan decides to hire the whole company to represent the people who have influenced him in his past. They recreate the same situations of yesteryear and Juan acts as the child he was, to relive the memories already forgotten.




Another graceful, measured Freudian-fantasy game by the Spanish writer-director Carlos Saura. The hero (Iñaki Aierra) is a playwright so obsessed with memories of his childhood that he has written a new play that contains the key scenes of his early life. The play (Sweet Hours) is in rehearsal, and he attends the sessions watchfully, rapt. He's searching for something. (Can it be the clue to what's always missing from Saura's films—the final burst of energy that would make everything count?) Eventually, the searching playwright dredges up the repressed material, and his Oedipus complex is resolved. Saura has given his hero a bonus—a perfect wish fulfillment—by having him fall in love with Berta (Assumpta Serna), the stunning young actress who is rehearsing the role of his mother. This might seem like an exploding Buñuelian joke, but the entire movie is cultured and dignified; it's on gliders—it's smooth and languorous, and with intricately choreographed shifts from the present to the theatrically performed past and to the remembered past. What saves it from pedantry is that from time to time the images have an erotic tingle. Something sexual hovers in the atmosphere, especially when the tall, wide-eyed Assumpta Serna is on the screen.
-Pauline Kael (She was an American film critic who wrote for The New Yorker magazine from 1968 to 1991)



This movie has the kind of subtle obviousness that is generally described as literate. What it comes down to is that Carlos Saura has a feeling for dark, autumnal elegance, and a dexterous technique that he puts at the service of tired ideas. What saves him from pedantry is that his films have occasional moments of erotic vibrancy. Scenes that aren't explicitly sexual in content are sexualized, so that they become ambiguous and disturbing - even haunting...In a Saura film, something more directly sexual is often impending; it hovers in the atmosphere. ..the wide-eyed Assumpta Serna, when she smiles, has a teasing elusiveness..She makes the atmosphere hum..perhaps Saura means us to see that the cycle is inescapable..The enigma of Saura is his addiction to enigma."
-Pauline Kael (She was an American film critic who wrote for The New Yorker magazine from 1968 to 1991)



En Dulces horas la actriz revelación se llama Assumpta Serna.  Saura definía su película como la obsesión que todo hombre tiene por su pasado que es lo único con lo que el ser humano cuenta. De ahí la canción que canta Imperio Argentina donde se subraya el verbo recordar.

Los actores se estrenaban con Saura, caso de Iñaki Aierra, actor novel cuyo personaje  contrataba a una compañía de actores para interpretar a personajes que fueron decisorios en su vida. Este tipo de procedimiento tiene mucho de Bergman, de Fellini o de Woody Allen que acababa de estrenar precisamente Stardust memories, una magnífica película escasamente valorada por la crítica y que aquí se tradujo curiosamente como Recuerdos.

Saura regresaba en Dulces horas a cierto sentido teatral en una película que rezaba como coproducción hispano-francesa, de ahí la presencia de Jacques Lalande encarnando a un divisionario azul de la familia.
Los actores tenían una experiencia contrastada en el teatro, caso de Lalande y de Luisa Rodrigo. En el equipo sigue Saura siendo fiel a un equipo. Está Emilio Sanz de Soto o Primitivo Álvaro, director de producción desde los tiempos de La caza. En el reparto hay una niña de nueve años –Magdalena García- otro ejemplo del gusto de Saura por los personajes infantiles.

A Saura le interesan sobremanera los retratos de familia y Dulces horas es otra de sus proyecciones familiares.

-Luis García Gil (escritor)






Audio: Spanish
Subtitles: English, Russian, Brazilian Portuguese (muxed)
Resolution: 608x320 pixels
Weight: 898 MB

Link



martes, 19 de marzo de 2019

Asignatura aprobada (José Luis Garci, 1987)


























Original title Asignatura aprobada
English title  Course Completed


Year 1987
Running time 95 min.
Country Spain
Filming Locations: Asturias, Spain
Director José Luis Garci
Screenwriter José Luis Garci, Horacio Valcárcel
Music Jesús Gluck, Johann Strauss
Cinematography Manuel Rojas
Cast
Jesús Puente,  Victoria Vera,  Teresa Gimpera,  Eduardo Hoyo,  Pastor Serrador, Manuel Lorenzo,  Pablo Hoyo,  Juan Cueto,  Santiago Amón,  Pedro Lazaga, José Manuel Fernández,  Silverio Cañada,  Pedro Infanzón





SPANISH
José Manuel Alcántara es un autor teatral de unos cincuenta años. A causa del fracaso de su última obra, o quizá debido al abandono de su mujer, decide irse de Madrid e instalarse en una ciudad de provincias a orillas del mar. Allí vive tranquilamente, dedicado a sus colaboraciones en radio y prensa. Pero de repente, los "errores del pasado" se le aparecen nuevamente. Su hijo, cantante y compositor rockero, se presenta de improviso, no para ajustar cuentas, sino para algo más audaz. Una actriz de la que estuvo enamorado surge un día en las carteleras teatrales de la ciudad. Y su amiga Lola planteará a José Manuel problemas de interés compuesto.


ENGLISH
A writer is having a midlife crisis. He recollects his life and it makes him feel even worse. Only a love affair or two helps him take his mind off things.

A 50-year-old playwright (Jesus Puente) bemoans his fate from his secluded home in Northern Spain in this depressing drama. Side plots include an actress and former acquaintance who comes to visit and his amorous diversions with a 20-year-old local woman.







Awards
1987: Nominated for Oscar: Best Foreign Language Picture
1987: Goya Awards: Best Director. Nominated for Best Art Production



-------------------------------            2  opciones / options                ---------------------------

Audio: Spanish
Subtitles: NO
Resolution: 960x540 pixels
Weight: 454 MB

Audio: Spanish
Subtitles: English (hardcoded)
Resolution: 692x366 pixels
Weight: 483 MB



viernes, 15 de marzo de 2019

La tía Tula (Miguel Picazo, 1964)






























Original title: La tía Tula
English title: Aunt Tula


Year 1964
Running time 109 min.
Country Spain
Director Miguel Picazo
Screenwriter José Miguel Hernán, Luis Sánchez Enciso, Manuel López Yubero, Miguel Picazo (Novel: Miguel de Unamuno)
Music Antonio Pérez Olea
Cinematography Juan Julio Baena (B&W)
Cast
Aurora Bautista,  Carlos Estrada,  Enriqueta Carballeira,  Irene Gutiérrez Caba, Laly Soldevilla,  Paloma Lorena,  Paul Ellis,  Emilia Zambrano,  Coral Pellicer, Montserrat Julió,  Chir Bermejo,  Esmeralda Adam,  Margarita Calahorra,  María Hevia, María Teresa Dressel,  Mari Loli Cobos,  Carlos Sánchez Jiménez,  Juana Azorín, Ricardo Díaz,  Lola Marquerie,  Miguel Armario,  José María Prada, Julia Delgado Caro,  Fanny Maral,  Lola Gaos




SPANISH
A la muerte de su hermana Rosa, Tula recibe en su casa la compañía de su cuñado Ramiro. La convivencia entre Tula y su cuñado, al principio, no está exenta de roces y tensiones, sobre todo cuando Emilio, que desea casarse con Tula, pretende que Ramiro haga valer su influencia sobre ella para facilitarle sus planes de boda. Pero Ramiro se siente atraído por su cuñada, atracción que se ve favorecida por la vida en común.


ENGLISH
The film is a picture of Tula a woman being single and repressed who believes that she has to help her brother-in-law Ramiro forgetting that she is a woman.






"Buena adaptación cinematográfica de la obra homónima de Unamuno. Brillante recuadro de la sociedad provinciana de la época"
Fernando Morales: Diario El País

"Toda una conmoción para el cine español de los sesenta (...) asombrosa adaptación de la novela de Unamuno que alcanza un rigor dramático y una solidez formal inaudita"
Miguel Ángel Palomo: Diario El País






Awards
1964: San Sebastián Film Festival: Best Spanish Language Film. Best Director
1966: National Board of Review: Top Foreign Films



Audio: Spanish
Subtitles: English (hardcoded)
Resolution: 720x552 pixels
Weight: 1.38 GB








Grass (Hong Sang-soo, 2018)





Original title Grass


Year 2018
Running time 66 min.
Country South Korea
Director Hong Sang-soo
Screenwriter Hong Sang-soo
Cinematography Kim Hyeong-Gyu
Cast
Kim Min-Hee,  Jung Jin-Young,  Ki Joo-bong,  Seo Young-Hwa,  Kim Saeb-yuk, Ahn Jae-Hong,  Gong Min-jeung





ENGLISH
A cheerfully melancholy story about the guests at a small café whose owner loves classical music. Kim Minhee, who won the Silver Bear for Best Actress in 2017, plays a café regular who always seems to be at the table in the corner writing on her laptop. She repeatedly draws inspiration from what’s happening around her, picking up the threads of the dialogue and spinning them further and sometimes even actively intervening in conversations. Is she perhaps the author of these relationship dramas in miniature, whose stores and themes mirror one another?




"Hong Sangsoo packs a surprising level of engaging complexity"
Jessica Kiang: Variety

"A lighter, slighter Hong (...) The standout performance in 'Grass' is once again the lively Kim Minhee"
Deborah Young: The Hollywood Reporter

"Brief but dense with ideas"
Bradley Warren: The Playlist

"Kim Minhee stands out among the cast (...) 'Grass' demonstrates a fresh type of playfulness from the prolific filmmaker. It’s a movie filled with his usual intimacy"
Sarah Ward: Screendaily




Awards
2018: Berlin International Film Festival. Forum Section
2018: Gijon Film Festival: Official Selection (Out of Competition)



Audio: Korean
Subtitles: English (muxed)
Resolution: 1920x1080 pixels
Weight: 1.31 GB

Link part 1
Link part 2














martes, 12 de marzo de 2019

Rey (Niles Atallah, 2017)


























Original title: Rey
English title:  King


Year 2017
Running time 90 min.
Countries: Chile, France, Netherlands, Germany, Qatar
Director Niles Atallah
Screenwriter Niles Atallah
Music Sebastián Jatz Rawicz
Cinematography Benjamín Echazarreta
Cast
Rodrigo Lisboa,  Claudio Riveros





SPANISH
La película trata sobre Orllie-Antoine de Tonnens, un abogado quien en 1860 planteó en un territorio mapuche hacer un reino donde él sería el rey y ellos sus ministros y ciudadanos de este reino.


ENGLISH
In the nineteenth century, a French adventurer sets off to establish a kingdom in the inhospitable South of Chile, uniting the feared Mapuche under him. The response of the Chilean army is devastating. Rey is both an intricately designed adventure film as well as powerful textural experiment.




"Atallah ha elaborado un impresionante largometraje experimental (...) La visión singular de Atallah forma una de las películas vanguardistas más accesibles y disfrutables de los últimos años."
Jay Weissberg: Variety

"'Rey' es una película extraña y a veces maravillosa, con momentos de una rareza penetrante y memorable (...) Fácilmente podría ser exhibida en una galería (…) Puntuación: ★★★ (sobre 5)"
Cath Clarke: The Guardian

"Una de las películas chilenas más visualmente perturbadoras e inventivas que recuerdo"
Slant

"Pese a la perplejidad que pueda generar 'Rey' en ciertos momentos, es una elección que tiene bastante lógica en función del carácter quijotesco y bastante alejado de la realidad del misterioso Orélie."
Diego Lerer: MicropsiaCine.com




"Atallah crafts a striking experimental feature (...) Atallah’s singular vision forms one of the more accessible and enjoyable avant-garde features of recent years."
Jay Weissberg: Variety

"One of the most visually disruptive and inventive Chilean films in recent memory"
Slant

"'Rey' is a weird and sometimes wonderful film, featuring moments of piercing, memorable strangeness (...) It could as easily be screened in a gallery (…) Rating: ★★★ (out of 5)"
Cath Clarke: The Guardian




Una película experimental, con cierto aire a Don Quijote, sobre un loco aventurero francés en su fantasioso Reino de la Araucanía y la Patagonia. Acompañado de su guía gaucho se adentra en territorio mapuche para convencer a los caciques locales de que le proclamen Rey. Una película trabajada al detalle donde incluso el personaje principal habla español con acento francés .
[Follapop]

An experimental film, with a certain air to Don Quixote, about an insane French adventurer in his fantasy Kingdom of Araucanía and Patagonia. Accompanied by his gaucho guide, he enters Mapuche territory to convince the local caciques to proclaim him King.  A film worked in detail where even the main character speaks Spanish with a French accent.
[Follapop]



The little-known story of a French adventurer claiming to be king of Patagonia is told via a bold combination of formats brought together in this enjoyable avant-garde feature.
Atallah divides his picture into nonlinear chapters, with prologue and epilogue, more in the form of a visual essay than a clear-cut narrative.
Such are the bare bones of the story, which Atallah recounts at times in phantasmagoric ways, such as tribunal scenes in which everyone wears crudely modeled masks. Only the Mapuche themselves are seen in a straightforward manner, ensuring that their representation, so often corrupted by outside sources, remains in their own hands.
Though there’s a certain Don Quixote air about the man, de Tounens isn’t presented as a Romantic figure, and Atallah deliberately avoids weighing in on whether the Mapuche chiefs really elected him their ruler. The director says that masks worn during the interrogation scenes are there to make audiences think about history as controlled codification: since the real people are unknowable, our minds turn them into representations rather than actual figures.
Jay Weissberg / Variety.com

La historia poco conocida de un aventurero francés que dice ser rey de la Patagonia se cuenta a través de una atrevida combinación de formatos reunidos en esta agradable característica de vanguardia.
Atallah divide su imagen en capítulos no lineales, con prólogo y epílogo, más en forma de un ensayo visual que de una narrativa clara.
Tales son los esqueletos de la historia, que Atallah cuenta a veces de manera fantasmagórica, como las escenas de un tribunal en las que todos usan máscaras modeladas crudamente. Solo los Mapuche son vistos de una manera directa, asegurando que su representación, a menudo corrompida por fuentes externas, permanezca en sus propias manos.
Aunque hay cierto aire de Don Quijote sobre el hombre, de Tounens no se presenta como una figura romántica, y Atallah deliberadamente evita considerar si los jefes mapuche realmente lo eligieron como su gobernante. El director dice que las máscaras que se usan durante las escenas de interrogación están ahí para hacer que las audiencias piensen en la historia como una codificación controlada: ya que las personas reales son desconocidas, nuestras mentes las convierten en representaciones en lugar de figuras reales.
Jay Weissberg / Variety.com




But the most intense section of the film is that of the subsequent trial that was submitted by the Chilean army, whose images are interspersed in various flashbacks. The director offers this challenge in a theatrical tone with scenes in which all the participants in the view wear facial masks that represent themselves.
The enigma of who of the two parties could be doing theater and who is not, is one of the most important questions raised by this story that avoids being a Manichaean at all times, maintaining a constant atmosphere of mystery.
José Luis García / Cinestel.com

Pero el apartado más intenso del filme es el del juicio posterior a que fue sometido por los militares chilenos, cuyas imágenes se intercalan en diversos flashbacks. El director ofrece este reto en un tono teatral con escenas en las que todos los participantes de la vista llevan unas máscaras faciales que los representan a ellos mismos.
El enigma de quién de las dos partes pudo estar haciendo teatro y quién no, es una de las dudas más importantes que plantea este relato que evita en todo momento ser maniqueo, manteniendo una constante atmósfera de misterio
José Luis García / Cinestel.com






Awards
2017: Rotterdam Film Festival: Jury Special Prize




Audio: Spanish, some dialogues in Mapudungun language, some words in French
Subtitles: English (hardcoded)
Resolution: 1280x692 pixels
Weight: 2.95 GB

                    Los diálogos en mapugundún o araucano no vienen con
 diálogos en español, aunque se pueden prescindir de seguir (en inglés).