The life of Tao, and those close to her, is explored in three different time periods: 1999, 2014, and 2025.
http://www.nitroflare.com/view/7696EC0C47AD902/Mountains.May.Depart.2015.HD720P.X264.AAC.mkv
http://k2s.cc/file/be2d86d56cda1/Mountains.May.Depart.2015.HD720P.X264.AAC.mkv
Language(s):Chinese, Cantonese, Mandarin, English
Subtitles:Chinese(hardcoded), English(hardcoded)
The third film from award-winning Fifth Generation director Lu Chuan (Kekexili: Mountain Patrol), City of Life and Death (Nanking Nanking) is a devastating account of the massacre that occurred during WWII when Japanese troops took the city of Nanjing in December 1937, a tragedy remembered as the Rape of Nanking. Shot completely in black and white, this powerful war drama unflinchingly captures the shocking violence and brutality of the Nanjing massacre, from the mass executions of POWs to the raping and slaughtering of civilians, while providing a deeply human portrait of both the victims and the perpetrators.
Rendered in many shades of gray, City of Life and Death touches on the different people whose lives are destroyed by the war: the Chinese soldiers who gave their lives, the foreign missionaries who sheltered refugees, the comfort women, the Chinese civilians, and the Japanese soldiers. In a surprising move for a Mainland Chinese film about the Rape of Nanking, City of Life and Death is told primarily from the perspective of a Japanese soldier, played by Nakaizumi Hideo (United Red Army), who witnesses, commits, and abhors the atrocities of his army. The film’s large ensemble cast includes Liu Ye (Curse of the Golden Flower) as a fearless Chinese soldier; Gao Yuanyuan (Love in the City) as a selfless missionary teacher; John Paisley as John Rabe, a German businessman who helped establish the Nanjing Safety Zone and save thousands of civilians; and Fan Wei (Gimme Kudos) as Rabe’s secretary, who collaborates with the Japanese to try to save his family. By choosing to humanize rather than demonize, Lu Chuan offers an all the more devastating memory of the Nanjing massacre, and the people who lived and died in the City of Life and Death.
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english srt:
https://www.sub-titles.net/subtitles/en-city-of-life-and-death-2009/hjwH
Language(s):Mandarin
Subtitles::Cantonese / English idx/sub VobSub,srt
Synopsis:
The Wayside Pebble is an effective drama about the hardships of a childhood spent with a brusque, cold-hearted father and a submissive mother. The year is 1910 and the place is a small Japanese village. Goichi is suffering because he wants to go to school, but his family is too poor to afford that luxury. Even when a kind friend agrees to help out, Goichi’s father refuses to give in to his son’s request for an education. Instead, he sends Goichi off to work as an indentured servant for a cold-hearted merchant and his family. As tragedy strikes and the suffering of the young boy increases, he begins to look for some way out of his bleak situation.
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Language(s):Japanese
Subtitles:English (muxed, srt)
Quote:
This is the last film of the ATG trilogy of the director Akio Jissoji, who sought the roots of inner psychology and eroticism. It’s a story of a young man who turns his back on the modern world, seeking to be a protector of a family and heads to his destruction.
http://nitroflare.com/view/A551B11C982E383/Poem.mkv
Language(s):Japanese
Subtitles:English
There are three sisters: 29-year-old Sachi Kouda (Haruka Ayase), 22-year-old Yoshino Kouda (Masami Nagasawa) and 19-year-old Chika Kouda (Kaho). They live at a house in Kamakura, Japanese. Their house was left by their grandmother.
One day, they receive news of their father’s death. When the sisters were young, their parents divorced and their father left them. They haven’t seen their father in 15 years. Upon hearing the news on their father’s death, the sisters attend their father’s funeral.
At the funeral, they meet their stepsister Suzu Asano (Suzu Hirose). She is 14-years-old and there are no one to take care of her. Oldest sister Sachi invites Suzu to live with them.
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Language(s):Japanese
Subtitles::English
From hollywoodreporter.com
To the many ways in which the career of Japanese auteur and action star Takeshi Kitano resembles that of Clint Eastwood, we can now add another: Both have made the increasingly obligatory geezer-comeback film. It was retired astronauts in Eastwood’s Space Cowboys; in Kitano’s Ryuzo and the Seven Henchmen, we get yakuza who hobble out onto not-so-mean-anymore streets attempting to regain their fearsome reputations. A bit sillier than it needs to be to earn the laughs it winds up getting, the likeable picture (which got a Japanese release in April) isn’t colorful enough to reach beyond the director’s established fan base here. Of those who follow Kitano, some will lament his small role onscreen.
Tatsuya Fuji (In the Realm of the Senses) is the star here, an old man who retains some Mifune-style cool despite now being dependent on his rule-following son for support. After being fooled by some small-potatoes scammers who are affiliated with a new breed of criminal (whose diversified crimes feel more like corporate strategy than mob rule), Fuji’s Ryuzo starts longing for the old days, when he and his buddies were feared throughout Tokyo. Hanging around old haunts with another retired criminal, Ryuzo decides to have a little reunion. Kitano has fun with the introduction of each character, showing stylish faux-vintage footage of each man’s vicious exploits before cutting to the withered or buffoonish oldster he has become. Too buffoonish, in some cases: Mac, for instance, is a Steve McQueen freak played with one-joke flakiness by Toru Shinagawa; the continual bumbling of Akira Nakao’s Mokichi makes sense only as a way of pushing the plot along.
Language(s):Japanese
Subtitles:English, Hungarian, Spanish, Portugese
In recent years, director Toshio Masuda has worked on the international stage with action-oriented movies such as Tora! Tora! Tora! and the Space Cruiser Yamato films. But he began his career in the middle-late 1950s with The Perfect Game (aka Kanzen Na Yuugi), a shockingly amoral tale of delinquency, rape, and murder that was to Japan, what In Cold Blood was to American cinema. It was among the earliest works in the career of a director who has generated little except major box office hits in Japan since the 1950s. …says Criterion. Or in short: young Akira Kobayashi of Nikkatsu’s diamond line fame’s cool combined with a tale about a heist which goes terribly wrong.
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Language(s):Japanese
Subtitles:English
From japansociety.org
Sawa, a home helper for a middle class family with an elderly infirm grandfather, is forced to stretch her morals to keep her job. As a result, she finds herself broke and out on the street. She survives her first night by striking up an ambiguous friendship with a kindly old man, gaining access to a portion of the immense wealth held by Japan’s aging population. She continues with similar encounters, and while these begin as scams or revenge on rampant sexism, they ultimately become vulnerable intergenerational exchanges. Director Momoko Ando (Kakera: A Piece of Our Life, 2009) masterfully crafts this journey through Japan’s embattled sexual landscape, confronting aging, class and patriarchy. Adapted from the director’s first novel, 0.5mm features Sakura Ando (the director’s sister), who charges each scene with as much humanity as its impeccably photographed frames can handle. This is a dark and profound comedy of the best sort.
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Language(s):Japanese
Subtitles:English
I just love Japanese pinku eiga:the genre filled with rape,misogyny and erotic submission. Masaru Konuma is among the most prominent directors of Japanese erotic cinema.”Wife’s Sexual Fantasy:Before Husband’s Eyes” tells the story of a noble businessman who has a sexual affair with a prostitute. Some thugs are trying to blackmail him by framing him for the murder of his mistress and making him agree to pay a large sum of money. They viciously rape his sexy wife too. Of course the woman becomes sexually aroused by the act of rape… Another piece of utter sleaze made by Masaru Konuma. Plenty of sex,two gang-rape scenes and lots of filthy talk-what more can you ask for? However the overall tone of the film is pretty light in comparison to many other nihilistic pinku eiga films. (HumanoidOfFlesh for IMDb)
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Language(s):Japanese
Subtitles:Japanese, English
Synopsis:
An experienced TV drama screenwriter and a professor at the Beijing Film Academy, Zhuang Yuxin makes his debut feature Love Teeth in 2006, winning much applause from critics. Praised as the female version of the award-winning In the Heat of the Sun, Love Teeth also documents the rapid social and economic changes in Mainland China after the disastrous Cultural Revolution. The notions of love, pain, and memory recur when the film unfolds a woman’s history of three romances that all end in physical as well as psychological pain. Officially selected for the Deauville Asian Film Festival 2007 in France, Love Teeth also won the Best Feature at the 14th Beijing Student Film Festival.
In her teenage years, Qian Yiehong (Yan Bingyan) rejected a boy out of political differences. He hit her back with a brick, and since then her back has hurt whenever it rains. Some time later, she falls in love with a married man, but he betrays her in the end, leaving her with the pain of abortion. Qian finally gets married to a man whom she does not love. But when she divorces him, he brutally extract his tooth to give as a souvenir to her…
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Language(s):Mandarin
Subtitles:English, Chinese (muxed), English (srt)
Jack-of-all-trades director Miike Takashi takes on more serious material in the human drama The Lion Standing in the Wind about the experiences of a Japanese doctor in Africa. Featuring location shooting in Kenya, the film is based on Sada Masashi’s novel and song Kaze ni Tatsu Lion, which were inspired by the true story of a Japanese doctor who operated a mobile clinic in the African nation.
Osawa Takao stars as Dr. Shimada Koichiro who arrives in Kenya in 1987 to work at his university hospital’s research facility. The idealistic doctor is soon dispatched to another facility that mainly provides emergency medical care to locals and soldiers who have been injured in civil warfare. There, he comes upon the shocking reality of wounded child soldiers who are carrying war scars and traumas beyond their age. All that Shimada sees and encounters would forever change the course of his life and work.
Language(s):Japanese, English
Subtitles:English
In a stark depiction of the dissatisfaction that followed the demise of 60’s idealism, United Red Army follows the story of the titular leftwing Japanese terrorist group that came together in 1972 as two pre-existing groups merged. Interspersed with large amounts of archival footage and employing a semi-pseudo-documentary style, the film visits upon the key historical figures and events that led to the United Red Army eventually purging much of its membership, leading five student radicalists to hole up in the Asano mountain lodge in Nagano Prefecture in a standoff against the police.
http://nitroflare.com/view/9BCE2CFD889726D/United_Red_Army.mkv
http://uploadgig.com/file/download/1baA68258a69eE1f/United Red Army.mkv
Language(s):Japanese
Subtitles:English (Hardcoded)
A military-engineered virus, released during a plane crash, kills the entire human population. The only survivors are scientists in Antarctica, who desperately try to find a cure and save what is left of the planet from further destruction.
Directed by: Kinji Fukasaku.
Starring Chuck Connors, Glenn Ford, Olivia Hussey, George Kennedy, Masao Kusakari, Edward James Olmos, Henry Silva, Bo Svenson, Robert Vaughn, Stephanie Faulkner, Sonny Chiba!!, Colin Fox.
In 1982, a shady transaction is occurring between an East German scientist, Dr. Krause, and a group of Americans. It is revealed that MM88 is a deadly virus, created accidentally by an American geneticist, that amplifies the potency of any other virus or bacterium it comes into contact with. The Americans recover the MM88, which was stolen from a lab in the US the year before, but the virus is released, creating a pandemic initially known as the “Italian Flu”.
Within seven months, virtually all the world’s population has died off. However, the virus is inactive at temperatures below -10 degrees Celsius, and the polar winter has spared the 855 men and eight women stationed in Antarctica. The British nuclear submarine HMS Nereid joins the scientists after sinking a Soviet submarine whose infected crew attempts to make landfall near Palmer Station.
Just as the group begins to repopulate their new home, it is revealed that an earthquake will activate the Automated Reaction System (ARS) and launch the United States nuclear arsenal.
The Soviets have their own version of the ARS that will fire off their weapons in return, including one targeting Palmer Station. Yoshizumi and Major Carter embark aboard the Nereid on a mission to shut down the ARS, protected from MM88 by an experimental vaccine.
The submarine arrives at Washington, D.C., and Yoshizumi and Carter make a rush for the ARS command bunker. However, they reach the room too late, and all but a few of the survivors (who left aboard an icebreaker at the same time as the Nereid) perish in the nuclear exchange. Over the course of years Yoshizumi walks back towards Antarctica. Upon reaching Tierra del Fuego in 1988,[2] he encounters the survivors from the icebreaker.
Background and production
Haruki Kadokawa the producer of the film, was the heir to Kadokawa Shoten, major publishing empire in Japan. After his father died in 1975 he decided to create a cinema branch of the company and began producing many films in the late 1970s, including Inugamike no ichizoku (1976) and Ningen no shōmei (1977), a murder mystery with a worldwide release. In 1978, production on Fukkatsu no Hi started. Kadokawa wanted the film to be a big breakthrough in the international market, so he tried to insure its success by casting some notable foreign stars and doing major international promotion (under the international title Virus). He also funded the largest budget of any Japanese film ever made at the time to solidify the movie as worthy of an international release.[3]
The Chilean Navy allowed the film crew to use their submarine CNS Simpson to film scenes involving the two fictional submarines in the film, the British Nereid and the Soviet T232. Judging by the acknowledgments in the English version, the Canadian submarine HMCS Okanagan was used as well; one of the officers serving in Okanagan, a Lieutenant-Commander David Griffiths, was given a speaking role as Nereid’s First Officer. Other locations where filming took place included Alaska, Antarctica, Halifax (doubling for a riverside area in Washington D.C.), Machu Picchu, Tokyo, and Toronto.
A small amount of international publicity was given when a Swedish ship, MS Lindblad Explorer, struck a reef while transporting a production unit to Antarctica for location shooting and almost sank. The passengers were rescued by Chilean naval vessels.[citation needed] Lindblad Explorer was returned to service but was ultimately lost in Antarctic waters in 2007.
Reception
The film was a box office bomb despite its enormous budget. Although it may have had some special showings in the United States and elsewhere, it did not receive a general release. It was sold directly to pay television and edited down to a 108-minute version. This cut left out much of the love story between Yoshizumi and Marit, and nearly all the Japanese scenes including Yoshizumi’s entire trek back towards Antarctica, and nearly all character development for Yoshizumi. It also starts off with the meeting in East Germany between Doctor Krause and Rankin’s agents, while the Nereid’s arrival in Tokyo Bay was moved to much later in the film. Some versions even end with the nuclear explosions, leaving the film with a pessimistic outcome as opposed to the Japanese version’s optimistic ending.
Home media
In 2002, Kadokawa Shoten released the film in a special limited-edition Region 2 DVD set, which contained the original 156-minute cut and the shorter 108-minute version, plus extra materials. While the DVD in question lacks English subtitles, an English-subtitled version of the full cut was later released in 2006 as part of a compilation set called the Sonny Chiba Action Pack. Previous copies of the film released in North America often featured the 108-minute cut, partly because of the multinational cast that included several American actors.
http://nitroflare.com/view/583CDADFF73BF4A/Day.Of.Resurrection.AKA.Virus.DVDRip.x264-HANDJOB.mkv
Language(s):English, Japanese, French, German, Spanish, Russian
Subtitles:English
A sort of remake of Lone Wolf and Cub for the western market condensing the series in one film. In 1980, Americans David Weisman (producer) and Robert Houston (director) stumbled upon the Japanese Lone Wolf and Cub films (in turn based on a hugely successful manga comic book), and realised that while Western Audiences at the time would lap up the violent battles, they might not be ready for the Chanbara genre’s comparatively slow pacing and period politics. They decided to take the best bits of Lone Wolf and Cub parts 1 and 2, and add their own dubbing and simplified plot. Shogun Assassin was born, and is probably responsible to this day for the Chanbara movie’s arrival in the West. Best approached as an introduction to the Lone Wolf and Cub legend.
The story is of a great samurai warrior who served his Shogun honorably. The Shogun however grew paranoid as he became more and more senile. The Shogun sought to destroy all those who might stand to oppose his rule, and so he sent his ninja spies to the samurai’s home. The ninjas failed to kill the samurai, but did kill his beloved wife. From then on, the samurai swore on his honor to seek out the Shogun and avenge the death of his love. Hr roams the countryside with his toddler son taking on mercenary work for money until the final battle with the Shogun’s three Masters of Death.
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https://uploadgig.com/file/download/6E24D647ab11eFff/Shogun. Assassin.1980.DVDRip.DIVX.avi
Language(s):English
Subtitles:none
Based on Edogawa Ranpo Award winner “Hanazono no Meikyu” by Yoko Yamazaki. A serial killing occurs at a port town brothel.
Language(s):Japanese
Subtitles:English
An office worker who dreams of a peaceful happiness with her boyfriend is forced into prostitution by yakuza…
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http://uploadgig.com/file/download/f3Fe1d3Ac1d455d9/1963 Sweet Trap – Wakamatsu.mkv
Language(s):Japanese
Subtitles:none
Plot Summary (Taken from IMDb): A young drifter enters strangers’ houses – and lives – while owners are away. He spends a night or a day squatting in, repaying their unwitting hospitality by doing laundry or small repairs. His life changes when he runs into a beautiful woman in an affluent mansion who is ready to escape her unhappy, abusive marriage.
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english and turkish subs
no pass
Quote:
From the ashes of Dead or Alive’s apocalyptic ending comes Dead or Alive 2, both a continuation of the series and a stand-alone film on par with its predecessor. Serving up shockingly graphic violence, sincere character nuance, engaging humor and transcendent magical realism with equal mastery, Dead or Alive 2 offers definitive evidence of why the New York Post hailed director Takashi Miike (Audition, Ichi the Killer) as “one of the most exciting, versatile directors working today.”
After Yakuza hitman Mizuki (Sho Aikawa) watches a high-priced target gunned down by another assassin, he combs the underworld in search of clues that will reveal his rival’s identity. But when the two executioners meet, they discover they are long-lost childhood friends. Now reunited, Mizuki and his amigo Shuichi (Riki Takeuchi) team up to pay off their spiritual debts while staying one trigger-pull ahead of the Yakuza mobsters and drug triad killers who want them dead.
Somehow simultaneously reprising and reversing their roles from the first DOA installment, Japanese “V Film” cult actors Aikawa and Takeuchi are joined by Tetsuo: Iron Man creator Shinyu Tsukamoto in a rare onscreen appearance. Director Miike loads DOA 2 with equally rich portions of mayhem and sentiment, creating both a bloodthirsty Asian action film and a lyrical journey of cinematic finesse.
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Language(s):Japanese
Subtitles:English
Japanese director Seijun Suzuki solidified his growing cult following with this offbeat adaptation of Haruhiko Ooyabu’s crime novel. Jo Shishido stars as Det. Tajima, a smug investigator who nabs a pair of criminal gangs with flamboyant aplomb while the police remain baffled. Suzuki treats the rather hoary plotline as an excuse for dark-humored camp, and young audiences were delighted with his irreverent approach, which made him one of the few distinctive names in the ’60s assembly-line of Nikkatsu Studios. ~ (Robert Firsching, All Movie Guide)
Suzuki’s calculated B-movie renditions of yakuza thrillers put him in the company of Samuel Fuller, the one Western director most often invoked upon mention of Suzuki’s name. But Suzuki, as a stylist of Japano-trash, could also be compared to Mario Bava, the great stylist of Eurotrash. Indeed, Suzuki may be compared with any of the great mavericks who subvert the studio system by personally reinventing or restructuring popular conventions of cinema, and mostly getting away with it (think of Welles, think of Corman, think of Melville). The works of such directors knock the idea of classical perfection in grand fashion, exuding exuberance almost as an end in itself. (…)
The Suzuki style is now touted as legendary, almost like something out of the blue. To a receptive audience (and in his time, Suzuki had a keen following among students), there’s more than a touch of spontaneous experimentation in his films – the deliberate nature of cutting the sequential flow of his narratives and an imperative style that demands symbolic use of colours or high-contrast monochrome, hyperbolical sets and lighting, and stylized acting. The formalized nature of Suzuki’s filmmaking means that he could not have come from nowhere. I would contend that Suzuki was a master of design and that he could not have accomplished what he did without some foreknowledge of what he wanted to do. After all, he claimed to have patterned his films after traditional Kabuki and its three points of departure: the love scene, the murder scene and the battle scene. “Translated into film, those are the three basic ingredients of entertainment,” says Suzuki himself.
And there is the rub of Suzuki criticism. Despite his credentials as a radical artist, Suzuki is essentially an entertainer. He invests his pictures with the qualities of pop-art illusion and, in true sleight-of-hand style, views himself as a “prophet” rather than as an artist. Perhaps that is why Suzuki is something of a paradox. The director’s first name, Seijun, is made up of the kanji (Chinese characters) meaning “clear” and “flowing”, and, despite the patent non-linearity, his narratives do resolve themselves clearly and flowingly (so much so in fact that if one were to approach Suzuki’s films with certain preconceptions about his inaccessibility, one would be left at the end of his pictures with the sense of wondering what the fuss was all about). On a micro level, Suzuki invites his audience to view his movies in apparently unstructured blocks or collages, but on a macro level, his pictures are fulfilments, epiphanies, and yes, prophecies of a kind.
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Language(s):Japanese
Subtitles:English, French .srt
“Hiroshima” is a feature film directed by Hideo Sekigawa and was independently produced outside of major studio system in 1953. In fact the film was supported by the Teacher’s Union of Hiroshima who helped finance the production and organized about 90,000 Hiroshima citizens who acted in the film.
The film begins with Hiroshima in the early 1950s and flashes back to scenes of the horrific aftermath following the detonation of an atomic bomb on humans for the first time in history.
http://nitroflare.com/view/E420CF520D8973C/Hirsohima.mkv
https://uploadgig.com/file/download/52c90ce7aD93bE3f/Hirsohima.mkv
Language(s):Japanese
Subtitles:English hardsubbed
