Olivier Smolders - Nuit noire AKA Black Night [+Extras] (2005)

A mix of dreams, nightmares, fears and sexuality, filtered through a mordant Belgian sensibility, "Black Night" envelops rather than illuminates the viewer. First feature by writer-academic Olivier Smolders, whose occasional shorts the past 20 years have been in a similarly Expressionist vein, is perfectly tailored for fantasy festivals and other specialist events but, despite its visual merits, won't travel far beyond Euro arthouse niches.

Luis Buñuel - Le Charme discret de la bourgeoisie AKA The Discreet Charm Of The Bourgeoisie [+Extras] (1972)

In this surrealist satire reminiscent of his earlier L'Age d'Or (1930) and The Exterminating Angel (1962), Luis Buñuel leavens his attack on class privilege with light comedy. With a narrative that interweaves flashbacks within dreams within a dream, Buñuel interrogates the absurdities of bourgeois ceremony and hypocrisy, as two well-heeled couples and their two friends, including a drug-running South American ambassador, can't conduct a dinner party in peace. Foiled by (among other things) botched scheduling, sexual desire, a theater audience, an untimely funeral, and armed revolutionaries, the sextet's inability to eat increasingly suggests a manifestation of their innermost fears, while Buñuel's repeated interruptions of the story cheekily defy movie conventions and straightforward interpretations.

Jacques Rivette - Duelle (une quarantaine) AKA Twilight (A Quarantine) (1976)

It all began (as things Rivettian tend to do) auspiciously enough. There were to be four films in a series originally entitled Les Filles du Feu (after Gerard de Nerval) before the more expansive Scenes de la vie parallele replaced it. Each would center on a “non-existent myth” of a battle between goddesses of the sun and the moon for a mysterious blue diamond that has the power to make mortals immortal and vice versa. Each film was to be in a different genre: a film noir, a pirate adventure, a love story, and finally a musical – the last-mentioned of whose scenario particulars hadn’t been completely worked out when the four-film project went into production.

Stephen Quay & Timothy Quay - Institute Benjamenta, or This Dream People Call Human Life (1995)

Brilliant English animators The Brothers Quay create their first feature-length live-action film in this tale of a dilapidated boarding school for the teaching of servants run by a brother and...  Brilliant English animators The Brothers Quay create their first feature-length live-action film in this tale of a dilapidated boarding school for the teaching of servants run by a brother and sister in which the curriculum is the repetition of one single lesson. When Jacob, a young man, enrolls in the school, he becomes entangled in the strange lives of the students and headmasters alike. Called by director Terry Gilliam, "The most visually beautiful and hauntingly humorous film I have seen in the last 300 years."

Martin Sulík - Záhrada AKA The Garden (1995)

DIR Martin Sulík
PROD Rudolf Biermann
SCR Martin Sulík, Ondrej Sulaj, Marek Lescák
DP Martin Strba
CAST Marián Labuda, Roman Luknár, Zuzana Sulajová, Jana Svandová, Katarína Vrzalová
ED Dusan Mildo
MUSIC Vladimír Godár
SOUND Peter Mojzis

Jakub stumbles across his grandfather’s journal which is written in backwards script. He finds a map leading him to an old bottle of wine hidden years ago. Now curious, Jakub must solve the mysteries of his grandfather’s garden. He meets Helena, a young girl Jakub’s grandfather taught to also write backwards. Strange things happen in the garden, and some of them do indeed seem like miracles. Amid the eccentric events, young Helena teaches Jakub to appreciate the delicate mysteries of life.
From Slovakia’s celebrated director Martin Sulík.
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Heinz Hilpert & Reinhart Steinbicker - Liebe, Tod und Teufel (1934)

Filling a request with an old GDR tape recording, looks agreeable. I'm running out of Käthe von Nagy films however ...
This exercise in luscious exoticism tells the story of a sailor who gets a bottle which fulfills all wishes, as is so often the case the soul is the price you have to pay. He becomes rich, learns Käthe von Nagy, gets rid of the mysterious bottle, but becomes gravely ill ... and so on goes this Sternbergian exercise in decor and lighting with Horney and Nagy running the show.

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http://www.filesonic.com/file/162181451/Liebe,_Tod_und_Teufel.part1.rar
http://www.filesonic.com/file/162178921/Liebe,_Tod_und_Teufel.part2.rar

Frank Capra - Lost Horizon (1937)

DIR Frank Capra
PROD Frank Capra
SCR James Hilton, Robert Riskin
DP Joseph Walker
CAST Ronald Colman, Jane Wyatt, John Howard, Margo, Thomas Mitchell
MUSIC Dimitri Tiomkin
It took British author James Hilton six weeks to write his visionary novel Lost Horizon. It took director Frank Capra two years-and half of his home studio Columbia’s annual budget-to bring it to the screen. After a lengthy preamble, inviting audiences to imagine their own ideas of Utopia, the film opens on a chaotic scene at a Chinese airfield. As hordes of bandits approach, hundreds of refugees scramble to board the last plane out. Only five people make it: Mildly disenchanted Far Eastern diplomat Robert Conway (Ronald Colman), his hotheaded younger brother George (John Howard), embezzler Barnard (Thomas Mitchell), dithery fossil expert Lovett (Edward Everett Horton) and consumptive prostitute Gloria Stone (Isabel Jewell). As the plane flies off towards the Himalayas, Robert realizes that he and his fellow passengers are heading in the wrong direction. They are, in fact, being kidnapped-but why? And where to? The plane crash-lands in the snowy Tibetan interior. The pilot is killed, but the passengers are safe. By and by, a strange caravan approaches, led by an enigmatic Chinese named Chang (H. B. Warner). Joining the caravan, Conway and his party are led through a treacherous mountain pass and into a land of temperate weather and dazzling beauty. This is Shangri-La, the idyllic lamasery presided over by the aged, wizened High Lama (Sam Jaffe). In this fertile valley, people are not encumbered by such exigencies as crime, dictators and hatred; instead, everyone is devoted to the pursuit of wisdom and self-improvement-and best of all, the aging process has been slowed to a walk, allowing people to live well past the two-century mark. Though he still does not know why he was brought here, Conway is quicker to adapt to Shangri-La than his wary fellow passengers. He even falls in love with Sondra (Jane Wyatt), an attractive, intelligent young woman. Finally granted an audience with the High Lama, Conway discovers that the old man is actually Father Perrault, the Belgian missionary who founded Shangri-La-over two hundred years earlier. Dying, the High Lama has selected Conway, whose idealism and even-handedness is world famous, to succeed him-and hopefully spread the “love thy neighbor” edict of Shangri-La to the rest of the war-torn world. Conway is willing to assume leadership, but younger brother George, his mind poisoned by spiteful Shangri-La resident Maria (Margo), insists upon escaping to the outside world. The older Conway warns that, despite her youthful appearance, Maria is well past sixty and will surely perish once she leaves Shangri-La; but Maria retorts that the high lama is insane, and that everything he has told Conway is a lie. Disillusioned, Conway agrees to leave with Jack and Maria. The trek back to civilization is a grueling one, especially for Maria, who-true to Conway’s prediction-shrivels from age and dies. Appalled that he has been misled, George kills himself. Weeks later, and amnesiac Conway stumbles into a Tibetan mission, where he is rescued and brought back to England. When his memory is restored, however, Conway runs back to Shangri-La, and into the arms of Sondra. When Lost Horizon was shown to preview audiences, it ran nearly three hours-and it was a disaster. In his autobiography, Capra claims to have rescued his pet project by merely burning the first two reels and opening the film with the evacuation scene; In fact, while Capra did remove the film’s “flashback” framework, he made most of his cuts in the body of the picture. The release length of Lost Horizon was 132 minutes, pared down to 119 when it when into general distribution. When it was reissued in the 1940s and 1950s, it was rather clumsily pared down to anywhere from 95 to 100 minutes. Only in the mid-1980s was Lost Horizon restored to its original length, with stills used to illustrate certain scenes for which only the soundtrack existed. While not the enormous hit Capra and Columbia had hoped it would be, Lost Horizon was popular enough to allow the name “Shangri-La” enter the household-word category. In 1973, producer Ross Hunter felt the urge to inflict a wretched musical remake onto an unsuspecting public. —allmovie guide

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Wladyslaw Starewicz - Noch pered Rozhdestvom aka The Night Before Christmas (1913)

DIR Wladyslaw Starewicz

SCR Wladyslaw Starewicz, Nikolai Gogol

DP Wladyslaw Starewicz

CAST Ivan Mozzhukhin, Olga Obolenskaya, Lidiya Tridenskaya, Petr Lopukhin, Aleksandr Kheruvimov, Pavel Knorr

A 1913 silent film made in the Russian Empire by Ladislas Starevich, based on the tale of the same name by Nikolai Gogol. Unlike most of Starevich's films, it is mainly live-action.

The action is set in a Cossack stanitsa. On Christmas Eve, a minor demon (Ivan Mozzhukhin) arrives to a local witch called Solokha. They both ride on the witch's broom, after which the demon steals the Moon and hides in an old rag. In the ensuing darkness, some inebriated Cossacks can't find their way to a shinok (tavern) and decide to go home. One by one, they each come to visit Soloha, who hides each one (starting from the demon) in bags so that none of them see each other.

At the same time, Solokha's son Vakula the Metalsmith (P. Lopukhin), tries to woo the beauty Oksana (Olga Obolenskaya), but she laughs at him and demands that he find her the shoes which the Tsarina wears. Vakula goes to Soloha in sadness, but upon coming there sees the bags and decides to take them to the forge. Getting tired along the way, he leaves the heaviest bags on the street, which are picked up by a caroling company. Vakula, who is left only with the bag containting the demon, goes to Patsyuk, a sorcerer, to ask him how to find a demon - only with the help of a demon can he hope to get Tsarina's shoes.

The Patsyuk answers that a person should not search for a demon if he has a demon behind his back. Vakula takes it as some kind of a murky wise say, but indeed eventually finds the demon in the bag and forces him to take him to St. Petersburg. There, Prince Potemkin takes him for an ambassador of the Zaporozhian Cossacks and gives him Tsarina's shoes. The demon takes Vakula home and Vakula lets him go. Oksana agrees to marry Vakula.

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Václav Vorlícek - Jak utopit doktora Mrácka aneb Konec vodniku v Cechách AKA How to drown Dr. Mracek (1974)

There are still water spirits among us. One group lives in Prague, led by Mr. Wassermann, who is using his wife's family as a servants. All they need is their old house near the river. But the house is to be demolished. They have to stop it. And the only way is to drown Dr. Mrácek, who is responsible for the demolition. But he falls in love with Wassermann's niece Jana. He changes to fish, is mistaked for water spirit from Germany, is drowned and revived again. The other problem is the flour with ears... and so on... =)

i realised that there are many fans of oldskool czech comedies from 70's like Limonadovy Joe, Adela jeste nevecerela, The Mysterious Castle In The Carpathians and other.... this one is the same cup of tea. Vaclav Vorlicek keep the style of Oldrich Lipsky and mixed great romantic-comedy-fantasy movie about hard life of czech water spirits... i hope you enjoy it. Whole name of this piece is: "How to drown Dr. Mracek aka the end of water spirits in Bohemia"

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http://www.filesonic.com/file/109291121/Jak_utopit_doktora_mracka.part2.rar

Tarkan gümüs eyer aka Tarkan Silver Saddle (1970)

NO SUBTITLES

If you enjoyed Tarkan vs the Vikings, one of the all-time masterpieces of cinematic madness, now here's another one.  Tarkan is a Hun from late antiquity raised by wolves and still accompanied by one. This movie focus on his childhood and how he raised by wolves after his village got destroyed and his parents killed by the treacherous Kostok. Kostok also steals the legendary horse named Silver Saddle. Raised by Tulga, Tarkan swears to avenge his father and take back the Silver Saddle. Kostok's associate, evil sorceress Gosha is also responsible for Tarkan's missing big brother Tan. Along his journey, Tarkan will meet him for the first time.

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http://www.filesonic.com/file/97072381/Tarkan_Gumus_Eyer.avi

Tarkan Viking kani aka Tarkan vs. the Vikings (1971)

 

Kartal Tibet is… Tarkan! A mighty barbarian warrior guy who runs around with his dog, Kurt, saving pretty women from danger. He’s currently in the employ of the daughter of an important political person who runs afoul of some bloodthirsty Turkish Vikings who worship a bizarre Lovecraftian man-eating octopus. Why do they want the girl? Why, to sacrifice her to their god, of course! The Vikings, lead by a guy with the most amazing moustache ever, land their Viking ship outside of the castle where she lives, and soon have killed off all of her men, with only Tarkan left breathing, laying unconscious and presumed dead on the floor of the courtyard after a bloody battle ensues. Tarkan isn’t going out like that, however and once he gets his strength back, he and Kurt track down the Turkish Vikings and set out to save the pretty damsel and save her from certain doom at the hands of the half inflated eight-legged demigod.

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