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.