Wednesday, April 28, 2010

Error De Vice City C0000005

the cinephile Sunday



begin by saying that there is nothing wrong to be so, I do not discriminate against anyone, not even what you do not lose a cinepanettoni or cinepasqualone. Everyone lives in their own way and things as they like, for example, I have a "Sunday" of many things. A tourist on Sunday, a bicyclist on Sunday, a reader of the Sunday comics, and much more. But what distinguishes the fake movie buff, amateur, casual, from the authentic one?

- the film buff on Sunday when he goes to the movies click the film in the newspaper, Internet or directly to the multiplex. The no true film lover, he knows just what to go see, even months before and in some cases years earlier. The film buff knows by heart the theatrical future, past and present.

- the film buff on Sunday when he hears a title of a film that fails to recognize, never asks " of who he is?" But " with who he is?". And if the answer involves a list of unknown names back on something else. At least one "Tom Cruise" all must be there.

- if the question "What do you Like "the answer is" cinema "is countered smugly saying" yes, then what? ", it means that you have in front of a movie buff occasionally. The person in question believes that cinema is no longer a" go to the movies "as" go to the bar "or" go for a walk. "Cinema is a complex art, but he does not know.

- the occasional film lover is convinced that the managers of all video rentals are surrogate Morandini, then asks opinions about movies to rent trusting blindly.

- the fake movie buff divides the films into three broad categories: those to laugh, cry and those to be those of fear. As if the human was a subject emotionally restricted, and forgetting that the emotional sphere has infinite nuances. And so is art, and cinema.

- the traditional movie buff, is a subspecies of the film buff on Sunday. And 'one who looks exclusively Italian films set in Italy, preferably played by actors with regional accents rai fiction. It 'the same as the Thai restaurant in London calls the spaghetti alla carbonara. It 'the same as saying that mom is the best cook in the world, and is the same that called his son Jonathan and daughter Sarah with the ACCA final.

- the ecological cinephile is another subspecies, and what he sees nature documentaries or films "educational". It 's very rare to find.

- fracassone the film lover, the other subspecies. That 's what you do not lose any film stuffed with special effects (especially in 3D) and audio-splitting eardrums. It's usually a kid who lives in symbiosis with the PS3 and who has not attained the age of majority, or an adult not yet cresciutissimo. Usually attended only multiplexes, often eaten by MacDonald, and of course comes in the room with industrial quantities of popcorn and Coke.

- but going back to traditional film lover on Sunday, another feature is the intolerance in the face of scenes where there are dialogues, or where there are too many and misses the action. Begin to move resented the chair, to yawn, to send text messages, or (worse) to get up and go get the infamous bag of potato chips, that just touch it to prevent the rest of the audience to listen to the dialogues. The poor film buffs are thus forced to follow the rest of the movie by reading the lips of the actors and doing "ssssssssh.

- the film buff on Sunday is the one downfall with great ease. Maybe read the details of local crime news, or watch porn that that program is Open Studio, but in front of scenes of violence and / or sex, covers his eyes and says with close.

- the small group of film fans on Sunday, they acknowledge. They are noisy, they are generally all coupled, when you pass by (or if you sit close to you) find out what you are upside down on the entire bottle of Acqua di Gio. Women are fresh and pull hair, men with shirt and the belly. It would be better to call "movie fans Saturday night because it's the only time of the week you decide to go to the movies. They are never silent, when the trailer is always talking about the university of their children and do not turn off the phone.

- another prerogative of the film buff on Sunday, is (usually occurs the video store) never consider any of the first film produced in the current year, or at most, last year. The film must be "new", because if it is old-fashioned.

- the film buff on Sunday make choices based on the movie trailer and poster. Both need to be cool, otherwise the film does not go to see.

- the cinephile landscape, another interesting sub-species. And 'what we choose to see the film based on the location, which must be either exotic (usually going strong Miami, or the African deserts) or family / sentimental (the glimpse of my beautiful Rome, the campaign Lucan, the small village Umbria where we were st'estate ...).

- the film buff on Sunday, gets up from his chair as soon as it "feels" that the film is almost over. Do not miss waiting for the end credits, as if afraid of being unable to leave the room. And then says out loud, judgmental generally pecorecci.

The movie buff, however, remains seated. Wait for the passage of the securities, meditate, do not give advice immediately. Must digest, it must assimilate, reflect, understand, ponder, and perhaps unable to speak later, later. Often the next day. Films must be metabolized, sometimes seem to touch us, then suddenly one day we remember an atmosphere, a little emotion, expression of a face that brings us back to the film that apparently there had excited. The cinephile films if they must sleep, eat, they must review. Never comes late to the cinema rather than watch a movie without beginning renunciation. He needs a Zen-like ritual before sitting on the chair of a film, especially when he knows he is to attend a major motion picture, or expected. There must be few people in the room, silence, the position must be central and not too close. The trailers are important but not essential. The phone goes off first, no food, at most a small bottle of water. While watching do not talk, do not go to the bathroom, and it is hoped as a lack of separation between the first and second time: violent break lights of the room by breaking the spell.

Monday, April 12, 2010

Wisdom Teeth Bad Taste In Mouth

Swimming Pool (2003)




Other film by François Ozon (the period in which I can not go to the movies, the days are too beautiful, nature is blooming and I have a new camera!) . London
writer of detective novels in a crisis of inspiration decided to accept the offer of his publisher with whom he has a relationship to spend time alone in her villa with swimming pool located in the French countryside.
During the stay relaxing and solitary, to break and disturb the tranquility of the woman, Julie arrives, young and reckless daughter its publisher. Start living a difficult beginning, then an accomplice. The woman will be able to carry out "his most personal novel," mainly due to the relationship with the young Julie.
Hip final.
Film halfway between the yellow and the introspective, when what really interests the director is to describe the personalities of the two women, so opposite and yet so close to touching them. But besides this, Ozon deals with artistic inspiration, and detachment from reality that characterizes the lives of many artists. Rejoining the film to his next film Angel, in which the theme of reality and imagination are still a When faced with understanding and empathy (and most likely with a good dose of autobiography).
The shots are well researched and fascinating Swimming Pool, silences and gestures of the protagonist (again Charlotte Rampling) are perfect and Ozon is reconfirmed great connoisseur of the feminine in all its forms, from sexual drives up to eating disorders.
Film dense and incredibly complete.
9.5/10

Friday, April 2, 2010

Living In A Warm Climate

Happy Easter with John White Alexander



thank Phil for the reporting of the paintings, and I wish everyone a happy Easter.

Thursday, April 1, 2010

Celtics Dancers November 11, 2009

All or Nothing (2002) Alice in Wonderland


British film director Mike Leigh, a member of the English neo-realism.
the center of the events three families who live in the suburbs of London, a particular focus on everyday life is given to Phil and Penny and their two children.
This director has the capacity to make the characters human beings, very human, so human as to cause the viewer often embarrassed, as if peering into someone else's life. The environment in which they live, unlike Ken Loach does not have a clear position of the complaint but is intrinsic in certain images and in certain situations: the great popular buildings, roads bleak suburban environment, work without the possibility of empowerment and career, poverty and daily survival, and so on. So what Leigh is not an immediate social commitment, but absolutely deductible. To act as prominently in his films are stories of love and affection, those you live within that context, but which are universal and adaptable to any environment. The dynamics between characters are never explicit, the characters express themselves more through bad language, glances, gestures and behavior. Nothing is explained, but only intuition and finally understood why his very human. The hugs and tears, the screams and slammed doors, are nothing but dumb feelings, expressed through the back door. And in these words is contained the evil to live, inadequate to humble a condition impossible to accept, and difficult to apply and give love actually caused by the context in which we live. But at the end of all his films, Leigh gives us a hope, and this film is no exception.
8 / 10