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Showing posts with label Sharunas Bartas. Show all posts

Friday, July 2, 2010

Sharunas Bartas - Septyni nematomi zmones aka Seven Invisible Men (2005)

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The most unusual of all Bartas films, the pre-apocalyptic Seven Invisible Men starts off like a genre movie – a bunch of robbers trying to evade the police after stealing and selling off a car. It is only after about half an hour, when one of them arrives at a farm that is near completely severed from the rest of the world, that the film moves into the world of Bartas. Seven Invisible Men is the most talkative, most rapidly edited and the most politically concrete of all the films by the director and that may precisely be the idea – to serve as a counterpoint to all the previous movies. All though there is too much talk in the film, rarely do they amount to meaningful conversations, bringing the characters back to the hopelessness of the director’s earlier works. Like Freedom, all the characters here are people living on the fringes of the society – con men and ethnic and religious minorities – who seem to have sequestered themselves with this settlement of theirs. All these characters seem to be trying to escape their agonizing past and the politics of the world that seems to give them no leeway in order to start afresh (The heist may have been the last attempt at escape), in vain. In the final few minutes that recall Tarkovsky’s The Sacrifice (1986), we see the house, in which the characters have been living in, burn down to dust. But, unlike Tarkovsky, it is Bartas’ cynicism that overwhelms and he sees his characters as ultimately self-destructive beings that have lost all control of their lives and hope for a better future.

http://rapidshare.com/files/201113318/7invM-SMz.part01.rar
http://rapidshare.com/files/201113427/7invM-SMz.part02.rar
http://rapidshare.com/files/201112057/7invM-SMz.part03.rar
http://rapidshare.com/files/201112239/7invM-SMz.part04.rar
http://rapidshare.com/files/201112525/7invM-SMz.part05.rar
http://rapidshare.com/files/201153792/7invM-SMz.part06.rar
http://rapidshare.com/files/201153655/7invM-SMz.part07.rar
http://rapidshare.com/files/201156335/7invM-SMz.part08.rar
http://rapidshare.com/files/201155131/7invM-SMz.part09.rar

Language: Russian (English subs)
Rar Password: None

Sharunas Bartas - A Casa aka The House (1997)

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comment from a imdb user:

Cold, a little less grey, wordless comfort, almost

The House was reviewed a little less favorably than Bartas' earlier films (regular cinemagoers having given up long ago), but personally I found it his most beautiful film yet.

Bartas does tend to repeat himself, it's true. Reviewers love his grim shadowscapes, shot in B/W, of anonymous, more or less lonely, drunk or disheveled men and women stumbling through a haze of cold forests, smoky houses and city wastelands in seemingly arbitrarily fashion - but even they get, I assume, weary of it.

(Contrary to what you might think based on the above, there is nothing gothic about Bartas' depressed realities; and he himself insists, whenever somebody dares suggest a socio-political interpretation, there's nothing Soviet about it either. It's existential. No matter, to me his 'The Corridor' still serves as a brilliant visual summary of the comfortless, hopeless human condition of the former Soviet Union).

But The House, the way I experienced it in any case, showed a whole new step. Not just because there was some color. But because abstract, surrealist scenes of indulgence - eating, caressing - and a suggested presence of tales about the house were added to the mere stumbling in the dark, making the film sensual, almost, without ever lessening the impact of how lost (these) people seem.

More than that. Having suspended, first, your urge to recognize or follow any story line, then, even, your urge to formulate any analysis or interpretation of the images he's providing you with - by the time you're just looking at what you see and *feeling* - suddenly you find yourself watching at a fire outside, on the ice in the lake, and there is a glow, and even the sound of unexplained fireworks, and although it's still lonely, it's *pretty*, and you - well, I was, in any case - are moved, sincerely moved.

That's good, if mere images - without plot, without actors, without explanation or meaning even, can move you, to your bones, almost make you cry in grief or relief, that's pretty good. 10/10

http://www.megaupload.com/?d=BJ6KUM7S
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http://www.megaupload.com/?d=452SV96K
http://www.megaupload.com/?d=48E2VQCG
http://www.megaupload.com/?d=TBD348YU
http://www.megaupload.com/?d=NT1DOJPD

http://rapidshare.com/files/413876012/acasa.part01.rar
http://rapidshare.com/files/413892174/acasa.part02.rar
http://rapidshare.com/files/413899628/acasa.part03.rar
http://rapidshare.com/files/413911660/acasa.part04.rar
http://rapidshare.com/files/413920264/acasa.part05.rar
http://rapidshare.com/files/413932266/acasa.part06.rar
http://rapidshare.com/files/413939449/acasa.part07.rar
http://rapidshare.com/files/413950374/acasa.part08.rar
http://rapidshare.com/files/413954992/acasa.part09.rar
http://rapidshare.com/files/413907920/acasa.part10.rar
http://rapidshare.com/files/413908039/acasa.part11.rar
http://rapidshare.com/files/413931135/acasa.part12.rar
http://rapidshare.com/files/413926092/acasa.part13.rar
http://rapidshare.com/files/413942743/acasa.part14.rar
http://rapidshare.com/files/413952572/acasa.part15.rar
http://rapidshare.com/files/413954571/acasa.part16.rar

subs:english/spanish
links are interchangeable
no pass

http://rapidshare.com/files/166325392/The_House.part1.rar
http://rapidshare.com/files/166332172/The_House.part2.rar
http://rapidshare.com/files/166339124/The_House.part3.rar
http://rapidshare.com/files/166346126/The_House.part4.rar
http://rapidshare.com/files/166353300/The_House.part5.rar
http://rapidshare.com/files/175266966/The_House.part6.rar
http://rapidshare.com/files/175259165/The_House.part7.rar

eng sub
http://rapidshare.com/files/404537953/8244_100408192426.rar
Rar Password: no password

Sharunas Bartas - Few of Us (1996)

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There are few of us, hell only few of us, but the scariest thing – we’re separate.

Who Is this girl staring out through the window of a helicopter at the harsh and endless landscape of “the Sayans”.

Why has she come to a place untouched by civilization, inhabited only by a small, God-forsaken tribe named the Tofolars ?

Sharunas Bartas - Koridorius (1994)

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Lithuanian director Sharunas Bartas belongs to a group of Eastern European filmmakers who for more than a decade have chronicled the ruined lives and waning spirits of societies in the wake of the collapse of the Soviet empire. Like the Russian Alexander Sokurov and the Hungarian Béla Tarr [and the German Fred Kelemen, ed.], he makes films about inarticulate loss, about people who can neither free themselves from the past nor look forward to the future, who are so far beyond hopelessness and despair that verbal communication seems superfluous. In Bartas’s films, aesthetics fuses with ideology: by eliminating dialogue and reducing his cinematic vocabulary primarily to faces, gestures, and landscapes, the already minimalist narrative situations he portrays — however rooted in present-day reality — become archetypal, universal. The very titles of the films evoke the general rather than the particular: Three Days, Few of Us, The Corridor, The House, Freedom.
Although these are challenging works, viewers who give themselves over to the spare lyricism they offer are rewarded with a unique space for contemplation and affective resonance.

Bartas described his starkly poetic second feature as "a film about the extremes of exhaustion caused by loneliness, aggression, and love" in the post-Soviet experience. Set amongst the melancholy inhabitants of a rundown apartment building in the Lithuanian capital of Vilnius, the film unfolds as an associative collage of memory fragments, shards of experience, and chance events amongst a number of the building’s inhabitants — all connected by the metaphor of the corridor, a passage between "yesterday and today, containing many doors." As in the director’s other works, narrative logic is eschewed in favor of the poetry of loss and desire, here made even more abstract by the haunting black-and-white cinematography.

Harvard Film Archive

Sharunas Bartas - Trys dienos aka three days (1991)

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In Kaliningrad two Lithuanian boys meet two Russian girls. They have difficulties in finding places where they can sleep together. But this is the only problem they do solve. All four justly feel miserable because their lives are meaningless (the recurrent dull and poorly kept house façads could well be taken as a comparative symbol). In addition, everyone is so absorbed by his or her own distress and hardly capable of bothering about the anguish of the others. The three days end with a pervasive lack of contact.

Tuesday, June 22, 2010

Sharunas Bartas - Koridorius aka The Corridor (1994)

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CICAE prize awarded "For the directing rigour, for the particular deep work on light and black and white, for the special care for the soundtrack, in a film that, even if without dialogues, desperately speaks. A devastating film that is courageously daring, letting only images speak."

Quote:

Koridorius is an attempt to envisage the contemporary state of Lithuania in post-communist depression. It is an intense experience, voyaging into the interior worlds of Bartas, (who appears throughout the film), his friends and people on the streets of the capital Vilnius. The film is intensely personal and moves enigmatically through time in an attempt to crystallise the present.

The structure is highly enigmatic and symbolic, but the tenderness present in the luminous black-and-white cinematography and the intimate rapport between the camera and subject make the film wholly enchanting. The desperation and despair of the characters is shrouded in affection, sympathy and compassion.

Koridorius can be seen as an act of mourning for what has been lost in Lithuanian society. The film moves from the early morning though the long day, witnessing events unfold out of the window of the apartment—the funeral and gatherings outside at night and the celebration inside—concluding with the aftermath and the beginning of a new day. One could tease out the details of its complex structure over many pages, but the innate beauty and mystery would not be diminished.

Special Artistic Achievement, Thessaloniki Film Festival 1995; C.I.C.A.E. Award Torino International Festival of Young Cinema 1995; FIPRESCI Prize Viennale 1995