Pay in installments of $7.20 with
,
and
Shipping Estimate
USA
- USA
- CAN
- USA
- CAN
Ships within 48 hours · Estimated delivery Jul 23 - Jul 28
Promo Codes Available:
For Your Every Summer RSVP, with Code: SUMMER15
Description
fixed gear belt drive bike LEONARDO:PURA 1/2.SPD_FIXED_BELT_Ti BIKE – nFIXED LondonSingle speed, 2 speed, 1 fixed gear or 2 fixed gears! The LEONARDO: PURA is a stripped back titanium performance bike built for riders who value mechanical purity, efficiency, and long term durability. Constructed from a full titanium frame, it offers an exceptional strength to weight ratio, inherent corrosion resistance, and natural vibration damping, delivering a ride that feels smooth, responsive, and enduring across daily use and extended mileage.
- Single-speed, 2-speed, 1-fixed-gear or 2-fixed-gears!
- • • • • • • • • • • • • • • • • • • • • • •
- The LEONARDO:PURA is a stripped-back titanium performance bike built for riders who value mechanical purity, efficiency, and long-term durability. Constructed from a full titanium frame, it offers an exceptional strength-to-weight ratio, inherent corrosion resistance, and natural vibration damping, delivering a ride that feels smooth, responsive, and enduring across daily use and extended mileage.
- At the heart of the bike is a Gates Carbon Drive belt system, replacing the traditional chain with a clean, silent, and virtually maintenance-free drivetrain. Engineered for longevity and consistent performance in all conditions, the belt drive eliminates grease, reduces wear, and ensures a refined riding experience ideally suited to urban environments.
- The LEONARDO:PURA is built around versatility without complexity. A flip-flop rear hub allows riders to switch between single-speed and fixed-gear configurations, while an optional two-speed internal system expands gearing range without compromising the bike’s minimalist design. This modular drivetrain approach provides adaptability for varied terrain while preserving a clean, uncluttered aesthetic.
- Designed with practical performance in mind, the frame incorporates mounts for mudguards and racks, alongside serviceable component choices that prioritise reliability and ease of ownership. Built to order in London, the LEONARDO:PURA embodies a clear philosophy: precision engineering, low maintenance, and a direct, unfiltered connection between rider and machine.
- • • • • • • • • • • • • • • • • • • • • • •
- Strong, light and corrosion-resistant titanium tubes
- Available with any handlebar shape
- Quickly replaceable compressionless housing, hybrid-hydraulic disc or rim brake
- Aluminium seat-post, handlebars, stem and rims
- GATES carbon belt-drive or standard metal chain
- Easy to service or upgrade with sealed bearings, external cable routings and no proprietary standards
- Brown microsuede or black sport saddle and grips
- Aluminium pedals with removable stainless steel toe clips
- Eyelets for mudguards and rack
- Choice of standard or fat SCHWALBE tyres
- Can be swapped to run fixed or, with the optional stealth crankset gearbox, even run as two fixed-gears
- Assembled to order with brand-new and latest gen components (no pre-assembled old stock or old specs)
- • • • • • • • • • • • • • • • • • • • • • •
- OPTIONAL "SPEED-DRIVE" 2-SPEED INTERNAL-GEARBOX CRANK-SET
- • • • • • • • • • • • • • • • • • • • • • •
- Precision‑engineered drivetrain solution designed for riders who demand both simplicity and performance. At its heart lies an ultra‑thin (just 10 mm) planetary gearbox that neatly integrates with your chainring, with no bulky mechanisms, no extra cables or derailleurs.
- Shifting is ingeniously simple: a gentle heel tap on the side button lets you engage the alternative ratio, either a 1 : 1.65 overdrive in the Speed‑Drive version for higher speeds.
- Built with premium materials and designed to take full torque in both pedalling directions, it’s equally compatible with fixed‑gear and coaster‑brake setups. This compact, low‑maintenance gearbox gives you a minimalist look with maximised versatility.
- Change gear with a simple kick of the heel on the side buttons, while standing still or under heavy load.
- Low maintenance.
- No cables, levers or derailleurs.
- High efficiency, high quality materials, ensure great longevity.
- Symmetrical clutch allows full torque in both pedalling directions, for coaster brakes and fixed-gear bikes without a rear brake.
- The optional EASY-SHIFT plates, available on request, cover the whole crank arms and allow for shifting by pushing on a larger area, best for clip-in pedals.
- SPEED-DRIVE ratios: 1x direct-drive and 1.65x overdrive.
- • • • • • • • • • • • • • • • • • • • • • •
- S (160-168cm rider height)
- • • • • • • • • • • • • • • • • • • • • • •
- M (169-177cm rider height)
- • • • • • • • • • • • • • • • • • • • • • •
- L (178-186cm rider height)
- • • • • • • • • • • • • • • • • • • • • • •
- Step-thru, XS and XL frames available on request.
- • • • • • • • • • • • • • • • • • • • • • •
- Bespoke ZEHUS HALOS or KEYDE electric conversion wheels available separately.
- • • • • • • • • • • • • • • • • • • • • • •
- Fairly straightforward to assemble, but requires a basic level of mechanical sympathy
- • • • • • • • • • • • • • • • • • • • • • •
- Build’s progress and final bike's pic provided before shipping.
- • • • • • • • • • • • • • • • • • • • • • •
- Follow us on socials for recurring promo codes
- • • • • • • • • • • • • • • • • • • • • • •
- Sales outside the UK will incur local duties.
- • • • • • • • • • • • • • • • • • • • • • •
- Optional pre-paid import duties for EU countries only
- • • • • • • • • • • • • • • • • • • • • • •
- 8/10 weeks lead times from purchase
- • • • • • • • • • • • • • • • • • • • • • •
- - nFIXED London - #L35515M0R3
Shipping Notes
- Free Standard Shipping on $100+ Orders to the USA.
- Except Preorder products are shipped in 48 hours.
- Delivery to the USA:
- Standard Shipping : 3-10 business days
- If time is of the essence, please consider selecting expedited delivery for faster service.
Exchange/Return Notes
- We offer a 30-day return/exchange service after receiving.
- Final sale items are not eligible for returns or exchanges.
- To process your return/exchange, please contact us at [email protected]
- Please click here for more details>>> Return & Exchange Policy
4.7 ★★★★★
Based on 14 reviews
Sort
Product Reviews
★★★★★ 5
Classic Terry Gilliam- Watch It!
One of the best Terry Gilliam movies out there. Made in the 1980's, the cast is superb, and it holds up well 40 years on. WAtch it- it's a trip!
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on April 27, 2026
★★★★★ 5
BLU RAY is the 132 minute Original U.S. Theatrical Cut FINALLY!!!!
]
On this Blu-ray for the first time ever we get the ORIGINAL 132 minute version of the film as was shown in U.S. theaters.
(Note: This is NOT the "Love Conquers All" Sheinberg/TV Edit.)
All the DVD releases before this have been the European Version/Director's Cut of the film. Even the original Universal DVD release that said Theatrical Cut on the box actually had the European Version/Director's Cut.
Unfortunately, Universal didn't really spend any time cleaning up the negative for Hi-Definition (there is very noticeable instances of dirt and debris on the negative) but it still beats the image quality found on the Universal SD DVD, and they do include an amazing DTS-HD Master 5.1. We'll just have to wait for the Criterion Blu-ray of Brazil for image perfection but serious fans of Brazil will want to get this Blu-ray edition just to have this version of the film as it was originally seen in theaters in 1985.
I actually find this 132-minute version is in many ways a superior cut of the film. Here are the differences in detail:
*In the 132-minute version you cut from Sam in bed with Jill, police sack goes
over head, then CUT TO Pull off police sack to reveal Sam in Torture
Chamber/Interrogation chair. This one cut is simply brilliant and very powerful.
In the Criterion Version you have the added scene of Mr. Helpman as Father
Christmas (completely out of charcater from the rest of the film) and the whole
interrogation scene of Sam hanging from the rack inside the police/mail pouch
which becomes narratively redundant and dilutes the impact of the final scene.
*To end it with cooling tower/interrogation room fade to clouds was a great Gilliam
wink of subversion and irreverence to the cliche Hollywood Ending. As opposed to
the European cut of just credits over cooling tower/interrogation room.
*The Samurai Scene is divided into 3 separate scenes in the 132-minute version
versus 1 LONG scene in the European cut. And you know what? Like most things,
it works better in 3's.
*The 132-minute version cuts straight to the Dinner Scene with Ida (his mother)
ordering numero deux, trois, etc. while the European version has the entrance to
the restaurant of going through the metal detector which really doesn't add
anything and is again a bit redundant when the bomb does eventually go off in
the restaurant. With the scene, you're signaling to the audience we are looking for a bomb, so we expect a bomb. Without the added scene, the bombing is unexpected and it actually shocks you so you're both horrified and laughing. The unexpectedness also works as it builds upon the bomb motif from the first explosion at the beginning of Brazil during the Ducts advert.
*And finally I just love that the 132-minute version opens on those clouds (outtakes
from The Never-Ending Story) then goes to the Central Services advert about
Ducts: "Are your ducts old-fashioned, out-of-date... " Now the Criterion version
also has the clouds opening (The Original European Cut didn't) but it's funny
because the Studio asked Gilliam to start off with the clouds for the US Cut and he
actually prefers it as quoted in his Director's commentary. Hilarious.
Little changes that add up to a tighter and overall, better film.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on July 12, 2011
★★★★★ 5
Great cast; well directed
Great movie; lives up to its reviews
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on March 25, 2026
★★★★★ 5
An ageless classic !
I hadn't re-watched this movie since the first time I saw it, when it came out in 1985. Back then, it had stricken the public with its fatalistic and pessimistic view of an overwhelming bureacracy, a suggested characteristic of fully-centralised power in a controlled society in the future.
Today, we can still admire some of its validity and premonitory qualities (and the sarcastic humour !). The dream-like scenes and symbols used in the film are also ageless.
Ever-growing computer systems govern today the relationships we hold with banks, government departments, utilities, phone companies, etc. Who hasn't experienced the frustration of dealing with their 'machines' and/or incompetent & robotic bureaucrats when problems or errors arise in their service? 'Brazil' will seem so familiar!
The omni-presence of screens in our lives, everywhere and incessantly offering us products or services, or used to control our movements and behaviour, is also a well-guessed futuristic scenario by Gilliam & co.
And what to say about the 'terrorism' and the 'permanent state of fear' portrayed back then? Sounds familiar today?
I recommend this movie to anyone interested in the threats of an unbridled, arrogant and all-powerful bureaucracy in human society.
The film can be a bit 'heavy' at times, though. Not everyone's cup of tea.
Watch it first, before sharing with friends or family.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on February 19, 2012
★★★★★ 5
The music is lovely, Catherine Deneuve is beautiful and the story will tear you apart.
The word "Masterpiece" is thrown about often in the worlds of film and music but in this case this is the real thing. The Umbrellas of Cherbourg is one of those rare instances where everything came together in a film in a serendipitous way that would never be duplicated. Not only that, but made by two up and coming young men who had only done two films before with a cast of mostly unknowns. Then, to top it all off, it would not just be a musical, but a film sung completely through like opera, something completely unique and untried. Try selling a concept like that to one of today's studios. Fortunately the early sixties was a much looser time with many movie studios and open minds willing to try new things.
The director was Jacques Demy, whose first film, Lola (1961) included music but was shot in the more usual black and white. His co-creator was Michel Legrand, already known as a jazz pianist who had had hit albums and even toured America. The music would be light,, but not operetta; it would be updated to include strong influences of chanson, pop and jazz with a little Baroque counterpoint thrown in (Legrand had been classically trained). This time the film would be shot in super-saturated color with sets painted vibrant, almost expressionist colors. And it all would center around a young and virtually unknown Catherine Deneuve and Nino Castelnuovo as Genevieve and Guy, the very personification of young love in a rainy Spring.
The resulting film is completely transporting. The story is very old, the treatment very new and the end result is something to be experienced. The singing somehow seems completely natural, more natural in a way, than films with spoken dialogue that break into songs from time to time. Here in a world of continuous music, love has turned everything into a dizzily colored poem that peaks when Guy is to be sent away to fight in the war in Algeria. Fate takes a big hand in the consequences creating unforseen results. The supporting cast are as good as the principals, with Anne Vernon (Madame Emery) the veteran of many films and Marc Michel (Roland Cassard) coming in having played the same character in Lola, a signature quirk of the director. The music produced two early sixties hits, I Will Wait For You and Watch What Happens. Mr. Legrand's familiarity with the worlds of pop and jazz kept everything fresh-sounding and up to date. You also note subtle touches like the opening jazzy music set in 1957 is very brassy and big band sounding while in the 1963 final scene it's the cool jazz of that time. The colors are so captivatingly brilliant that when establishing shots of the actual Cherbourg are shown it seems like another world.
If you like romances, this is one of the classics. If you are open to musicals you will have no trouble with the fact that the entire film is sung. This is a most memorable and worthy film.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on January 31, 2016