Names Of Parts Insidethe Car

/ Eternity and a day of Theo Angelopoulos

The film is impressive, the title is impressive, Palme d'Or 1998, Bruno Ganz, all that, and after a catastrophe referring immodestly Fellini, Tarkovsky, with a few winks to Wings of Desire. Besides these two films have in common the same ambition: to give the feeling of life, here the sense of loss and therefore its value, upgrade, enhance the image of life is a little ambition Secret Cinema, otherwise we would not tell stories about nothing, the two films one succeeds where Eternity and a day errs a bit much.

Cinema must be tricky, if he wants to talk about rights as we speak in an essay with a capital of bad taste, it does not show abruptly, or melancholy, or nostalgia, or loneliness and let alone indulging in furthering what he describes as One scratched up bloods corner of itchy skin. Exactly you will notice that good replicas are always too short and always stop at the right time, there's never enough never too much. Anyway the film owes nothing to show but this show to suggest this, and when it is suggested it guards against such excesses.
Why not show? Because the viewer decide whether to show the loneliness tantamount to the viewer to identify with the loneliness and well tomorrow I turn my film and I film Emile playing on his computer all day. Show is nothing to allow the viewer. I do not like the "genius" authoritarian, one that I do not know by what means you understand that he is aware of the alleged beauty of what it shows, leaving no place for the viewer supposed to move freely within the work. A bad director is one who does not understand that cinema is in the interaction and there are two openings: the eyes open, open body of the viewer to the screen but the screen open, available to the viewer. So do not appoint him to the tune of flashing arrows here must cry here must roll over in pain. Two openings are two possible blindness: the viewer does not "see" the movie, the movie does not see the viewer.
A good film is a film where everybody cries (I take the extreme example of the tears of emotion to speak in general) but when we realize that no one wept at the same time: this movie was so moving, it was a masterpiece but everyone was crying but by passing over. I always cry for no reason during a movie because the movie does not give us reasons to cry but opportunities because the opportunities are seized or you do not understand is what guarantees freedom the viewer, and these opportunities depend on the provisions of each. The consensus suggests that Eternity and a day is suspect, it is worthless.

how to feel lonely if not by showing it? Well it should do otherwise, he must be smart, you have to make detours. It is the pornography of the emotions, which shows all, who said, that takes even takes the viewer by the hand, "you put yourself there, you feel it, "and then there's the gentle genius, the eroticism of emotion, who knows that pushing a little there, by doing that caress and tickle I can produce the same effects, I can cry.
give the feeling of life is necessarily give to see the unconsciousness with which people live it, is to make films like Robert Altman, a cinema "naturalistic" as they say. The artifice succeeds anything until it fails to restore this unawareness, this profusion of life, words, faces and bodies that are announced without politeness before us, who do not say anything important, do nothing important. But I think that is the most specific, most trivial, drags the viewer is led to believe that a scene is essential and beautiful. In contrast, talk of universal allegory proceed as does Theo Angelopoulos is inevitably reach the laughable caricature, an advertising agency in life that involves the figure of the Child's Birth , Women, the Old, the poet, without understanding that the world is mixed, there is a subtle sort of division of the business of living as there is a division of labor. It is particularized, so that you specialize unlike any of these full and noble figures. We do nothing of integers then the film does not show completely, but reveal a little, show a peg leg to suggest or evoke the loneliness at the corner of a replica that casually said of solitude . The film does not compete with literature, with its immediacy, with greed and deprivation with which it approaches the truth, the cinema is an art of mediacy, slow, process, which must operate by general impression rather than brilliance. To speak of man we must first talk about the man.
The few scenes where the film works are pale Copies of the most intense scenes of Wings of Desire where Bruno Ganz, fallen angel, discovered the blood, coffee, and that is that having cold, where he tends a sandwich to the child in Eternity and a day.
This film approached me in its purest form what I call selfishness nostalgic, the character is haunted by his memories to him, my little wife, my mom, my friends dancing dressed in White in the sea, and we're supposed to draw no one knows how the feeling of nostalgia and therefore of life. Except that identify with a character is not an abandonment but an effort. I do not leave me with feelings of the character, I try to understand, I concentrate, I find reasons to move me on the occasions that the film gives me, but plunged in full caricature and despite my efforts, it does CAN NOT WALK AND IT'S CHIANTI.

Pirates Of The Caribbean Theme Guitar Chords

Certified Copy - Abbas Kiarostami

lot of hype around daytime Certified Copy, and yet once the movie starts you forget everything that was said, comments, promoting faster unbearable. I remember Kiarostami harping to whoever wants to hear again that he wrote this film for Juliet, only Juliette, whatever, who cares, most of the time we hate artists, there has to love the works. The interviews are so foreign to the film, as the gossip that do not say anything about us.

First talk about the impressive quality of the image, I have not seen many films in digital, the only one that remains to mark the precedent Kiarostami, Shirin or quality as it was felt to have ahead of true and great faces, mouths large, expressive eyes of a tearful recalling the look of manga characters. It where I told myself that I saw before me something that film, and then another movie that could take advantage of new technical skills and not without impact on our appreciation of the film. Judging the quality of the image is always compared to another less clear I think, and we did not complain of the quality of films "before" because we had nothing else to put us under the tooth, without being able to foreshadow what was happening.
Today I would say that HD offers us such a technical feat that is reality that is steeped missing since the sun shines on the screen more than ours. We can only stupidly impressed before such cleanliness and sharpness of the image sharpness that is not even that with which we see the world, but here is superhuman, "over-perceptive", the world offers itself to us without dust. The film is not moving closer visually real, it is exceeded, it becomes autonomous and somewhere after creating his own situation he create his own colors, its unique contours of the world.

Here the sharpness of the image makes sense since it's a film that needs to be scrutinizing, skin incredibly reflective and white human Juliette Binoche, landscapes of Italy, and even things that at first did not lend themselves to contemplation become so. If the digital cinema brings something he brings to his first film made to be as beautiful as paintings, these films "screenshot", which makes everything clearer make everything more memorable. The pictures do not pass, they tattoo, they are not mere movement but in a contemplative movement that embraces and anticipates what would the viewer instead of the camera, and it is as if we were watching the world from an extremely lucid and lively eyes, awake. The images we mark not in the manner of motion pictures but in the manner real memories that belong to us.

The first and best part of the film to the qualities of what it describes, that is to say the first couple of time: something new, brilliant, exciting, delicious, where everything is still the state of steam, tickle, to touch and thus sensitivity. The couple become able to speak anything that is not him, art and important things. Everything is lovely, no one is detestable in the eyes of another, the character is not either in his own eyes. There is no heaviness of identity, of who they are because we are still in the lightness discovery and that we walk a lot, unlike the second part of the film rather fixed and which thereby brings us back to heaviness. Every moment is the promise of a new or rather a new relationship to things: objects, faces, but also the intangible: the silence, relationships, their ambience. We come to appreciate what was then impaired, complicated forms life takes. This is part of a film impressive fluidity and a great and simple beauty. Nothing is struck everyday, everything is washed and we remember flirting together what is good discussion that the noise and clatter of a car, a little wind in your hair, we are constantly on the alert, waiting for the beauty arises.

The second part is about to hit the dust and fatigue, William Shimeles first brilliant essayist and appealing to disfigure its simple role as a bad father. The film manages this subtle feat of making us think the opposite of what one thought about the characters in a quick and bold change of roles. A bit like in real life where we are neither attractive nor repulsive, not funny or austere but attractive or repulsive, funny or austere different situations and people that are before us. The human being is moving towards the other by insensible metamorphoses he does not control but that the other causes, provokes in him.
So, first this open relationship where politeness is to look to the outside world only when the person we want. Finally the second part where the couple takes its course and devastates everything surrounds this man and this woman, this island is appalling as the couple may be, this selfishness for two. The problems become excessive since the couple living out of the world forgets to think across the world forgets to "relativize" and stuck rehashing, and at this moment in the film that I personally I am disconnected.

Juliette Binoche The game is just as delicate as the movie, full of shimmering she suggests, she steals it and redévoile. It is a game in high definition, because he married with perfect precision the particular situation of each but also because, like high definition at any time can be a physical defect, Juliette Binoche has a game that is not afraid not approaching the fault. It is a real woman who can be blamed for things, it does not play its role in a movie: Juliette Binoche plays a woman who plays , who would like a scene in another would complain, or forgets to please in an exchange with his issues without son. But the intelligence of the game could not speak entirely without a superhuman and exemplary self-confidence in his body. According to play in Italian, French and English, so it changes the game, it mimics (with all that implies of children) someone else. When she speaks French
his tone was grumpy, jaded, unattractive, she speaks French when she spoke to her son, "But I told you that one, it is in the drawer", she is the mother who does not know to look, who forgets to please.

English she spoke to the man she seduces, she simpers, she manages to say something intelligent, she became a mother at a distance from her child can return to being a woman. It is autonomous in so far as wanting to please her femininity always presupposes first have to please yourself like those women who say dress for herself, these Hollywood actresses who sleep with lipstick.
In Italian it is the mother and wife. She takes these gestures and tone plaintive that we have seen and loved a thousand times over Sofia Lauren. The mother looks at the sky when she talks about her husband, who complains, but always secretly. What is admirable and worrisome is that few details about Juliette Binoche could play badly, falling into caricature roles she alternates and because she connects with the risk of exaggeration and without s announce, produced in the viewer a strange and touching surprise, it is the spontaneity of life that is brilliantly clear.

Letter Confirmationcatholics

La Chapelle aux Saints


There are sites that are truly representative of history Neanderthals in France: La Chapelle aux Saints is one of them. Neanderthals discovered at the site of the Bouffier Bonneval in the commune of La Chapelle aux saints at the dawn of the twentieth century is very important because it was one of the very first evidence of funerary rites in humans Neanderthal. Therefore
I was very honored that the Museum of Neanderthal man asking me to make a new image into the "man of the Chapel of the Saints" as it has been buried, there are forty thousand years by those of his community. The image I made in the direction of Thierry Bismuth and you can see above is therefore a representation of this Neanderthal of the most famous, a toothless old man who suffered from arthritis and hip problems and Knee *.

If you want to know more about this venerable cousin who, nearly sixty years at the time of his death was to be a veritable encyclopedia survival in glacial environments and had probably had to grapple with a large number of bison and reindeer, I would note that the Museum of Neandertals has topspin in her beauty website. You can visit the new website HERE or return to see it to see the change! It's beautiful work.
There is also the site Hominidés.com a page very well done on this subject, Here.

add that this summer there will be a new "Day of Prehistory" at the site of the Bouffier Bonneval, 31 July to 3 August and I am now 31 and 1 for an exhibition of original drawings and a session dedications. You can download the program HERE .


* Just for the record, you can take a look at the image of our brave "Man of La Chapelle aux Saints," which was painted by Kupka from the work of Marcelin Boule in 1908. Click. It's still good to see the path that has been traveled since then.

Tnf Treatment For Ankylosing Spondilitis

jailbird

EYES WITHOUT FACE - G. Franju (1959)

Genessier The surgeon scans the face of a patient who has been admitted to his clinic. His eyes devour in search of some consistency with his daughter, he cut up already and the keen attention to the medical gaze is mixed, making it unhealthy, dangerous. The benevolence of the health technician at the service of body function is perverted, transformed to an end passionate, tragic, that put a face to her daughter, disfigured in a car accident he caused.

love or guilt? Genessier is doubly charged responsibilities: in addition to being the murderer of a face, it is one of his own daughter. The guilt is not sufficient to justify his company mad love for her daughter is dramatized by this debt, his life is erased in favor of one he mutilated. All lives have the same value, the girls could die and succeed indefinitely in the basement of the surgeon, they are like dogs in the next room, rooms at the disposal of their jailer. Ambiguous role of the daughter of Genessier, victim-executioner the show dismemberment of the others do not bother, it does not put a brake that when she resigned to failure of a new birth, when she surrenders to the leak by freeing all beings who had been confined to her advantage.

Malaysia during the cutting face of a young girl: the film has aged, blood is grossly wrong, the cuts are obviously simulated, but the discomfort is born and develops. The suggestive power of the scene than any concern for verisimilitude, for long minutes the camera never leaves the closeup of the face carved off. The sensitivity of our own face is such that it projects itself in this simulation awkward discomfort is violently physical.
Barbarism is not the totality of torture, this focus on the face is itself dehumanizing : faceless we do nothing, we're not this monster that everyone believes death, forced into hiding as Christiane. A monster who can not find his humanity in butchering those of others, something has been lost and can not be solved, that inhumanity can not fill that are transmitted, in stealing faces in turn.

eyes without a face: the eyes are, lost in a mask trying to reconstruct the face mask with white plaster seems to follow that of the skin of the crystal Christiane. The mask belongs more to Christianity than the faces she tries in vain to capture, transplant rejections and their successive and still she must don his mask, faithful into the leak.
.

Maytag Performer Pavt234aww

film Ao, Ao trilogy


Excellent, what happened last weekend in Montignac to celebrate the 70 anniversary of the discovery of Lascaux! Lots of beautiful people and thousands of visitors a treat. I take this opportunity to salute all the authors, researchers, facilitators, directors, teachers found or met on this occasion. It was a real pleasure.

important moment: I had the privilege of seeing a preview of the film by Jacques Malaterre Ao the last Neanderthal. Of course, I was a little worried, like all film adaptations of novels we liked. Well, I was not disappointed, far from it! I found this really wonderful film, full of action and especially emotion, played by outstanding actors. You tell me maybe I'm biased because I am passionate about Neanderthals. Quite the contrary: I am even more difficult to meet than I am fond of the subject. Yes, the storylines of the film moves a lot from that of the novel, but the bulk is here and there: a strong and clear about the Neanderthals and beyond, on all humanity. As the movie comes out in theaters September 29th that I will not go into a detailed critique yet, I will return in a future post just before the official release. But I can say that, what is the image of the Neanderthals to the general public, there will clearly before and after Ao. And I can only urge you, if you have the possibility to go to one of the many previews to be held across France throughout the summer.

In any case, by September 29, you'll have plenty of time to read the wonderful trilogy Marc Klapczynski on the odyssey of the last Neanderthal, whose Ao the old man, who inspired the film, is the first installment. If you do not know this series of novels, you can discover by visiting the brand new website has just been posted HERE , where you will find very little topo-made with each novel and read excerpts illustrated in music. The reader is also none other than Claire Troilo, author of the album Youth Ao little Neanderthal which will be discussed too soon.

icing on the cake, I just loop a series of illustrations for the youth version of the novel Ao, which will be released by Editions Auberon in September. The image above and one below are the first two excerpts that I'm discovering. There will be others!

Enjoy!

How Many Calories In Holsten Pils Beer

Essence problem

The last time I took Emile the cinema to see Lady Vanishes Alfred Hitchcock. The lights went out, the film began. During the session I forced myself to be particularly and strictly attentive to what at first glance, could be likened to a signature Hitchcock who could beat me to force viewing of his work and a friendly relationship we forge necessarily with a director you love. I tried to understand a little more modestly Hitchcock, find a common denominator of his films and has been for second place, as if the widescreen movies made everything more eloquent, more visible.
One thing particularly struck me, something that is worthy of being generalized to many of these films ( North by Northwest, No Spring for Marnie , The Murder, Rear Window, The Birds, Psycho, The Trouble with Harry?, The Man Who Knew Too Much, Suspicion, The Lady Vanishes, The rope and certainly others, but that does not come back to me or that I have not seen) and is still at the small thesis shy Hitchcock keeps us because it is always (or say very often) in his films to appeal to the infinite comfort which is to be told one thing to see it unravel and streamline before us until the strangeness disappears altogether.

Hitchcock speaks to our desire and our enjoyment of understanding. Of course we know about n'engrangeons no real after one of his films (except that any insurmountable situation initially tends to overcome in time) this is just to create an artificial situation and very playful fun human and only human rationalization. Hitchcock confronts us with the essence of the problem and the essence of its resolution.

Faced with the problem sometimes is given to the spectator point of view omniscient (he knows the cause), now it is placed on the side of character-ignoring (he seeks the causes) . In the first case, what would interest the viewer to solve it a second time about what he has been kept informed but he assist step by step how to (often ingenious) that such person is doing to access the explanation of a phenomenon?

The situation is unexplained, irrational, unusual, but more than that, the character took in what he does nevertheless decides not explain (fear, helplessness, disapproval of the entourage, the divergent opinions on what may be the "real") to invest the situation. He takes it even if not in possession of all data and displayed a stubbornness that encourages the viewer and the other characters disapprove. If Hitchcock loves us explain laboriously back to causes, we understand why psychoanalysis became for him an exquisite favorite subject.

Lifeboat - Alfred Hitchcock

Vermont Castings Bankrupt

manage the world

On the Bowery - L. Rogosin (1956)

healthy reflex viewer: Query from crude reality Film, delineate the scope of fiction in the docudrama, not so much that we should be reassured, to conjure what the film wants to tell us about the reality of our society, but rather that we require some basic on which to base our conclusions and our outrage, a direct contact with what is happening before our eyes.

On the Bowery questions the nature of a society in which can germinate and grow so much misery on the meaning of a society that is so not the same for all, who does not logically implied by his whole creation. Yet the choice of film is immersion, no contrast is never shown or terminated, all happens in a camera in the Bowery in Manhattan, all town structures they are dedicated many scenes in bars, around alcohol, are part of the misery that is filmed. There is no feeling of rebellion burning living Come back Africa, no reflection on a precarious social condition from the very people who suffer, men use the weapons system that oppresses them for s' out, they look for work, money, even if it must be achieved at the expense of others homeless. The bodies are marked by the wearing of a life spent in the street and their resignation is in itself a cry what charge to push the viewer to the place of those whose apathy has wiped up This ability to respond.

Progression of poverty: the man makes his arrival in the neighborhood with clean clothes and a suitcase, his pay in his pocket he even allows a bit extravagant generosity to offer glass coffee to other customers who are not praying to enjoy it. It is unclear where it came from, what he wants, just know that there is a worker and he wants to stay a few days in the Bowery. Money plays an integrative role, the time around the lenses offered is brief but friendly, the payer is emphatically thanked and every man for himself becomes all together around a table. The guests leave promptly once the finished glass, usability is broken when there is more recognition of the belly, the man sets limits to his generosity, limits of a reasonable order, "I somewhere to sleep tonight, "etc.. The only remaining benefit to his side then his drunkenness to steal her meager bag and sell his watch, trust and friendship is never really possible because they are already of the order of the luxuries of life installed .

Film activist? Activist notes and acts, it acts on its own scale, he fought, he wants to awaken sleeping consciences by the banality of a situation whose persistence, however, not diminish the gravity. But we're only the small crowd in a small criticism, it's about asking how to act necessarily the answer eludes us. The mysterious workings of the great ship world make sense here and paradox became obsessive: the sphere of poverty is within our reach so heavily that it can not be our sole responsibility, we are situated very well yet what kind of superstructure should act. But we wake up time a film of a healthy and legitimate torpor has the merit of empowering us to feel the world as we always forget a little.

Fulfillment of poverty: the Bowery filming for three days is to show that is unbearable bearable, it is experienced and that this morbid ability of adaptation of the human being at the same time it allows him to continue living despite everything , also causes its gradual insignificance, his sweet trivialization. There is an aesthetic of poverty: the black and white dirt, the darkness of grime, the majesty of metal structures airlines, broken faces, dialogues automata.

Herpes Ocular - Fotos

Lascaux Celebrating 70 years! Interview with Marc


As you've probably read on the right hand column, I'll be here this weekend to celebrate Montignac as it should be 70 years of discovery Cave Lascaux in the presence of two inventors of the cave, Georges Agnel and Simon Coencas .

A fine program in perspective, with lots of prestigious speakers from the world of fiction and prehistoric research.
I'll let you discover the program HERE

Note that this weekend is on the path Montignac previews of Ao and that visitors will have the opportunity to see the film, in the presence of Mr. Klapczynski and J. Malaterre.

you soon