Tuesday, April 21, 2009

Doctor Female For Penis

The secret formula: Coca Cola in the blood. Satyricon



The short movie was made specifically for a contest experimental film made in 1965. The filmmaker was attended by Juan Rulfo in the script and the poet Jaime Sabines in the narrative.

plot is actually a complex, eclectic and surreal which is a bit difficult to keep pace with time. The essence, Gamez argues, is a warning of the impending ambush of U.S. imperialism. To reflect that uses all kinds of visual metaphors and seemingly outlandish events. The film contains several plot lines, but the constant seems to be the confrontation between the customs (the typical, entrenched or conservative) and the emerging modern, imported and imposed, in the sixties.

The images that accompany the narration of Sabines are a true reflection of the unsettling and disturbing prose Rulfo. More than any of the versions of "Pedro Páramo", "secret formula" transcribed to its full potential gloomy and languid images of claims places recreated by the great writer from Jalisco. These sites appear as a desert, alone and forgotten (haunted by miserable beings, who walk in the depths of despair.) Is a clear allusion to the impoverishment and neglect of the countryside, migration, urbanization, the remoteness of the years rustic, something indefinable. Rulfo expressed in his story "Luvina"

"From whatever side you look at it. Luvina is a very sad place. You going to there will notice. I would say is the nesting place of sadness. Where there is no known smile, as if all the people he had brought his face. And you, if you can see the sadness when you want. The air that blows there's stirring, but never takes it. Is there or was born there. And until you can taste and feel, because one is always on top, pressed against one, and because it is oppressive and a large poultice on the living flesh of the heart. "

And this constant also occurs in approximately 40 minutes of tape. Images and arguments very sad, pessimistic and reluctant to change.

I think the movie is somewhat dialectic. Its implementation is obviously dreaming, (suggesting too many things through resources from the subconscious), but is also supported by the current exhibition of ordinary people using the street as theater and represents their daily activities. Work is ambivalent, first obviously has a surreal concept, but his characterization is so realistic as the people who every day are in the streets, plazas or butchers.

No doubt the film is faithful to its goal. It is clearly the product of a young director, openly, eager to experience and no desire to please anyone but himself. However, no stranger to his time and it was a transition period, a stage where people are torn between modernity and archaism, Gamez chose the latter and he never fails to transmit its images. Chose to be innovative to defend a cause rather stale.

Thursday, April 16, 2009

Valerian Root Tea Vs Chamommile

1964. (The Satyricon).

Federico Fellini

"The Satyricon" was written by Petronius in the first century AD and represents, in contemporary terms, a novel every sense of the word. The text in question lived an odyssey to reach this day, including counterfeiting and the discovery of new extracts to a trickle. Asclepius Eumulpo, Encolpius are the main characters and plot of the play unfolds through their emotional entanglements with the youth Giton.

The book is divided into three parts. The first and last are quite mutilated and to some extent are variations to which the plot is hard to keep time. The central point is the feast of Trimalchio, a recently freed where one can access the daily life of Roman society, and therein lies the richness of the text. We hear talks about the power of oratory, education, profitable trades on the deplorable purchasing power, social progress, and so on.

Fellini's version is far from the original text and the first thing that stands out is that it is a morass of ideas set to hammering. Until the first half the plot tries to stand, but then completely lost the compass. As if this were not enough, the acting is terrible, stilted, stiff and very ample.

The misfortune is that he never had in mind exactly what to display. As mentioned a few paragraphs ago, much of the text is about the life of the ordinary citizen and why it's so charming. Fellini For its part, is lost in sentimentality, brothel is, persecution, a kind of gladiatorial combat, catacombs ... too and you just fed up.

The early scenes are downright attractive, dazzling photography a bit but after 10 minutes the film has nothing that will invariably supported the spiral of boredom. Although I must confess that the film also has some successes. The main color is a little seen and costumes for the more interesting. Obviously this is a big production, with virtually unlimited resources and tools, the problem is the use that was given to all those ornaments, which ultimately accounts are just that, secondary.

Historical documents are merely traces of past life. They are only approximate evaluations of an era that we look to the most absolute of subjectivism. On classics like "The Satyricon", we just get closer to that separate reality, but we do it with a modern perspective and cloudy. I think that this should be the real aim of the film, expanding the collection of obtuse and self-conscious minds (existing) and taken to a world everyday but also diametrically opposed to contemporary.

Wording On Wedding Invitations For No Gifts

1969 Dancer in the Dark. 2000. (Dancing in the Dark) Baby of Mâcon

Lars Von Trier


Despite the enormous variety in terms of nationalities, themes and processes, the musical film is a time full of atavistic, where display only the positive aspects and aspirations of most people. Saccharine happy endings and developments have been constant since its inception in the thirties to the most recent attempts. It is no coincidence that so many people hate him.

One can see a musical and seems to have seen them all. However, in 2000, appeared "Dancer in the dark "(or" Dancing in the Dark ") and broke with any preconceived scheme of gender. This is an incredibly depressing and heartbreaking dramatic contrast to the optimism shown in the seventy years prior.

The movie has some features that immediately collide with the principles of the director, whose dogma s have required eliminating secondary actions, including, paradoxically, the music. But this time, makes the appropriate remedy to elevate the absurd and infinitely separate the poles of hope and the reality of every day. Viewed superficially, the choreography, songs, used representations and desires are ridiculous but at greater depth, are poetry in motion, poetry perhaps cursed. It is, in short, a story that uses the intermediate oil and musical paraphernalia to disguise childish barbarism that pervades any loophole.

The director is sparing in the use of resources (had to be Scandinavian). The picture is rough and blurred, the assembly work or post-production are scarce. But this minimalism, unprofessional say the bold, just in order to saturate the atmosphere of blatant realism, realism that allows us to observe the actions with astonishing intimacy, as if they were buffoons front of us.

Some might say that Lars Von Trier exaggerates the goodness of the female character, played by the alternative music diva Björk, which is nothing more than a Caucasian version of "We the poor", where the fate exorbitantly rages against dispossessed, or tries to blackmail the viewer with recourse to vulgarity and probably all that and more is true. The argument would be no different to many fiascos television or film, but the prodigious performance of the players makes it easy to criticize aspects pass background, to a place unseen, and you just stared raptly bereavement praising the director for making the film that way.

Basically, the entire film is an irony. We talked about realism when Selma, the protagonist, has profound hallucinations while singing and dancing in a parallel universe, or that the plot is a bit inconsistent, but is solid on the masterful direction. But beyond these details, "Dancing in the Dark" is a parody of the genre, represents a sublimation of something that until then was only a mediocre product and whose artistic quality was more than questionable. Lars Von Trier musical film projecting reconstructed to places where we did not know he could be.