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" The elegant Auntie of
Tokyo, cashes in 'her'
club and opens a
retirement home on
the sea for gay
gentlemen . . and that
is just the beginning
of the story . .
"

In the film, Min Tanaka plays Himiko, a terminally ill gay man, and the founder of the titular gay seniors home Maison de Himiko. According to producer Osamu Kubota - quoted here - "the inspiration for the film's story came from his having read an Asahi newspaper article on the Home for Golden Gays, a gay seniors home founded in Manila by Justo C. Justo."

Maison de Himiko takes a highly novel point-of-view on the issue of a burgeoning aging Japanese population by centering its story around a retirement home for elderly gay gentlemen. Directed by Isshin Inudo (Josee, the Tiger and the Fish), who is one of those quality directors deeply respected in Japan but all but unknown in these parts, it manages the increasingly rare feat of being a mainstream tragicomedy that refuses to resort to quick and easy sentimentality. Saori (Shibasaki) is a young woman who seems to have given up on self-esteem. She is permanently short of cash, screws around with the boss at her part-time job, and spends her lunch breaks leafing through recruitment ads for phone sex workers. One day, handsome Haruhiko (Odagiri) shows up at her workplace, with a peculiar job offer: to come work part time as a maid at the retirement home where her estranged father (Tanaka) is spending his final days. The old man is dying and mostly bedridden. The pay offered is exceptionally good for a part-time position but the prospect puts her off; Saori has never forgiven her father for running out on her mother. That he has been openly gay, going under the name of Himiko while running one of the most popular gay establishments of his time and the fact that this dashing young man of her own age is her father's lover only adds insult to injury.

The themes of Maison de Himiko run, as themes tend to do, deeper than the subject of homosexuality alone. The titular retirement home is in many ways an enclave, a safe haven within society at large, where people are allowed to be themselves without fear of judgment or exclusion. Here, the need for tatemae, the public face, has disappeared. Despite her resistance, Saori is to all intents and purposes right at home there, since she too refuses to hide her disillusionment and anger from the real world. Her obstinate behavior and her refusal to look cute and act proper set her apart from her colleagues at her day job. But where she allows her grudges to isolate her, the inhabitants of the maison refuse to be hemmed in. The film derives much of its power from this investigation into human facades and their purpose. Saori hates her father for abandoning her mother, but fails to take his feelings into account. However, she comes to realize that the bond between her parents was more complex and tighter than she thought, even after their separation, and that it showed an ability to accept and forgive that she never even imagined possible.

Concurrently, Maison de Himiko also views its characters and their choices in life with acceptance and tolerance. It is not free of gay stereotypes, with two of the most enduring putting in appearances, that of the screaming queens and the romanticized pretty boys that are so dear to shojo manga readers. Most of the peripheral characters adhere squarely to the former sort, while Odagiri's is an exponent of the latter tradition. The film nevertheless manages to overcome such stereotyping because it cares for the people it depicts. The screenplay gives minor personages a trait or a back story that allows these men to gain an extra, usually tragic, dimension. A solid effort was made to present more than a cardboard cut-out. The actors latch on to these vestiges of humanity, while at the same time relishing the opportunity to run around in pastel frocks. The result, it must be said, is quite infectious.

On the other end of the scale, this motley bunch is balanced out nicely by a pair of grave, dignified performances courtesy of Joe Odagiri and Min Tanaka, who lend an unerringly dark heart to what could otherwise easily have turned into farce. In a role that most young actors with a following of teenage girls would turn down flat, Odagiri transforms his character into another of those enigmatic, troubled souls that are quickly becoming the ubiquitous young thespian's trademark. Tanaka meanwhile, is perhaps the most impressive presence in the film, even though he does little but sit at the sidelines of most scenes and observe. A dancer in real life, Tanaka cuts an imposing figure, giving Himiko a thoroughly unexpected air of unmistakably masculine cool, despite being dressed pretty much exclusively in silken night gowns and a head wrap ala Gloria Swanson in Sunset Boulevard.

A thoroughly de-glamorized Kou Shibasaki, finally, falls neatly in between these two extremes. For much of the film, she slouches around with a scowl, making no effort to hide her disdain and disgust for this community of queers, but at the same time she gets along with them phenomenally when it comes to boogying down on the dance floor or mimicking characters from TV Anime.

Maison de Himiko dances into camp with some over the top dance routines. A subplot follows the plot twist of the coming out process of a harassing underage neighborhood bully who spearheaded the anti-gay graffiti painted across the front wall of the Maison. Himiko's house is a pleasant place to while away an hour or two, no matter what your personal inclination may be. ~
.
FILM INFORMATION: ' The House of Himiko'

Web: Additional Cast, Details and Bios at IMDb
Director: Isshin Inudou
Writer: Aya Watanabe
Full Credits: Full Cast, Crew & Credits
Genre: Drama
Awards: 3 Wins
Runtime: 130 minutes
Spoken Language: Japanese
Subtitles: Download English .srt file
.
FILM PREVIEW: 'The House of Himilo'



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House of Himiko.part03.rar
House of Himiko.part05.rar
House of Himiko.part07.rar
House of Himiko.part09.rar
House of Himiko.part11.rar
House of Himiko.part13.rar
House of Himiko.part15.rar
House of Himiko.part02.rar
House of Himiko.part04.rar
House of Himiko.part06.rar
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Subtitles: Download English .srt file
.




Gus Van Sant's rock epiphany is the final film in his informal "Death Trilogy" which includes the films "Gerry" & "Elephant".

"It's a long lonely journey from death to birth." ~ Blake

Not everyone will love "Last Days." Nonetheless it concludes a minimalist trilogy that continued to build Gus Van Sant's credo as a serious and original filmmaker and did so better than anything since "Drugstore Cowboy" and "My Own Private Idaho". And in its way it's every bit as good as its predecessors, "Gerry" and "Elephant", and like them is HBO-sponsored and exquisitely filmed in a boxlike and claustrophobic small format. The irony is that this career-making role for the young Michael Pitt is that his role in "Last Days" contains little discernible dialogue and he only mumbles but he embodies, lives and becomes his role as few actors you will see have done. He goes to a dangerous and disturbing place. River Phoenix might have taken the part, but maybe it's a good thing for him he never did.

Pitt channels the dying spirit of Kurt Cobain as he was, isolated in a big house, avoided by people there and avoiding them and almost everyone who came looking or called. Once he picks up the phone when his producer is calling and he listens, but never speaks. Blake (Pitt's character's name) is a shaky, peripatetic Howard Hughes, who goes native in the first sequence, wandering in a daze, walking into the woods, bathing in a river, spending the night by a bonfire of sticks. The mumbling is eerie, it's eavesdropping without insight for us. As he returns to the house, stumbles about, prepares makeshift meals in the kitchen, puts on a dress and brandishes a shotgun, the lack of human interaction brings home as no dialogue-written scenes ever could how isolated and mad he has become.

Since "Last Days" is largely a mood piece -- a splendidly original, dreamlike one -- setting is crucial and the old stone house with its crumbling, paint-peeling walls and mess and sound equipment and instruments and paintings, is a major player, so well represented in the elegant, original cinematography of Harris Sayides that it resembles no place else you've ever been. There are three or four other people in the house -- the action's so chaotic and haphazard you may not quite know who or how many. One's clearly "Asia," Asia Argento, and she's sleeping with "Scott," Scott Green, and there's "Luke," Lucas Haas, tall and gangly in Coke-bottle glasses. Blake sneaks up on Asia and Scott with a shotgun when they're in bed together sleeping. Typically, nothing happens. He doesn't shoot, and they don't notice him. They and other people go out to and return from nightly revels. Blake is… just there.

As in "Elephant" Van Sant's approach is neutral. He does not analyze or explain or judge, and the actors are free to improvise and be themselves. Blake's respected because it's his house, but he's also a kook. Random visitors who're let inside are grotesque and comic: first it's dorky but cute twin Mormon "Elders," then a large well-spoken black man selling a renewal of a Yellow Pages ad from the year before. "How's your day been so far?" he asks as an opener. "Uh….it's another day…." mumbles Blake. He's cooperative in a rote sort of way but there's little indication he knows what he's talking about. There's a detective and a young man who once knew Blake, who escapes them and other people by running outside to the woods again. These two are neither sinister nor funny: they just are. They're just interlopers, like everybody else, into Blake's lost world.

The method that this trilogy has in common is that it requires quiet acceptance of the proceedings; that if you give yourself up to its sometimes real time sequences (especially in "Gerry," where Van Sant says they're influenced by Hungarian filmmaker Béla Tarr), they're hypnotic and special, and if you don't, they're just irritating and boring. The experience requires a lot from the viewer. It's hard to describe a movie in which little happens. Nothing turns out to be quite a lot and you might remember that James Joyce wrote a long detailed novel about the events in the life of a little man in a single day in Dublin. It's certainly important that Pitt is deeply in character. If his acting were mannered or theatrical or unfelt, nothing would work. When he finally sings one song, a plangent cry of despair with the refrain, "It's a long lonely journey from death to birth," it's very Cobain, but Pitt's own song and passionate, exciting performance.

There's a kind of climax here, but there's nobody (but us) to witness it. Luke and Scott are up in bed with each other. As in 'Elephant', several sequences repeat. Blake seems to be dying repeatedly, as Asia stumbles upon him lying on the floor and he seems to nod out, though you never see him do drugs and maybe it's just the after effect of them from long before. Finally he's gone. We don't see him do that either. His soul quietly climbs naked up out of his supine body, like a Duane Michals photo. Then there's all the police, the ambulance, and the other inhabitants sneak off, as Blake did. It's all a pageant.

It was Grunge Rock and Kurt Cobain, who died in 1994 at the age of 26, to whom the essence of this film is dedicated. If you give yourself to it and take it in its own context it's a wonderful film, a beautiful funny-sad experience of doomed-damned youth and a deeply felt meditation on isolation and death. ~ Chris Knipp
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FILM INFORMATION: 'Last Days'

Web: Additional Cast, Details and Bios at IMDb
Director: Gus Van Sant
Writer: Gus Van Sant
Full Credits: Full Cast, Crew & Credits
Genre: Music | Drama
Awards: 1 Win 3 Nominations
Runtime: 97 minutes
Spoken Language: English
Subtitles: n/a
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FILM CLIP: 'Last Days'



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Method 1.) File Self Extraction. (For PC) Download files into the same folder.
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Last Days.part01.exe
Last Days.part03.rar
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Last Days.part02.rar
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Method 2.) Download and rejoin files with a program like HJ Split/Join
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.

Highly Recommended!


"In dreams our minds, uncensored by logic, wander wherever they wish. Even in a wilder place, could a mind have wandered so far as to imagine a scene, featuring a punching match between a burly Irishman dressed as a dancing cartoon character Womble surrounded by gaggles of excited, screaming children and a very, very perturbed transvestite?"

It is surprising to find Neil Jordan, director of Prozac-defying classics, such as 'Michael Collins' and 'The Crying Game', making this jovial, light-hearted film. But, like the cross-dressing hero he presents, letting his hair down seems to have done him a world of good.

Based on a novel by Patrick McCabe, 'Breakfast On Pluto' documents the strange life of Patrick Braden (Cillian Murphy). Dumped as a baby in a small town near the Irish border, he grows up unsure of his mother's location or his father's identity. Discovering he feels happier in women's clothes, he renames himself Kitten and sets off for London in the late Sixties, in pursuit of his mysterious mother. As he becomes Kitten, so Irish politics become increasingly volatile and his own troubles mirror the escalating tensions around him.

While following Patrick's escape to a happier identity, the film provides a constant flow of hilarious scenes. As well as the Womble ruckus, there is a sarcastic narration by a pair of robins, a squabbling rock band and Patrick's all-too-detailed imaginings of his own conception. The director Jordan accompanies the breathless chapter sequence of author McCabe's book with a continuous and fabulously wide-ranging soundtrack and allows the film to plummet along at a furious pace. Even the tragic death of Down's syndrome sufferer Lawrence (Seamus Reilly) cannot dampen the mood. Patrick in a very cheeky manner labels the event "very, very serious", although the jokes soon return with a vengeance.

Although he tries to ignore the sobering events taking place in the streets, the author McCabe cannot. Patrick's visit to London results in various failed relationships and a growing desperation at the faltering search for his mother - "the phantom lady". Meanwhile, the Irish troubles creep ever closer. His childhood friend Irwin (Laurence Kinlan) is affected and involved, while a nightclub bombing lands Patrick in the slammer on suspicion of terrorism. Despite attempts to lament his torn tights and flirt with the interrogators, a real sadness affects Patrick's demeanor as he and his homeland struggle to fix their identities.

Despite the bombings and killings, politics is treated glibly. The author McCabe and director Jordan devote their attention to the uncovering of Kitten and the characters who help him/her along the way. Under such scrutiny, the fabulous actor Cillian Murphy is vulnerable, wry and utterly and absolutely charming. He is also quite distinct from his previous roles in 'Batman Begins' and '28 Days Later'. Liam Neeson seems a bit soft as the guilty Father Bernard, but the film's other co-stars put in stirring and riveting performances, particularly Bryan Ferry's violent stranger, Gavin Friday's beleaguered singer and director Jordan's acolyte Stephen Rea's lonely and lovable magician.

With this see-saw between happy and sad, 'Breakfast On Pluto's' tone is a discomforting mixture of comedy and tragedy. Ultimately, in a wise move, Jordan, the director allows youthful energy to win the day. As a director, more associated with weightier material, he performs wonders in adapting a difficult and highly interpretative book to the screen.

Any lack of precision, or a firmer, final point in the story; and perhaps a bit of glossing over of serious moments in Irish history once too often are the doings of the author McCabe's and not director Jordan. Jordan has managed to beautifully morph a quirky novel into an enthralling, tender and, crucially, fun piece of cinema. Indeed, he changes guise more easily than his protagonist, although only one of them has to deal with violent cartoon character Wombles! A highly recommended, must see film.
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FILM INFORMATION: 'Breakfast on Pluto'

Web: Additional Cast, Details and Bios at IMDb
Director: Neil Jordan
Writers: Neil Jordan (screenplay) & Patrick McCabe (novel)
Full Credits: Full Cast, Crew & Credits
Genre: Comedy | Drama | Romance
Awards: Nominated for Golden Globe. 7 wins & 12 nominations
Runtime: 129 minutes
Spoken Language: English
Subtitles: n/a
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FILM CLIP: 'Breakfast on Pluto'



FEATURED FILM CLIP AUDIO TRACK:
'Windmills of Your Mind' ~ Dusty Springfield.mp3

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Breakfast on Pluto.part01.exe
Breakfast on Pluto.part03.rar
Breakfast on Pluto.part05.rar
Breakfast on Pluto.part07.rar
Breakfast on Pluto.part09.rar
Breakfast on Pluto.part11.rar
Breakfast on Pluto.part13.rar
Breakfast on Pluto.part15.rar
Breakfast on Pluto.part02.rar
Breakfast on Pluto.part04.rar
Breakfast on Pluto.part06.rar
Breakfast on Pluto.part08.rar
Breakfast on Pluto.part10.rar
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Method 2.) Download and rejoin files with a program like HJ Split/Join
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"With great skill this story interweaves fas
cinating people, isolated by the frigid planes of Nova Scotia into a complex puzzle that answers far more questions about identity than is at first apparent . ."
.
'Whole New Thing' is another fine little film from Canada, utilizing an excellent cast of Canadian actors to present a modern day conundrum about identity in a manner more sensitive than most other films addressing the subject.

Director/writer (with actor Daniel MacIvor) Amnon Buchbinder has created a series of characters, seemingly disparate in age and outlook, who each has a problem coping with who they actually are, and with great skill this story interweaves these fascinating people, isolated by the frigid planes of Nova Scotia into a complex puzzle that answers far more questions about identity than is at first apparent.

Emerson (a strong debut for Aaron Webber) is the thirteen-year-old son of environmentalist post hippie parents Kaya (Rebecca Jenkins) and Rog (Robert Joy) whose creative look at life has provided home schooling for Emerson, encouraged his gift for writing, but now find that there are gaps in Emerson's education that suggest enrolling him in the local Middle School might mend. Kaya and Rog are in a stale marriage: each has needs the other can't appreciate.

Emerson enjoys his isolation and is not eager to move into the 'mainstream' by attending school. Kaya visits the middle school and meets teacher Don Grant (Daniel MacIvor) whom she invites to her home to meet and impress Emerson. Don is a bright, lovable teacher who has failed in gay relationships, relegating his needs to visits to park restrooms. When Don comes to dinner, Emerson is impressed with Don's acceptance of Emerson's outlook and decides to give the school a chance.

Emerson, long-haired and androgynous in appearance, suffers ridicule at school but finds considerable solace in the classroom atmosphere Don Grant adapts to suit Emerson's intelligent needs. Don is 42 and Emerson is 13 and while they become friends, Emerson develops his first 'crush' on Don. And while this is happening Kaya meets young stud Denny (the always excellent Callum Keith Rennie) and begins an affair.

Many moments of electric snaps occur among all of the characters (a matter of whose crisis is more threatening!) and the manner in which each of the confrontations with each character and conjoined demons occur begin to resolve the seemingly improbable results that alter the growth of each.

The success of a film dealing with such subject matter is the manner in which each of the stories is told. There is no crude acting out, no pat answers, and no unnecessary 'drama' for drama's sake. This is a very honest film that deserves the attention of a wide audience eager to understand the varying motivations of other people. ~ Grady Harp

This is going to be a 'Whole New Thing'. For everyone . . .
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Film Information: 'Whole New Thing'
Web: Additional Cast, Details and Bios at IMDb
Director: Amnon Buchbinder
Writer: Amnon Buchbinder (writer) & Daniel MacIvor (writer)
Cast: Full cast and crew
Genre: Drama | Comedy
Awards: 11 wins and 2 nomination
Runtime:
92 minutes
Spoken Language: English
Subtitles: None.
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Film Clip: 'Whole New Thing'
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Method 1.)
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(for Mac) You will need a Command Line Archiver like rar for Mac OS X
Whole New Thing.part01.exeWhole New Thing.part02.rar
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Whole New Thing.part05.rarWhole New Thing.part06.rar
Whole New Thing.part07.rarWhole New Thing.part08.rar
Method 2.) Download files & rejoin with a program like HJ Split/Join
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Whole New Thing.avi.007Whole New Thing.avi.008
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'C.R.A.Z.Y' exudes the beauty,
the poetry and the madness
of the human spirit in all

its contradictions.

'C.R.A.Z.Y' is a story of two love affairs. A father's love for his five sons. And one son's love for his father, a love so strong it compels the son to live a lie.

That son is Zac Beaulieu, born on the 25th of December 1960, different from all his brothers, but desperate to fit in.

During the next 20 years, life takes Zac on a surprising and unexpected journey that ultimately leads him to accept his true nature and, even more importantly, leads his father to love him for who he really is. A mystical fable about a modern day nomad-like figure, "C.R.A.Z.Y" exudes the beauty, the poetry and the madness of the human spirit in all its contradictions.

'Extraordinary lives of ordinary people in search of love and happiness'

Zac Beaulieu (Marc-Andre Grondin), the fourth child of a middle-class Quebecois family comes into the world on December 25th, 1960. Have you ever wanted a pram for Christmas and been given table hockey instead? As a child, his Christmas/birthday presents are always large, but somehow disappointing, since they are never what he truly wants. His father Gervais (Michel Cote) disapproves of the aforementioned pram, which his mother reluctantly returns. Zac worships his father, an active family man with a passion for Patsy Cline and Charles Aznavour, but Gervais senses early that Zac is not like his brothers.

Copy picture

Bookish Christian spends much of the film quietly reading food labels. Raymond is the black sheep who turns early to motorcycles, drugs and casual sex. Antoine is the jock who never seems to outgrow his childlike flatulence. After Zac, there is Yvan, the baby, who is cosseted and overfed, with pettishly long hair. It is not until much later, in a mishap over a cherished Patsy Cline import, that Zac realises his father has (rather campishly) named his five sons to spell out the letters of his favourite Patsy Cline song. A testament to Gervais's sentimentality, as well as his connoisseurship of music, it also sums up the tone of this pleasantly surreal family drama/coming-of-age story.

Much of the film's action takes place in the Seventies and early Eighties, during Zac's teen years, as he struggles to come to terms with his sexuality. The early religiosity of Zac's childhood, exemplified in the figure of his devout and frequently pregnant mother, is soon replaced with teenage rebellion, memorably expressed in a scene where he tells us in voice over: "Midnight mass was so short and sweet ever since I became an atheist," as he levitates over the congregation to the tune of Sympathy For The Devil.

Although he professes to have abandoned his faith, Zac is the kind of teenager who is always getting caught in his transgressions and then submitting himself to trials of atonement. In order to overcome both his asthma and his sexual longings, he races a red light on his moped and ends up bedridden with whiplash for several weeks. Another time, he trudges all the way home in a blizzard after simply looking at another man in a record shop.

Throughout the film, Zac's quest to come to terms with his sexuality is expressed via a longtime crush on his cousin Brigitte and her Travoltaesque boyfriend, who early on bestows a "shotgun", the passing of marijuana smoke between pursed lips in an almost-kiss that provides Zac with his first real sensual experience with another man. When a psychiatrist finally suggests that he is being "subconsciously deliberate" in his actions, Zac still cannot accept that he might be gay and drives himself into the arms of his childhood friend Michelle (Natasha Thompson).

His bid for heterosexuality lasts until a watershed confrontation at his brother Christian's wedding in 1980 sends him running off to the Holy Land to escape. In Jerusalem, he has his second sexual encounter, this time with a guy who looks like a blond version of the hunky Jesus you sometimes see in "youth" versions of the Bible. Only after coming close to death in the desert, does Zac return to Quebec and his family.

Although C.R.A.Z.Y is in part a gay coming-of-age story, it's told without the explicit sex one might expect, making this film much more in line with the work of Gus Van Sant than Gregg Araki. The privacy that is accorded to Zac's experiences (his two sexual encounters with young men happen off camera) with a subtlety that seems in keeping with the character's reluctance to come to terms with being gay. The film is also a sometimes bizarre family drama infused with a mixture of the qualities that make French Canadian cinema great: devout spirituality, odd folklore and the kind of irreverent humor that fundamentalists think ought to go straight to hell.

It is filled with quietly hilarious, but also cringe-making moments, such as the time Zac earnestly sings along to Ziggy Stardust in full Ziggy make-up, until the moment Antoine storms in and tackles him. It is only then that Zac realizes half the neighborhood has been viewing his performance through an open bedroom window. It also doesn't hurt that the actor who plays Zac is considered Canada's Gael Garcia Bernal and spends a lot of time looking quite the mark in tight jeans and eyeliner.

We all know that rock music is more than the soundtrack of our teenage years; it’s the narration. And so it is here for Zac, with the Rolling Stones (“Sympathy for the Devil”), David Bowie (“Space Oddity”) and Pink Floyd (“Shine On You Crazy Diamond”) taking pride of place, setting up a dialogue with Zac’s father’s own life soundtrack (Patsy Cline and Charles Aznavour). C.R.A.Z.Y. has an amazing soundtrack throughout.

By turns moving and funny, but always ringing true, this is a quietly remarkable film.

Film Information: 'C.R.A.Z.Y.'

Web: Cast, Bios and Additional Details at IMDb
Director: Jean-Marc Vallée
Writers: François Boulay & Jean-Marc Vallée
Cast: Full Cast, Crew & Credits
Genre: Drama / Romance
Awards: 37 wins & 6 nominations
Runtime: 127 min
Spoken Language: French
Subtitled in: English

Film Preview Clip: 'C.R.A.Z.Y.'




Film File Download: 'C.R.A.Z.Y.'

Method 1.) File Self Extraction. (For PC) Download files into the same folder.
then click on
the 'xxxx.part01.exe' file and the film will self extract.
(For Mac) You will need a Command Line Archiver like Rar for Mac OS X'
C.R.A.Z.Y.part01.exeC.R.A.Z.Y.part02.rar
C.R.A.Z.Y.part03.rarC.R.A.Z.Y.part04.rar
C.R.A.Z.Y.part05.rarC.R.A.Z.Y.part06.rar
C.R.A.Z.Y.part07.rarC.R.A.Z.Y.part08.rar
C.R.A.Z.Y.part09.rarC.R.A.Z.Y.part10.rar
C.R.A.Z.Y.part11.rarC.R.A.Z.Y.part12.rar
C.R.A.Z.Y.part13.rarC.R.A.Z.Y.part14.rar

OST (Original Sound Track) 'C.R.A.Z.Y.'
Original Motion Picture Soundtrack Selections
01: Back In Baby's Arms - Patsy Clin-mp3
02: I Fall To Pieces - Patsy Cline-mp3
03: Crazy - Patsy Cline-mp3
04: Emmenz-moi - Charles Aznavour-mp3
05: Hier encore - Charles Aznavour-mp3
06: Brother Louie - Stories-mp3
07: Mambo Jambo - Damaso Perez Prado-mp3
08: Shine On You Crazy Diamond - Pink Floyd-mp3
09: The Great Gig In The Sky - Pink Floyd-mp3
10: Space Oddity - David Bowie-mp3
11: Sympathy for the Devil - The Rolling Stones-mp3
12: The Messiah Will Come Again - Roy Buchanan-mp3
13: White Rabbit - Jefferson Airplane-mp3
14: Why Can't We Live Together - Timmy Thomas-mp3
15: Tout ecartille - Ribert Charlebois-mp3
16: Santa Claus Is Back In Town - Elvis Presley-mp3
17: Minuit Chretiens - les Petits Chanteurs du Mont Royal
18: Carol of the Bells - les Petits Chanteurs du Mont-Royal
19: Dell'elisir mirabile - les Petits Chanteurs du Mont-Royal
20: Nine Sili Nebesniye - Chorovaya Akademia
21: From Here to Eternity - Giorgio Moroder-mp3
22: 10:15 Saturday Night - The Cure-mp3
23: Detour Nostalgique - Jean-Christian Arod-mp3

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