Campground Membership Resales

Lezama Park: a foundation of Buenos Aires, Ernesto Sabato (20/06/08)



between San Telmo and Boca is the Parque Lezama. Tourists in a hurry, go by bus from one neighborhood to another and usually it is skipped. Could be the place where Don Pedro de Mendoza founded Buenos Aires for the first time in 1536 (can you believe that the city was founded twice?)




early nineteenth century there arose a luxurious Italian-style building, adorned with trees and plants arrivals worldwide. The residence has a veranda, a high observation tower, statues, flowerpots, marble and even made a secret passage where it is now the National History Museum.



Today I entered there, and a cold and rainy afternoon, it was predictable over a few pedestrians. What surprised me is that there was nobody. Literally. And also, all alone through a park of 80,000 square meters in the city, worried me a bit ...




insisted, I went back and forth, and nothing. Nobody was going or coming, although roads crossing it can be shortened. On Sunday thousands of visitors invade the place. But this afternoon appears gray and spectral power. Looked back, turning from side to side, and nothing ...




Then I remembered a story that takes an afternoon like today, except that of 1,953 ...

What Age Do You Getlong Qt Symdrome

The Princess and the Dragon (Start of On Heroes and Tombs by Ernesto Sabato) Poor old dog

" One Saturday in May 1953, two years before the events of Barracks, a tall, stooped, walking down one of Lezama park trails.
He sat on a bench near the statue of Ceres, and remained idle, abandoned his thoughts. "Like a boat adrift in a lake appears calm but troubled by deep currents, thought Bruno, when, after the death of Alexandra, Martin told him, confused and fragments, some of the events related to that relationship. And not only thought they understood it and how!, As one of seventeen Martin reminded him of his own ancestor, the remote Bruno sometimes glimpsed through a foggy area of \u200b\u200bthirty years; territory enriched devastated by love, disappointment and death. Wistfully imagined at the old park, with the lingering twilight of the modest statues on the pensive bronze lions on the trails covered in leaves softly dead. At that time you begin to hear the little whispers, that big noise are withdrawn, as talks go out too strong in the room of a dying man, and then the sound of the fountain, the steps of a man who walks away, the chirping of birds that never quite settle into their nests, the distant cry of a child begin to be felt strange gravity. A mysterious event takes place at the time: dark. And everything is different: the trees, banks, retirees who lit a fire with dry leaves, the siren of a boat in the South Basin, the distant echo of the city. This time it all goes into a deep and mysterious existence. And more frightening, for loners who at that time remain silent and thoughtful on the banks of plazas and parks of Buenos Aires ...



"Martin picked up a piece of newspaper left a piece in the form of country: a nonexistent country, but possible. Mechanically read the words that referred to Suez, to traders went to the Villa Devoto prison, something that Gheorghiu said upon arrival. On the other hand, medium stained by mud, looked a picture PERÓN DISCEPOLO VISIT THE THEATRE. Below, a former soldier killed his wife and four other people with an ax.
threw the newspaper: "Most things never happen" you say Bruno, years later, "but the plague decimates a region of India." Again see the face daubed from his mother saying "you exist because I was careless." Courage, yes sir, it was worth what he had missed. If not, would have ended up in the sewers.
Madrecloaca.
When suddenly, "said Martin had the feeling that someone was behind me, watching me.
remained rigid for a moment, with that stiff and tense waiting, when in the darkness of the bedroom, he thinks he hears a rustling suspect. Because many times had felt that feeling on the neck, but was simply uncomfortable or unpleasant, because (he said) had always considered ugly and laughable, and I resented the assumption that only someone were studying or at least watching their backs; reason which sat in the seats last of the trams and buses, or went to the cinema when the lights were out. While in that moment he felt something different. "He hesitated as if searching for something better word," something disturbing, something similar to that crunch suspect we hear, or think we hear, in the dead of night.
made an effort to mantener los ojos sobre la estatua, pero en realidad no la veía más: sus ojos estaban vueltos hacia dentro, como cuando se piensa en cosas pasadas y se trata de reconstruir oscuros recuerdos que exigen toda la concentración de nuestro espíritu.

"Alguien está tratando de comunicarse conmigo", dijo que pensó agitadamente...







La sensación de sentirse observado agravó, como siempre, sus vergüenzas: se veía feo, desproporcionado, torpe. Hasta sus diecisiete años se le ocurrían grotescos.

"Pero si no es así", I would say two years after the girl who at that time was on his back, a huge time-Bruno-thought, because it was measured by months and even for years, but, as is typical of that class of beings, spiritual disasters and the days of absolute solitude and unspeakable sadness, days lengthen and deform like dark ghosts on the walls of time. "If it is not in any way", and scrutinized as a painter looks at his model, nervously licking his eternal cigarette.
"Wait," he said.
"You're more than just a good boy," he said.
"You are an interesting guy, deep, except that you have a very rare type.
" "Yes, of course," admitted Martin, smiling bitterly, thinking "you see that I have reason" - because all that is said when one is not a good boy and everything else is irrelevant.
"But I tell you to wait," he answered irritably.
"You are long and narrow, like a character from Greco.
" Martin snarled.
"But shut up," continued indignation, as a wise being interrupted or distracted with trivialities when they are about to find the desired final formula. And back to sucking greedily smoking, as usual in her when focused, and tightly pursed his brow, said:
"But, you know, as soon breaking the English ascetic draft bust your pouty lips . And you have those eyes moist. Shut up, I know you do not like anything I say all this but let me finish. I think women must find you attractive, despite what you I suppose. "Yes, your own expression. A blend of pure, melancholy and repressed sensuality. But also ... a moment ... Anxiety in your eyes, under the front that looks like an overhanging balcony. But I do not know if that's all that's what I like about you. I think it's another thing ...
May your spirit dominates over your flesh, like you're always at attention. Well, maybe not like the word, perhaps surprised me, or I admire or irritates me, I know ... Your spirit reigning over your body like a dictator austere.
"As if Pius XII had to watch a brothel. Now do not get mad if I know you're an angelic being. Moreover, as I say, do not know if I like in you or is it I hate most ...




made a great effort to keep their eyes on the statue. He said at that time felt fear and fascination, fear of turning around and a desire to do so fascinating. He recalled that once, in the Quebrada de Humahuaca, the edge of the Garganta del Diablo, as he stared at his feet the black abyss, an irresistible force drove him to suddenly jump to the other side. And then it was something like: as if he felt compelled to jump through a dark abyss to the other side of their existence. " And then, unconscious but irresistible force that compelled him to turn his head.
Just spotted, quickly withdrew his gaze back to put on the statue. Dreaded by humans: it seemed unpredictable, but mostly evil and dirty. The statues, however, provided him with a quiet happiness, belonging to an ordered, beautiful and clean.
But it was impossible to see the statue, stood at the fleeting image of the unknown, the blue stain of her skirt, the black of her hair straight and long, pale face, her face stuck on it. .. "

And this afternoon that reminded me that, following Martin Road and Alexandra. It was a privilege that I share here.

Rash From Makeup Removers

Notes on the footage found in the last

Raiders of the lost frame

Chaplin even more than forty years of dead has continued shocking the world of cinema. In 2009, a collector named Morace Park bought by e-bay, the measly price of four euros, a tin with ribbons undefined in the encountering ended, to their surprise, Zepp , first period film Chaplin, who had circulated for several mouths of filmmakers as only a myth. The film, presumably because of disputes with the study that was conducted had remained buried, not only did the innocent exponentiate investment Park (the movie was over tasándose in 45 thousand dollars), but opened the floor for immediate and future discoveries. Not long later, in 2010, one of the biggest news of cinema wrapped back to the figure of Chaplin. In a sale of antiques, a collector bought for a hundred dollars a reel of acetate that was A thief catcher, produced in the studios Keystone in 1914, being able to locate it from one of his early films (considering his autobiography, which marks the beginning of his film work in the same year), and most of all, the first who plays the archetypal character Charlot. When they seemed to have Chaplin for a while, in the same 2010, George Clarke, a European film director discovered, not another movie, but a detail in it that generated new questions and debates (at least extracinematográficos): in Circus, film, 1928, in a moment of film can be found in a corner of the screen, a woman, an extra, talking on a cell phone. Clarke, in his video posted on YouTube is dedicated to happen again and again the video in slow motion or frame by frame and gesture and the object that carries the woman against her ear looks like an artifact brought by a time traveler .

Regardless of the veracity This last fact, the idea of \u200b\u200bthis selection of events "linked to one of the most emblematic figures, not to say," the flagship "of the film, tries to introduce the idea of \u200b\u200bhow the cinema, in whatever form , seems to have no end or timeout determined not only by demonstrating their ability to re-read, rediscover or reinvent ideological, or semiotics, but also in its ability to rise from the ashes, in the same format material.

Get up and walk

The appointment is a case of a selection of films that included on the grid in the near end XXIX Film International Film Festival, which has as its vedette last night (Friday to 17hs in Film Chamber, accompanied by piano Stephan Graf von Bothmer) with the latest restored version of Metropolis, film history, according to the spirit of his megalomaniacal director Fritz Lang (which costs practically creating a model city to the extent of their fanciful ideas, almost became fused to the UFA just before it was taken by the Nazis as the official center of production of propaganda films), seems always unfinished, as a web of Penelope who returns to take shape in each of their rediscovery and reconfecciones. The rediscovery of the stories commonly known as Lazarus Movies (echoing the biblical reference) are often as interesting as the films themselves. In addition to the above-mentioned case of Chaplin, often finding the films may abut a private spy, tracking forgotten and half-buried rolls around the world. Such is the case Atalanta (1934), a film which, after the abrupt death of Jean Vigo (who filmed during the shooting plagued by sepsis, ultimately prevents seeing the final result), was never adapt to its author's original ideas, being dismembered and even renamed a bunch of times (note that in the thirties and forties this was not a strange practice, studies have made several versions of the film to be adapted according to the nature different markets and countries where they thought to place) and should, for after all, so many rolls as versions of the work. Discovery scenarios also can be more intricate, as is the case of The Passion of Joan of Arc , considered by many the best movie ever, which was practically lost to be found in the cleaning tank a hospital Psychiatric Norway, for a caretaker virtually devoid of any knowledge of cinema. Even Uruguay was the scene of similar findings, having found in 1994 China's love and duty , Bu Wancang, played by Ruan Lingyu in 1931-a few years before the actress committed suicide with barbiturates. Whatever the story behind the discovery, the already dazzling Lang film has lost twenty-five minutes to fill some holes in the script, giving greater depth to some secondary characters, and allowing some new ideological reinterpretations.

countries

Building

Clearly, the rediscovery of the film is not simply preserve, where dinosaur fossils, which had remained intact over time. The film, the effect and producer of culture, as a porous membrane semiotic not only change itself according to the times when it is rediscovered or reexhibido, but also has the power to transform the time in which the discovery inserted. Among the other films that make up the selection of recovered Film: Traces of celluloid , we find films like Babelsberg east to west (which seems, at some point, An interesting addition to the screening of Fritz Lang's film, considering that reviews the history of the legendary studio where the film took full form German expressionism), Komunisto Cinema (which also goes back to the rise and fall of a movie studio - more than study, a cine-citta, which are the Avala Film Yugoslavs), In the trash Channel 4 (which recreates the particular history of Paraná Brazil, since the 60's to 80's after the discovery of a pile of scrolls found in the trash of the studies, and fire survivors and evils of all kinds) and Fantasy Lusitana (a portrait little known of Portugal neutral during World War II). These four films drink from the font style found footage, military films from found footage, mostly altered and edited, giving new resonances and meanings. For these films have a proper historical and political horizon, see a world that was, but that reading is trying to rethink this question. Cinema Komunisto in particular, presents a particular idea of \u200b\u200ba movie created from almost nothing, a country that never existed, or at least did, or illusion to be, during the life of Marshal Tito, the large element coagulant, soon his death, proved to be the single screw that held a melting pot near dynamited. This idea of \u200b\u200bcinema as forming a nation should not only think more of classical rhetoric propaganda film, one might say that, without going too far, the whole building, not only us but the U.S. itself has done itself, is a mirror of Hollywood, base construction and remains day to recall the famous "American Dream." This film Serbia, which does not go so far in their choice by -found footage is properly formatted documents, inserting images collected features interviews with people linked to the great machinery of Avala Films, could be considered, in some ways, a prequel to the brilliant and experimental bye, how are you? by Boris Mitic (who won a mention in the documentary section of International Film Festival last year), based on articulated aphoristic found footage and some sayings of the area, but focusing on Yugoslavia (more than nothing, Serbia) post 1991.

The construction of memory and the debate, carried in neuroscience terms of what information must be retained and what discarded film through the garbage in the Channel 4 still remained attached to the joint present-past, interspersed with interviews. In this sense, the most played stylistically these films more political and historical stamp is Fantasy Lusitana (Joao Canijo, 2010), which was never clear from the images and sound file, making in its release, an interesting counterpoint , a radical ambiguity and never defined, between the artificial oasis, the fantasy setting, one might say, that was the Carmona and Salazar's Portugal, with the nature of the government, anti-fascist and clerical (the scene circular end of the filming of Christ the Redeemer seems to say much more than what is shown). Canijo chooses to say nothing specific that government, embodied only have the voice of some European refugees during those years became Portugal in a multicultural metropolis (including the voice of Fassbinder muse Hanna Schygulla). In any case, the criticism comes from a floating but powerful, as we see the ruthless version of Jean Vigo Nice About Nice (1930).

Finding Oiva

However, the big movie Retrieved Film is Shadow of the Iceberg, directed by Antti Seppänen, Finnish when we had the good fortune to meet during his visit to Montevideo for the festival. The same director has in his film, only made of photographs and found that a day at a flea market in Helsinki, he came across a box full of 8mm tapes, which when played at home, discovered as a real treasure, a lot of images collected by the same mysterious person who appears to have collected scenes throughout the globe for long years. Cairo, Eastern Europe, North America, El Perito Moreno, the ghostly character, discovered later in life as Oiva (and which led the director to get information up documentation for the army, where he got to own letters sent by the mysterious man) seems, as being everywhere, never having been to none, as if their efforts to continually trip is anchored to a certain longing for dematerialization. The film is not only the reconstruction of an uncertain character, which is more fascinating to the extent that is true for other blind spots, "but a world apart and restated on the dissecting table. Oiva's eye-Seppänen, 8mm shows us another world, similar to those offered Chris Marker in Sans Soleil , and most of all the re-foundation and New York new taxonomización made by Jem Cohens in Lost book found (where, similar to the case of Finland, after the discovery of a notebook made of obsessive anonymous lists of places and objects of the city of New York, these are the same director to go after them, capturing them in a completely different). Seppänen editing, meticulous, but never cold, and very helped by the perfect soundtrack-is, for the writer, the best thing was to exhibit at this festival.

Our airship

The inclusion of films made by the technique of footage found at the last festival can make the precedent of experimental cinema that usually does not run on billboards in our cinema. Most of the movies that came, are settled in a way to capture the memory, but not as well as use the feedstock material found itself to be deconstructed and form completely different entities (in this type of film, more anchored in the documentary form, is opposed Tscherkassky films, and Martin Arnold, who play with the same deterioration of the film as very edge of reality). It seems a strange and distant issue, but note that, in the true roots of Uruguayan film (at least newer), is This obsession with finding something that not only consistency we as a nation, but what can be built from it. After all, the airship was nothing more than that, the desperate search sometimes awkward-of images, some frames were missing to complete the history of our country. This is too immediate and the future is too far. The only thing you can change is the past. Let's wait.

9 Dpo And Egg White Cervical Mucus

Film Festival Film Interview with Betty M Park

The return of flying cholitas

Among the attractive and varied films proposal circulating in the grid of XXIX International Film Festival Film Mamachas we find the ring, a documentary that depicts the life of Carmen Rosa, a Bolivian cholo was a place in Andean culture, performing, along with three of her companions, as one of the pioneers of female wrestling. The documentary is on the rise and fall of "mamachas" who, after reaching a certain level of popularity were thrown out of the Bolivian wrestling league by his former manager, but most of all is a portrait of that character, that is Carmen. We talked about it with the director of the documentary, Betty M Park.

-Beyond shooting of Mamachas the ring, I have understood you have traveled extensively in South America. Have you had ever come to Uruguay?

"The first time I came to Uruguay was after a BAFICI. Fernando Epstein knew, who had opened the festival with Gigante. Something strange happened to me here was that this last time, when I arrived, the day was sunny, we went to the promenade and looked like a city completely different from what I remembered. The city changes a lot, for example comparing now, it is drizzling. I think that even in people you can tell the difference between sunny and cloudy days.

- How did you contact you with the "mamachas?

-At first contacted through a photographer, an American living in Bolivia. At first I made contact with Gypsy [the manager], the first interviews were with him, but then I met some cholitas that were completely different than I expected. Were quite young and I was a little disappointed. Then I started to hear these other stories about other cholitas and gave the names of Carmen, Yolanda and Julia. It so happened that when I contacted had just broken up with Gypsy, so were keen to tell their side of the story. Thus it was that for the first scene that we We were filming on the steps of a church, where we arranged to meet with Carmen, and she came across a guy who yelled and threw prostitute and began hitting him on the floor. Did you see that the movie is a cut between when she is discussing with the type and when hitting the ground? At that time cut because we did not know whether to go shooting or attempting to separate them, because the chick had beaten face and blood type. He was an idiot, but still had to intervene. Were the first 20 minutes of shooting. That was my first impression ...

-I assume that from that moment you realize you had given with the indicated character to film.

"Yes, definitely so. When we shot at the Gypsy knew there was something that was missed. Cholitas old compared with new, had a completely different perspective and motivation of the new. They were really pioneers, and was a feminist component in the matter, so to speak.

"That is evident in the film, at some level partis an unbiased viewpoint, but are steadily taking the position of Carmen and her friends.

-is that at first would be the history of mamachas, but ended up being the Carmen story. Still, Gypsy has a point: it is a business name, is a manager and does it well. Anyway, I hope that the viewer realizes the expiry of the documentary that the real struggle Carmen is not so much with this or that person, but something inside that makes mother and wife. That was what most interested him. If an external enemy so you can simply point and blame it all, but when you see that everything is a struggle over what you simply makes you, your family and what you want, is much more complex. That happens a little when the husband asks: "O wrestling or your family."

"When you see someone who, as in the case of Carmen, is struggling to achieve something and turns her head against the wall, how this situation puts you in the paradox of wanting to help, despite knowing that doing so are sabotaging the goal about your job?

"Yes, absolutely. All the time I felt that. On the one hand, you can say that since you are with your camera your presence alters everything you're filming, but in this particular case, seeing that she put forward in their quest to be a fighter, always consciously tried not to influence which meant, for example, their obligations, so to speak, to her husband. It is a particular thing it, but suponete my background is completely different. I would say simply "throwing shit your husband", or whatever, but ... In fact, the question is not what your husband wants it, but what she wants from her life. Still, at the end of the last days of recording, at that time I thought of doing something other than them. I used to teach young people from poor areas of the United States how to start their own businesses, and I took that to give the mamachas a kind of workshop, because that was one of the subjects knew Gypsy and was the idea of \u200b\u200bhow to make money and advertising effectively. They were simple things but they did not run, such that if the entry charged ten dollars, they should save six and invest in an upcoming fight. Then we did other things like a five year plan and design a new logo to make patches, stickers and that sort of thing. That was the commitment to myself: silent during the entire filming process and the end of it to help them so that they could serve. At this point it really worries me is how will the film be taken, because I'm not sure if it's for documentaries public or people interested in other movies. "You you had a different expectation of what was the documentary?

-may at first have thought it was going to focus more on the phenomenon of mamachas rather than on the life of one of them.

"Yes, it might be a little hook. In fact, what first interested me was the phenomenon itself, the lines of "oh, my God, this is so weird," but you can not make a documentary just that, or if you do it'll end up doing something like what happened to a short film about Americans did before we were filming. When we shoot we came across a group of people who were making a film that, in fact, then began to put on festivals. At first I went crazy because I came a little scared it was more or less the same as we had done, but as soon as I saw it I realized it was something completely different and that was at half cholitas in a condescending, style of young American entrepreneur and pity for those women saying: "Poor people, poor people in Latin America, look what they do." I in no way wanted to go that way. That position seems idiotic. The issue is that to do that were left just two weeks. I was about three months and yet I felt that I was short.

"That's interesting because you say the same thing occurs in a context in which culture kitsch and irony seem to have devoured almost any cultural expression.

"I have a theory, maybe it's successful, but I think in some places, like Asia, there is some possibility of some degree of sincerity, because it handles both the sense of irony that has pervaded all our culture. Asian culture is so cheesy, with those songs of love, telenovelas, etc. ..., but that otherwise runs. It would not be possible to do that in America in a frank. To me the boom of irony me a bit crazy. I get the impression that it removes the real way to enjoy something that someone has, because it serves all the time to make excuses, such as a circus thing.

- What was the emotional hook that you had with the life of Carmen at the time of making Mamachas the ring?

-Asian culture is in some ways, quite sexist. I grew up in the environment of a Korean family who remained in the ancient culture of Asia. I was born in the U.S., so my perspective is completely different. At least initially, when I was younger, had a hard time adapting to American culture. There were a lot of things I wanted to make a child, but not let me. For example, I wanted to do martial arts like tae-kwon-do, and my father said: "You can not do So girls do not. " So in a sense, this film is a form of combat a few things from my childhood who remained in the unconscious. I think the film has a strong feminist component, but also comes with more than life itself, which is that if you're willing to give everything for a passion, whether it be behind the camera or fight as Carmen, you have leave a lot of things behind.

Posted in Daily on April 25, 2011

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06/20/2008

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Somewhere (Sofia Coppola, 2010)

Coppola Lost in

Compared to other directors of his generation, Sofia Coppola is not a particularly prolific figure (counting from 1999, we found only three previous films: The Virgin Suicides -1999 -, Lost in Translation -2003 -, Maria Antonieta -2006), but each of his films, without being either an example of risk and challenge is unique in generating different positions around that carry much of the criticism to take opposite positions.

The soundtrack of your life

probably the reasons for bitterness among different positions in the work of Coppola come biased by the weight of a particular constellation of cultural references that usually fit (at times too much) like a glove with a specific target viewers indies. It will not be the first nor the last to use a resource as old as cinema itself, but in his movies, everything seems to be gone or lost in the swirl of certain songs, given in literature or film. In some cases (this is the place of his most fervent critics), you would think in a certain effect, sometimes even emotional blackmail some of the principal. In the Coppola's film music is rarely heard to listen to their characters, but that crosses the mind and heart of the director at the time to think and compose scenes. The clearest example of this occurs with Maria Antonieta , where the court of Versailles at times seems to morph into a nightclub in Manchester, to music by bands like Gang of Four, Bow Wow Wow, Adam and the Ants., Or New Order . You want to stay cool, not to be dominated by such a low trick, but ends bitterly resigned to the fact that the soundtrack is too exciting, too perfect to resist. Though not the only one who digs music scenes like the peculiarity of Coppola comes from the hand of the composition of the scene and the raising of a paradoxical effect in opera under registration. It would appear that she took a taxi and saw herself, thinking how nice it would be that at that very moment, not in the taxi, but in the whole town was ringing some My Bloody Valentine . Many events in the lives of some of us are crossed by the aesthetic desire, just that most of the time are there in our heads, unlike the director Yorker who has the means to translate that into movies. After all, what you are buying a spectator when you buy a ticket from Sofia Coppola, is nothing more nor less than their fantasies, as if to borrow at least half an hour.

Cage

In this sense, one of the peculiarities of Somewhere is the fact that the first film where the director gets off the horse, since most music or references that cross the site are most committed to the film's diegetic universe. Except for this unusual and beautiful song by The Strokes that could easily have marked the end of the movie and the entry of claims, most popular topics are and stripped of certain halo of melomanía (eg skating scene scored by Gwen Stefani in other circumstances would have been filmed in a completely different). The film itself has opted for a much harsher tone and unaffected than all their previous works, portraying a character who never ceases to be a younger and fachera version of Bill Murray in Lost in Translation but with more blind spots, so to speak, with its edges filed down under (well, well, Bill Murray is one). Johnny

Marco (Stephen Dorff) is a Hollywood actor who passes his days in a luxury hotel and whose life seems to be summarized a series of press conferences and sexual encounters random with a huge bunch of females. Reviewed well, it seems the idealized life of a rockstar, but the reality is be the opposite. The alternative option is usually to show the hell of drugs and sex that lead the character to some physical and spiritual decadence, yet you choose not to choose any of the two roads. More than anything, which surrounds the life of Johnny Marco (the reference to Don Juan de Marco seems too obvious) is a nimbus cummulus of absurdity that seems to surround almost everything. In this sense, the film follows the common of all the films of director who is a portrait of characters enclosed in their own cages luxury in The Virgin Suicides, sisters locked up by their parents, encapsulated in that magical world of Carole King and Todd Rundgren, in Lost in Translation Murray and Johansson wandering in that city completely alien, in Marie Antoinette, first court caged for life, then besieged by the same people demanding his head.

Referring to this notion of a cage in Somewhere, the hotel becomes a maze, with those representing them supermodels minotaurs guarding it. Following the Greek metaphors for this maze the only thread that seems to save reel there is his daughter Cleo (Elle Fanning, sister of the famous child star of Little Miss Sunshine ), who has a sweet and natural relationship. The film goes along that path of cyclic, only altered by one point in Johnny's wife decides to "take some time to herself," leaving Cleo in her care.

Slide

In this escape from Cleo with Johnny Coppola receives certain fragility in the glare of cool and luxurious, something that often prove to be a weakness, but in Ultimately, it is also part of what we like it. One can perceive in his films something that bothers a little, an effect similar to what is perceived in this fascination a little slug Chabrol's latest in its portrayal of the wealthy classes. The latter reached its most paroxysmal in Maria Antonieta where fantasy moments Coppola Versailles seemed to turn a house of Barbie, with somewhat awkward ideological implications.

Beyond that (which last, is the author's signature, take it or leave it), in that tone more stripped surrounding Somewhere, the movie gains in sincerity what it loses in emotion, with certain times or minor details and very accomplished, as the small platform that rises to Johnny to be the same height of a co-star (as a rest or residue of that celebrity status that is never put on the whole), or the scene where they are doing a mold of his face and see it with all his head smeared with something similar to clay, a person locked in her own face, and can only breathe through two holes, unable to open his eyes or say anything. The flow of metaphors becomes a bit redundant at the end, that detail the car stopped in the middle of the road (a fairly cliché, by the way), somewhat in contrast with the beginning of the film, where driving in circles seem to talk about the state's vital role. Perhaps the director faltered a bit when trying to redeem the character at the end I was a little short on footage for the rebuilding of their lives. It would also have to think how many more films can be made about the existential emptiness of celebrity without falling of repetitions. Taking accounts Somewhere not become the best of Coppola (beyond being awarded the Golden Lion), but it makes a new line in his films are to be seen where they end by contact.

Posted in Daily on April 8, 2011

Pokemon Monopoly Online

This has already happened (Anja Salomonowitz, 2009)

Arráncame life

The film begins and ends at the border, guarded by the same officer, accompanied only by a few sleepless windmills, like a return trip to one of the dark-but limpid, clean- realities of the current Austria. The first person narrating to the camera has always generated a certain effect of discomfort in the viewer, but the director Anja Salomonwitz is something beyond this resource: the characters look at us and tell us, unblinking, certain events occurred, but more than have as their own, is not his history. This has already happened is divided into five stories taken from the hand of five different narrators, a customs official, a seller of town in years, the owner of a brothel, a consul and a taxi driver. The stories, far from merely cite the trafficking in women in Austria and the rest of Europe, talks about the exploitation of women in a more open, not just watching the sex trade, but also emotional and financial abuse. Everything is prostitution: the soul, the body of the work force. The cases are varied: the woman who is sold by her boyfriend to a brothel where virtually remains a hostage, including and physical threats of deportation, the maid to a family who makes it work like a slave, regardless of their forces, the foreign after marrying an Austrian, living end trapped between the four walls of your home.

All these stories have circulated more than once in the cinema and newspapers, but the characters of Salomonwitz, voiceless and faceless own, based on small details like tiny darts are stuck in the soul of the viewer (such as does the narrative asceticism and devastating Amy Hempel), depart from any common ground or classic archetype. The director takes the spokespersons telling those stories in places sober, meticulously filmed, like a freshly cleaned the crime scene by the murderer and his henchmen. In the scene there died or silhouettes marked with chalk, but what could be. None of these reporters know the players, but they are perfectly once may have crossed the customs official when he signed the visa of one of them once every three months, the driver being a prostitute fleeing her pimp. The stories are there, embedded in that story cold, almost uninflected voice, as if the narrators were depersonalized black box, generating a stroke of very profound effect, which is that we are all witnesses, and therefore complicit that machinery.

There are plenty of films about sexual exploitation, but most choose to provide a cathartic outlet to the matter. You can either capture the same players being interviewed on the set, telling their life stories and crying in front of the camera or film can be chosen recreation, or even telling others what happened with obvious feeling, as if they were actually owned by the spirit of the narrators (as known testimonies of people tortured under the dictatorship read by actors in the theater). Salomonwitz turns from all these resources, and relatively cool in the radical absence, emotional effects achieved unthinkable: the absence of catharsis, the story goes invading, as if by osmosis, the same audience, finding no channel through which to divert the course of emotions that spread underground slowly. Emotional outbursts, however painful they may be, often fail to purge, sort things out at the viewer. This already happened in , however, this effect is perhaps disturbing artistic and technical achievement more remarkable about this film that just 72 minutes to close, unrounded anything, just leaving us with a huge sack of situations that seem to be about of fraying.

What is the end is only the mills that are still functioning fine and white in the meadows of Austria that seems unrelated to any matter concerning humans. Consideration whether it be that these mills are grinders, but the gears running smoothly in a raw, without fail, still running, imperturbable, in front of our noses, or if not be the blades of a meat grinder to that these women are throwing.

What Was Britax Monarch Booster Seat Retired

Shotgun Stories (Jeff Nichols, 2007)

The brothers are united

an old Chinese proverb says that "when a man prepares a revenge, first dig two graves." This appointment fits like ring the finger for a movie like Shotgun Stories, the debut of young director Jeff Nichols. However, unlike the Dionysian feast often commonly referred ofrecérsenos in revenge movies (either from any movie acted by Charles Bronson to I spit in your grave -close to being brought back to the movies, going through Kill Bill, Sympathy for Lady Vengeance or Straw Dogs), violence Shotgun Stories circulating another record. Rather than violence, which is in the film is tragedy, tragedy understood in the academic sense, because what we see from the beginning is an invisible engine, the style of Greek theater, which inevitably leads the characters to meet their tragic destiny.

For a director originally formed in narrative rather than encontrársele cinéphiles common roots, seem to recognize, both in the construction of the characters, as in Arkansas that sleep between cotton fields, a pervasive legacy of American literature. Essentially, the characters have a distinct wedge carveriana, embodying a frugal individuals, hopeless, melancholy, entirely besieged by a kind of fatalistic dignity. At the other end, violence remains waiting under the boards, always about to be unleashed, that brings us to the deep South as portrayed in the apocalyptic novels of Cormac McCarthy. Parsimony and violence, serenity and explosion are the two sides of the scale on which the film keeps a deft balance.

Hayes The three brothers, Son, Kid and Boy (in English, "Son," "Child" and "Boy") in their very names embody the displeasure of an alcoholic father, who did not bother to award them a name, leaving them early, then becoming a good, clean Christian and other family form. The lives of the three brothers are not particularly exciting, or rather the opposite: Son (Michael Shannon) is completely convinced he had discovered a system to beat the casino, but such activity, so far unsuccessful-earned him abandoning his wife and son, Kid (Barlow Jacobs) wants to marry his girlfriend, but has no money, living with a minimum of a tent in the back of the house of Son, Boy (Douglas Ligon) sleep and practically live in a defective pickup basketball and teaches a group of Children who fail to complete the five players to a team. Read, it's hard not to think about these characters from the typical size of losers , bordering at times with comedy. In fact, the daily record of the lives of the characters often incurs a content mood, slightly absurd, which can be traced back to Slacker, Richard Linklater, especially the inclusion of some characters like Shampoo unpresentable-or even Napoleon Dynamite -comedy that could not be more at odds with this family drama, but has in its rural environment and the ridiculous use of silence, a common air.

All would appear that the lives of three brothers running a flat and orderly way, until one night, the mother-to which none seems to profess much love, "his father advised that just died, "Your father died," "Where you going to bury?", "Read it in the newspapers," Are you going? "," No ".

Death, far from allowing them to make peace with its former parent, leading to the three bastards breaking into the funeral organized by the other family-in appearance, much less dysfunctional, ending with are spitting on the coffin of veiled. That same act opens the box (or in this case, the drawer) Pandora facing the children of two families, starting a race that will take several lifetimes.

Family Killings tend be typical of period pieces (usually inspired by the Middle Ages or Renaissance) or gangster stories, but the revenge thirsty that between the two sides of half-brothers, happens without any hint of showmanship, rather surrounded by an aura of inevitability and despair. One of the great achievements of Nichols is to create a system of cause and effect where at some point, one wonders how it got to where it is, not to discover later that everything happened in a logical, inevitable, quite plausible.

In this genealogy of violence is in part Greek tragedy, part western, part drama biblical the title "Shotgun Stories", seems to include more than one sense. One would think that these "shotgun stories" would refer to their use by both sides, but, in truth, most of the film, the guns are conspicuous by their absence. Unlike this, the gun referred to seem to refer to the notorious shot scars that are shining in his back, and with which practically opens and closes the film. The "stories" are none other than those who invent their colleagues, trying to predict or explain the origin of these footprints.

Jeff Nichols in a recent interview, he said the character that more time was designing for the film is not Son, nor the rest of the brothers, but his father's. Such a declaration, for a character who does not even appear, talk about this film on a structured absence, the legacy of someone who, while not, is still there and working, as the scar on the back of Son.

Powerprox Braces Cost

The function (stop)

Dear listeners idea: Mr. Juan Carlos Blogger Blogspot has endeavored to prohibit the use of full stop as well as writing in verse, forcing me to write all the way through STOP It is only intended to communicate my ideas through the use of STOP period followed I refuse because I do not like extortion and goat, half goat and STOP What I can not use the full stop or verse? STOP What I can write only with points in a row? STOP yes to the former and not the latter! STOP why I notice required the use of certain tricks until a kind soul tell me how to get around the problem STOP Meanwhile I give STOP version of my latest performance entitled ... The function (obviously stop)

The actor was concerned came STOP Al Release: A man who coughed STOP A mother with a crying baby STOP A lady I opened candy wrapped in cellophane STOP An executive phone on STOP Two half deaf old ladies who spoke to the cries STOP A guy with hiccups STOP A girl who ate french fries STOP Two lovers who do not stopped kissing and laughing STOP One worker who used his jackhammer STOP A pirate with a talking parrot on his shoulder STOP AND critic STOP snoring But that's not all: The pointer also fell asleep STOP By illuminating lights burned it STOP And the curtain came down early STOP snoring Al critical work like it (they see what no one sees STOP And vice versa)

The actor could understand many things because was old, but it seemed that the pirate was talking to his parrot in the sixth row exceeded any limit STOP Later, while going over their parliaments in the mirror for the next role, Macbeth said "Life is not running a shadow, a poor player that struts and stirred one hour on stage and then again not knowing of him, is a tale told by an idiot, full of sound and fury, signifying nothing " His pride hurt him to think that maybe the work is not on stage but developed under STOP That the actor was the spectator and the public, the interpreter STOP He sat with his legs hanging from the proscenium, and when the curtain went up, the artists received such thunderous applause as yourself: It was a pirate (FINAL STOP)

Is Gabrielle Union Dark Skinned

Biography written in third person and Recovery Fourth Deadly Poem: "To you"

recuperana According to mythology, a morning of carnival of the year 1934, the Last Poets Argentine Single Cursed and woke up with an idea considered revolutionary. It was not a new system for wet girls in the neighborhood of Tapiales unnoticed by them, no (1) In this case thought that while the literary canon is not discovered, or could be saving time and write his autobiography. Indeed, we know that Recovery has lived his life at the wrong time and instead of thinking about his poor mind, carefully planned their future full of success. And so far limited to care polishing his prose, his rhymes questionable or tentative metaphors, wasting his time thinking about how to save the fate of internationally renowned author before him, a character who clearly would have little free time to write his own biography. We know that recovery is a jealous guardian of its literature and therefore, never, never, could entrust his likeness to a third party. I thought so when he realized the idea that his approach would transform the world forever biographies, surpassing the great Stefan Zweig or even a Emil Ludwig, a poet who for reasons of modesty, being aware of his talent unfading, talk about himself in the third person, record that decades later would take dozens of players Soccer ignorant of noble origin of the practice. But this never happened to legend status because even Edwin Williamson, his official biographer, was able to find the famous Autobiography in the Third Person of Francis Oliver Recovery. However, this morning has been the drafting of a subject idea was presented as a nephew of our beloved poet. The identity document that showed (issued in Rutherford, New Jersey) ensures that its carrier is named for William Carlos Williams Steal, and it would be great-nephew of the poet (paternal line) Recovery
Mr. Williams did not allow us to examine the invoking ancient manuscript accredited not to copyright the work of the eminent poet, which clearly is a ploy to raise a potential sale price of the material. As we have not been particularly interested in the work (2) the neojerseíta (3) only showed us what could be the fourth Recuperano Cursed Poet and always went missing: "Thee" also attached page 623 of autobiography, which would give a key reason for the mysterious disappearance of the poem or even, in the very autobiography.
is a pleasure for a clue, a pleasure and a headache because with her we were the last maravedíes we had in writing, exclusively present and something illegal, the possible page 623 of the mythical Autobiography Written in Third Person by Francis Oliver recovered, the missing fourth poem Sum Damn Dozen Recuperana entitled, " To you "One last observation: for incomprehensible reasons, recover first person writes the notes to his" Autobiography in the Third Person "prorrecuperanos Some authors argue that with that kind of dialogue intended to give it more rhythm to his monumental autobiographical work (eleven thousand pages) Instead critics estimate that the absurdity is explained in which the poet worked on his work in two clearly separated: first the main body of the autobiography, which was necessary before dinner, and on the other, after ingestion, the notes. You may then later the poet was drunk enough to forget the merengue of the third person, or have lost faith in the literary experiment.
With you, the artist.

A ti (1934)

You, Muse
Tapiales
travel every morning in the 103 Bondi
And I love you ever walk away
Because my evils

When you open your business
surreptitious glimpse I
and has become vice
That takes me away to leisure:

Very early I ask
"Some bread, please!" And your careful attention

nocking me as a Cupid

The author knows the exact value of these couplets pseudomartinfierristas. Awarded the weakness of his rhymes, the irregularity of its metric and predictability of the hunger season metaphor that haunted him then and perhaps accompanied him for the rest of his days. This is explained on page 623 of his Autobiography (in Third Person, naturally)

"In the year 1934 had not yet recovered and won the Cervantes Prize, the Nobel Prize or no prize" Stevedores your rhyme " Club Social, Cultural and Sports "Brisas de Tapiales" Therefore, send something to the stomach without money in the pockets was transformed into a daily ordeal. Noting the great poet that employees of the bakery, the greengrocer and the butcher in the neighborhood were on the tram 103, and his desire to manage the rare literary forces that he lavished his sorry state, he decided to devote the same poetry secretly each of the three at the same time, so with the veiled intention of receiving favors of any kind, mutating each outlet selling the product. And so the poem dedicated to Marta, the maid of "Bakery Raposo" applied the noun "bread". For Monica, the grocery store adorned Don Tito "papa" and Estercita from the butcher "Cow Cocky" was applied "chorizo \u200b\u200bsteak, veal cut while putting in meter and rhyme crisis was the product of the butcher more eager to receive the poet without giving a weight for him (12 567) "

AUTHOR'S NOTE No. 12,567 : I hope this page written two minutes after closed my Fourth Poem Mortal never be read by Marta, Estercita nor Monica, because that would not only deny their loves me but also the bread, potato and, more regret in the soul, sausage steaks Don Vicente, the owner of "The Cow Cocky" Judging by the silence that accompanied my triple synchronous readings, it seems that the secret will be guarded by the triple deficiency literary sensitivity of Tapiales vendors, miserable in the epithet, generous in the delivery of supplies

Is it actually Mr. William Williams Carlo Recovery nephew (by father) Francis Oliverio back? and the behemoth that allowed us to handle, could be famous and never proven Autobiography Written in Third Person of Oliver Francis Steal?
Were there Marta, Monica and Estercita? Do they live still, its possible 95 years? Here, the idea, we have no ditto. But we believe that publishing these important developments constitute embrace the priesthood begins to pursue the task of writers. Or something.

Recovery Oliver Francis, circa 1930

(1) his biographers say that FOR was a time that was devoted to the invention of useless objects and high-sounding names. Clearly succeeded in this business because none of their creations came to our days. It is possible that a penchant for manual tasks is the transmitted Horacio Quiroga, and a passion for yerba mate and Indian Guaraní.
(2) were interested, but a clue is on the verge of bankruptcy for nearly three years.
(3) Natural New Jersey (we think)

Wireing Diagram Sandrail

Child

When I see a child play I wonder where is the girl who will love you tomorrow. What's playing? are perhaps the two in the square and invited him to play. And he does not want and go running, proud and undefeated. Maybe she speaks another language and now is in a distant park, playing a game unknown and that he will never learn. Destiny is a fickle driver that does not clarify where it leads. Sometimes love makes us just around the corner and others, thousands of miles. We may never give us that gift, or do not see it despite their attempts. The child I am looking at now does not know anything about it is concerned not know, absorbed in his game. Only he knows the pattern it represents, but it is clear that the work takes place for only one, and it is relentless. There is no paper for that little girl. Maybe tomorrow that will steal your heart and now just watches, annoyed, since the heights of the largest slide in the square.