Shakespeare in Love






Romantic comedy set in London in the late 16th century: Young playwright William Shakespeare struggles with his latest work "Romeo and Ethel the Pirate's Daughter". A great fan of Shakespeare's plays is young, wealthy Viola who is about to be married to the cold-hearted Lord Wessex, but constantly dreams of becoming an actress. Women were not allowed to act on stage at that time (female roles were played by men, too), but dressed up as a boy, Viola successfully auditions for the part of Romeo. Soon she and William are caught in a forbidden romance that provides rich inspiration for his play.

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Les Revenants (They Came Back)

The lives of the residents of a small French town are changed when thousands of the recently dead inexplicably come back to life and try to integrate themselves into society that has changed for them.

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The recently dead return to life in They Came Back, but they are surprisingly uninterested in feasting on the living. Many of them are, naturally enough, elderly, and they seem content merely to go back to their former lives, but their return causes a myriad of complications. Robin Campillo, making his feature directorial debut, co-wrote the script to Laurent Cantet's Time Out, and his "zombie" movie quietly examines the individual and societal impact the dead have on the small French city -- just one of many similarly afflicted throughout the world -- to which they return. Isham (Djemel Barek) and Véronique (Marie Matheron) have their trepidations, but they're generally happy, at first, to see their little boy Sylvain (Saady Delas), and the town's elderly mayor (Victor Garrivier) welcomes home his wife, Martha (Catherine Samie). But Rachel (Géraldine Pailhas of 5x2), a government health official, cannot bring herself to visit her newly returned husband, Mathieu (Jonathan Zaccaï of Seaside), at the ad-hoc shelter where the government houses the "zombies" like refugees. Eventually, she relents, and Mathieu returns home, but the living find that their loved ones are not exactly as they remember them. Studies soon reveal that the dead suffer from a form of aphasia. They cannot create new memories, and they cannot be trusted to perform any but the most menial tasks. Perhaps sensing the discomfort they cause the living, the dead gather together at night, and seem to be formulating some kind of secret plan. They Came Back was selected by the Museum of Modern Art and the Film Society of Lincoln Center for inclusion in the 2005 edition of New Directors/New Films. -- Josh Ralske

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Un Oso rojo (DVDrip - 2002)

Argentine social realism mixes with stylized gunplay in this film from director Adrián Caetano. Oso (Julio Chávez) is an inexpressive, heavyset convict who tries to start a new life after being released from jail. His young daughter Alicia (Agostina Lage) has forgotten him and her mother (Soledad Villamil) has long since found a new man--the weak but faithful Sergio (Luis Machín)--with whom she and Alicia share a small home in a rundown Buenos Aires neighborhood. Oso tries to reestablish himself in Alicia's life, but his past keeps getting in the way, eventually causing him to take one final, dangerous job for his scheming old crime boss, the Turk. While the film's mythic western story arc of violence and redemption is nothing new, it's still powerful and moving thanks to Caetano's skill in capturing the subtle beauty of his rundown locations and struggling characters. As with his earlier BOLIVIA, this film provides a nonjudgmental window into Argentina's financial problems, revealing how a proud, richly cultured nation has been driven to extreme measures by economic depression. Performances are naturalistic and strong, with Chávez a standout as the quintessential loner, Oso. With almost no changes in his character's glum exterior, he manages to hint at a concealed wealth of deep emotion; his scenes with Lage are quietly heartbreaking.






"A Red Bear" is daylight noir. The setting is bright, sunny but the characters have shades of gray. Julio Chávez plays an ex-con trying to do good while attempting to reconnect with the daughter he had left behind. But this type of anti-hero is never meant to live happily ever after. Although the film tells a familiar tale, I thought the milieu of a small town in Argentina gives the story an interesting edge. It's a nice change of pace from the usually gritty American landscape. The performances are good too. Chávez is excellent and Soledad Villamil registers in the small role of Chávez's ex-wife. Nice music by Mariano Barrella and Diego Grimblat. Director Caetano is a natural with the camera. If you are fan of noir you won't be disappointed.






Aunque sólo Oso lleva la cuenta, han pasado siete años desde que cayó preso por homici-dio y robo a mano armada. Es un hombre par-co, impredecible, violento por naturaleza o por necesidad, y es probable que en todos estos años no le haya dicho a nadie lo que oculta en sus silencios y la tristeza de su mirada. Alicia, su hija, cumplía un año el día del asalto y Natalia, su mujer, quizás nunca lo haya perdonado. Ahora, mientras sale a la calle en libertad condicional, Oso piensa que tal vez pueda volver a empezar. El Turco le debe todavía su parte del asalto y a través de un compañero de celda contacta con Güemes, que lo emplea como chofer en su agencia de taxis. Oso ha perdido a su mujer que vive ahora con Sergio y su hija apenas lo recuerda, pero Oso está dispuesto a recuperarlas o al menos a reparar los daños.




L'Ours rouge Après avoir passé sept ans en prison pour meurtre et vol à main armée, Oso obtient sa libération conditionnelle. Sa femme Natalia et sa fille Alicia vivent désormais avec Sergio, un chômeur qui s’endette en jouant aux courses. Oso espère les reconquérir, les aider, mais pour cela il doit maîtriser sa maladresse et ses élans irrépressibles de violence. Lorsque Turco tente de l’entraîner dans un nouveau « coup », il comprend que la seule issue possible pour prendre en charge l’avenir de sa fille sera hors la loi...

La soledad (DVDrip - 2007)

Jaime Rosales beautifully consolidates the achievement of his distinguished debut, The Hours of the Day, with Solitary Fragments [La soledad], a leisurely but rewardingly intense dual narrative that delicately unpicks the secret lives of women. "La soledad radiates with the intensity yet the normality of daily life as few films do. It is Big Brother without the sensationalism, a soap without the artifice and a documentary without the wobbly camerawork and dark interiors."






Stylish yet thoughtful, Spanish director Jaime Rosales' follow-up to The Hours of the Day is a closely observed study of isolation as a corollary of modern life.

Rosales unspools two briefly tangling narrative threads. One involves Adela, a separated office drone who has recently left her picturesque Basque home with her one-year-old son for Madrid, where she shares an apartment with Inès and tries to scrape by. The other centers on Inès' long-suffering mother, Antonia – a widowed shopkeeper who has a boyfriend, Manolo, to contend with as well as the constant squabbling among Inès and her two other grown daughters, Helena and Nieves. Both storylines initially adopt the idiom of the mundane: the characters' lives unfold as a series of everyday concerns over health, work, shelter, relationships and money. But darker forces are also at work in determining the directions Adela and Antonia eventually take – a terrorist bombing, a cancer diagnosis, mounting familial strife. If they never quite intersect, their paths do gradually prove parallel – and profoundly lonely.






Adela, una joven separada y con un hijo de un año de edad, está cansada de la vida que lleva en su pequeño pueblo natal al norte de León. Deja atrás las montañas y los paseos por los prados para trasladarse a Madrid donde todo es ruido, tráfico y un continuo vaivén de un lado a otro. Para salir adelante se busca un trabajo de azafata y se muda a un apartamento junto a Carlos e Inés, dos jóvenes muy agradables. Los tres se llevan muy bien en seguida, compartiendo comidas, dudas y ratos de ocio. Antonia, la madre de Inés, tiene un pequeño supermercado de barrio. Lleva una vida bastante tranquila junto a su novio, Manolo, y sus tres hijas: Inés, Nieves y Helena, la mayor. Sin embargo, poco a poco, su placentera vida empieza a tambalearse. Primero, los médicos detectan un cáncer incipiente en su hija Nieves. Más tarde, la ya tensa relación entre sus hijas se complica aún más cuando Helena le pide prestado dinero a su madre para comprarse un piso en la playa. Adela no ha tenido grandes dificultades para adaptarse a la vida urbana, a pesar de que el padre de Miguelito no le ayuda demasiado económicamente. Un atentado terrorista, mientras viaja en autobús, dejará su vida hecha añicos. A partir de ese momento deberá encontrar la fuerza para regresar a una vida normal.






Adela quitte son mari. Elle déménage à Madrid où elle vit avec son fils Miguelito chez Ines et son époux Carlos. Antonia, veuve, possède un magasin de légumes et sort le soir avec Manolo. Elle est là mère d’Ines, Nieves et Helena.

L’originalité est le mot le plus approprié pour décrire le travail de Jaime Rosales. Avec La Soledad, il nous relate la vie privée de deux femmes. Les deux histoires sont isolées l’une de l’autre et se joignent par l’intermédiaire du personnage d’Ines. Le fait le plus marquant du film est la manière expérimentale qu’a choisie Rosales pour tout mettre en scène. Il a tout filmé à l’aide d’une caméra fixe et utilise des écrans divisés. Qu’il le fasse d’une manière technique ou non, il s’assure en permanence qu’un arbre ou une porte divise l’image en deux. En tant que spectateur, vous devenez littéralement voyeur de ce qu’il se passe, ce qui donne parfois un sentiment inconfortable et vous interroge sur les bonnes intentions du régisseur ainsi que celles que vous pouvez avoir en tant que public. La Soledad… La vie comme elle est… Madrid.

La virgen de la lujuria (DVDrip - 2002)

In Vera Cruz in the 1940s, Nacho, an Indian, waits tables at Don Lázaro's café at Hotel Ofélia. He falls for Lola, an opium-addicted, alcoholic whore who's hopelessly in love with Gardenia Wilson, a masked wrestler who slept with her once but knows she's unbalanced. Don Lázaro warns Nacho about Lola, and Nacho knows his love will be unrequited, but he'll do anything, regardless of how degrading, to be near her. Lola, for her part, can be sadistic. Republican exiles who are regulars at the café encourage Lola's desire to assassinate Franco. Nacho in turn mixes this political mirage with his fascination with the plot of "The Mikado." Where do fantasies and obsessions lead?





Nacho is a servile waiter at the Cafe Ofelia in Vera Cruz, whose corpulent boss Don Lazaro (Julian Pastor) prides himself as being a full-blooded Spaniard even though he was born and raised in Mexico. The obedient brown-skinned waiter relaxes at night by jerking off to porn photos, and puts up with his boss's disrespectful way of treating him without getting angry (in a patronizing way the boss even likes Nacho). Things change one night when a sexy drunken, opium taking foreign whore, Lola (Ariadna Gil), hangs out at the bar and Nacho falls madly in love with her. Lola, who claims to be a Russian revolutionist living in Germany at one time as a circus performer and is not a Spaniard as the cafe owner believes, is only interested in a career-minded brutish masked wrestler named Gardenia Wilson (Alberto Estrella), whom she said gave her the best fuck she's ever had in her life and wants desperately to reunite with him. When the wrestler encounters Lola he rejects her as a worthless slut, which doesn't stop her from still wanting to become his slave lover. Meanwhile she has a sadistic streak in her and takes advantage of Nacho's slave-like devotion of her to treat him like dirt while only allowing him to kiss her feet as he devotes his life to try and please her every whim. The masochistic relationship continues as a group of artistic Republicans, expatriates from Spain, regularly meet in the cafe and sing songs from Gilbert & Sullivan's Mikado and impotently proclaim they should kill Franco. Nacho befriends the most human of the bunch, Gimeno (Juan Diego), who is a photographer of high-brow art that reflects his anarchist beliefs through historical reenactments. At his wit's end and losing track of reality at a fast rate, Nacho believes he can gain Lola's respect and thereby her love by killing Franco (something she echoes in her dreams). Nacho works things out with his photographer friend to stage a series of photos showing the waiter killing Franco.






México, años 40. Ignacio Jurado, “El Mikado” es un camarero más bien callado y solitario. Sus días transcurren entre el Café Ofelia y su colección de fotos pornográficas. Sin embargo, todo cambia cuando en su vida irrumpe Lola, una prostituta española no exenta de cierta ternura, autodestructiva e imprevisible. Entre ambos surge una relación sadomasoquista. El Mikado será capaz de cualquier cosa por hacerse merecedor del amor de Lola... Cualquier cosa, incluso matar a Franco.

A young boy becomes infactuated by a circus act assisstant. On one side the boy is looking for a mother figure and is comforted by the assistant, but on the other hand is beginning to develope urges for her. .... He attempts to win her heart, even though he is only about twelve years old. He grdually gets involved in her life and becomes emotionally attached. The ending captures the pain and torment you can encounter when you become infactuated by someone you can't have. The film leaves you wondering about the time when you went through the same things yourself. A very interesting piece of work with a few odd quirks that really get you involved in this young boys life and the torment he goes through as he attempts to understand the urges and feelings he is having.







RS incl 3% rar recovery