"Give to chance" I say and I throw myself into the street.
But I meet with anyone. With no known or unknown.
I go. I have a random boring.
Monday, November 22, 2010
Wednesday, November 17, 2010
Niña Periuana Follada
The existence of nothing
In the afternoon I saw two films in the International Exhibition: "Somewhere" by Sophia Coppola and "Antichrist" by Lars von Trier. I arrived at the Cinematheque shortly before 3:30 and only reached the second ticket. I knew the morbidity would be the reason for some to see it so outrageous that he was in Cannes, as planned for ever designed in such ultra-Catholic country, so frightened people coming out of the rooms. Somewhere
room, Sophia Coppola's film, shows us a man who seems to have accomplished all without much effort behind it, is an actor. The pack owns Hollywood incalculable power point and apart from money, has the gift of perpetual servitude of others and all that could involve: favors free, over-friendly, casual sex in abundance. It is the nobility of postmodernity. Coppola gets some sequences that occurred in another area are enjoyed by gender male (a couple of lovely blonde doing striptease twins), are tedious and even boring. A more topless a topless less ... pfff. repetition as a form of nullification of wonder. The satisfaction of desires as murder enthusiasm. Johnny Marco is a man living an empty life, is not, not. And he realizes. He realizes it's nothing that is not one, falls into the void, the most awful desolation of all, to not have to live for. (- Having accomplished all that entails no punishment? -). There is no tragedy, there is a life of misery or a history of failure behind such grief.
In "Antichrist" explores the pain more deeper than a human can experience the death of a child. There is a reason to rush into the void as opposed to "Somewhere", here is a very clear and sharp. And what is the way in which the tragedy occurred because it is in the intercourse of the parents. The powerful distraction from a brutally hot and sensual encounter. Have happened in other circumstances would not be so scathing blame. He, psychoanalyst, decides to take into their own hands for his wife against which all ethics would advise. That is when we witness the consequences and the pain almost visible from it (in fact both films manage to convey a certain amount of anxiety in some sequences), their attacks anxiety, their self-flagellation. Pleasant attitude while far from a spouse concerned to represent fully the roles of doctor-patient and not cross the border near the lovers. Slowly and beautifully revealing is the premise of the film What are you afraid of women? Why is your regret is atypical and extreme? The first answer is simple at first, phobic nature. Taking into account that the more exposure to fear, overcome it, he takes to the forest where they have a cabin. The woman has that horror of nature, because life dies, because nature in its creative force necessarily destroyed because there is death by sex. Because no matter what, all living things must die, death is the fee for pick up. And what is the human being but part of nature, his victim, his own son. The man in the image and likeness of Mother Nature is wonderful and terrible time. The twist of the film is rare and devastating.
I was struck by the paradox in both, so who has everything is empty, he loses everything consumed.
I left the cinema with a huge nebula, happy to have seen two great movies that made me remember something I have always defended and thought that the mind and human nature are incomprehensible and sometimes unjustifiable "the mysterious ways of the human psyche" (without getting to discourses of psychology) and that needs no reason to sink into the atrocious.
PD 1 .- How great are Charlotte Gainsbourg and Willem Dafoe. Rarely does a player deserves much respect. They are in addition to the child who dies in the opening minutes of the plot, the only actors in the film. Carry all the weight of such a monster on it, and can with him. Photographic aesthetics is paramount, supreme.
PD 2 .- I was wondering if perhaps the film Sophia does some kind of autobiographical nod. Johnny Marco has a daughter of eleven years that I visit and the louts realize the father. A daughter who cries for the abandonment. The
In the afternoon I saw two films in the International Exhibition: "Somewhere" by Sophia Coppola and "Antichrist" by Lars von Trier. I arrived at the Cinematheque shortly before 3:30 and only reached the second ticket. I knew the morbidity would be the reason for some to see it so outrageous that he was in Cannes, as planned for ever designed in such ultra-Catholic country, so frightened people coming out of the rooms. Somewhere
room, Sophia Coppola's film, shows us a man who seems to have accomplished all without much effort behind it, is an actor. The pack owns Hollywood incalculable power point and apart from money, has the gift of perpetual servitude of others and all that could involve: favors free, over-friendly, casual sex in abundance. It is the nobility of postmodernity. Coppola gets some sequences that occurred in another area are enjoyed by gender male (a couple of lovely blonde doing striptease twins), are tedious and even boring. A more topless a topless less ... pfff. repetition as a form of nullification of wonder. The satisfaction of desires as murder enthusiasm. Johnny Marco is a man living an empty life, is not, not. And he realizes. He realizes it's nothing that is not one, falls into the void, the most awful desolation of all, to not have to live for. (- Having accomplished all that entails no punishment? -). There is no tragedy, there is a life of misery or a history of failure behind such grief.
In "Antichrist" explores the pain more deeper than a human can experience the death of a child. There is a reason to rush into the void as opposed to "Somewhere", here is a very clear and sharp. And what is the way in which the tragedy occurred because it is in the intercourse of the parents. The powerful distraction from a brutally hot and sensual encounter. Have happened in other circumstances would not be so scathing blame. He, psychoanalyst, decides to take into their own hands for his wife against which all ethics would advise. That is when we witness the consequences and the pain almost visible from it (in fact both films manage to convey a certain amount of anxiety in some sequences), their attacks anxiety, their self-flagellation. Pleasant attitude while far from a spouse concerned to represent fully the roles of doctor-patient and not cross the border near the lovers. Slowly and beautifully revealing is the premise of the film What are you afraid of women? Why is your regret is atypical and extreme? The first answer is simple at first, phobic nature. Taking into account that the more exposure to fear, overcome it, he takes to the forest where they have a cabin. The woman has that horror of nature, because life dies, because nature in its creative force necessarily destroyed because there is death by sex. Because no matter what, all living things must die, death is the fee for pick up. And what is the human being but part of nature, his victim, his own son. The man in the image and likeness of Mother Nature is wonderful and terrible time. The twist of the film is rare and devastating.
I was struck by the paradox in both, so who has everything is empty, he loses everything consumed.
I left the cinema with a huge nebula, happy to have seen two great movies that made me remember something I have always defended and thought that the mind and human nature are incomprehensible and sometimes unjustifiable "the mysterious ways of the human psyche" (without getting to discourses of psychology) and that needs no reason to sink into the atrocious.
PD 1 .- How great are Charlotte Gainsbourg and Willem Dafoe. Rarely does a player deserves much respect. They are in addition to the child who dies in the opening minutes of the plot, the only actors in the film. Carry all the weight of such a monster on it, and can with him. Photographic aesthetics is paramount, supreme.
PD 2 .- I was wondering if perhaps the film Sophia does some kind of autobiographical nod. Johnny Marco has a daughter of eleven years that I visit and the louts realize the father. A daughter who cries for the abandonment. The
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