/film/ - FILM

>>6527

>Are there other Internet Movie __ Databases?

http://impdb.org

Internet movie plane database

Dedicated to identifying aircraft throughout Movies, Television, and now Video Games!

D.A. Miller - Hitchcock's Hidden Pictures

essay on Hitchcock's cameo(s) in Strangers on a Train with passing mention to his appearance in Last Year at Marienbad

Alfred Hitchcock Wiki: http://the.hitchcock.zone/wiki/Main_Page

https://silentlocations.wordpress.com/ ... Here is a blog focused on the locations of silent comedies (mostly). Very specific and detailed!

Like most people, I used to think that it was better to have strong gov't funding of art (as is the case in many parts of Europe). Now I'm not so sure. This book goes against conventional wisdom by highlighting the benefits of the decentralized funding of art in the United States

> Americans agree about government arts funding in the way the women in the old joke agree about the food at the wedding: it's terrible--and such small portions! Americans typically either want to abolish the National Endowment for the Arts, or they believe that public arts funding should be dramatically increased because the arts cannot survive in the free market. It would take a lover of the arts who is also a libertarian economist to bridge such a gap. Enter Tyler Cowen. In this book he argues why the U.S. way of funding the arts, while largely indirect, results not in the terrible and the small but in Good and Plenty--and how it could result in even more and better. Few would deny that America produces and consumes art of a quantity and quality comparable to that of any country. But is this despite or because of America's meager direct funding of the arts relative to European countries? Overturning the conventional wisdom of this question, Cowen argues that American art thrives through an ingenious combination of small direct subsidies and immense indirect subsidies such as copyright law and tax policies that encourage nonprofits and charitable giving. This decentralized and even somewhat accidental--but decidedly not laissez-faire--system results in arts that are arguably more creative, diverse, abundant, and politically unencumbered than that of Europe. Bringing serious attention to the neglected issue of the American way of funding the arts, Good and Plenty is essential reading for anyone concerned about the arts or their funding.

http://rapidgator.net/file/8bd877a6bdd0705268cc75c4348f896a/ud7sf.096337561XMario.part1best.rar.html

http://rapidgator.net/file/1cd8ca9f4261ef890c0a3a6c72fd6027/ud7sf.096337561XMario.part2best.rar.html

http://rapidgator.net/file/e8e3cb4fa2314b94a4ae773676280422/ud7sf.096337561XMario.part3best.rar.html

There are a few pages got repeated at the end tho

>>9140

Thanks. I found my files eventually on a flash drive. Someone on cinemageddon made the scan.

>>5355

I recommend you to watch Wild Style, Style wars and Dark Days and read Hip Hop Family Tree

Jonathan Rosenbaum - New interview with Federico Casal for the online Uruguayan film magazine Revista Film (June 19 2017)

https://www.jonathanrosenbaum.net/2017/06/51161/

>In the last few years we have seen video essays proliferate, with varying degrees of scholarship and presentation, either on DVD/Blu ray extras or video sharing sites like YouTube and Vimeo. Moreover, anyone can have a space dedicated to sharing reviews or thoughts on films, such as on blogs or social media. With all of this in mind, what qualities should the present day professional film critic have to earn a position of authority?

Knowledge of film history, knowledge of history in general, some knowledge of the other arts, and a good grasp of spoken and written language. Also, taste—something harder to pinpoint but something that should be both defined and defended by the critic.

>You have met Jacques Tati and Robert Bresson, among other directors. Do you perceive an essential difference in the way independent directors worked and thought about film back then and now?

I never had a proper conversation with Bresson, and I haven’t met enough studio directors to hazard any generalizations about either them or independent filmmakers, except to say that I believe that they all thought somewhat differently from each other. For example, I did know Sam Fuller pretty well, and I know that he had no trouble thinking of himself as an artist, which apparently wasn’t the case with Howard Hawks. Tati certainly thought of himself as an independent, but that doesn’t mean he ignored commercial considerations.

>Pedro Almodóvar and Will Smith have recently incarnated the two sides of the Netflix debate, about whether or not films made for streaming services should participate in film festivals or be considered equal to theatrical releases. One could argue that some people fear that the increasingly personalized, consumer-oriented way of experiencing entertainment might make us less willing to take a chance with films outside of the familiar spectrum or go to the theater at all. On the other hand, streaming services offer audiences films from all over the world. Is there a real conflict here, or is the presentation secondary to the quality of a film?

I hate to make or even think about rules for everyone. I’ve never used Netflix or any streaming service, so I’m especially reluctant to think up rules for those who do. I don’t even know what positions Almodóvar and Smith hold on these matters. But I can at least say that the more venues that are open for people accessing films, the better. And my only thoughts about business rules is that they should be much less restrictive.

>David Lynch has often said that the art-house is dead. One can assume he refers to the cultural environment in which Eraserhead premiered 40 years ago, as a midnight movie in a few independent cinemas, and the kind of public that came with that. Now, you’ve written a book with J. Hoberman on the subject. Do you share David Lynch’s sentiment or do you see that that world and spirit have taken another form?

The only commercial cinemas that I frequent in Chicago nowadays with any regularity are arthouses (the Landmark, the Music Box) or alternative venues such as the Gene Siskel Film Center. David Lynch seems to be speaking now as a businessman, not as an artist, and maybe he’s right from a business standpoint; I’m not at all qualified to comment on this subject. Jim Hoberman and I wrote Midnight Movies over 30 years ago, and the business has certainly changed a lot since then.

>Would Erich von Stroheim be able to make Greed in 2017 as a 10 one-hour episode series for television?

What a provocative notion! I suppose that maybe he could have done that. Jacques Rivette did something roughly comparable in Out 1, but French TV refused it in the 1970s. Would they refuse it today? I have no way of knowing, and the same thing applies to Stroheim and Greed and North American cable TV.

>You have been to countless film festivals over the years, and served as jury in many of them. What would your ideal film festival be like?

I guess it would be a cross between the Buenos Aires Festival of Independent Film (at least during 2001-2004, the only years that I’ve been able to attend it) and il Cinema Ritrovato in Bologna (which I now attend every year). That is, a festival where a critical perspective and a sense of film history are both prominent, and where it’s easy to hang out with friends and talk about the films.

>It is easier for an American film, whether big or low budget, to find global distribution deals. A Latin American film, on the other hand, might just have to conform with playing in its native country and in some film festivals. Do you see any of this changing?

I would like to see this changing, but until Donald Trump gets replaced by someone else, I wouldn’t expect this to change any time soon.

>>10144

>>10144

It has another domain now, but I forget what it was.

Lib-gen is basically the same though.

>>10146

thanks. i found the new address http://b-ok.org/

i think lib gen is http://gen.lib.rus.ec/

Interesting article about how military and intelligence agencies shape the content of Hollywood films

https://medium.com/insurge-intelligence/exclusive-documents-expose-direct-us-military-intelligence-influence-on-1-800-movies-and-tv-shows-36433107c307

Documents expose how Hollywood promotes war on behalf of the Pentagon, CIA and NSA

US military intelligence agencies have influenced over 1,800 movies and TV shows

<When Bond is about to HALO jump out of a military transport plane they realise he’s going to land in Vietnamese waters. In the original script Bond’s CIA sidekick jokes ‘You know what will happen. It will be war, and maybe this time we’ll win.’

<This line was removed at the request of the DOD.

<The movie Countermeasures was rejected by the military for several reasons, and consequently never produced. One of the reasons is that the script included references to the Iran-Contra scandal, and as Strub saw it ‘There’s no need for us to… remind the public of the Iran-Contra affair.’

<Similarly Fields of Fire and Top Gun 2 were never made because they couldn’t obtain military support, again due to politically controversial aspects of the scripts.

<The CIA’s ability to influence movie scripts goes back to their early years. In the 1940s and 50s they managed to prevent any mention of themselves appearing in film and TV until North by Northwest in 1959. This included rejecting requests for production support, meaning that some films were never made, and censoring all references to the CIA in the script for the Bob Hope comedy My Favourite Spy.

<The CIA even sabotaged a planned series of documentaries about their predecessor, the OSS, by having assets at CBS develop a rival production to muscle the smaller studio out of the market. Once this was achieved, the Agency pulled the plug on the CBS series too, ensuring that the activities of the OSS remained safe from public scrutiny.

Japanese Cinema

Film Style and National Character

by Donald Richie

filesharing forums with mainstream stuff

http://bonzai82uhd.xyz

http://www.warez-box.com

http://www.hdtshare.com

http://onkyo4k.com

http://www.m-hddl.com

http://www.puzo.org

<Respect man's nature without wishing it more palpable than it is

<It is quite possible to conceive of a national cinema, in the sense of one which works with or addresses nationally specific materials, which is none the less critical of inherited notions of national identity, which does not assume the existence of a unique or unchanging ‘national culture’, and which is quite capable of dealing with social divisions and differences.

<In discussing lyricism in Czech cinema, the essential elements comprise the visual image (cinematography), the evocation of landscape as a positive force and a sense of the countryside as a homeland and of a paradise lost or regained.

<Lately, theorists have shown a greater interest in the problems surrounding “art cinema” and its terminological offshoots. For example, in a useful article, Andrew Tudor has noted the strangeness of the term “art movie,” observing that in “everyday discourse we do not speak of ‘art novel,’ ‘art picture’ or ‘art music.’”1 Indeed, Tudor is pointing to something that has long irritated the ex-composition teacher in me: “art cinema” seems redundant, even needy. This is a genre of cinema, the term almost shouts, that is also art. Point taken, but what else could movies be?

And finally by request

>>11097

>>11126

+ part 2

An interesting selection of reviews on this blog

http://www.soiledsinema.com/

Issue 69: Table of Contents

FEATURES & INTERVIEWS

*From the Other Side: Exiled in Trumpland by Roberto Minervini

Land of Confusion: Cristi Puiu Talks Sieranevada by Christoph Huber

*Artifact Bonfire: Ken Jacobs and Reichstag 9/11 by Daniel Kasman

Self-Portrait: Bob Dylan as Filmmaker by Sean Rogers

*Super-Ornithologist: João Pedro Rodrigues’ Birdman by Robert Koehler

*The Working Hour: Salomé Lamas’ Eldorado XXI by Michael Sicinski

The Cost of Reparations: An Interview With Alanis Obomsawin by Steve Macfarlane

“Doesn’t Have to Be a Tome”: Kelly Reichardt’s Certain Women by Angelo Muredda

*Something, Everything: Manuela De Laborde on AS WITHOUT SO WITHIN by Blake Williams

SPOTLIGHT: FALL FESTIVAL HIGHLIGHTS

*Rat Film by Jordan Cronk

*Austerlitz by Jay Kuehner

By the Time It Gets Dark by James Lattimer

*Ceux qui font les révolutions à moitié n’ont fait que se creuser un tombeau by Adam Nayman

Donald Cried by Celluloid Liberation Front

Free Fire by Julien Allen

*Kékszakállú by José Teodoro

Le quadrille, Aux quatre coins, and Le divertissement: Three Short Films by Jacques Rivette by Christopher Small

COLUMNS

*Editor’s Note

*Film/Art: La Biennale de Montréal by Andréa Picard

*Global Discoveries on DVD by Jonathan Rosenbaum

DVD Bonus: The Herschell Gordon Lewis Feast by Michael Atkinson

EXPLODED VIEW

Gary Beydler’s Mirror by Chuck Stephens

WEB ONLY

*Moonlight by Phil Coldiron

Northern Exposure: Future//Present at VIFF by Jordan Cronk

CURRENCY

*Jackie by Adam Nayman

La La Land by Alicia Fletcher

Fire at Sea by Samuel La France

Issue 70: Table of Contents

Interviews

The Quest for Beauty: James Gray and The Lost City of Z by Daniel Kasman

*Cinema Concrete: Dane Komljen’s All the Cities of the North by Robert Koehler

*First Do No Harm: Hugh Gibson on The Stairs by Angelo Muredda

A Workingman’s Life: Michael Glawogger, Monika Willi, and Untitled by Andréa Picard

Features

*Orchestrating the Apocalypse: The Survival Horror of Paul W.S. Anderson’s Resident Evils by Christoph Huber

*Small Things and Big Things:Feng Xiaogang’s I Am Not Madame Bovary by Shelly Kraicer

The Land of Sound, the Land of Images: On Recent Works by Sky Hopinka by Jesse Cumming

*Common Boston: Dennis Lehane on Screen by Sean Rogers

*Unseen Forces:Joshua Bonnetta in Sound and Image by Michael Sicinski

Agitate Everywhere: On Sergei Eisenstein’s Drawings by Phil Coldiron

Columns

*Editor’s Note

*Film/Art: Indeed, We Know: On the Video Art of Elizabeth Price by Blake Williams

Festivals

Sundance (I) by Alicia Fletcher

*Sundance (II) by Jay Kuehner

*Berlin by Jordan Cronk

*Deaths of Cinema: Nothing Will Die: John Hurt, 1940–2017 by Adam Nayman

Nirvanna the Band the Show by Jason Anderson

*Global Discoveries on DVD by Jonathan Rosenbaum

*Exploded View: Will Hindle by Chuck Stephens

Currency

*Silence by Andrew Tracy

Get Out by Adam Nayman

Maliglutit (Searchers) by Samuel La France

Issue 71: Table of Contents

Interviews and Features

Electroshock Therapy: Matthew Rankin on The Tesla World Light by Jason Anderson

Quiet Savagery: A Tale of Two Tourneurs by Christoph Huber

All You Can Eat: The Heroism of Howard Hughes by Adam Nayman

Censoring Shakespeare: Ing K’s Shakespeare Must Die by Nathan Latoré

Would You Like to See a Magic Trick?: Basma Alsharif’s Ouroboros and its Contexts by Phil Coldiron

A Passage Through: Filipa César’s Spell Reel by Jesse Cumming

Dusting the Corners: Luke Fowler’s Restorative Histories by Michael Sicinski

Rossellini’s War Trilogy: Neorealism or Historical Revisionism? by Celluloid Liberation Front

Spotlight: Cannes 2017

Cannes at 70: Bad Times, Good Time by Mark Peranson

The Square by Josh Cabrita

The Day After / Claire’s Camera by Andréa Picard

At the Frontier: Valeska Grisebach on Western by James Lattimer

Closeness by Daniel Kasman

24 Frames by Blake Williams

Deserting the Real: Documentaries at Cannes by Richard Porton

Jeannette, l’enfance de Jeanne d’Arc by Jordan Cronk

Un beau soleil intérieur by Giovanni Marchini Camia

Columns

Editor’s Note

Festivals

The Nitrate Picture Show by Alicia Fletcher and Samuel La France

TV or Not TV

Twin Peaks: The Return by Kate Rennebohm

Global Discoveries on DVD by Jonathan Rosenbaum

DVD Bonus: Fat City and Hard Times by Sean Rogers

Exploded View: Peter Gidal’s Room (Double Take) by Chuck Stephens

Currency

Baby Driver by Robert Koehler

Araby by Jay Kuehner

Maison du bonheur by Angelo Muredda

Risk by Steve Macfarlane

I found a couple interesting Kubrick links today.

First this site with a wide range of content: http://www.visual-memory.co.uk/

<This page links to four separate sites exploring the work of Stanley Kubrick. The Kubrick Site is a non-profit archive for documentary materials; The Kubrick FAQ, attempts to answer some of the questions asked on alt.movies.kubrick; 2001: A Space Odyssey Program, showcases the original 1968 foyer program that accompanied the first release of the film and Stanley Kubrick 1928-1999 is the archive of a site that closed September 1999. These sites are maintained by Roderick Munday.

Second these recollections of 2001 from actor Keir Dullea and effects supervisor Douglas Trumbull: https://www.theguardian.com/film/2018/mar/12/how-we-made-2001-a-space-odyssey-stanley-kubrick-hal

<One day in the early 1960s, I had my palm read at a funfair. The palmist saw a rocket ship in my future. Then my agent called and said I’d been offered the lead in Stanley Kubrick’s next film. When I started reading the script, something felt terribly familiar. As a teenager, I had read The Sentinel, a short story by Arthur C Clarke – and that was the starting point for Kubrick’s film.

<The first day of shooting ended up being delayed because Kubrick didn’t like my shoes. The wardrobe came up with the right pair real fast. I felt awed working with him and he picked up that I was tense – which is terrible for an actor. After a week, he took me aside and said: “Keir, you’re everything I’m looking for.”

<The rotating living quarters of the Discovery spacecraft were built by Vickers. They were 70ft across and turned at 3mph. The camera tricks the crew used to simulate centrifugal force were ingenious. There’s a scene where I climb down a ladder and, at the other side of the screen, you see the other astronaut sitting at a table upside-down. It looks as if I walk round towards him, until I’m upside-down too, but they actually rotated the set, and him, round to me. He seems to be eating normally – but only because they’d glued his food to his fork.

<The film was very prescient about the dangers of AI. Kubrick didn’t know the exact voice he wanted for Hal, the computer that goes rogue, but we needed something to work with for shooting. Eventually, he turned to the first assistant director, who was from east London, and said: “You do the voice for the boys.” So Hal sounded like an eastender at first. “I fink you know what the problem is,” he’d say in a cockney accent, “just as well as I do.”

<The film got mixed reviews. Lots of people walked out of the premiere, including Rock Hudson. “What is this bullshit?” he said. But a few months into the release, they realised a lot of people were watching it while smoking funny cigarettes. Someone in San Francisco even ran right through the screen screaming: “It’s God!” So they came up with a new poster that said: “2001 – the ultimate trip!” I’m sure I must have watched it while I was high. But not at the premiere.

Here's a blog translating Raúl Ruiz: Diario. Notas, recuerdos y secuencias de cosas vistas (2017) into English.

Day One; https://tinyletter.com/ruizdiaries/letters/sunday-november-21st-1993-hello-everyone

Sunday November 21st, 1993

Hey! Welcome! I'll be translating the Raúl Ruiz diaries for as long as the copyright people will get to me and sue my ass. In the meantime, enjoy, and if you think that I'm doing a good work with these translations, give up a tip at My Kofi it really helps a lot!

Cafe de la Bastilla. Yesterday I finished writing my first letter in 20 years. Today I start this film diary, the first in 52 years of life. Reasons? None. Something unlocked (Gallicism) in my head. Curiosity to see what happens when one goes back in a moment of day and to calendar (Milanese verb) hour by hour.

Recent reading of the hilarious reading diary by Fozio (Adelphi) and re-reading o so many curious papers (The Unquiet Grave by Connolly, which was just translated to French). Walk through the La Bastilla neighborhood searching for a Japanese restaurant (today is Sunday), meditating about the frontiers of odors. Since a few days I've been trying to orchestrate honeys and vinegars into some crumbs of my invention, more or less inspired in the Bolognese-Chilean recipes by Abate Molina: oseille -coriander juice with hot perfumes: cinnamon, [-], anchovies and tomatoes. Potatoes boiled in chicken broth disengaged with maqui juice. The day before yesterday I mixed capers, truffle oil, saffron pistils and some grains of honey pollen, and the result was dead sparrow feathers. Cooking dishes that remind you of neatly putrid corpses.

Everything freezes in Paris. Passers-by almost run on the streets, frozen: in other words, formulas of domestic economy. Tomorrow by this hour I'll be in Lisbon, preparing Fado, Major and Minor. In two weeks, filming. It's been two years since I last touched 35mm.

Yesterday we were prepping with [Jean-Yves] Coic, the operator, in presence of Melvil [Poupaud], one of the protagonists. It's not bad to mix-up technicians and artists, specially in these moments in which artists long for technicality, and the technicians élan creator. Bad times. Bad hour for those who think that can create, fund, invert sovereign images. Waterfalls unchained by a single and simple gesture (like turning on the light at your home after arriving at midnight).

This was the first diary entry of the Ruiz diaries. I'm not a professional translator, but I've written in both English and Spanish for enough time to believe that I can do the best job possible while the translation rights aren't bought and someone takes three years to do it. I'm no better, but I just wanted to share the great amounts of fun that I've been having reading these with the people that love Raúl Ruiz all over the world. What you just read, commas and parenthesis, is all in the original text (or at least the way the compiler redacted it), I won't add anything, and the words that aren't in English and in cursive, it's because they were in a language that isn't Spanish and were written that way in the original book. Hope you enjoy this travel with me. Tip if you can, and spread it around!

The films of Sergei Parajanov (1924–1990) remain some of the most stylistically unique in the history of the medium and easily place him within the pantheon of the world's great filmmakers. This article offers a new perspective on Parajanov's art through a detailed examination of the two works at the center of his oeuvre, The Colour of Pomegranates (1969) and The Legend of Suram Fortress (1985). In addition to their undeniable aesthetic value, these films may be appreciated as meaningful discourse on our conceptions of time, perception, and identity. Like Parajanov's other films, they dismantle the perceptual and narrative structure of classical cinema in order to stimulate awareness of an expressly raw layer of reality beneath what we customarily take to be static, indivisible essences or identities. With specific attention to the correlation of difference, repetition, and perception, this article also focuses on the effects this presentation of perpetual flux and variation has on consciousness and subjectivity within the films.

I just started reading this.

Walter Murch (besides his more famous accomplishmemts) directed an episode of The Clone Wars, and it made me go back and watch his and George Lucas' earlier projects like THX 1138, after which I decided to buy this (I also just finished a biography of George Lucas that was a good introduction to Murch's era of Hollywood filmmaking).

Here's a quality blog worth mentioning. It's an overview of significant films from 1895-1926. Includes a top film list for each year.

Click on a poster for a detailed review.

http://www.acinemahistory.com/

<A Cinema History

<This site presents a personal and chronological view of world cinema history, covering presently films from 1895 to 1926

Cineuropa is the first European portal dedicated to cinema and audiovisual in 4 languages. With daily news, interviews, data bases, in-depth investigations into the audiovisual industry, Cineuropa aims at promoting the European film industry throughout the world. Welcome to a platform where professionals can meet and exchange information and ideas.

https://cineuropa.org/

The East European Film Bulletin is a journalistic and literary project dedicated to the criticism of films related to Central, Eastern and South-Eastern Europe.

https://eefb.org/

I found this cool blogpost Top 50 Movies of the 21st Century

https://cinepensieri.wordpress.com/2017/07/14/top-50-movies-of-the-21st-century/

It's essentially a unique personal list, and I love the author's response to someone complaining about it

I found another uniquely-focused film database:

Paintings in Movies

http://paintingsinmovies.com

It could use some more submissions

Adding some more download sites

https://reviviendoviejasjoyas.blogspot.com/ mega and 1fichier links

http://mypicsandmovies.blogspot.com/

http://kebekmac.forumprod.com/ french sharing forum

http://cinemonsterr.blogspot.com/

https://nihilushka.blogspot.com/

http://www.filmsinfilms.com/

Films in Films started as a game and became a personal obsession. Now it is a project, to collect as many in-film references as possible.

Here you will find screenshots of film scenes featuring:

cinema marquees

cinema screens

posters

VHS/DVD/BD covers

TV screens

any other title references

http://cinematic-literature.tumblr.com/

Pedantic archivist of books in films and TV shows

https://www.reddit.com/r/FREEMEDIAHECKYEAH/comments/a2csq0/how_to_stream_movies_tv_anime_sports_online/

Movie Streaming sites

This interesting new article about Raoul Ruiz by Adrian Martin explores some of the films that resulted from the director's occasional workshops with film students. After reading you should get interested in watching La Telenovela Errante if you haven't yet.

https://mubi.com/notebook/posts/do-and-teach-the-workshop-films-of-raul-ruiz

I don't know where to post this—it could be too ridiculous for this thread—but here are some of the longest ovations given to films premiering at Cannes

>>14901

thank you for this. It made me very nostalgic for summers of yore when I found all the sketchy ftp ebook sites.

Who's Who of Victorian Cinema - A biographical guide to the earliest years of moving pictures, 1871-1901 - http://www.victorian-cinema.net/

<The confusion that existed at the birth of film to a very large extent still exists. Moving pictures did not arrive as a neat package on a specific date; those who were involved knew nothing of the phenomenon of cinema that was to come. They were scientists who saw film as an aid to their work, businessmen who hoped to exploit a new invention for the short period they expected the public to be attracted to it, or performers only doing what they would normally do on a stage. Moving pictures were just another invention in an age of inventions, or just another variety turn. What none could have foreseen was the grip that film would have on audiences, how the medium would develop and extend itself, and how the moving image would become dominant as a means of communication and entertainment in the twentieth and twenty-first centuries.

Sample biography

Shibata Tsunekichi was a photographer employed by the Mitsukoshi department store in Japan. He appears as a filmmaker in April 1898, filming five scenes in Tokyo for the Lumière brothers, the first films in Japan by a native filmmaker. In 1899 he filmed three geisha dances, at the behest of Komada Koyo, benshi and proto-film producer. The dancers had trouble staying within the sight-lines laid down for them, but geisha films went on to become a very popular native product in the earliest years of Japanese filmmaking. The geisha films were first shown 20 June 1899. In September of the same year Shibata shot Inazuma goto Hobaku no Ba (The Lightning Robber is Arrested), with Yokoyama Umpei playing the detective and Sakamato Keijiro the burglar. The following day Shibata shot Shosei no Sumie (The Schoolboy's Ink Painting) with Yokoyama as a man painted with ink by two boys while he is asleep on a bench. In November 1899 he shot the most prestigious Japanese film so far, Momiji-gari (Maple Leaf Hunters), intended as an historic record of the Kabuki theatre actors Danjuro IX and Kikugoro V. Ninin dojoji (Two People at Dojo Temple) was made in December. Shibata, by now Japan's most experienced camera operator, is last known of being sent with Fukaya Komakichi to film the Boxer rebellion in China, travelling with a contingent of the Japanese army throughout August 1900.

Another download site on the open web, maybe helpful if you need Spanish language options

https://www.misclasicosdecine.com/

It seems to use jdownloader, a program I really dislike, but perhaps you can get around it. There used to be sites that decrypt DLC files.

Damn it took forever to get this post through.