[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"$fdw0wEBYJB3LpYeVzUPpFUDYI954dolZbWYwj6nNLTXs":3},{"id":4,"name":5,"category_id":6,"subcategory_id":7,"uploaded_by":8,"downloads":9,"size":10,"seeders":11,"leechers":12,"infohash":13,"language":14,"title":15,"slogan":16,"poster_alt":17,"description":18,"cover_image":19,"magnet_link":20,"stream_link":17,"content":21,"files":22,"comments_count":23,"tracker_list":24,"date_uploaded":25,"last_checked":25,"last_checked_at":17,"user_id":17,"submit_flag":6,"uploaded_at":26,"created_at":27,"updated_at":27,"slugged_title":28,"category_name":29,"subcategory_name":30,"uploaded_ago":31,"category":32,"subcategory":33,"comments":35},6561717,"One Day Pina Asked... 1983 FRE SUB ENG, ITA 1080p BluRay x264",1,42,"BoogerSan",41136,"6.5 GB",20072,10206,"08CD6B0F6468261C9774A210FF5F91171F2D7E90","French","One Day Pina Asked...","\u003Cspan>\n                                            Documentary                                        \u003C/span>",null,"Chantal Akerman followed famous Choreographer Pina Bausch and her company of dancers, The Tanzteater Wuppertal, for five weeks while they were on tour in Germany, Italy and France. Her objective was to capture Pina Bausch's unparalleled art not only on stage by behind the scenes.","https://www.1377x.to/static/movie/One-Day-Pina-Asked-6561717.jpg","magnet:?xt=urn:btih:08CD6B0F6468261C9774A210FF5F91171F2D7E90&dn=One+Day+Pina+Asked...+1983+FRE+SUB+ENG%2C+ITA+1080p+BluRay+x264&tr=udp%3A%2F%2Ftracker.opentrackr.org%3A1337%2Fannounce&tr=udp%3A%2F%2Ftracker.torrent.eu.org%3A451%2Fannounce&tr=udp%3A%2F%2Fopen.stealth.si%3A80%2Fannounce&tr=udp%3A%2F%2Ftracker.tiny-vps.com%3A6969%2Fannounce&tr=http%3A%2F%2Ftracker.bt4g.com%3A2095%2Fannounce&tr=udp%3A%2F%2Ftracker.dler.org%3A6969%2Fannounce&tr=http%3A%2F%2Ftracker.renfei.net%3A8080%2Fannounce&tr=https%3A%2F%2Ftracker.tamersunion.org%3A443%2Fannounce&tr=udp%3A%2F%2Fexplodie.org%3A6969%2Fannounce&tr=https%3A%2F%2Ftrackers.mlsub.net%3A443%2Fannounce&tr=udp%3A%2F%2Fexodus.desync.com%3A6969%2Fannounce&tr=udp%3A%2F%2Fp4p.arenabg.com%3A1337%2Fannounce&tr=udp%3A%2F%2Fopentracker.io%3A6969%2Fannounce&tr=udp%3A%2F%2Fd40969.acod.regrucolo.ru%3A6969%2Fannounce&tr=udp%3A%2F%2Ftracker.opentrackr.org%3A1337%2Fannounce&tr=http%3A%2F%2Ftracker.openbittorrent.com%3A80%2Fannounce&tr=udp%3A%2F%2Fopentracker.i2p.rocks%3A6969%2Fannounce&tr=udp%3A%2F%2Ftracker.internetwarriors.net%3A1337%2Fannounce&tr=udp%3A%2F%2Ftracker.leechers-paradise.org%3A6969%2Fannounce&tr=udp%3A%2F%2Fcoppersurfer.tk%3A6969%2Fannounce&tr=udp%3A%2F%2Ftracker.zer0day.to%3A1337%2Fannounce","\u003Cp>\u003C/p>\n\u003Cp class=\"align-center\">\n\u003Cbr>\u003Cbr>\u003Cdiv class=\"image-progress-wrapper\">\u003Cimg alt=\"Movie cover image\" src=\"https://imgsaver.com/images/2024/05/05/09.png\" class=\"img-responsive descrimg\">\u003Cdiv class=\"image-progress-bar\">\u003Cdiv class=\"image-progress-fill\">\u003C/div>\u003C/div>\u003C/div>\u003Cbr>\u003Cbr>Year:  1983\n\u003Cbr>Country:  France, Belgium\n\u003Cbr>Director:  Chantal Akerman\n\u003Cbr>Cast:  Pina Bausch, Chantal Akerman\n\u003Cbr>IMBD:  \u003Ca target=\"_blank\" href=\"https://www.imdb.com/title/tt0086506/\">Link\u003C/a>\n\u003Cbr>\u003Cbr>\u003Cstrong>Language \u003C/strong>: French\n\u003Cbr>\u003Cstrong>Subtitles \u003C/strong>: English, Italian\n\u003Cbr>\u003Cbr>\u003Cbr>\u003Cbr>\u003Cdiv class=\"image-progress-wrapper\">\u003Cimg alt=\"Movie cover image\" src=\"https://imgsaver.com/images/2024/05/05/zzzz.png\" class=\"img-responsive descrimg\">\u003Cdiv class=\"image-progress-bar\">\u003Cdiv class=\"image-progress-fill\">\u003C/div>\u003C/div>\u003C/div>\u003Cbr>\u003Cbr>Transposing  Gilles  Deleuze’s  and  Félix  Guattari’s  concept  of  the  ‘minor’  to  the  gestural,  Erin  Manning  writes:  ‘[t]he  minor  gesture  punctually  reorients  experience’,  and  she  continues:  ‘[t]he  event  and  the  minor  gesture  are  always  in co-composition, the minor punctuating process, moving the welling event in new and divergent directions that alter the orientation of where the event might otherwise have settled’. This article draws on Manning’s concept of the minor gesture in a double sense. It associates its metaphorical resonance with the ways in which Pina Bausch and Chantal Akerman open up experience and events to ‘variability’ and, more literally, it zooms in on Bausch and Akerman as artists who are concerned with the small, actual gestures both of choreographed dance and everyday life. It considers Bausch’s choreography as a gestural practice that intervenes  into  everyday  comportment  and  habits  to  show  or  incite  potential  variation and  it  traces  how  Akerman’s  filmic  intervention  into  Bausch’s  work  intensifies  and  alters  (our  readings  of)  this  work  in  turn,  enhancing  what  is  there and adding new orientations to thematic pathways that it might indicate.Akerman’s  1983  documentary  Un  jour  Pina  a  demandé...  creates  a  sense  of  intimate  yet  respectful  proximity  to  the  dancers.  This  proximity  rests  not  least  on the filming of activities that involve hands, both on and off stage, as they are engaged  in  forming  dance  gestures,  but  also  in  smoking,  putting  on  make-up,  tying  ties,  performing  gestures  of  tenderness  or  of  sign  language,  and  also  of  ‘marking’  movement  sequences.  Hand  gestures,  here,  can  be  both  functional  and meaningful; yet even more importantly, Akerman’s filming brings to the fore their tactile and social dimensions. This is less a matter of appropriating, but of sharing  a  choreographic  concern  for  gestural  hands,  testifying  to  an  aesthetic  preoccupation  with  conduct  that  ultimately  belongs  to  the  commitment  of  Akerman  and  Bausch  to  what  might  be  called  an  ethics  of  gesture,  carried  out  across the media of dance and film.\n\u003Cbr>\u003Cbr>One of the most urgent questions, when exploring Akerman’s documentary, relates to the vast discrepancy there must have been between the available and the  ultimately  chosen  footage;  and  to  the  thought  that  must  have  gone  into  singling  out  what  to  include.  Akerman  and  her  team  accompanied  Bausch  on  tour  from  Wuppertal  to  Milan,  Venice,  and  Avignon,  recording  run-throughs  and performances of five pieces: Komm tanz mit mir (1977), Kontakthof (1978), 1980, Walzer (1982), and Nelken (1983). All of these pieces are between about two and three and a half hours long. How did Akerman pick the passages that made  it  into  her  57-minute  documentary,  how  did  she  decide  what  to  show  and what not to show? We can only attempt to answer this question. What we see is that the filmmaker went for a collage of clips of performances, rehearsals, and  backstage  sequences  that  echoes  Bausch’s  own  collages  of  scenes  in  her  performance works. These clips are juxtaposed or respond to each other across the length of the film in ways that go beyond the documentary in the strict sense, to bring about an insightful variation of Bausch’s choreographies in the form of a new, co-authored piece of filmic dance theatre: Un jour Pina a demandé.... \n\u003Cbr>\u003Cbr>Among  Akerman’s  chosen  clips  is  the  following:  about  twenty  minutes  into  the  film,  we  witness  one  of  the  most  memorable  stagings  of  tactile  hands  in  Bausch’s œuvre, shown during a performance at the Scala in Milan. It is part of Kontakthof and it draws out this piece’s declared interest in (sites for) ‘contact’. Dancer  Nazareth  Panadero,  wearing  a  pink,  flowy  dress  with  lace  inserts  as  if  made  for  a  doll,  is  surrounded  by  perhaps  eight  men,  who  touch  and  test  her  body  with  over-agitated  but  also  business-like  gestures.  This  is  recorded  in  a  medium shot, hardly allowing for an orientating scan of the entire group. Carrying out  moves  that  are  both  childish  and  possessive,  hands  ruffle  Panadero’s  hair,  tickle or press the tip of her nose, pinch her cheek, massage her shoulders, stroke her belly, caress her temple, smack her bottom (fig. 1). The female dancer does not show any reaction, she remains passive and silent. The men let her down to the floor and pick her up again while her head and limbs hang loose. When she is on the floor, someone shakes the flesh on the inside of her upper arm, another one rubs his head on her stomach. The longer the routine continues, the more it speeds  up,  lasting  approximately  three  increasingly  unsettling  minutes  beyond  the  duration  of  the  nostalgic  love  song  ‘Spring  and  Sunshine’  (Frühling  und  Sonnenschein) which accompanies it. When the men finally let go of Panadero, she  simply  keeps  on  standing  there,  before  she  picks  up  her  shoes  and  leaves.  The men are joined by another woman in a pale blue dress, who leads them into one  of  Bausch’s  signature  ‘lines’  or  circles,  in  which  dancers  walk  in  linear  procession  behind  each  other  while  performing  looped  sequences  of  arm movements  and  hand  gestures.  Now,  the  gestures  are  more  subdued  ones,  resembling  the  typical  displacement  activities  of  social  comportment:  a  little  scratch  of  the  neck,  smoothing  down  one’s  jacket,  a  half-embarrassed  smile  across  the  shoulder;  but  also  breathing  out  with  puffed-up  cheeks,  as  if  in  frowning, self-inflated commentary on the previous goings-on. The piece’s other female dancers also join the line. Kontakthof ends with the entire cast walking in a large circle around the stage.\n\u003Cbr>\u003Cbr>Kontakthof’s  ‘doll  scene’  is  the  culmination  of  the  piece’s  gestural  leitmotiv  of  often  problematic  tenderness,  which  is  performed  in  a  number  of  hand-led  choreographic  sequences,  and  associated  with  the  repeated  use  of  the  song  ‘Spring and Sunshine’. Apart from the long take of the climactic scene, however,Un  jour  Pina  a  demandé...  does  not  show  us  any  of  these  other  sequences.  Instead,  Akerman  contextualises  the  doll  scene  by  regularly  punctuating  her  film  with  short,  isolated  clips  of  couples  who  enact  encounters  in  front  of  the  green padded walls of the company’s working space, the Wuppertal Lichtburg. In  one  of  these  clips,  we  see  a  couple  practicing  the  idiosyncratic  gestures  of  tenderness  on  each  other.  As  the  performers  keep  on  repeating  their  gestural  routine,  they  give  us  a  chance  to  observe  with  attentiveness  what  they  do,  so  that we recognize single moves and touches from the doll scene without being distracted  by  the  speed  and  multiplicity  of  hands  that  make  up  its  spectacular  group setting. If that setting unfolds a disturbing emotional effect, the couple’s rehearsal makes clear that it studies the form, not the dramatic impact, of touch. Akerman uses the analytical quality of this rehearsal to counter the affective blow of the performed version. Another one of Akerman’s choices of footage works in similarly re-routing fashion. Showing one of the processional lines from Walzer, she makes us realise how this piece also takes up Kontakthof’s ambivalent hand gestures, now possibly in order to redeem them by way of the light-hearted, hip-swinging  élan  and  the  greater  agency  of  the  female  dancers,  who  perform  the  routine of hair-ruffling and nose-pinching first on the men, then in the air while waltz-stepping away from them.\n\u003Cbr>\u003Cbr>In addition, Akerman places Kontakthof’s doll scene in between two backstage sequences. The first sequence catches moments at various points of time before the beginning of a performance. It shows us dancers in calm, but also focused or  expectant  moods,  resting,  waiting,  and  smoking,  in  street  attire;  it  shows  them getting ready, applying makeup, rehearsing, already in costume, movement phrases  by  marking  them  with  their  hands.  A  dancer  sits  at  a  piano  and  plays  a  jazz  piece,  very  different  from  the  songs  and  musical  excerpts  that  Bausch chooses for her performances. We hear muffled talk. Another dancer is tying his tie and smoothing his hair in front of a full-length mirror. A female performer quietly  sings  ‘My  Bonnie  lies  over  the  Ocean’  while  applying  powder  with  a  brush. The backstage sequence that succeeds the recording of Kontakthof’s final passages  displays  a  different  mood;  quick  changeovers  during  a  performance  indicate an alert atmosphere. We see a male dancer (Lutz Förster) first standing, apparently  just  having  changed  into  a  new  outfit,  then  sitting  in  front  of  a  makeshift mirror in dim light while two women and two men help him with the final touches of his makeup and clothes. The film cuts to Dominique Mercy in pin-stripe suit who refreshes the foundation on his face, using a powder puff to cover the sweat. Panadero, chewing gum in mouth, takes over the puff as soon as  he  is  done.  More  dancers  huddle  in  front  of  another  mirror  to  check  their  faces. Loud voices intrude from the stage, mingling with whispered chatting in the wings. Hairspray is passed round, pins attached to buns, hands rubbed clean with tissues. Mechthild Großmann is having a smoke and sipping coffee. While we saw Mercy cross-legged against a wall, taking a drag in comfortable clothes in a moment of rest at the beginning of the first backstage sequence, he is now smoking again, but in more formal fashion, sitting in his buttoned-up suit on a chair, with a collected, slightly tense face.\n\u003Cbr>\u003Cbr>By   including   the   functional,   everyday   backstage   moves   of   professional   performers  in  her  documentary,  Akerman  echoes  Bausch’s  own  principle  of  putting  on  stage  and  choreographing  mundane  comportment.  Framed  by  the  camera,  quotidian  hand  moves  thus  become  gestures,  acquiring  equal  value  as  those  we  see  in  the  clips  from  performances. Activating  the  interventionist  potential  of  Manning’s  concept  of  the  minor  gesture,  this  becoming-gesture  implies the creation by the filmmaker and the choreographer of conditions that allow for the ‘variability’ of the events or comportments that they work with. As in the scene of the couple in front of the green wall that shows us another version of the touching that we have witnessed before, it is in this variability that a self-reflective dimension arises. Akerman chooses and places her scenes so that they yield gestural commentary on each other. In the case of the backstage sequences, it is especially the passage with Förster being swiftly looked after by four people that  reflects  back  on  the  doll  performance.  Like  Panadero,  Förster  does  not  object  to  being  handled  by  a  group  of  colleagues.  Yet  he,  of  course,  receives  services that help him getting ready in haste. In addition, he is in control of what happens to him, reacting to one of the women’s touches by telling her that she just applied a little too much makeup. By contrast, Panadero puts all her strength into  remaining  controlled  enough  not  to  react  to  what  the  men  do  to  her.  She  invests energy into the maintenance of her passivity. This way, she prolongs rather than  shortens  her  ordeal.  Akerman’s  clips  follow  the  distribution  of  masculine  and feminine norms of behaviour that define large parts of Bausch’s œuvre. But, like Bausch herself, Akerman also diversifies gender performance, by directing the camera at a man to whom make-up is applied; while filming the doll scene at such length as to reveal the steadfast endurance of the female performer whose stamina  outlasts  the  men’s  handling.  If  the  functional  manual  activities  of  the  backstage setting become gestures through the direction of Akerman’s camera, the persistent reiteration of hand gestures in the passages that show deliberately staged behaviour leads us to perceive them in their functionality, rather than their signification. In this way, and closely echoing Bausch’s own strategies, Akerman handles touch: valuing the ordinary hand moves of the performers as gestures in their own right, while taking apart extraordinary gestures by giving us enough time to perceive them as (dis)functional units of manual operability.\n\u003Cbr>\u003Cbr>Can the directing of the gaze be a gesture, in the sense of taking viewers by the hand to share a precious selection of impressions with them? Or of making them cover  and  uncover  their  eyes  with  their  hands?  In  footage  of  a  run-through  of  Walzer that is included towards the beginning of the documentary, we see dancer Héléna Pikon’s head and bust in medium close-up. She is looking at something motionlessly, lifting her hands to her head and placing them right and left on her skull, in a take of about 90 seconds. The weight of her arms very slowly drags her hands and the skin on her temples down, so that her left eye begins to be slanted downwards,  impeding  her  visionIf  we  carry  out  the  gesture  of  the  woman by ourselves, we feel the warmth of our skull, covered by layers of hair, the pressure of our palms, the slight tension in the arms that are lifted while the shoulders are held down, and the pull on our skin as the hands ever so slowly descend along the temples. We also notice the diminution of our visual field with the increased pull at the corner of our eye. Our sight is being disfigured alongside the  disfigurement  of  our  face.  Akerman  points  up  a  concern  with  sight,  with  what to watch or acknowledge and, by extension, with what to show, in one of the  brief  interviews  of  the  film.  We  see  her  sitting  on  the  floor  underneath  a  window, saying to a woman who is placed towards the left-hand side of the frame, with her back to us (thus echoing our own position):\n\u003Cbr>\u003Cbr>When  I  watched  one  of  Pina’s  performances  for  the  first  time  a  couple  of  years  ago — it was Bandoneon — I was overcome by an emotion I can’t quite define. But it  was  very  very  strong  and  had  something  to  do  with  happiness.  And  now,  we’ve  been following her for two weeks. We’ve been watching her as she works, we’ve seen rehearsals,  performances,  rehearsals,  performances.  And  something  else  has  really  happened. There really have been moments during which I felt I had to defend myself from what was being expressed, moments in the performance when I had to close my eyes. And at the same time I don’t understand why.\n\u003Cbr>\u003Cbr>One specific sequence of the documentary seems to re-create this experience. It is a passage from a performance of Nelken in Avignon, which is inserted shortly after Akerman’s confession, and makes us want to close our eyes, and ears, in turn. This wish to defend ourselves is brought about by Akerman’s framing, restricting our gaze to the events at the front of the stage, while omitting that which happens in the background. What we see are women and men in evening gowns on a row of chairs, leaning back and placing their weight on their forearms while pushing their pelvis up — as if ‘jumping’ with their hips — so that they can change the crossing of their legs while momentarily being in the air. While we see them first from behind, the performers grab their chairs several times to rearrange them. As opposed to the many long, stable takes of the documentary, the camera here rushes around with the dancers’ actions. Performers are filmed from a low angle so that we get glimpses of white underpants, worn indiscriminately by all of them. They  repeat  their  movements  at  a  frantic  pace,  interspersing  their  leg-crossing  with fast seesawing passages where they lean backwards and forwards on their chairs while executing a brief arm routine. There is intensity in the soundscape too:  the  music  is  from  Franz  Schubert’s  string  quartet  Death  and  the  Maiden, overlaid with the increasingly urgent cries of a woman whom we do not see and who  breathlessly  shouts  (in  French),  as  far  as  we  can  understand  her:  ‘This  is  impossible!  What  are  you  doing?  No,  no;  yes!  Stop!  Don’t  do  this’,  ending  in  a  piercing  scream,  after  which  Akerman  cuts  to  another  backstage  sequence.  The  particular  concurrence  of  sonic  and  physical  exertion,  together  with  our  ignorance of the full picture, might force many of us to imagine rape. If Akerman had opened the entire stage to our gaze, we would know that the scene plays out in front of two large blocks of cardboard boxes that are built by a group of male performers  while  the  upset  woman  paces  between  them,  commenting  on  their  actions. Independent of its filming, the scene is still unsettling as the men do not respond to the woman’s pleading. The violent imaginary is however held further at bay. Akerman does not offer us this reassurance.\n\u003Cbr>\u003Cbr>Yet  again,  in  the  backstage  scenes  this  imagined  violation  of  intimacy  is  set  off against a space of safe privacy. Dancers are at ease changing in front of each other, and in front of the camera — note the filmmaker’s medium close-up of a bare-breasted female dancer who is brushing her hair. Such scenes suggest that Akerman’s  film  constitutes  a  document  of  friendship.  Akerman  and  her  team  lived with the company for three months, and viewers are allowed to re-live this experience. She begins her documentary in the mode of familiarity, in the middle of a stage rehearsal, focusing on Bausch giving instructions to her dancers without informing us about time, place and title of the piece that was being rehearsed at that moment. The documentary ends with a brief snippet of an interview with Bausch in a dressing room. Akerman, who is behind the camera, asks: ‘Pina, how do you see your future?’ The sweet and perhaps conspiratorial smile with which Bausch looks at Akerman before answering that she hopes for love and strength indicates a little less of the professional distance of other interviews. Familiarity between filmmaker and choreographer is also an effect of the pervasiveness of medium shots, medium close-ups, and occasional close-ups, allowing us to gain much more proximity to the dancers as compared to watching them in a theatre. Full-body shots that include the feet are rare. Mostly, the camera is set at a low height, omitting the floor and catching performers from the hips upwards. While this  angle  is  unusual  in  dance  filming,  which  normally  gives  much  attention  to  legwork, it epitomises Akerman’s reading of Bausch as a gestural choreographer. The familial closeness and perspective of the shots enables us to access gestural detail,  while  simultaneously  implying  the  director’s  presence.  Giuliana  Bruno  writes: ‘[a] visitor to Akerman’s world’ — or to Akerman filming Pina’s world — ‘can even become sensitized to her own position in it. The placement of her camera sometimes indicates where the author stands in all senses, since it even includes  the  measure  of  her  slight  height’. As  Bruno’s  move  from  anatomy  (‘slight  height’)  to  attitude  (‘where  the  author  stands  in  all  senses’)  indicates,  Akerman’s  filmic  aesthetic  is  also  an  ethics,  demonstrating  a  dedication  to  choreographic conduct that echoes Bausch’s own.\n\u003Cbr>\u003Cbr>Such  conduct  might  be  best  represented  by  the  minor  gesture  of  taking  someone by the hand. As Marina Nordera explores, the motor functions and the sensory and kinaesthetic qualities of this gesture gain symbolic value in dance.Lucia Ruprecht72In footage of a rehearsal sequence of Nelken, Jan Minarik, Urs Kaufmann, and Förster lead Mercy by the hand. This is set to an instrumental version of the ‘he’ll take my hand’ line in George Gershwin’s song ‘The Man I Love’, which Förster enacted in sign language in two previous scenes. It is a sequence in which the performers do not watch each other move, but make each other move, through gestural  intervention.  In  her  documentary,  Akerman  likewise  does  not  merely  record  the  choreographer’s  work,  but  intervenes  in  it,  by  her  choices  of  what  she shows, and how she shows it; sometimes appeasing its afflictions, sometimes drawing out their urgency. Like a friend, the film takes Bausch and her dancers ‘by the hand’, as it were, leading them towards new constellations. (Lucia Ruprecht)\n\u003Cbr>\u003C/p>\n\u003Cp>\n\u003Cbr>\u003Cbr>\u003C/p>\n\u003Cp class=\"align-center\">\n\u003Cbr>\u003Cdiv class=\"image-progress-wrapper\">\u003Cimg alt=\"Movie cover image\" src=\"https://imgsaver.com/images/2024/05/05/003.png\" class=\"img-responsive descrimg\">\u003Cdiv class=\"image-progress-bar\">\u003Cdiv class=\"image-progress-fill\">\u003C/div>\u003C/div>\u003C/div>\u003Cbr>\u003Cbr>[ About file ]\n\u003Cbr>\u003Cbr>Name: One Day Pina Asked...Chantal Akerman.1983.BluRay.KG.mkv\n\u003Cbr>Date: Tue, 06 Jan 2026 19:38:24 +0100\n\u003Cbr>Size: 6,952,214,277 bytes (6630.148198 MiB)\n\u003Cbr>\u003Cbr>[ Magic ]\n\u003Cbr>\u003Cbr>File type: Matroska data\n\u003Cbr>File type: EBML file, creator matroska\n\u003Cbr>\u003Cbr>[ Generic infos ]\n\u003Cbr>\u003Cbr>Duration: 00:57:06 (3425.856 s)\n\u003Cbr>Container: matroska\n\u003Cbr>Production date: Fri, 08 Nov 2024 16:23:09 +0100\n\u003Cbr>Total tracks: 3\n\u003Cbr>Track nr. 1: video (V_MPEG4/ISO/AVC) {und}\n\u003Cbr>Track nr. 2: audio (A_FLAC) {fre}\n\u003Cbr>Track nr. 3: subtitle (S_TEXT/UTF8) {eng}\n\u003Cbr>Muxing library: libebml v1.4.5 + libmatroska v1.7.1\n\u003Cbr>Writing application: mkvmerge v82.0 ('I'm The President') 64-bit\n\u003Cbr>\u003Cbr>[ Relevant data ]\n\u003Cbr>\u003Cbr>Resolution: 1436 x 1080\n\u003Cbr>Width: multiple of 4\n\u003Cbr>Height: multiple of 8\n\u003Cbr>Average DRF: 20.385155\n\u003Cbr>Standard deviation: 3.71985\n\u003Cbr>Std. dev. weighted mean: 3.594551\n\u003Cbr>\u003Cbr>[ Video track ]\n\u003Cbr>\u003Cbr>Codec ID: V_MPEG4/ISO/AVC\n\u003Cbr>Resolution: 1436 x 1080\n\u003Cbr>Frame aspect ratio: 359:270 = 1.32963 (~4:3)\n\u003Cbr>Pixel aspect ratio: 1:1 = 1\n\u003Cbr>Display aspect ratio: 359:270 = 1.32963 (~4:3)\n\u003Cbr>Framerate: 25 fps\n\u003Cbr>Stream size: 6,849,427,884 bytes (6532.123455 MiB)\n\u003Cbr>Duration (bs): 00:57:06 (3425.84 s)\n\u003Cbr>Bitrate (bs): 15994.740873 kbps\n\u003Cbr>Qf: 0.412533\n\u003Cbr>\u003Cbr>[ Audio track ]\n\u003Cbr>\u003Cbr>Codec ID: A_FLAC\n\u003Cbr>Sampling frequency: 48000 Hz\n\u003Cbr>Channels: 2\n\u003Cbr>Sample size: 16-bit\n\u003Cbr>\u003Cbr>[ Video bitstream ]\n\u003Cbr>\u003Cbr>Bitstream type: MPEG-4 Part 10\n\u003Cbr>User data: x264 | core 164 r3186 585e0199 | H.264/MPEG-4 AVC codec\n\u003Cbr>User data: Copyleft 2003-2024 | http://www.videolan.org/x264.html | cabac=1\n\u003Cbr>User data: ref=5 | deblock=1:-3:-3 | analyse=0x3:0x133 | me=umh | subme=10\n\u003Cbr>User data: psy=1 | psy_rd=1.00:0.00 | mixed_ref=1 | me_range=32 | chroma_me=1\n\u003Cbr>User data: trellis=2 | 8x8dct=1 | cqm=0 | deadzone=21,11 | fast_pskip=0\n\u003Cbr>User data: chroma_qp_offset=-2 | threads=6 | lookahead_threads=1\n\u003Cbr>User data: sliced_threads=0 | nr=0 | decimate=0 | interlaced=0\n\u003Cbr>User data: bluray_compat=0 | constrained_intra=0 | bframes=8 | b_pyramid=2\n\u003Cbr>User data: b_adapt=2 | b_bias=0 | direct=3 | weightb=1 | open_gop=0 | weightp=2\n\u003Cbr>User data: keyint=250 | keyint_min=25 | scenecut=40 | intra_refresh=0\n\u003Cbr>User data: rc_lookahead=60 | rc=2pass | mbtree=0 | bitrate=16000 | ratetol=1.0\n\u003Cbr>User data: qcomp=0.60 | qpmin=0 | qpmax=69 | qpstep=4 | cplxblur=20.0\n\u003Cbr>User data: qblur=0.5 | vbv_maxrate=62500 | vbv_bufsize=78125 | nal_hrd=none\n\u003Cbr>User data: filler=0 | ip_ratio=1.40 | pb_ratio=1.30 | aq=2:1.00\n\u003Cbr>SPS id: 0\n\u003Cbr>  Profile: \u003Ca href=\"/cdn-cgi/l/email-protection\" class=\"__cf_email__\" data-cfemail=\"733b1a141b333f475d42\">[email protected]\u003C/a>\n\u003Cbr>  Num ref frames: 5\n\u003Cbr>  Aspect ratio: Square pixels\n\u003Cbr>  Chroma format: YUV 4:2:0\n\u003Cbr>PPS id: 0 (SPS: 0)\n\u003Cbr>  Entropy coding type: CABAC\n\u003Cbr>  Weighted prediction: P slices - explicit weighted prediction\n\u003Cbr>  Weighted bipred idc: B slices - implicit weighted prediction\n\u003Cbr>  8x8dct: Yes\n\u003Cbr>Total frames: 85,646\n\u003Cbr>Drop/delay frames: 0\n\u003Cbr>Corrupt frames: 0\n\u003Cbr>\u003Cbr>P-slices: 16394 ( 19.142 %) ####\n\u003Cbr>B-slices: 68894 ( 80.440 %) ################\n\u003Cbr>I-slices:   358 (  0.418 %)\n\u003Cbr>SP-slices:     0 (  0.000 %)\n\u003Cbr>SI-slices:     0 (  0.000 %)\n\u003Cbr>\u003Cbr>[ DRF analysis ]\n\u003Cbr>\u003Cbr>average DRF: 20.385155\n\u003Cbr>standard deviation: 3.71985\n\u003Cbr>max DRF: 34\n\u003Cbr>\u003Cbr>DRF=1:    54 (  0.063 %)\n\u003Cbr>DRF=2:     6 (  0.007 %)\n\u003Cbr>DRF=3:     8 (  0.009 %)\n\u003Cbr>DRF=4:     7 (  0.008 %)\n\u003Cbr>DRF=5:    25 (  0.029 %)\n\u003Cbr>DRF=6:    22 (  0.026 %)\n\u003Cbr>DRF=7:    37 (  0.043 %)\n\u003Cbr>DRF=8:   126 (  0.147 %)\n\u003Cbr>DRF=9:   242 (  0.283 %)\n\u003Cbr>DRF=10:   438 (  0.511 %)\n\u003Cbr>DRF=11:   587 (  0.685 %)\n\u003Cbr>DRF=12:   628 (  0.733 %)\n\u003Cbr>DRF=13:   744 (  0.869 %)\n\u003Cbr>DRF=14:  1312 (  1.532 %)\n\u003Cbr>DRF=15:  1453 (  1.697 %)\n\u003Cbr>DRF=16:  3179 (  3.712 %) #\n\u003Cbr>DRF=17:  5474 (  6.391 %) #\n\u003Cbr>DRF=18:  9229 ( 10.776 %) ##\n\u003Cbr>DRF=19: 11010 ( 12.855 %) ###\n\u003Cbr>DRF=20: 12040 ( 14.058 %) ###\n\u003Cbr>DRF=21: 10647 ( 12.431 %) ##\n\u003Cbr>DRF=22:  4899 (  5.720 %) #\n\u003Cbr>DRF=23:  4515 (  5.272 %) #\n\u003Cbr>DRF=24:  5482 (  6.401 %) #\n\u003Cbr>DRF=25:  5947 (  6.944 %) #\n\u003Cbr>DRF=26:  4031 (  4.707 %) #\n\u003Cbr>DRF=27:  1957 (  2.285 %)\n\u003Cbr>DRF=28:   841 (  0.982 %)\n\u003Cbr>DRF=29:   350 (  0.409 %)\n\u003Cbr>DRF=30:   101 (  0.118 %)\n\u003Cbr>DRF=31:    67 (  0.078 %)\n\u003Cbr>DRF=32:    39 (  0.046 %)\n\u003Cbr>DRF=33:    20 (  0.023 %)\n\u003Cbr>DRF=34:     1 (  0.001 %)\n\u003Cbr>DRF>34:     0 (  0.000 %)\n\u003Cbr>\u003Cbr>P-slices average DRF: 18.520922\n\u003Cbr>P-slices std. deviation: 3.481993\n\u003Cbr>P-slices max DRF: 31\n\u003Cbr>\u003Cbr>B-slices average DRF: 20.850626\n\u003Cbr>B-slices std. deviation: 3.621205\n\u003Cbr>B-slices max DRF: 34\n\u003Cbr>\u003Cbr>I-slices average DRF: 16.178771\n\u003Cbr>I-slices std. deviation: 3.619685\n\u003Cbr>I-slices max DRF: 25\n\u003Cbr>\u003Cbr>This report was created by AVInaptic (01-11-2020) on 8-01-2026 00:31:58\n\u003Cbr>\u003Cbr>\u003Cbr>\u003Cbr>\u003Cdiv class=\"image-progress-wrapper\">\u003Cimg alt=\"Movie cover image\" src=\"https://imgsaver.com/images/2024/05/05/002.png\" class=\"img-responsive descrimg\">\u003Cdiv class=\"image-progress-bar\">\u003Cdiv class=\"image-progress-fill\">\u003C/div>\u003C/div>\u003C/div>\u003Cbr>\u003Cbr>\u003Ca target=\"_blank\" href=\"https://imgbox.com/9CqKNmdn\">\u003Cdiv class=\"image-progress-wrapper\">\u003Cimg alt=\"Movie cover image\" src=\"https://thumbs2.imgbox.com/b6/4b/9CqKNmdn_t.png\" class=\"img-responsive descrimg\">\u003Cdiv class=\"image-progress-bar\">\u003Cdiv class=\"image-progress-fill\">\u003C/div>\u003C/div>\u003C/div>\u003C/a>\n\u003Cbr>\u003Cbr>\u003Ca target=\"_blank\" href=\"https://imgbox.com/ngL8Y4nt\">\u003Cdiv class=\"image-progress-wrapper\">\u003Cimg alt=\"Movie cover image\" src=\"https://thumbs2.imgbox.com/c0/02/ngL8Y4nt_t.png\" class=\"img-responsive descrimg\">\u003Cdiv class=\"image-progress-bar\">\u003Cdiv class=\"image-progress-fill\">\u003C/div>\u003C/div>\u003C/div>\u003C/a>\n\u003Cbr>\u003Cbr>\u003Ca target=\"_blank\" href=\"https://imgbox.com/U3joxMbZ\">\u003Cdiv class=\"image-progress-wrapper\">\u003Cimg alt=\"Movie cover image\" src=\"https://thumbs2.imgbox.com/ce/83/U3joxMbZ_t.png\" class=\"img-responsive descrimg\">\u003Cdiv class=\"image-progress-bar\">\u003Cdiv class=\"image-progress-fill\">\u003C/div>\u003C/div>\u003C/div>\u003C/a>\n\u003Cbr>\u003Cbr>\u003Ca target=\"_blank\" href=\"https://imgbox.com/SvFR7Ebh\">\u003Cdiv class=\"image-progress-wrapper\">\u003Cimg alt=\"Movie cover image\" src=\"https://thumbs2.imgbox.com/7f/5c/SvFR7Ebh_t.png\" class=\"img-responsive descrimg\">\u003Cdiv class=\"image-progress-bar\">\u003Cdiv class=\"image-progress-fill\">\u003C/div>\u003C/div>\u003C/div>\u003C/a>\n\u003Cbr>\u003Cbr>\u003C/p>\n\u003Cp>\u003C/p>","\u003Ch2>Files: \u003C/h2>\n                            \u003Cspan class=\"head\">\u003Ci class=\"flaticon-folder\">\u003C/i>One Day Pina Asked...1983\u003C/span>\n\u003Cul>\n\u003Cli>\n\u003Ci class=\"flaticon-movies\">\u003C/i>One Day Pina Asked...Chantal Akerman.1983.BluRay.KG.mkv (6.5 GB)\u003C/li>\n\u003Cli>\n\u003Ci class=\"flaticon-movies\">\u003C/i>One Day Pina Asked...Chantal Akerman.1983.BluRay.KG -ITA.srt (9.0 KB)\u003C/li>\n\u003C/ul>",0,"\u003Ch3>\n                                Code:\n                            \u003C/h3>\n                            \u003Cul>\n                                \u003Cli>\n                                        \u003Cspan class=\"icon\">\n                                            \u003Ci class=\"flaticon-href-link\">\n                                            \u003C/i>\n                                        \u003C/span>\n                                        udp://tracker.opentrackr.org:1337/announce                                    \u003C/li>\u003Cli>\n                                        \u003Cspan class=\"icon\">\n                                            \u003Ci class=\"flaticon-href-link\">\n                                            \u003C/i>\n                                        \u003C/span>\n                                        udp://tracker.torrent.eu.org:451/announce                                    \u003C/li>\u003Cli>\n                                        \u003Cspan class=\"icon\">\n                                            \u003Ci class=\"flaticon-href-link\">\n                                            \u003C/i>\n                                        \u003C/span>\n                                        udp://open.stealth.si:80/announce                                    \u003C/li>\u003Cli>\n                                        \u003Cspan class=\"icon\">\n                                            \u003Ci class=\"flaticon-href-link\">\n                                            \u003C/i>\n                                        \u003C/span>\n                                        udp://tracker.tiny-vps.com:6969/announce                                    \u003C/li>\u003Cli>\n                                        \u003Cspan class=\"icon\">\n                                            \u003Ci class=\"flaticon-href-link\">\n                                            \u003C/i>\n                                        \u003C/span>\n                                        http://tracker.bt4g.com:2095/announce                                    \u003C/li>\u003Cli>\n                                        \u003Cspan class=\"icon\">\n                                            \u003Ci class=\"flaticon-href-link\">\n                                            \u003C/i>\n                                        \u003C/span>\n                                        udp://tracker.dler.org:6969/announce                                    \u003C/li>\u003Cli>\n                                        \u003Cspan class=\"icon\">\n                                            \u003Ci class=\"flaticon-href-link\">\n                                            \u003C/i>\n                                        \u003C/span>\n                                        http://tracker.renfei.net:8080/announce                                    \u003C/li>\u003Cli>\n                                        \u003Cspan class=\"icon\">\n                                            \u003Ci class=\"flaticon-href-link\">\n                                            \u003C/i>\n                                        \u003C/span>\n                                        https://tracker.tamersunion.org:443/announce                                    \u003C/li>\u003Cli>\n                                        \u003Cspan class=\"icon\">\n                                            \u003Ci class=\"flaticon-href-link\">\n                                            \u003C/i>\n                                        \u003C/span>\n                                        udp://explodie.org:6969/announce                                    \u003C/li>\u003Cli>\n                                        \u003Cspan class=\"icon\">\n                                            \u003Ci class=\"flaticon-href-link\">\n                                            \u003C/i>\n                                        \u003C/span>\n                                        https://trackers.mlsub.net:443/announce                                    \u003C/li>\u003Cli>\n                                        \u003Cspan class=\"icon\">\n                                            \u003Ci class=\"flaticon-href-link\">\n                                            \u003C/i>\n                                        \u003C/span>\n                                        udp://exodus.desync.com:6969/announce                                    \u003C/li>\u003Cli>\n                                        \u003Cspan class=\"icon\">\n                                            \u003Ci class=\"flaticon-href-link\">\n                                            \u003C/i>\n                                        \u003C/span>\n                                        udp://p4p.arenabg.com:1337/announce                                    \u003C/li>\u003Cli>\n                                        \u003Cspan class=\"icon\">\n                                            \u003Ci class=\"flaticon-href-link\">\n                                            \u003C/i>\n                                        \u003C/span>\n                                        udp://opentracker.io:6969/announce                                    \u003C/li>\u003Cli>\n                                        \u003Cspan class=\"icon\">\n                                            \u003Ci class=\"flaticon-href-link\">\n                                            \u003C/i>\n                                        \u003C/span>\n                                        udp://d40969.acod.regrucolo.ru:6969/announce                                    \u003C/li>                            \u003C/ul>","Jan. 08th '26","2026-01-12 09:30:28","2026-01-12T09:30:28.000000Z","one-day-pina-asked-1983-fre-sub-eng-ita-1080p-bluray-x264","Movies","HD","Jan. 12th '26",{"id":6,"name":29},{"id":7,"name":30,"icon":34},"flaticon-hd",[]]