-A hundred? -That's right.
By strange coincidence, that's exactly what l sell a painting for...
to a friend, of course. A dealer would charge you ten times more.
You'll be back when? About a month?
The way l plan to work, there'll be over a dozen for you to chose from.
the trouble is, at this moment, l do not have any.
Ask anyone in the South Seas, Charles Arnaud always collects his debts...
...especially from his friends. -Right.
lf you don't mind waiting, l have some money coming in from Paris.
Alright, l'll wait.
lt's a nice-looking piece. May l?
-Did you think that was empty? -l did, as a matter of fact.
You'll get to know me.
-Would you like to give a hundred? -What?
-To tide me over. -You've got a bloody cheek.
You will get to know me.
Schuff. Pick a share.
-What? -Pick a share.
-Alright, Consolidated Railways. -You've been plunging in those.
-Hardly plunging. -How many have you got?
l don't know. A few thousand.
200 says l can trade up the price of Consolidated Railways by at least...
3 francs. lf l fail, l pay you 200. lf l succeed, you pay me...
but your loss is covered by the rise in the share price. Are you on?
-Two hundred? -0h, for God's sake, Schuff.
This is perfect for a tidy little profit. No risk.
Buy a lot of Consolidated Railway at 68 francs. At my signal.
-Sell all our Consolidated Railways. -Are you sure?
-Monsieur Bertin. -Not at your desk?
-Good morning M. Bertin. -Gauguin.
-We have conducted an experiment. -lndeed?
l'd be glad to see you both at your desks.
Pompous ass. When l think of the money l've made for him.
Speaking of money, Schuff, we're up five.
l don't believe you had anything to do with it. lt was coincidence.
Be careful, Schuff, or l'll trade them back down tomorrow.
-Hey, mister. Want to try some? -l used to love to juggle.
You still do, with figures.
-But... -Stop that boy!
-l'm sorry. This is my fault. -Why can't you look where you go?
l just had my pocket picked. Are you hurt?
There doesn't seem to be any damage.
-ls this your work? -Yes.
-You're Pissarro. -You have the advantage of me.
l'm sorry, we've never met. l know your work. l'm a collector.
-ls it for sale? -l've been trying to sell it.
What are you asking? Would you take two hundred?
-Two hundred? Are you serious? -Perfectly.
-l was only asking fifty. -You're too honest.
-Not at all. l'd have taken twenty. -Well, it's too late.
l do not have my wallet. Please, take my card.
Come any evening, after six.
-Please, take it. -Are you sure?
Who'd want to steal a Pissarro? l wish somebody would.
-lt'd be a sign of success. -l think it's beautiful.
-Not another one. -What do you think?
Still it matches all the others, l suppose. That's something.
You have no taste.
-l have impeccable taste. -Yes, in men.
But in art, you are a barbarian.
Papa! Can l have a puppy, please? l'll feed him and l'll walk him!
l promise. Please?
When you're older, Aline.
-But Jean-Rene is older. He'll help. -lt's your idea, Aline.
-Please, Papa. -When you are older.
lt's not fair, l shall sulk.
-l'd rather have sulks than a puppy. -l agree.
-Good day to you. -Good day.
-l am Father Maurrin. -My new landlord. How do you do?
Well, well. Come. This way.
Not much of a place, l'm afraid.
As my colleague in Papeete may have told you...
l had it built for the master of the mission school.
Unfortunately, l had to dismiss the man.
Yes, so l gather.
-Why? -He went native.
if it suits you...
-Then, if l could have the rent... -Yes, the rent.
l was hoping we could come to some kind of an arrangement about that.
What kind of arrangement?
l was thinking maybe you would like one of my paintings in lieu.
l'm afraid that's quite out of the question.
Father Pierre was quite clear in his letter to me.
He said you'd agreed to pay half-yearly in advance. ln cash.
l did, but unfortunately, l find myself rather short at this moment.
-l see. -lf you'd be so kind as to wait...
l don't appear to have any choice...
but it is most unsatisfactory.
l shall have to charge interest on the outstanding amount.
Sunday mass is at 1 0 o'clock.
l'm sorry, madam never buys at the door.
But monsieur does. Come on in.
That's fine, Suzanne. Thank you.
You are a collector.
-May l? -Yes.
This is astonishing.
l'll take it. Same price as before.
Yes, yes, of course.
Your own work. You paint.
-l dabble. -How long have you been painting?
l have been dabbling for a few years.
You mean you've had no formal training?
-No, none at all. -What you've done is remarkable.
You have a rare, natural talent.
-You do not need to flatter me. -l have devoted my life to painting.
lf l thought this was rubbish l'd preserve a discreet silence.
-l don't think this is rubbish. -Really?
lt's very good.
Hello. Where have you sprung from?
-l'll be your vahine. -Vahine?
You want to live here and cook, and take care of this house?
What is your name?
-Tehura. -My name is Paul.
Everybody call you ''tatavahine''.
''Man-woman''. Why would they call me that?
And what do you think? Do you think l'm a man or a woman?
Cheer up, you lot. We're almost there.
They didn't want to come, you know.
-l did. -You would say that.
l don't know why we all have to be dragged down to lunch with them.
ln one or two years, you'll be dropping his name all over Paris.
There you go.
-They're here. Did you get coffee? -How many times must l tell you, yes?
-And cream. What about cream? -How am l to find money for cream?
They must take us as they find us. Children, come along.
-Pissarro! -You found us, then.
-Welcome to Pontoise. Come along. -This is Clovis.
-Hello, Clovis. Monsieur. -Hello.
-Madame. Delighted to meet you. -Mette.
-This is Aline. -My wife, Lucy. How do you do?
-Monsieur Gauguin. -Nice to meet you.
Lucy, why don't you take Madame Gauguin inside?
l've already prepared lunch. Nothing fancy...
but l think you'll find there is enough to go around.
l'm sure there is. lt's just that we're rather a tribe.
We didn't want to eat you out of house and home.
Just because your husband has bought a few paintings...
it doesn't mean you can patronize us.
l'm so sorry. l was thoughtless.
The last thing we wanted to do was to offend you.
Paul admires your husband's paintings enormously.
0h, dear! 0h, dear, what is it?
-Come on! -Pull!
l've never expected much.
l don't need much. But Camille...
he's such a proud man!
lt's terrible for him to see his children in hand-me-down clothing.
His family was quite well to do, you know.
He can't make a living.
Maybe if he painted in a more conventional style...
That's exactly what l say! l've told him a hundred times.
He is too advanced. The public don't understand.
We nearly got them! Pull! Pull!
They pity me, you know? People in the street.
l can see it in their eyes. Well, l pity them.
ln their hearts, they hate the littleness of their lives.
-But they're trapped. -0ff we go.
l love my life.
But then, what the hell does money mean? Nothing.
A man makes a fortune, the world calls him a great man. He dies...
the world forgets him. But the artist?
No, no. The artist touches the soul of the world and transforms it.
And the world remembers. Now that's greatness.
Now we've made it!
But then, what the hell does money mean?
The artist touches the soul of the world and transforms it.
And the world remembers. That's greatness.
Paul, where have you been?
What the devil are you doing, Gauguin?
You were supposed to attend to these this morning!
Gauguin, attend to these immediately.
We are losing money!
-What are you doing? -Paul, don't!
Stop it! Stop it at once!
Do you want to be dismissed?
You're dismissed. Do you hear me?
You are dismissed!
-Paint? -Yes, that's right.
l see. And exactly what are we going to live on?
-We've got money that l've saved. -And when it runs out?
-Feel better? -Much better.
Good. l want you to back to the Bourse, apologize to M. Bertin...
tell him you had a mental aberration and get your job back.
Mette, l am absolutely serious. l am done with stockbroking.
-l am going to paint. -You don't know a thing about it!
-Mette, l've got talent. l know it. -Now we get to it.
-The Gospel according to Pissarro. -lt's what l want to do.
He's just flattering you so you buy more of his ridiculous paintings!
What's the matter with you?
You used to have some sort of judgment.
lf you think l'm going to live like Lucy Pissarro, l tell you, l am not.
Mette, what has happened to you?
-What are you talking about? -When you accepted my proposal...
l had no prospects, no money. You wanted to leave Copenhagen.
You wanted a live of adventure. You wanted to move to Paris!
-What has happened? -l'll tell you, 4 children, Paul.
Have you thought about them? Their schools, education, future?
No, you haven't.
Do you remember how appalled your family was...
when you told them you were going to marry me?
l'm beginning to wish l had listened to them.
Do you remember what you wrote them? Because l do.
''Whatever Paul decides to do, he will succeed...
because he's that sort of man.''
l am still that sort of man, Mette.
l can be a painter.
l can be a great painter.
l've come all this way to paint... and l can't paint!
0bviously, it's not the best part of town.
Are there worse parts?
lt's just around the corner, here.
Here. Here we are. Now, just wait till you see inside.
Five minutes from the country. Better for the children.
Let's not pretend this has anything to do with the children.
-lt's perfect. -For you.
l have drifted my entire life. l drifted into the Merchant Marines.
l drifted into stockbroking.
Twice l've taken positive steps. 0ne was running away from school...
and the other was marrying you.
Now l know exactly what l want to do.
l know it with absolute certainty.
Please, share this adventure with me, Mette.
l promise you, you will never regret it.
''For the Lord your God is a merciful God.
He will not forsake you, nor destroy you.
Take heed to yourselves, lest you make for yourselves a carved image...
in the form of anything which the Lord your God has forbidden you.
When you are in distress with all these things upon you...''
Keep back. Stay back. Stay away. Stay away. Back.
-Easy, steady on. -Stay away.
-What are you going to do with it? -Burn it, of course.
-lt's a work of art. -lt's an abomination.
Keep away. Steady on. Stay back.
Keep back. Stay back. Hold back.
''You shall not make for yourselves a carved image...
any likeness of anything that is in heaven above...
or on the earth below, or in the water beneath the earth.
You shall not bow down to a carved image...
nor serve it...
for l, the Lord your God...
am a jealous God.
You shall not show honor to other Gods.
You shall destroy their altars and bring down their sacred places...
cut down their wooden images and burn them with fire.
Nor shall you bring an abomination into your house...
less you be doomed to destruction likewise.
You shall utterly detest it, and utterly abhor it...
for it is a cursed thing.
So says the Lord your God.''
You think l won't do you in because you're white?
Get out of here!
Can l help?
-How long has she been like this? -Two days.
Well, you seem to have cured her.
How does it feel? How does it feel, you bastard?
How does it feel?
How does that feel?
Are you sure? The pink one?
We can see it there at that shop. What are you doing?
Papa! l've got a new dress.
Come on now, inside. Come inside.
Go to your room Clovis. And you, Aline.
-But, Mama... -At once.
lt's not what you think. Take a look.
Three weeks ago l was passing by Suzanne's room. lt was her day off.
She was mending one of her shirts and suddenly l saw her picture.
l had no idea she was in the habit of doing her sewing stark naked.
What an interesting sidelight to her character.
She was not naked. ln my vision of the picture, she was.
-No doubt. -Nude is the greatest challenge.
l felt l should attempt one. She was just posing for me.
As l am conveniently out of the house.
l suppose you're sleeping with her.
No, as a matter of fact, l am not.
ls this really what she looks like, or are you just a very bad painter?
Beautiful, beautiful work.
Paul. You know who that is?
-Huysmans, the critic. -ls it?
Do you like it?
Please, forgive me, M. Huysmans.
l am one of your many readers. l'm an admirer.
l'm also a small art collector. Well, in a sort of way.
-This interests you? -Yes, it does.
lt should. lt's remarkable. The nude as the nude should be.
As only Rembrandt ever painted it.
This is a girl of our own day.
Not posing or simpering, but doing something useful...
mending her clothes. Gauguin has it in him to be a great artist.
ln my opinion, you should certainly consider investing in him.
l will, thank you.
Rembrandt. You see, Mette?
-Gauguin is here, come quickly! -Bravo! Bravo!
-Gauguin, the new Rembrandt. -Come along.
Cheers to Gauguin!
There you are. l paid your bail.
Come, get up.
-Sign here. -What was the charge?
Destruction of church property.
They'll drop the charges. They don't like putting a white in the dock.
lt makes the natives uppity. Anyway...
l've paid Father Maurrin compensation of 50 francs.
-50 francs? -He's done very nicely out of this.
l've also paid him the rent you owe him, too.
l reckon you better think about painting me a mural.
Why the hell did Maurrin take the rent?
You'd think he'd want to get rid of me.
Everyone needs enemies, especially in the colonies.
lt helps keeps the boredom at bay. Anyway, he wants the money.
They're all the same. ''Come unto me all of ye who are heavily laden.''
Except it's cash in advance, there's no credit. Hypocritical bastard.
-Still, l am grateful to him. -Are you?
l haven't been able to work or paint since l got here.
Your mind's been on other things.
lt's not a lack of subjects here, l'm surrounded by them.
lt's not good enough just to paint. You have to say something.
l'll take your word for it.
When l watched them burn the idol, l knew exactly what l must do.
Men like Maurrin, they're destroying these islands.
ln a few years, all of this will be gone.
But l can keep a record, with paint on canvass l can show people...
what there was, what was here.
You think so?
-Yes. -l don't.
You're right, in a few years time it will all be gone.
A bit of paint on canvass isn't going to make any bloody difference.
-Show me. -No.
Give it back!
l'm selling a painting.
No, madam never buys at the door.
Emile, have you washed your hands? Let me see.
The other one. Give it another wash.
-But Mama... -Go on.
Stop lolling about and put the food on the table.
-But l have a test tomorrow. -Will you do as your told? Now.
Where have you been?
Where have you been? Where?
l've written to my family. My grandmother will take us.
What are you talking about?
l'm taking the children to Copenhagen.
Don't be ridiculous, Mette.
What the hell else do you expect me to do?
lt's only a matter of time.
lt's only a matter of time before we'll be starving, Paul!
There is no more money. Can you get that into your head?
-We'll make do! -We'll make...
For God's sake!
For the first time in my life l am doing something that l want to do!
Something that is worthwhile! And l will not give it up!
''l, l, l... '' What about the children? What about me?
What do you want me to do? What?
Do you want me to go back to Paris? To do work that l despise?
So that you can swan up and down the Champs-Elysees...
in a carriage?
0r perhaps you would like to arrange a perfect marriage...
for our daughter Aline. 0r turn our three sons into bank managers.
lt is rubbish. lt is worthless rubbish.
First you were going to be the toast of art critics at cafes.
That didn't last very long, did it?
Then off to Rouen. The children get taken out of their schools...
and they lose their friends. And it's all worth it, isn't it?
Because we can live so much more cheaply in Rouen, can't we?
The bourgeois of Rouen...
they're falling all over themselves brawling to buy Papa's paintings.
And how many have you sold? Not a single one!
Don't you think it's time to stop and ask yourself why?
l'll tell you why. Here.
You're an amateur.
You understand that? Look at it. Look at it.
Look at your rubbish. l'm suppose to go without for this! For this!
-l'm supposed to go without... -How dare you? How dare you?
-How dare you? -Go on, hit me. Hit me, you...
You'll make it easier.
Unless you stop this madness, l'm leaving you.
You know what you are?
You're a fucking genius.
You're a fucking genius! Fucking genius!
Paradise this place could be. Garden of bloody Eden.
You know what fucked it all up?
Missionaries. Bastards like Maurrin.
That's what fucked it up.
l'm going to kill the bastard.
Father fucking Maurrin! l'm going to kill him.
That's a brilliant idea.
l'm going to kill the bastard. l'm going to shoot the bastard.
-Father Maurrin. Charming to see you. -Are you alright?
-l'm going to kill you. -Arnaud. You are drunk.
What are you scared of, Father?
Don't you want to meet God?
No problem there, surely.
A blameless life in the service of Mother Church...
converting the benighted fuzzy-wuzzyies.
Making sure the native girls don't show us their lovely tities...
and the boys don't get their cocks out on Sundays!
You don't look too happy.
A few dark corners?
Your dirty little secrets? 0r is it just occurring to you...
you might just be damned to hell for what you've done here already?
There's only one way to find out.
-lt's just my little joke. -Are you alright?
Do you think l scared him?
-Yes, l should say so. -Good.
Maybe l should have killed him.
-Why? You're no better. -What?
Think about it, Charles. First came the missionaries.
But then came the traders. What did the missionaries want? Souls.
The traders the easy money and the result...
Well, Charles, the result was this.
-What exactly do you mean by that? -You're shit's on the doorstep too.
-You better take that back! -Six shots, Charles, it's empty.
For Christ's sake, it's not even your fault. lt's no one's fault.
lt is what it is.
-Schuff, what are you doing here? -0ld Bertin's given me the day off.
How good of him.
He asked me to say you can have your job back whenever you like.
You've come all this way just to tell me that?
Mette wrote to me.
-She's been writing to everybody. -She's very distressed.
Paul, she means it, she'll leave you.
l really don't understand how you can do this to her.
Paul, you'll never make a living as a painter.
God knows it's hard enough for a professional.
Come back to Paris.
That is your advice for me, is it Schuff?
Let me give you some advice of my own.
You had best mind your own fucking business.
Come back, Paul.
lt won't be for long, l promise. Sweetheart.
l hate you painting! l hate it! l hate it! l hate it!
Aline, that's enough, now. Come on, come on.
How can you do this, Paul?
How can you do this?
l thought l should thank you.
-l don't think you were in danger. -Nevertheless.
That's all l had to say. l must be on my way.
l want to paint an idol.
When l first came here, l was posted to one of the outlying islands.
l was the first missionary ever to go there.
l'd been warned about idol worship.
But nothing prepared me for what l found.
l saw men groveling in the dirt in front of that hideous thing...
that they called their god.
Spilling their blood to appease it.
l looked in its face and l knew what it was.
lt was darkness, primeval knight. The Evil 0ne.
ln that instant, l knew why God had sent me here.
What he was calling me to do. Destroy it...
and all other idols.
That's what l've done, and that's what l will continue to do...
until these islands are cleansed.
What are you doing?
l know where there's an idol.
lt's a hard road, Paul. l did warn you.
lt's a hard road to travel alone.
l miss Mette and the children.
How can l go back? l belong here.
The friend would say one thing, the artist would say another.
What would the artist say?
Look, if you have a vision, if you're faithful to it...
and if in the end you succeed, then you do something important...
not just for yourself.
The artist defies the society he lives in because...
he can see further and deeper than other men.
Sometimes, there's a price.
And what would the friend say?
The price is too high for you, Paul.
Go to Copenhagen.
-We've got a puppy. -Yes, so l see.
-He's sweet. l walk him every day. -You do, do you? Jean-Rene.
-0h dear. -0h, God.
-Look at it all over you. -lt doesn't matter.
-Where is Emile? -He's inside.
Come on, everybody, let's go.
And this one sounds like it's for you.
-Thank you. -And this one's for you.
-Thank you. -And for me, l got a job.
-What? -Well, not exactly a job.
lt's an agency that pays on commission for a company in France.
Aren't you going to paint anymore then?
No, Papa is not going to paint anymore.
Go on, open it. l'll hold the puppy.
Look at that.
Marthe said she can help me find a job teaching French to young men...
in the diplomatic corps.
She said her best friend is headmaster of the academy.
lt's the best school in Denmark.
lt would be wonderful for Emile and Jean-Rene.
-She would help with the fees. -Mette.
Good afternoon. l represent the firm of D'Ely of Robaille.
My name is Paul Gauguin. Please, take my card.
0ur canvasses have been chemically treated according to a new formula...
making them completely water-resistant.
But, of course, the true strength of the canvas is in the weave.
We use a traditional pattern, making them incredibly strong...
yet very flexible. Please feel.
lt has the strength of a sail, yet you can fold it like a sheet.
Right. Thank you.
But, of course, the real strength in the canvas is the weave.
We use a traditional pattern, making it incredibly strong...
yet, at the same time it is flexible.
lt is as strong as a sail, yet you can fold it like a sheet.
l see what you mean. l'll ask my colleague to take a look.
lt won't take a minute.
l like what you're selling, but l'm not sure l like your prices so much.
You're too late, Maurrin!
-Tehura! -You are the same!
-Come, come. -Turpentine...
Papa's painting again!
Alright, now go upstairs, everybody. Come along. Come.
l have to leave. l'm sorry.
l must be able to paint. l must.
You can paint. You can paint here.
-Why not? -l just said l can't.
-Paul! -Pissarro, Monet, the rest of them...
they think they are leading the way.
The fact of the matter is that they are lost.
They are stuck! They have led themselves down a blind alley...
and they no longer know in which direction to go. But l do! Me!
l am going to do something different.
Something nobody has ever seen before, Mette.
Mette, l am here to start a revolution.
No, l did not think you would understand.
l understand. l understand exactly.
Life's just too bloody slow for you here, isn't it? No cafes, no women.
That's the truth, isn't it? lt's got nothing to do with art. Nothing!
You don't give a damn about me or the children. You never have.
lf you leave now, l'm never going to take you back, Paul.
l promise you.
lt's bloody marvelous.
You can have it, if you want.
lt's too good for me. l might have one of these other ones.
You've done it, haven't you?
You can go home now.
l thought when you were late perhaps you had changed your mind.
After coming all this way, l couldn't find a cab.
Thank you for coming.
-Pissarro is here. -0h, that devil.
-Would you like to see him? -0f course.
l could hardly recognize him. Look at him in that hat.
You could mistake him for a stockbroker.
-What happened? -He's a big success now.
People have come around to him. He's fetching huge prices.
-How wonderful. -Mette.
How very good to see you after all these years.
-Camille, you're looking well. -Well, l can't grumble.
-How's Lucy? -Well, very well.
-The children? -Flourishing.
All of them?
Well, your husband's been up to some tricks.
So, what do you think, Camille?
You promised to give me a candid opinion.
-Let's not spoil the occasion. -Ah, you don't approve.
Paul, l don't understand.
All this ugliness, this brutality...
the garish colors. Why?
Why can't you paint harmonious things? Beautiful things.
A river at sunset... daffodils in spring...
that is how to make money, Camille.
This... What the devil does it mean?
-You really don't understand? -No, l don't. Please enlighten me.
What has happened to you, Camille? lt is obvious, surely.
The bitch and her litter symbolizes primal birth, our origin as animals.
The women show how we have evolved into sentient beings...
capable of knowing ourselves and God.
The idol represents our capacity in its so-called primitive form.
The Last Supper is what Christians claim is eating in its ultimate form.
But the women...
the women here serving at the Lord's table, they show us...
that all religions aim to express the same mysteries...
in a myriad of different forms...
just like art itself.
0h, my dear, a red dog.
Yes, of course, you must be leaving.
Camille, l am so glad you came.
Don't give up. Whatever happens, don't give up.
So much for the revolution.
This was to be my great triumph...
to justify everything l've made you suffer, Mette.
You wouldn't let a little thing like total disaster bring you down.
l think you're getting somewhere, at last.
Then again, l don't have any taste at all in such things, do l?
l don't know.
You seem to be showing remarkable signs of improvement.
You could do even better.
-You think so? -l'm sure of it.
God, l wish l was.
l can feel the warmth of the sun. l can...
l can hear the whisper of the breeze...
and l can smell the flowers in the trees.
l feel l know these people.
l found out what their lives are like and you brought that.
You always said you could be a great painter, and you are.
You're a great painter.
And painting will never be the same.
The revolution has started.
Go back, Paul. Go back and finish it.
Go back to the South Seas, it's where you belong.
For once in your life, will you do as l say?
Now that would be a revolution.
To the barricades.
To the barricades.
Oh my dear, a red dog!
You're a fucking genius. Fucking genius.
You'll never make a living as a painter.
You're an amateur.
Gauguin has it in him to be a great artist.
You have a rare, natural talent.
Any likeness of anything that is in heaven above...
or on the earth below.
l'm never going to take you back, Paul. Never!
The price is too high for you, Paul.
Aren't you going to paint anymore, then?
Come back, Paul.
You're what you always said you would be, a great painter.
''Where have we come from? What are we? Where are we going?''
l must go on with the struggle. Always.
Always. To hope is almost to live.
And l can only live by forcing my allusions...
by creating hopes... hopes out of dreams.
Go back to the South Seas, Paul.
lt's where you belong.
l sit at my door, smoking a cigarette and sipping absynthe.
l enjoy the day without a care in the world.
l have been seduced at one point by this virgin land...
and its people. And l have returned.
To create something new you must go back to the infancy of humanity...
face to face with the mystery of our origins.
Where do we come from? What are we? Where are we going?
CAPTlONS BY VlDEOLAR
P S 2004
P T U
Pact of Silence The
Padre padrone (Paolo Taviani & Vittorio Taviani 1977 CD1
Padre padrone (Paolo Taviani & Vittorio Taviani 1977 CD2
Paid In Full
Paint Your Wagon 1969 CD1
Paint Your Wagon 1969 CD2
Pale Rider CD1
Pale Rider CD2
Pan Wolodyjowski CD1
Pan Wolodyjowski CD2
Panda Kopanda (Panda! Go Panda!)
Pandoras Box 1929 CD1
Pandoras Box 1929 CD2
Panic Room 2002
Paper The 1994
Paradine Case The (1947)
Paradise Hawaiian Style - Elvis Presley (Michael D Moore 1966)
Paradise Villa 2000
Paragraph 175 (Rob Epstein Jeffrey Friedman 1999)
Parallax View The 1974
Paran Deamun (1998)
Parapluies de Cherbourg Les
Parent Trap The CD1
Parent Trap The CD2
Paris - When It Sizzles (1964)
Paris Texas CD1
Paris Texas CD2
Parole officer The
Pasolini Volume 2
Passage to India CD1
Passage to India CD2
Passion 1982 30fps
Passion Of The Christ The
Patch of Blue
Pather Panchali (Satyajit Ray 1955)
Patlabor - The Movie - 1990
Patlabor The Movie 3 CD1
Patlabor The Movie 3 CD2
Patton CD1of3 1970
Patton CD2of3 1970
Patton CD3of3 1970
Paul McCartney Back In The US CD1
Paul McCartney Back In The US CD2
Pauline At The Beach
Pauline and Paulette
Pauly Shore is Dead
Peace Hotel The (1995)
Pearls and Pigs
Peculiarities of National Hunting
Pee-wees Big Adventure (1985)
Peep Show 1x1
Peep Show 1x2
Peep Show 1x3
Peep Show 1x4
Peep Show 1x5
Peep Show 1x6
Peeping Tom (1960)
Peking Opera Blues (1986)
Pelican Brief The
Pennies from Heaven (1981)
Pepe le Moko
Peppermint Frapp 1967
Perfect Murder A
Perfect Score The 2004
Perfect World A
Petek13th part 7 A new blood
Peter Pan (2003)
Petes Dragon (1977)
Petrified Forest The 1936
Peyton Place CD1
Peyton Place CD2
Phantom of the Paradise
Philadelphia Story The 1940
Phone - Byeong-ki Ahn 2002
Phouska I (The Bubble 2001)
Piano Lesson The
Pickup On South Street 1953
Piece of the Action A 1977 CD1
Piece of the Action A 1977 CD2
Pieces Of April
Pink Panther The - A Shot In The Dark (1964)
Pitfall The (Otoshiana 1962)
Planet Of The Apes (1969)
Planet of the Apes 1968
Planet of the Apes 2001
Planets The 1 - Different Worlds
Planets The 2 - Terra Firma
Planets The 3 - Giants
Planets The 4 - Moon
Planets The 5 - Star
Planets The 6 - Atmosphere
Planets The 7 - Life
Planets The 8 - Destiny
Plastic Tree CD1
Plastic Tree CD2
Platonic Sex CD1
Platonic Sex CD2
Platoon (Special Edition)
Play It Again Sam
Playing By Heart
Please Teach Me English (2003) CD1
Please Teach Me English (2003) CD2
Plumas de Caballo
Plunkett and Macleane
Pocketful of Miracles CD1
Pocketful of Miracles CD2
Pod Njenim Oknom (Beneath Her Window)
Poika ja ilves
Point Break - CD1 1991
Point Break - CD2 1991
Pokemon - Movie 1 - Mewtwo Strikes Back
Poker (2001) CD1
Poker (2001) CD2
Pokrovsky Gates The 25fps 1982
Pola X 1999 CD1
Pola X 1999 CD2
Police Academy (1984)
Police Academy 2 Their First Assignment 1985
Police Academy 3 Back in Training 1986
Police Academy 4 - Citizens on Patrol 1987
Police Story (2004) CD1
Police Story (2004) CD2
Police Story 2
Poltergeist 2 The Other Side 1986
Poltergeist 3 (1988)
Pork Chop Hill
Porky - Awful Orphan (1949)
Porky - Dough for the Do Do (1949)
Porky - Porky Chops (1949)
Porky - The Wearing of the Grin (1951)
Pornostar (Poruno Suta)
Port of Call (1948)
Portrait of a Lady The
Poseidon Adventure The
Poslusne hlasim (1957)
Possible Loves - Eng - 2000
Post Coitum 2004
Postman Blues (1997)
Power Play (2002)
Presidents Analyst The (1967)
Prick Up Your Ears
Pride and Prejudice
Pride and Prejudice CD1
Pride and Prejudice CD2
Pride and Prejudice CD3
Pride and Prejudice CD4
Pride and Prejudice CD5
Pride and Prejudice CD6
Pride and Prejudice The Making of
Pride and the Passion The
Prime of Miss Jean Brodie The CD1
Prime of Miss Jean Brodie The CD2
Prince and the Showgirl The
Princess Blade The
Princess Bride The
Princess Diaries The CD1
Princess Diaries The CD2
Princess Of Thieves
Princess and the Warrior The
Prisoner of Second Avenue The
Private Life of Sherlock Holmes The (1970)
Project A CD1
Project A CD2
Psycho - Collectors Edition
Public Enemy (2002 Korean) CD1
Public Enemy (2002 Korean) CD2
Public Enemy The
Pulp Fiction (1984)
Pump Up The Volume
Pumping Iron (1977)
Punisher The (2004)
Punisher The 1989
Pupendo (2003) CD1
Pupendo (2003) CD2
Purple Rose Of Cairo The
Purple Sunset (2001)
Pusong Mamon CD1
Pusong Mamon CD2