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La double vie de Véronique. (The Double Life of Veronique). 1991

Krzysztof Kieślowski

A veces uno debe ser demasiado frío, racional y descriptivo (cualidades ciertamente deseables) pero en muchas ocasiones abstraerse and fully explore what passes only just having fun. When you face a work of art, it is best to reject the rationality and the viewer simply must conform with the beauty that can be distilled as enigmatic object.

I usually act on that perspective every time I see a film by Kieslowski, where I abandon myself to be carefree, to reverie and watch, totally enthralled, the best stories told in the story. With it, the film rightly claims its status as art and not only represents a technical activity, as many others. And no matter if it's "The Decalogue" or "The Trilogy" (colored) because they and all their work has shown, above all, quality and, secondly, a special seal that makes it easily distinguishable (which is exactly the same as having personality).

's really about film is its best. Every shot, every frame, every image sublime poetry and pretentious dialogues are not needed for the story itself is told. It just takes a unique glimpse of life (from the smallest detail, yet the most representative), the routine carried proportions of divinity and feel necessary to plan an endless variety of feelings through photographs 24 per second. The

film that is stated in the title is a constant in that sense, it would be repetitive to list the many cosmetic and plastic flashes that saturate the hour and a half. Forgive me readers for being a hopeless romantic, but the story is the least important, when you have such dynamic and visual symbolism that deep you can not think of anything else. I recall that only two women is identical with parallel lives.

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This entry does not put anything relevant to Vermiculture, only data that appeared to me and that made me interesting. Contests

worms

was watching Animal Planet that there is a contest that, although there is little to do with the worm has to do with worms. It turns out that in England there is a contest of "attraction of worms", where contestants will mark a box on the ground and have 15 minutes to attract earthworms all they can.

monkeys were hitting the floor, dancing, clapping giving with rabbit costumes and lots of sonseras. The funny thing is that yes out the worms, so get him kicking the ground to bring out some.

Indeed, the British have many fights with the planarian, a slouch worm that eats the worms and can finish your Vermiculture in a while if you let him play. The only good thing is that there is a problem in Latin America, but we must not lower our guard.

size does not matter Earthworms-ground (not the Eisenia foetida) are much larger and move more, making them excellent for fishing. The problem is that reproduce slowly and need to bury and tunneling, so they are not comfortable in traditional Vermiculture. This makes them difficult to fish and not eat as much as their smaller relatives, but are very similar.

So here, size really does not matter, only the desire to eat. Traditions

antilombrices

In many Latin regions, earthworms are considered harmless. The first time I showed my mother the worms, almost ran into the kitchen for the pot of salt to kill them. Apparently mistaken for a parasite that enters your feet. Honestly I've never seen, so I have just urban legends.

So aside to deal with ants, drought, wind and others, also I have to deal with the traditional legends. That things, right?

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is fashionable to consume Omega 3 for all the benefits it has on health. The most common way is through commercial oil, who knows quite ugly and, although the flavor, leaves you with breath like fish.

Earthworms have a lot of Omega 3, so if you eat a worm tacos, you're extending your life, plus they are pure protein, no fat and make you grow hair, haha, the latter not but the others do.

Finally, there are some near useless data to keep you busy. You want ... I can not think that experiments make for comment. I accept suggestions.

Did you find what you were looking for?

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The secret formula: Coca Cola in the blood. Satyricon

Ruben Gamez

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.