Untamed Heart (1993) - Tony Bill

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Play duration: 01:37:51
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Audio1: Ac3 English
Audio2: Ac3 Italian

All of Caroline's boyfriends seem to leave her or cheat on her. On her way home from work two men try to rape Caroline. An introverted man from her work, Adam, rescues her. Adam is an orphan and he is told that he's got a baboon's heart. Adam opens up to Caroline and together they make sense. Adam and Caroline are very happy together but the rapists try to get back at Adam and not everyone accepts an outcast like Adam.

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Gracie's choice (2004) (TV) - Peter Werner

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Audio: mp3 English
Soft subtitles: Italian

Anne Heche, Kristen Bell, Diane Ladd, Shadrack Anderson III, David McLean

Gracie's Choice is a true story, which has been based in part on the Reader's Digest article by Rena Dictor Le Blanc. The producers changed certain characters and events have been fictionalised.
The beginning is chaos! A mother of five children finds herself in an awkward situation, she's seems clueless as to how she ended up there in the first place.
The story goes on, it becomes clear that the mother Rowena Larson, (Anne Heche, star of Six Days and Seven Nights, Another World and Wag The Dog), is an unfit mother. Rowena drinks too much and has casual relationships. She finds herself at the centre of many feuds with her mother and her children, struggling with the responsibilities of being a parent.
One scene turns into a police fiasco, due to Rowena disappearing for three days, leaving her children without money or food. Gracie, (Kristen Bell, Deepwater, Everwood, The Shield), aged 16 is put into a position of taking control of the family. She feels responsible for looking after her half brothers and sisters, (all with different fathers). The authorities decide to split up the children and place them in Juvenile Hall for a while, until a solution is found.
The solution is temporary, Gracie's grandmother Louela, (Diane Ladd, Chinatown) tries to guide the family, even providing a roof over their head. She is desperate to keep them away from the bad influences of her daughter Rowena, who she sees as an unfit mother and lost soul. Unfortunately the burden is too much for her, she is unable to cope and it's is a financial burden which she can't afford.
Gracie takes control of the situation; she gets a steady job, finds a flat to rent and even finds the opportunity of scholarship. A determined young woman, with faith and hope. The majority of teenagers can't even look after themselves, but Gracie stood by what she thought was the right thing to do. She never gave up even though people kept letting her down, her mother and even her boyfriend gave her an ultimatum.
This movie is Gracie's journey from teenager to adulthood! An unusual journey, most teenagers should be out there having fun. In this particular case Gracie stood up to her mother and the authorities realised that she was a determined young woman, they gave her a chance. A custody battle is the last straw for Gracie, she knows what she has to do.
A disturbing but truthful film that brings to our attention how there are children who are forced to grow up fast, entering an "adult world taking on grown-up responsibilities".
Kristen Bell is an excellent young actress and one to watch out for in the future.
Anne Heche had an extremely tough role; it couldn't have been easy to be convincing as a detached, unfit mother. There are several scenes where she 'loses her rag'.

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http://www.megaupload.com/?d=L1XOR1IG GraciesChoice.part1.rar
http://www.megaupload.com/?d=0EIT2UYB GraciesChoice.part2.rar
http://www.megaupload.com/?d=5C14ZYP9 GraciesChoice.part3.rar
http://www.megaupload.com/?d=NMZJGSF4 GraciesChoice.part4.rar
http://www.megaupload.com/?d=2S3TMMNI GraciesChoice.part5.rar
http://www.megaupload.com/?d=COPC0O1U GraciesChoice.part6.rar
http://www.megaupload.com/?d=ZKAH7UN0 GraciesChoice.part7.rar
http://www.megaupload.com/?d=7O0OXMIB GraciesChoice.part8.rar

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Mariachi, El (1992) - Robert Rodriguez

El Mariachi (1992) DVDRip XviD

Runtime:81 min
Country:Mexico | USA
Color:Color (Technicolor)

Filmed in two weeks on a budget of 7,000 dollars, El Mariachi was one of the singular pleasures of the 1993-1994 movie season. Kind-spirited guitarist El Mariachi (Carlos M. Gallardo) simply wants to wander through life as his father and grandfather did, with a song in his heart and a smile on his lips. He wanders into a small mob-run town, guitar case in hand. It so happens that the local criminal element is awaiting the arrival of vicious hit man Azul (Reinol Martinez), who is well known for carrying his weapons in...a guitar case. Just when you think you've got a lock on what's going to happen next, director Robert Rodriguez throws us for a loop, unexpectedly alternating whimsical comedy with graphic violence. Rodriguez later retooled the plot of El Mariachi for his far more expensive (and far less satisfying) Antonio Banderas vehicle Desperado (1995).


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Henry: Portrait of a Serial Killer (1986) - John McNaughton

Henry: Portrait of a Serial Killer (1986) DVDRip XviD

Though the title makes Henry: Portrait of a Serial Killer seem like a cut-rate slasher flick, the film is actually one of the most disturbing and terrifying examinations of mass murderers ever filmed. Loosely based on the story of confessed murderer Henry Lee Lucas, the film follows Henry (Michael Rooker) as he selects innocent victims—occasionally with his roommate Otis (Tom Towles)—and kills them, capturing their murder on videotape. Many of these murders rank among the most brutal and violent ever portrayed on film. The violence and the clinical, detached portrayal of Henry and his horrifying actions make Henry: Portrait of a Serial Killer a disturbing, thought-provoking film, but it certainly isn't one for every taste. Finished in 1986, the film wasn't released until 1990, when it was greeted with both positive reviews and considerable controversy.


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Kalifornia (1993) - Dominic Sena


A journalist duo go on a tour of serial killer murder sites with two companions, unaware that one of them is a serial killer himself.




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Poupées russes, Les (The Russian Dolls) (2005) - Cédric Klapisch

Xavier is now thirty. No longer a student, he is not yet a well-balanced, fullfiiled adult either. His career is unsatisfying : far from being the renowned novelist he aimed to be he must be content with little jobs such as reporter or ghost writer. His greatest "achievement" in "literature" is his collaboration to the script of a corny TV soap ! His sentimental life is not much better, rhythmed by one night stands and unfinished romances. It looks as if when he seduces a woman beautiful outside and inside such as Kassia or Wendy he can't keep them. Will he ever bring his life into focus?





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Auberge espagnole, L' (The Spanish Apartment) (2002) - Cédric Klapisch

A straight laced French student moves into an apartment in Barcelona with a cast of six other characters from all over Europe. Together, they speak the international language of love and friendship.


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Boys from Brazil (1978) - Franklin J. Schaffner

Barry Kohler, a young Nazi hunter, tracks down a group of SS officers meeting in Paraguay in the late 1970s. The Nazis, led by Dr Mengele, are planning something. Old Nazi hunter, Ezra Lieberman, is at first uninterested in Kohler's findings. But when he is told something of their plan, he is eager to find out more. Lieberman visits several homes around Europe in order to uncover the Nazi plot. It is at one of these houses he notices something strange, which turns out to be a horrible discovery.


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The Untouchables (1987) - Brian De Palma

Genre: Crime | Drama | History | Thriller
Country: USA
Dub: English
Sub: English

1920's prohibition Chicago is corrupt from the judges downward. So in going up against Al Capone, Treasury agent Eliot Ness picks just two cops to help him and his accountant colleague. One is a sharp-shooting rookie, the other a seen-it-all beat man. The four of them are ready to battle Capone and his empire, but it could just be that guns are not the best way to get him.



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Simon mágus (Simon, the Magician) (1999) - Ildikó Enyedi

Runtime: 100 min
Language: French | Hungarian With Hardcoded English Sub
Country: Hungary | France
Color: Color

Awards for Simon mágus:

Bordeaux International Festival of Women in Cinema
1999 Won Golden Wave Best Actor (Interprétation Masculine)Péter Andorai

Csapnivalo Awards
2000 Won Golden Slate Best Hungarian Actor Péter Andorai
Best Hungarian Movie

Hungarian Film Critics Awards
2000 Won Film Critics Award Best Actor Péter Andorai
Best Director Ildikó Enyedi

Hungarian Film Week
1999 Won Best Actor Péter Andorai
Best Cinematographer Tibor Máthé
Best Director Ildikó Enyedi

Lecce Festival of European Cinema
2000 Won Golden Olive Tree Ildikó Enyedi

Locarno International Film Festival
1999 Won Don Quixote Award - Special Mention New Cinema Ildikó Enyedi
Nominated Golden Leopard Ildikó Enyedi

Tromsø International Film Festival
2000 Won Aurora Award Ildikó Enyedi

In this surrealistic movie from the director of My 20th Century, the French police seek help from Simon, a visionary living in Budapest to solve a murder case. Whilst in Paris, Simon falls in love with Jeanne, although they do not speak each other's language. When Jeanne leaves for a couple of days, Peter, another visionary, calls Simon for a duel: They both have to spend three days buried alive. Will Simon ever meet his love again? (...)

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Hungarian wizard, summoned to France to help police, meets various disciples: Simon is a real magician with great mental powers to perceive reality and influence people. He answers a summons to the French police reluctantly, in exchange for cash. In Paris he meets a female interpreter and a black policeman named Paul who both practically worship him, and crowds recognize him everywhere, but he's primarily interested in a young woman named Jeanne whom he sees from afar and helps avoid harassment for her street questionnaire on public religious views. Simon easily solves a murder investigation with an insight into the dead man's favorite houseplant. Simon tracks Jeanne who is friendly to him but puzzled, especially when he seems to answer her questions randomly; it takes a while for her to realize that Simon doesn't speak French. A stage magician named Peter, who has long considered Simon to be his nemesis, invites Simon to join him in a stunt of surviving burial for three days. Simon casually agrees, and falls into a trance the night before the trick just to practice. Paul and the interpreter beg Simon to not go, but Simon is buried with Peter. Peter survives with his techniques and equipment, but Simon, who insisted on being simply covered with dirt, is unearthed dead by Paul. Nonetheless, Simon is soon seen again by Jeanne.

NOTES: gently mystical film based on legend may baffle or delight: This film is artistic and mysterious, with a meditative pace and some truly hypnotic scenes. I liked the recurring movements through a large railway switchyard set to classical music, a motif which seemed to symbolize the parallel destinies of many characters and how our mystical protagonist can switch between them with insightful ease. Enjoyable too were the understated moments when Simon, whom the director did not want to make too obvious in his real magical abilities, can just gaze at people and by a subtle gesture change their behavior. Simon uses this remarkable ability with aloof hesitation, as if to make clear that he is operating from a different plane of reality and regrets interfering with human will. Like a truly old soul, Simon functions in tune with the universe, able to perceive powers that others miss and push them with the gentlest of touches. To solve the crime, he simply naps until awakened by sunlight on his face to greet the consciousness of the giant potted palm, thus realizing that with some sensitive lab equipment the plant will function as a reliable detector for the murderer. Simon’s methods are in total contrast to those of his nemesis Peter, the egotistical stage magician who is loud, vain, and anything but subtle.
As the movie progresses with increasing illogic, it becomes both important and confounding to know the fundamental allegory. The Biblical legend of Simon Magus is that of a first century Gnostic sorceror around whom a religion formed called Simonianism. Followers believed that Simon was, like Christ, God in human form. After Jesus’ death, Peter and Simon often confronted each other, with one heresy being that Simon tried to buy healing powers of the Holy Spirit from the apostles. For this sin, Simon is called the first heretic by the Catholic church. Simon Magus died by different accounts all having to do with his false faith – some say Simon could levitate but he fell to his death when Peter called upon the true God to expose him, others that Simon died while trying to imitate Jesus and rise again after having been buried for three days. This last reference is clearly the film’s ending, but the metaphor seems ambivalent at best, anti-church at worst, since the Peter character is such a nasty fellow and Simon doesn’t stay dead, but is indirectly seen to crawl out of the ground and return to his Jeanne in time for their appointed rendezvous. The implication is that the Gnosticism of Simon Magus was the true occult power, known to only the chosen (Gnostics generally believed in the abilities of the individual to know God directly, mystically, without the need for any church). Peter’s resurrection in the film is an endurance feat only, patterned after Houdini, while Simon’s magic is real, born of pagan earth and nature. Like Mary Magdalene, Jeanne becomes the first, the favorite, and a woman no less, to see the savior return. Since Simon rescued Jeanne from a metaphorical stoning at the film’s start, their strange relationship parallels the mysteries of Jesus and Mary (though scholarship reveals that the prostitute was probably not the same Mary as Magdalene, and the church has simply enjoyed marginalizing a wise seeker who would’ve become the Gnostic thirteenth apostle). Other incidents also revise the Simon legend to align him more with the true Christ, such as when it is the police who pay Simon for knowledge and not the other way around. The Holy Spirit thus purchased comes through sunlight and a plant, which is surely more reference to pagan Gnostism (obsessing over whether a love of nature is sinful or holy is a generally Gnostic concern).
The film may suffer a bit from a lack of clarity in its hugely symbolic material, but the director’s intentions to elevate the mystical views of life cannot be doubted, as she was celebrated for her debut in the sprawling dream logic of "My 20th Century" (1989), and is less known for the fantastical time-travelling meditations on a Virgin Mary figure who also helps a policeman in the gorgeous "Magic Hunter" (1994). The director must be well tuned into the zeitgeist which called for a re-evaluation of the Gnostic legend of Simon, since the same year saw another "Simon Magus" (1999) film from another esoteric indie director, the British Ben Hopkins. "Simon the Magician" is dir./writer Ildiko Enyedi, stars Peter Andorai (Simon), Julie Delarme (Jeanne), Peter Halasz (Peter), Hubert Kounde (Paul), Mari Nagy (Interpreter), aka "Simon Magus". For an older Hollywood vision of the Simon character, check out the cheesy "The Silver Chalice" (1954)

Director: Ildikó Enyedi
Péter Andorai ... Simon
Julie Delarme ... Jeanne
Péter Halász ... Péter
Hubert Koundé ... Paul
Mari Nagy ... Interpreter
Hervé Dubourjal ... Prefect
Serge Merlin ... Doctor
Daniel Merle ... Inspector
Florent Vitse ... Detective
Gergely Harmati ... Uniformed detective
Michel Soignet ... Biologist
Nicolas Woirion ... Controller

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Laatste zomer, De (The Last Summer) (2007) - Joost Wynants

Runtime:95 min

Four good friends, all seventeen-year old, lose their innocence during their last summer together.

The Last Summer (De laatste zomer) is director Joost Wynants' movie debut. The film is set in 1996 and tells the story of four boys from a village in the West Flemish countryside. Although, at first glance, the four appear to be very different from each other, they are good friends. But then they meet the beautiful Sandrine…
More info (in Dutch) at: http://www.delaatstezomer.com



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Azur et Asmar ( Azur and Asmar) (2006) - Michel Ocelot

Azur & Asnar - 2006 - Michel Ocelot [DVDRip]

DVDRIP | 95 min | XviD 752x408 | 25 fps | Mp3 192 kb/s | 1,4 Go
French | Subtitles : English .srt | Genre : Animation (for kids and adults)

Director : Michel Ocelot
2006 - France
Color - OV (French) + English subtitles in SRT file

Once upon a time there were two children nursed by same woman. Azur, a blonde, blue-eyed son of a noblewoman and Asmar, the dark skinned and dark-eyed child of the nurse. As kids, they fought and loved each other as brothers do. As grown ups, they mercilessly become rivals in the quest years later, when Azur is being haunted by memories of the legendary Djinn-fairy, and takes it upon himself to journey all the way to Asmar's homeland to seek it out. Now reunited, he finds that she has since become a successful merchant, while Asmar is now a member of the royal guard. However, Asmar also longs to find the Djinn-fairy, and only one of the two youths can be successful in their quest, in a medieval Maghreb, full of dangers, magic spells and wonders.

A little jewel ! A wonderful animated movie for kids and adults from the French Animated Films School, inspired by the folklore and decorative art of North Africa and the Middle East.
'Azur et Asmar' (2006) is the fourth animated feature film by director Michel Ocelot, most famous for 'Kirikou and the Sorceress'.


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Fruits de la passion, Les (Fruits of Passion) (1981) - Shuji Terayama

Runtime:83 min
Country:France | Japan
Language:Cantonese | Japanese | English | French | with english subtitles
Color:Color (Eastmancolor)
Sound Mix:Mono

Set in China during the 1920s, a deal is struck between two lovers: in order to prove her complete devotion to her lover Sir Stephen, O agrees to become a prostitute. In China to support a band of Chinese rebels, things begin to go horribly for the demanding Sir Stephen when a young rebel becomes obsessed with O..



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Fuori dal mondo (Not of This World) (1999) - Giuseppe Piccioni

Runtime: 100 min
Language: Italian With Hardcoded English Sub
Country: Italy
Color: Color

Awards for Fuori dal mondo :

AFI Fest
1999 Won Audience Award Best Feature Film Giuseppe Piccioni
Grand Jury Prize Giuseppe Piccioni

Chicago International Film Festival
1999 Won Silver Hugo Best Film Giuseppe Piccioni

David di Donatello Awards
1999 Won David Best Actress (Migliore Attrice Protagonista)Margherita Buy
Best Editing (Migliore Montatore)Esmeralda Calabria
Best Film (Miglior Film)
Best Producer (Migliore Produttore)Lionello Cerri
Best Screenplay (Migliore Sceneggiatura)Giuseppe Piccioni,Gualtiero Rosella,Lucia Maria Zei
Nominated David Best Director (Migliore Regista)Giuseppe Piccioni
Best Music (Migliore Musica)Ludovico Einaudi

Italian National Syndicate of Film Journalists
2000 Nominated Silver Ribbon Best Actress (Migliore Attrice Protagonista)Margherita Buy

Mons International Festival of Love Films
2000 Won Audience Award Giuseppe Piccioni

Montréal World Film Festival
1999 Won Special Grand Prize of the Jury Giuseppe Piccioni
Nominated Grand Prix des Amériques Giuseppe Piccioni

It has become an all-too-familiar headline: a newborn baby, sometimes dead, sometimes alive, found discarded in a trash bag, dumpster, or out in the open. Years ago, unwanted babies were traditionally placed in bassinets on the doorsteps of churches or hospitals. Now, they are discarded with the dinner scraps. Not of This World, filmmaker Giuseppe Picioni's sixth and latest effort behind the camera, tells how one such event has life-changing ramifications for three people: the mother who abandons the baby, the nun who finds him, and the man whose one-night stand with one of his employees may have made him an unwitting father. (...)

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A note to the Catholic League: Not of This World contains perhaps the most sympathetic and positive portrayal of Catholicism found in any recent film not commissioned by the Church. Piccioni's movie never slips into propaganda, but the religious convictions of one character are shown to be deeply held. Spirituality and belief are key elements of the movie, and they are never treated with cynicism or disdain. The community within a convent is presented with unusual sensitivity. The nuns are not depicted as women who have thrown their lives away, but as individuals who believe they have been called and, despite being scared or uncertain at times, are doing their best to be true to that calling.

Not of This World traces the lives of the three central characters as they intersect and diverge. Teresa (Carolina Freschi), the baby's young, unwed mother, abandons the child after deciding that she is unable and unwilling to care for him. Caterina (Margherita Buy), a nun who is 11 months away from saying her final vows, finds the baby and takes him to the hospital, where she visits him daily. Determined to find the mother, she uses the only clue at her disposal - a cleaner's tag on the blanket the baby was wrapped in - to begin her search. That leads her to Ernesto (Silvio Orlando), the distant, lonely proprietor of a laundry. Realizing that he may be the child's father - he slept with Teresa about nine months ago - he reluctantly joins Caterina's search.

All three principals have unfulfilled needs. The baby brings out an unexpected maternal yearning in Caterina - an impulse so strong that she must carefully consider whether a life in the convent is what she truly desires. Ernesto has sacrificed any and all interpersonal relationships in the single-minded pursuit of business. He is unmarried, has no friends, and can't even remember the names of his employees. Yet, although he recognizes his loneliness, his actions are those of someone paralyzed by circumstances. When a comely woman flirts with him at a bar, he acts distracted and disinterested. Finally, Teresa must cope with the aftermath of her impulsive action.

In a traditional Hollywood rendering of this story, relationships would be carefully etched out and the level of melodrama ratcheted up. What Piccioni brings to this relatively straightforward story is the depth of real human interaction. Nothing is presented as straightforward - the motivations of the people involved are far too complex for that. The film does not demonize Teresa, but neither does it offer her a convenient way to escape the moral consequences of her act. And the gentle friendship between Caterina and Ernesto does not become a banal movie romance. Instead, it offers both of them an opportunity to reflect upon their own failings. The ending is satisfying because it presents a sense of closure for both Caterina and Ernesto without resorting to the over-the-top romantic tricks typically employed in higher profile crowd pleasers.

The acting is of the highest caliber. Margherita Buy, appearing in her fourth film for Piccioni, manages the difficult task of inhabiting a character who, while committed to her calling, experiences profound moments of self-doubt and a yearning for something she does not have. Buy successfully avoids the temptation to overact, and her understated performance makes Caterina real. Silvio Orlando perfectly captures the mannerisms and attitude of a man who has cut himself off from the world and is enduring an existence of regret. Finally, Carolina Freschi, although not accorded the same amount of screen time as her co-stars, suggests a woman who has put her terrible deed behind her, except in those moments when a flash of panic or despair flickers across her features.

Not of This World would be the perfect film for the Catholic League to champion. It espouses many of the values they rail against movies for ignoring, and does so without ever seeming didactic or artificial. Nevertheless, that esteemed group of zealous watchdogs will remain silent in this case because there are no headlines to be made. Meanwhile, Piccioni's film has amassed an impressive number of awards, including five Italian Academy Awards, a Special Grand Jury Prize at the Montreal World Film Festival and the Silver Hugo Award at the Chicago International Film Festival. It was also Italy's official Oscar selection for Best Foreign Language Film. With its simple yet deftly realized tale and expert characterization, Not of This World is deserving of the recognition it has received.

Director: Giuseppe Piccioni
Margherita Buy ... Sister Caterina
Silvio Orlando ... Ernesto
Carolina Freschi ... Teresa
Maria Cristina Minerva ... Esmeralda
Sonia Gessner
Alessandro Di Natale ... Gabriele, the policeman
Riccardo De Torrebruna
Stefano Abbati
Fabio Sartor
Giuliana Lojodice ... Caterina's mother
Marina Massironi ... Marina

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Türev (Derivation) (2005) - Ulaş İnaç

Runtime: 91 min
Language: Turkish With Hardcoded English Sub
Country: Turkey
Color: Color

Awards :

Antalya Golden Orange Film Festival
2005 Won Golden Orange Best Film
Ulaş İnaç

There are 3 head characters, Sureyya, Nazim and Burcu. Nazim and Sureyya are planning to get married. Nazim is a bored advertiser and Sureyya is a rich girl. Sureyya's best friend-Burcu is a student,she is studying cinema and TV at college. She has to write a thesis to finish the school, but she can't decide the subject of this thesis.so she must find an interesting idea quickly. She asked for help from Nazim and Sureyya and they found an interesting idea... Everday at home they will tape themselves and they will make confessions about themselves on camera... the most important thing about this movie is, it has no script written down so the actors made their own script on their minds when they were playing... and this made this movie natural... it belongs us... it tells us... it refers to us... you will find so many things that belongs to you in this movie...

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Director: Ulaş İnaç
Gülçin Santırcıoğlu (Süreyya)
Güçlü Yalçıner (Nazım)
Beste Bereket (Burcu)
Tuğra Kaftancıoğlu (Kerem)

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Murder on the Orient Express (1974) - Sidney Lumet

The Belgian detective Hercule Poirot boards the Orient Express. One of the passengers requests his protection, but Poirot declines. The next day the passenger is found dead in his compartment and Poirot is asked to solve the case. The train is forced to stop due to a snow drift blocking the tracks. This gives him a few hours to figure out the murderer's identity before the local police take over the investigation. During his investigation, Poirot discovers that many of the passengers have some connection to a 5 year old case where an infant was kidnapped and murdered in which the mastermind escaped prosecution. This lead to the death (during childbirth) of the mother and the suicide of her father. This could be the vital clue to crack the case, but can he do it in time?


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Network (1976) - Sidney Lumet

In 1975 terrorist violence is the stuff of network nightly news programming and the corporate structure of the UBS television network is changing. Meanwhile, Howard Beale, the aging UBS news anchor, has lost his once strong ratings share and so the network fires him. Beale reacts in an unexpected way. We then see how this affects the fortunes of Beale, his coworkers (Max Schumacher and Diana Christensen), and the network.



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Vizontele Tuuba (2004) - Yılmaz Erdoğan

Runtime: 111 min
Language: Turkish | Dutch | English | French With Hardcoded English Sub
Country: Turkey
Color: Color

The story of 1980 summer Yilmaz lived in his own town... The last days of his childhood... The days he saw so many things about love, friendship, neighbourhood, politics and culture... The days he witnessed the various relationships between the people in the town...


Most of the key creatives behind all-time Turkish B.O. hit "Vizontele" (2001) return in "Vizontele Tuuba." New pic is mellower and more gentle than the original small-town character comedy but is equally likeable though set during a dark period in recent Turkish history. Writer-actor Yilmaz Erdogan takes solo directing reins this time round, with impressively smooth results, making the film a natural for fests that showcased the original crowdpleaser, as well as for some niche theatrical biz beyond Turkish communities. On release last year, pic drew a hunky 2.2 million admissions -- down from the first film's whammo 3 million-plus.

Framed as a voiceover reminiscence by Yilo (Senol Bali) of his "last childhood summer," story opens in 1980 as the boy returns from school in Ankara to his village, Haziran, in southeast Turkey for his mid-year vacation. On the bus, he gets to know the Sernikli family -- father Guner (Tarik Akan), mother Aysel (Idil Firat) and pretty teen daughter Tuba (Tuba Unsal, charming) -- who've been sent to the remote burg by the government because of Guner's political sympathies.

In one of many subtle grace notes, the vivacious, smiling Tuba is suddenly revealed as wheelchair-bound when the bus arrives in the village. Like the exact reason for Guner's transfer, the precise cause of her disability is never explained.

Similarly, the political, social and economic chaos into which the country has fallen -- as rightists (and fundamentalist Muslims) battled Soviet Bloc-supported leftists, leading to a military takeover in September 1980 -- is only fleetingly referred to, or glimpsed on TV. Erdogan's Ealing-like village is a microcosm of the time, though portrayed with a genial humanity that wrings smiles and laughter from tragic, offstage events.

In Haziran, scumbag Muslim entrepreneur Latif (Cezmi Baskin, encoring) is still running the local open-air cinema and at loggerheads with Yilo's father, Mayor Nazmi (Altan Erkekli, ditto). Latif is still threatened by the arrival of TV -- "vizontele" (vision-telly) as the awed yokels dub it -- but this battle, which formed the basis of the original film, is only a sideshow in "Tuuba."

Erdogan's script juggles a large number of characters, and the main ones are not even narrator Yilo or Tuba. The heart and soul of the pic lies with Guner, who's been sent to run a library that doesn't even exist, and Emin (Erdogan himself), the town's eccentric Mr. Fix-It who helps him and meanwhile develops a clown-like crush on Guner's daughter.

After Guner and Emin have convinced the mayor to let them build a library, the next problem -- beyond finding some books -- is to get the locals to use it. In a lovely joke at the opening ceremony, they all enter in awe but, after admiring the carpentry, simply walk out again.

Emin has the idea of installing a "vizontele" as an attraction, but there are no spare sets among the handful in town. Undaunted, Emin digs up one buried with a superstitious local woman; but when the library draws paying customers away from the movie theater, Latif starts a rumor that the library is a leftist hotbed.

It's not necessary to have seen the original film to enjoy this sequel, which works as a comedy of manners in its own right. But it does help to have some knowledge of the period's political background to savor many of the jokes -- from an early one about leftist actor-turned-director Yilmaz Guney to a whole sequence built on the similarity between two party acronyms.

However, the pic's greatest accomplishment is its comic subtlety, portraying a period of social and political extremism through characters drawn with much irony but no anger. Like the first film, "Tuuba" has a sting in the tail, but the coda restores the opening genial atmosphere.

Vet Akan holds the screen with a quiet authority as Guner, a man whose past and sympathies are only ever hinted at, and he's well complemented by Erdogan's bluff sunniness as Emin. Ensemble work among the large cast is nigh faultless, reflecting Erdogan's background in theater: There are enough stories here -- several too briefly sketched -- for another whole movie. Tech credits are top-drawer, with especially graceful camerawork by Ugur Icbak.

The spelling of Tuba with two "u"s in the film's title refers to an early-on joke which returns, delightfully morphed, in the final scene.

Director: Yılmaz Erdoğan
Yilmaz Erdogan ... Crazy Emin
Tarik Akan ... Güner Sernikli
Demet Akbag ... Siti Ana
Deniz Akkaya ... Deniz Kizi
Caner Alkaya ... Iso
Iclal Aydin ... Ceyhan
Cezmi Baskin ... Latif
Sinan Bengier ... Kamyoncu
Tolga Cevik ... Nafiz
Ata Demirer ... Showmen in Circus
Volkan Demirok ... Kino
Selim Erdogan ... Servet
Yasemin Ergene ... Aynur
Altan Erkekli ... Nazmi dogan
Idil Firat ... Aysel Sernikli
Nuri Gökasan ... Jandarma Komutani
Bican Günalan ... Sezgin
Bülent Inal ... Mahmut Duran
Salih Kalyon ... Casim
Sener Kokkaya ... Basri
Tuncer Salman ... Ahmet
Zerrin Sumer ... Vildan Hanim
Celal Tak ... Panayirci
Zeynep Tokus ... Asiye
Erdal Tosun ... Manav Sehmus
Tuba Ünsal ... Tuuba
Nejat Uygur ... Haci Zübeyir

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Yazı Tura (Toss-Up) (2004) - Uğur Yücel

Runtime: 102 min
Language: Turkish With Hardcoded English Sub
Country: Turkey | Greece
Color: Color


Ankara International Film Festival
2005 Won Best Actor Olgun Simsek
Best Music Erkan Ogur

Antalya Golden Orange Film Festival
2004 Won Golden Orange Best Actor Olgun Simsek
Best Costume Design
Best Director Ugur Yücel
Best Editing Ugur Yücel,Valdís Óskarsdóttir
Best Film Ugur Yücel
Best Make-Up
Best Music Erkan Ogur
Best Screenplay Ugur Yücel
Best Sound Mix
Best Supporting Actor Bahri Beyat
Best Supporting Actress Eli Mango


Yazı Tura (Toss Up) melds the stories of two tragedies through the experiences of two young men, “Rıdvan the Devil,” a soccer player from Göreme, and “Cevher the Ghost,” a young man who is living with his father in Istanbul. After serving together in the army in Eastern Anatolia in 1999, both men return to their civilian lives. Rıdvan has lost his right leg, while Cevher has lost the ability to hear in his right ear after the explosion of a mine. In his first feature film, Yücel has created a story that will haunt audiences for days after leaving the theater. Yücel’s deliberate attempt to disturb the audience and his avoidance of conventional storytelling techniques result in a fresh narrative that signals the emergence of a new auteur in Turkish cinema.

“...Nature also catches up with the protagonists of Uğur Yücel’s highly acclaimed Toss-Up (Yazı Tura, 2004), which could be considered Distant’s stylistic opposite. Shot on DV in a dislocating vérité style that borders on abstraction, the film portrays the lives of two soldiers who return from the army with sharp psychic and physical wounds. Both of their tales turn on overpowering natural forces: One finds the inability to keep his urges in check leads to ruin among the snowy wastes of his hometown, while the other experiences the massive 1999 Marmara Earthquake, forcing a redefinition of his suppressed fears and a reconnection with his family. Although, like Ceylan, Yücel also tackles emotional alienation, he gives in spectacularly: Toss-Up builds to near-operatic crescendos that might have placed the film firmly within the tradition of Turkish tearjerkers of yore, were it not so expertly directed and acted...”

IMDb Link:

Director: Uğur Yücel
Kenan İmirzalıoğlu - "Hayalet" Cevher
Olgun Şimşek - "Şeytan" Rıdvan
Bahri Beyat - Baba Cemil
Ahmet Mümtaz Taylan - Cevher'in amcası
Eli Mango - Tasula
Engin Günaydın - Sencer
Teoman Kumbaracıbaşı - Teoman
Erkan Can - Firuz
Settar Tanrıöğen - Zeyyat
Sultan Gündüz - Rahime
Mizgin Kapazan - Şefika
Levent Can - Hamit
Şinasi Yurtsever - Basri
Erdoğan Güleç - Raşit
Ahmet Mümtaz Taylan - Maki Amca
Ülkü Duru - Melahat
Haldun Boysan - Muhittin
Seda Akman - Nazan
Yağmur Özkan - Elif
Hanife Kılıç - Şahine
Sema Keçik - Nurten
Süleyman Şahin - Davut
Larissa Nastase - Tülin
Ekrem Günay - Sıtkı

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Anlat İstanbul (Istanbul Tales) (2005) - Various directors

Runtime: 99 min
Language: Turkish With Hardcoded English Sub
Country: Turkey
Color: Color (Technicolor)

Directors: Selim Demirdelen,Kudret Sabanci,Umit Unal,Yücel Yolcu,Ömür Atay

The film won the Best Turkish Film of the Year and Best Actress awards at the 2005 Istanbul International Film Festival, Special Jury Prize at the 2006 Bangkok International Film Festival and Jury Prize of "Artistic Expression" (Original Idea) at the 2005 MedFilm Festival in Rome.

Istanbul Tales is an 2005 Turkish anthology film made up of five segments written by Ümit Ünal and directed by Selim Demirdelen, Kudret Sabancı, Ümit Ünal, Yücel Yolcu and Ömür Atay. Its original Turkish title is Anlat İstanbul which means "Tell me Istanbul". The film tells 5 interconnected stories set in modern day Istanbul mirrored to the famous fairytales Snow White, Cinderella, Pied Piper, Sleeping Beauty and Little Red Riding Hood. Each storyline was directed by a different Turkish director. (...)

IMDb Link:

Sketch movies, such as those directed by different filmmakers, rarely succeed. The personality of each one of the auteurs often take over the project and the viewer tends usually to remember this or that segment, losing the entire shape of the movie. The major achievement of Istanbul Tales/Anlat Istambul is precisely the fact that we never remember, during or after the screening, that five different directors are involved and, considering however the difference in tone of the different tales (or is it only one, after all?), we understand that behind them all we can find the pulsation of a city, with its drama, funny stories, happy or sad endings.

We can't say, honestly, that Istanbul Tales is a new type of movie. Its conceptual dramaturgy and structure couldn't be possible, and considering only the recent past, without the likes of Pulp Fiction or Amores Perros , and its American companion, 21 Grams (there's even a character who goes out of the scene when he is brutally run over by a car). Istanbul Tales portrays the genuine breath of a city, the honesty and the poetry, the passion and love for the characters, the conscience - and practice - of the magic of the movies.

The movies to which I made reference, had auteurs behind them with the strong personality of Quentin Tarantino or Alejandro González Iñárritu. In Istanbul Tales , the credits includes the names of Umit Unal, Kudret Sabanci, Selim Demirdelen, Yucel Yolcu and Omur Atay. It's true that Umit Unal is the only author of the original screenplay, but the way he gave his stories to the other companions on the adventure to direct shows an open-minded spirit, which finally impregnate the whole project. And being true that cinema is the most collective of all the arts, what would Istanbul Tales be without its ingenious editing work, crude but marvellous cinematography and the wonderful job of the entire cast that transforms it into such an organic experience?

Unlike many movies about cities - Istanbul Tales does not only give you a catalogue of "real" lives. The tales of the title are somehow real fairy tales (there are fairy godmothers and godfathers), crossed with people from daily life, those who could be our neighbours, if we lived in Istanbul, contemporary versions of Sleeping Beauty , Cinderella and Snow White .

To actually see Istanbul Tales in Istanbul is a privilege, a really extraordinary possibility, a different and fruitful experience. It's like the moments spent in the city were a long trailer and after leaving the theatre we immediately see the sequel. Some of the characters even seem familiar, others we can be sure to see in some corner of the city.

Perhaps the movie will not entice anybody to Istanbul who haven't been. But isn't its darkness the same in so many other places we know or live in? Istanbul, with the millions and millions of people living there, could not escape. The movie does not hide it, but also doesn't just want to explore it. That's not it's agenda .

But knowing the city, we can discover, even if in a subliminal way, its charm, the 24-hour a day way of life. Now, we want to stay. And Istanbul Tales is as far as possible from a tourist postcard kind of a movie. That's only possible with the passion of the filmmakers for their city and its people.

Five directors behind the camera, five stories that intercross. Maybe without mathematical or dramaturgical exactitude. But life is chaotic, and the movie shows it well. Some stories don't really finish well, others don't finish at all. We know where some characters are going, and others we lose on the way. That's also life.

Erdem Akakçe
Azra Akın
Hilal Arslan
Erkan Can
Şevket Çoruh
Hasibe Eren
Altan Erkekli
Vahide Gördüm
Mehmet Günsur
Ozan Güven
İsmail Hacıoğlu
Çetin Tekindor
Özgü Namal
Güven Kıraç
Nejat İşler
Yelda Reynaud
Nurgül Yeşilçay
Fikret Kuşkan

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İki Genç Kız (2 Girls) (2005) - Kutluğ Ataman

Runtime: 107 min
Language: Turkish With Hardcoded English Sub
Country: Turkey
Color: Color


The movie won three prizes in 2005 (Best Actress for Vildan Atasever, Best Cinematography for Emre Erkmen, and Best Director for Kutluğ Ataman) at Antalya Golden Orange Film Festival which gives out the most prestigious film awards in Turkey. Kutluğ Ataman was also awarded the Best Director in Istanbul International Film Festival with this film.


İki Genç Kız (The international working title is 2 Girls) is a Golden Orange awarded 2005 Turkish film by Kutluğ Ataman, starring Feride Çetin, Vildan Atasever and Hülya Avşar. The book is based on Perihan Mağden's novel İki Genç Kızın Romanı (translated into English as 2 Girls), and it follows the novel's plot closely although it diverges from it at some points.

The film is about two girls, Behiye (Feride Çetin) and Handan (Vildan Atasever), two teenage girls with contrasting characteristics and backgrounds, forming a close relationship with sexual implications. As they become closer and closer the relationship becomes more fragile, and the impossibility of the survival of their relationship becomes more evident by time. Economic, social, psychological, and sexual problems come in the way.

Replikas, an experimental band provided the music for the film, and the music was published in 2006 with Film Müzikleri album.

IMDb Link:

Director: Kutluğ Ataman
Hülya Avsar ... Leman
Vildan Atasever ... Handan
Feride Çetin ... Behiye
Sezgi Mengi ... Erim
Gönen Bozbey ... Nevin
Tugçe Tamer ... Çigdem

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Gemide (On Board) (1998) - Serdar Akar

Runtime: 102 min
Language: Turkish With Hardcoded English Sub
Country: Turkey
Color: Color

Awards for Gemide (1998)

Antalya Golden Orange Film Festival
1998 Won Golden Orange Best Actor Erkan Can
Best Director Serdar Akar
Best Editing Nevzat Disiacik Tied with Bülent Özdemir for Karisik pizza (1998).
2nd place Golden Orange Best Film Onder Cakar

Description: The sailors who were duped by woman sellers, want to steal their capitals to retaliate from them. There are four men and one woman in a ruined boat. Four lazy and dissatisfaction sailors. The woman represent lust, delectation and appalling potential enemy. The men know each other but woman is unknown. Four of them know the responsibility of life. The woman is dangerous with her chastity and her depressed wishes and she represent a chick who gets men's life into trouble. Four men signpost themselves with a breathtaking game, with their decrepitude and modesty, sometimes with their depressed and additive beauty in a closed location. And none of them can not get off without a loss.

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Director: Serdar Akar
Erkan Can ... Captain
Haldun Boysan ... Kamil
Yildiray Sahinler ... Ali
Naci Tasdögen ... Boxer
Ella Manea ... Prostitute

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Le Papillon (The Butterfly) (2002) - Philippe Muyl

Runtime: 85 min
Language: French With Hardcoded English Sub
Country: France
Color: Color

Description: To describe ''The Butterfly,'' a delicate, visually translucent film, as the heartwarming story of a friendship between a grumpy old man and an 8-year-old girl might suggest that this tender wisp of a movie is the latest icky tearjerker in which a sweet little angel melts the frozen heart of a bitter curmudgeon. But if the French movie, directed by Philippe Muyl, partakes of that formula, its combination of psychological insight and emotional restraint helps it transcend sentimentality. (...)

IMDb Link:

Despite a suspicious gaze and down-turned mouth, the old man, Julien (Michel Serrault), a dedicated entomologist, is not the sort of crotchety caricature Hollywood might have made of him. Nor is Elsa (Claire Bouanich), the neglected child who lives upstairs in the same residential hotel, a miniature saint about to sprout wings. As adorable as she can be, Elsa is also demanding, obstinate and willing to lie to get her way. She occupies much of her free time playing Gameboy and thinks that butterflies, like colas, come in brands.

The first time Elsa visits Julien's apartment, she disobeys his strict instruction that she is not to open a certain door. No sooner has he gone out on an errand than she barges into the forbidden room, which turns to out to be a lush hothouse teeming with foliage and butterflies. When Julien returns and discovers her disobedience, he angrily tosses her out.

Elsa is at loose ends because her mother, Isabelle (Nade Dieu), who gave birth to her as a teenager, works day and night, leaving her daughter to fend for herself. When Julien announces he is leaving for several days on an expedition to find a rare butterfly, she pesters him into letting her tag along.

The heart of the movie follows their quest for the elusive butterfly known as Isabella (named for the Spanish queen), which has a lifespan of only three days and three nights, and which in Julien's mind is associated with a personal tragedy. Nicolas Herdt's gorgeous, languid tracking shots of the two explorers trekking through hillside meadows and woods with misty snow-capped mountains looming in the background capture the wonder of nature as experienced through the eyes of a child. The sensuous atmosphere is so intense it's intoxicating.

In one enchanted sequence, Julien, while telling Elsa a story, expertly pantomimes his own words from behind a fire-lighted screen. A scene of a caterpillar hatching from its cocoon and gradually unfurling its wings matches the beauty and strangeness of the best nature documentaries.

The story reaches a dangerous turning point when Elsa is discovered to be missing, the police are alerted, and her picture is shown on television. She hasn't called her mother because her cellphone broke. Even when she reaches her mother through a land line, her curt insistence that she's all right is too vague to be reassuring.

The movie, which opens today in New York, astutely underplays the tension of these later scenes, viewing events through Elsa's eyes rather than from the perspective of the panicked grownups. Its scrupulous, even-toned gentleness makes ''The Butterfly'' suitable for children, while its clear-eyed intelligence and refusal to condescend should make it appealing to adults.

Director: Philippe Muyl
Michel Serrault ... Julien
Claire Bouanich ... Elsa
Nade Dieu ... Elsa's Mother
Jacques Bouanich ... Sébastien's Father
Jerry Lucas ... Sébastien
Aurélie Meriel ... Amie d'Isabelle
Gérard Maillet ... SDF
Françoise Dubois ... Femme de la cabine téléphonique
Françoise Michaud ... Cafe Waitress
Hélène Hily ... Marguerite, the Concierge
Idwig Stephane ... Entomologist

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Hu Die (Butterfly) (2004) - Yan Yan Mak

Size: 695Mb
Play duration: 02:09:09
FourCC: xvid/XVID
Resolution: 640 x 352
Display aspect ratio: 1.81
Framerate: 23.976 fps
Audio: mp3 Chinese
Country: Hong Kong
Subtitles: French hardcoded plus English and Italian softsubs

Josie Ho, Tian Yuan, Eric Kot, Isabel Chen, Joman Chiang

The film follows Flavia (Josie Ho), a married high school teacher, who encounters free spirited female singer-songwriter Yip (Tian Yuan) and strikes up a relationship with the younger girl. Flavia is a lesbian, but never can act like one because she was brought up in a society where homosexuality was not accepted. When Flavia was a teenager, she once fell in love with a girl in her class, but the relationship was forced to end when it was discovered by her parents. Flavia, ended up being heartbroken, eventually married a competent and yet caring businessman after she was graduated from university. Now in her 30s and married with a child, she met Yip, a beautiful singer-songwriter. Flavia is deeply attracted by her carefree personality and bright spirit, she fell in love with Yip just like the first love she had in high school. She slowly dares to break out, worried about the consequences but equally about finding her true self again.
The was chosen as the Opening Film at Venice Film Festival Critics Week and Tian Yuan was awarded as the Best New Artist at the Hong Kong Film Awards in 2005. The film was also nominated at the Taiwan Golden Horse Awards in 2004 for Best Adapted Screenplay (Yan Yan Mak) and Best New Performer (Tian Yuan).

Screenshots from the movie

IMDB link:

screen from the movie

Each file 200Mb - links:

http://www.megaupload.com/?d=YNIYWXOZ Butterfly_Hu_Die-RFLY.part1.rar
http://www.megaupload.com/?d=PV7FEO4H Butterfly_Hu_Die-RFLY.part2.rar
http://www.megaupload.com/?d=2VRA79NV Butterfly_Hu_Die-RFLY.part3.rar
http://www.megaupload.com/?d=6SCQ2NTA Butterfly_Hu_Die-RFLY.part4.rar
http://www.megaupload.com/?d=FH3GNDP3 Butterfly_Hu_Die-RFLY.part5.rar
http://www.megaupload.com/?d=TDRX6B9F Butterfly_Hu_Die-RFLY.part6.rar
http://www.megaupload.com/?d=UBYU1CP8 Butterfly_Hu_Die-RFLY.part7.rar
http://www.megaupload.com/?d=XBNF0937 Butterfly_Hu_Die-RFLY.part8.rar

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