Sunday, February 20, 2011

Do Mice Eat Through Plastic

Women's 6th Floor ** *** The Fighter

Pleasant comedy fresh and light, refined, well-written, especially outside of the box that Women, 6 th Floor . The film cleverly confronts the Parisian bourgeoisie tight ass 60s to his English maids who, after deserting the Franco dictatorship, rediscovered a form of modern slavery which they will eventually overcome. There, where most movies perform a vertical ascent from the popular class to raise the bourgeoisie, Philippe Le Guay , the director, takes on him the perfect foot-cons. He chose to bring his protagonist Jean-Louis Joubert (Fabrice Luchini ) to experience the same conditions as used in Spain. Staying in an attic, too, 6 th floor of its building, it certainly stands physically but symbolically to a reflection on the nature of social positions and the meaning of his own life, the reality of already acquired no longer has any flavor.

Jean-Louis Joubert is a stockbroker in the regular life like a pendulum, relishing his hard-boiled egg perfectly cooked breakfast, whose dull life has stifled the ambitions of a generous life. He is married to Suzanne (Sandrine Kiberlain ), his wife brainless figurehead constantly exhausted from doing nothing. On the death of his stepmother, the latter fired the maid of all work that was part of the furniture and dust to engage Maria (Natalia Verbeke ), a young maid English freshly landed. This, then, very fashionable. The rigid Jean-Louis Joubert will obviously fall under the spell of this proud beauty (it is easily understood as English actress from Argentina is steeped in sensuality). But where good numbers of scenarios would have yielded to the sirens classic boss who wants his employee and to submit its position as the recent The Housemaid , and thereby feed the river of images and sequences telephoned , Women of 6 th floor surprises again ... Here is the boss, obviously motivated by a sexual purpose, and it's pretty honest and intelligent as the present, will gradually integrate the world of maids pushing irony to move into one of the attic next to them. Maria lives in the company of six English friends and aunt Concepcion (Carmen Maura excellent - Free Zone, Volver, Tetro ), in small rooms good on the top floor of the building where they all work as housemaids. It is a microcosm there and swimming only survives in a good mood chosen by the director. The class struggle is less savage than in films such as Gosford Park of Robert Altman even if it is defended by one of the actresses. In wishing Maria Joubert will discover a universe of which he will feel closer and he will be keen to protect. Nothing will ever tell us if it's not pure altruism or self-interest and that is where is the intelligence of the particular film.

slight caricature is tasty, the humor of a rare delicacy emphasized by writing always fair, staging original without being really successful in that it provides actors the space needed for express their talent and apart from a few anecdotal roles, such as the co-worker, most of secondary roles are great. We discover a sense of family in this 6 th floor and evoking pathos with ease and without the difficulties encountered by expatriate women, Philippe Le Guay tribute to them and opens horizons for those who still doubt that expatriation is not a choice but a necessity and it also responds to a request and always arrange that a lot of people including those who criticize. The conclusion most fictionalized film will delight lovers of cakes and cocktails without alcohol, with a promise conclusion without a hangover.

Saturday, February 19, 2011

Country Rustic Wedding Ideas



The Fighter is it a new boxing movie as there are already hundreds ... We remember Gentleman Jim , Ragginger Bull, Rocky , Ali, Million Dollar Baby ? Boxing is arguably the sport most widely represented in film and it is easily conceived as the ring, this square space grid and open to panoramic, is conducive to the camera movements that revolve around the actors like raptors over a carcass. In 1894, Edison's Kinetoscope also testa (an early film projector) during a boxing match. This enthusiasm also stems from the scope of the narrative story of a boxer, a man who has often been extirpated from its industrial environment, as here on the outskirts of Lowell (Massachusetts) used to be the birthplace of famous spearhead of the Beat Generation Jack Kerouac , found fame fleeting and eventually into oblivion the crooked nose and face streaked wounds. As Roland Barthes said ' What is thus delivered to the public, the great show of pain, defeat and justice '.

To interpret a boxer, Philippe During recalls in his book , you must become a boxer, to acquire the physical ability, transforming his body, making it dry or deformed as De Niro in Ragginger Bull , expand it and shape it. Under the camera of David O. Russell (Three Kings ), Mark Wahlberg has managed this feat. He became Micky Ward, a famous boxer in 90 years that atypical drop your arms even when he was a second-class boxer and managed to tu peaks. Wahlberg moreover always wanted to bring this story to the screen. To do this, he did not hesitate to train for over three years. Result: it is credible and blows on it is far from slapping movie banging in a vacuum. To prove this splendid final scene that mimics the dodging loan, the real fight against Shea Neary for the title of world champion WBU. A boxing brilliantly filmed, without slowing, without bluster, it's pretty rare to be underlined.

The Fighter includes all the features such as: dense form of film noir, aesthetics glaucous, suburb, melancholy, colorful entourage, for pathos, but it also moves away because he does not do its main subject. He speaks more than a family fight, more love than sports. It is above all a great story of friendship between two brothers united to face the pain. For his career, Micky Ward owes mainly to his brother Dicky Eglund ( Christian Bale), a former boxer took from hell crack and genuine local celebrity who had been in his time, the privilege to shake the great Sugar Ray Robinson. While everyone he advises Micky insists that his brother continues to lead even if we go back in the infamous slums where he surrenders to dependence. Micky Ward is in awe of his big brother and is junkie does not alter the case. It stays straight and stoic in the position of the listener's voice, it was dementia. What about Christian Bale, extreme makeover, he had to lose 30 pounds for the role, changing his voice, his accent, to reinvent the gesture of another. It is phenomenal, so much it completely displaces Wahlberg and he should really have won the Golden Globe for best leading man and obviously not that of the second part. It's a real surprise (to us) and revelation. Without ever taking her character in the trenches of ridicule, exaggeration and pathos, Bale signed a memorable interpretation.

The atmosphere of the film, though it owes much to him, is also supported by a wonderful group of actors, the mother figure intrusive, dictatorial, alcoholic and an inveterate smoker is played by an actress amazing Melissa Leo, who also, she also won the Golden Globe for best supporting actress, actress Amy Adams in the role of the girlfriend authoritarian and 7 sisters improbable hairstyles, fringe, puffs, curls and discoloration of all kinds, delicious. All carry the film to a level that exceeds the mere mention of a destiny of 'Just Do It' (for documentary evidence that Dicky imagines to revive his career and that will only expose the dangers of crack) there is going to a social satire, the painting of an era that is reminiscent of the New Hollywood American cinema of the 70s Scorsese, Coppola , etc ... Lucas The staging was to be assigned prior to Aronofsky before he politely declines is a rare sobriety, d a gritty realism that does not pay into caricature and that splitting of one aspect documentary manages to capture the peculiar humanity of these men touching self-sacrifice and humility. The few lengths of the film will evaporate quickly in the memory.

in France Release Date: 09/03/2011
Release date in Belgium: 30/03/2011

Wednesday, February 16, 2011

How Long Does Temazapam Take To Work

Sex Friends

Coincidence outings, Sex Friends (No Strings Attached ) arrives on the screens a week after Black Swan . The heroine of these two films is none other than Natalie Portman , the frail and ill doll tossed into madness masochistic Darren Aronofsky here Emma is a young intern who dreams of relationships without fasteners. Two films in the antipodes. One offered her the best role of his career, a physical examination, neurotic, visceral sound an actress, the other kids with mild romantic comedy that serves us and chewed each year on Valentine's Day.

To distance itself somewhat from the thousands of films that deal with the romantic comedy and the storyline always respects the red following classic: meeting unlikely - young love - impossible to achieve lasting love - break (with key pee other partners that do not) - Reconciliation - marriage, Elizabeth Meriwether writer chose to build his dialogues with a lot of expressions contemporary refined because today people talk frankly about sex and love. And the least we can say is that it starts strong, Adam (Ashton Kutcher ) aged 15 years then moved a finger to Emma at a summer camp, which she politely refused. Throughout the film, these phrases are strung tasty delight for the ears' Where are you? " text messaging application (modernity = iPhone, Twitter and Facebook), a friend suggested Adam to answer 'in your pants'! A good point, however, for special playlist with menstruation Even Flow Pearl Jam's opening range.

The story also noted that the dialogues that compose it. As we work more to earn more, we have no time to love, to invest ourselves and put the plaster on wounds because our loving, you know, it's a job in itself. So young, my good woman, then they kiss and if possible with friends like that they avoid crises, explanations, post-traumatic periods in which they swallowed the chocolate matting TV. Emma Adam proposes to review it for the fourth time in fifteen years to become her friend fuck. It is handsome, tall, very nice and pretty good in bed (the scene for evidence of heartfelt donning the hood, where he demonstrated great skill and a sense of the very realistic). It imposes rules for the sole purpose of not concentrate because in fact it is very fragile inside. It follows, it is contemporary, the guys now do not offer anything, they accept docile figures of junk.

To make the plot a bit demonic sexy sexual failing was obviously made Adam the son of a wealthy producer of TV series that taps former his son (portrayed by Kevin Kline a full rant). The decor of the film then becomes infatuated pools and sumptuous booths and old vintage WB Round 5 in LA away from usual standards. Adam worked as an assistant on the figurehead shooting a series that looks like two drops of water Glee , but is secretly a talented writer whose work will eventually be discovered deep. For his part, Emma lives with her roommates in an apartment house they occupy only very rarely because they replay Grey's Anatomy the local hospital. Moreover, we find Greta Gerwig pleased ( Greenberg ) in the role of best friend. Otherwise everything is there, the black boyfriend, the boyfriend gay, lesbian scene, marriage, burial and the happy ending. Ivan Reitman, the director, was a skilled craftsman. He has framed his characters who defended themselves as best they could with their poor pathetic replies. 'Tonight we are the hotties'! If at least the realization had dared to be so raw that the dialogues, we would have something to put under the order.

Monday, February 14, 2011

How To Make A 12 Window Candles

Choosing Luna (Na Putu) * * Morgen

Luna and Amar love passionately. Proof, if one is necessary is to read on the face of Luna (the beautiful Zrinka Cvitesic ) in the form of a radiant smile of pleasure. Sitting on his chair stewardess (which faces the other passengers) in takeoff and landing, an imperceptible movement of the commissures it illuminates the complexion as she loses her eyes in memory of snoring touching Amar ( Leon Lucev ). She is happy, almost filled, he is left with the hope of seeing her belly rounded, to grow permanently. Yet the heart of the idyllic wheel, a grain intrudes. Amar is fired from his job as an air traffic controller because he drinks in lousdé during the service. Being an alcoholic after the trauma of war, This Is Not a big deal, the problem is probably that it does not help his lack of fertility. The obstetrician said a healthy lifestyle, fruit, lots of walking and certainly no smoking and no alcohol '. Amar poor, his life will become a nuisance ... Then a fortuitous accident, he falls on Bahrija, a fellow war who converted to Wahhabism or Salafism (it depends on your point of view), movement somewhat radical Islamist sum. And as it is a bit lost and without a job, he accepted the invitation of Bahrija (whose song splendid invitation to prayer reminiscent of the lyre spellbinding) to join a camp on the banks of a lake (which looks like a camp of hippies, the separation of the sexes as well) where he will find faith and change radically. A little too much for Luna, who is struggling to admit to his return.

Jasmila Zbanic , director already known for Esma (Golden Bear in Berlin in 2006) established by its main subject, namely a couple who sees religion to undermine his achievements on the backdrop of a bloody conflict that Bosnia has not yet done grieving. Luna and Amar are two war orphans, non-practicing Muslims who live 200 miles an hour a life they know only too well the precarious. And to describe their reality by contrasting it with those of Muslims claiming to be an Islam more attached to the letter of the Koran, we can not say it bothered subtlety. The comparison between the different groups who claim the same religion is Manichean overall architecture. On the one hand, Luna sensual and sexy the other ninjas taped in black, tough and respectful of the laws governing relations between men and women, bent at customs that practice segregation. For Luna, the geographic view of love, made of distance and borders is inconsistent with what she feels for Amar. On one side tolerant grandmother Luna celebrating Eid surrounded by pagan chants and smell of alcohol, another Imam who marries a man with a minor.

course Jasmila Zbanic has the merit of not too stigmatizing a group over another, but they will quickly understand that it (taking twice as Luna) really does not approve the Salafists who see the genocide suffered by the Muslim people between 1992 and 1995 the translation a divine punishment or consequence of a liberal application of the Koran. At the cost of staging dynamic editing but overall extremely square, it distills as a first time, tremendously well the essence of the relationship between Luna and Amar is believed sincerely in love and we are curious to see how it can evolve. The second part of the film is much more disappointing because very predictable. Amar, the poor alcoholic finds refuge in fundamentalist Islam, it is transformed, different, do not sleep over with his wife outside marriage, refusing artificial insemination outside of marriage too. All this is packed quickly and not really justified in detail. Too much focus on the reactions of his unique actress, director forgets to feed the plot depth. Remains a wonderful interpretation of Zrinka Cvitesic with hazel eyes and smile light up the wonderful love affair from start to finish. The religious fable is much anecdotal though it is the true subject of the film.

Tuesday, February 8, 2011

Advantages And Disadvantages Of Cooling



Romanian cinema is, like the German cinema is booming. What is sometimes dangerous. Because we see so inevitably land on our screens all that bears the label of the new Romanian cinema. And whether good or not, the press shout loudly with pleasure before the film cinephile most innocuous. Morgen first feature film from director Marian Crisan is one of those films that are riding the wave that began with the Romanian Palme d'Or director Cristian Mungiu in 2007 4 Months, 3 Weeks and 2 Days . Carrying on a subject of immigration in a Europe without borders, Morgen discusses the issue of how ludicrous by association with a slow formal invites more somnolence than enthusiasm.

Nelu ( Andras Hatház ) is a guy who spends his time kowtowing to accept what he said without complaint with a fatalism close to outright passivity. He works as a security guard at a supermarket in Salonta, a small town on the border of Romania and Hungary, and uses his free time to fish in horrible rivers like sewers when he secretly dreams of becoming deaf not to hear the rantings of his shrewish wife and dissatisfied. It is a type one imagines shot without any control, without power of decision. Yet when he stumbles across a clandestine Turkish (Yalcin Yilmaz ) that seeks to cross the border to join his family in Germany, he will show some poise and courage even a surprisingly humanistic. It will indeed offer the man with whom he can not connect to come live with him finally in his basement at first. It will feed him, give him clothes and even try to find him a job ... all in perfect inequality. Because in addition to having a pathetic life, the poor bugger has continued since the beginning of the film by the immigration police (superb prologue full day in a cons-dawn). Whatever he hides in his sidecar, either a man or a carp, everything is stacked against him.

Initially Marian Crisan sets the scene with subtlety. It describes the daily depressing Nelu lost in the midst of a ruined farmhouse. Nelu which can be considered a follower is often framed from behind, the camera glued to his neck clumsy. By day, plans to incorporate into the decor, the image is static, always silent movement. The staging is minimalist and sleek'm fashionable and is often the preserve of a copyright film says, we must honestly admit that it may be completely off-putting when it is long term or whether makes it a figure of speech. The bias Marian Crisan which is to use two specific frameworks for the duration of his film is also its pitfall. While it is obviously an intention, it does eventually we find the time to observe long Nelu ruminating his project sitting on a chair.

For a good follower of procrastination, it still recovering after the trip to Hungary. Is that now he has found a friend with whom he beats the card, cutting wood and repair the roof. And more as he does not understand a word of what he says (and neither do we because it is not subtitled), it would have a hard time arguing with him or take a dislike to this illegal immigrant is portrayed as a good guy a bit cheesy. This is of course these scenes dialogues that bring their share of slapstick and alleviate the theme of the film which then overflows the side of the story. It must indeed rise to the level of the story to believe in this story where a man receives another home when he was already struggling to live with another living species than the dog.

The tale avoids the moral lesson in the finale of a pretty pirouette stressing the ability of men to annoy their neighbors supporting the vitality of their own transient existence.

Monday, February 7, 2011

Laura Gemser Movie Stream

Against you

In Against you , Lola Doillon, the daughter of director Jacques Doillon , revisits the Stockholm syndrome in a camera light which clash and intertwine Kristin Scott Thomas (Anna) and Pio Marmai (Yann) . She is an obstetrician gynecologist. He lost his wife in childbirth. According to him, she made a mistake. For this reason, he kidnaps her, the receiver and threatens to kill him. Her cold, lonely, proud and arrogant. Him, fearful, prostrate, already plagued by guilt. In what may look like an exercise in style, the director will explore the ambiguous relationship that binds the victim to her kidnapper.

We obviously look back at the top of the genre, The Crying Game of Neil Jordan in 1992 when Forest Whitaker fell madly in love with the companion of her captor and then we proclaimed one of our greatest slaps film which even today it remains an indelible feeling. Buffalo 66 also in 1998, the masterpiece of Vincent Gallo and also the wonderful Atame of Pedro Almodovar, who saw Victoria Abril fall into the sadistic nets of Antonio Banderas in 1990. If one were to compare against yourself with these three monuments of 7 th art, Lola Doillon's film certainly suffer from the comparison because it never reaches the devastating poetic dimension of his two predecessors. Against you, which takes place largely in a room where Anna is sequestered installs a psychological atmosphere rather sneaky and after a subtle division where time is clocked between the inputs and outputs including Yann you quickly understand that no has no intention to kill his victim. If the director lingers on his motives, they are also promptly made naked. The value of staging is to bring any attention to Kristin Scott Thomas and his possible redemption. She has this ability to stay extremely calm and it's pretty amazing not to be described in tearful hysteria, although she tries to rebel but still timidly. We observe its slow metamorphosis, its ability to find her in this drama of humanity. Mostly motionless, waiting for Anna that something is off. When least expected a very strong scene, and absolutely not free because it requires a change from concrete reality, we nailed to the seat thereby breaking the thread of a controlled hatred. It is through violence perpetrator and victim comfortable and break the unity of their static relationship. Then he tried to break it, Yann offer finally to Anna everything he needed, and daily attention, he breaks his shell and feels his feelings. Once freed from his prison, his social selfishness, Anna will be able to love ... The second part of the film is more anecdotal although she gave birth to an end more or less surprising when one considers that the positions of love executioner and victim are reversed.

What particularly attracted the attention is the fineness of the staging that manages to constantly renew the enclosed area of the jail and seize all the crescendo of anxiety relationship. If the beauty of the framing is also to stress, they say minimalism surprising, however, they are as varied as the multiple ways to wear the look on the object of obsession. Outlook of those who denies freedom and protects against self look as the viewer becomes an executioner in turn, hence the strong impression of desire that we capsized. The most successful of Against you is certainly this one, we have associated the camera, we have invited the heart of this walled room where Anna has proven to herself.

Sunday, February 6, 2011

Shaving Genital Parts Causes

** Nothing to declare

son of a French and a Belgian, a Belgian national, currently residing in France, I admit I was curious about discovering the latest film Dany Boon , Nothing to declare. The idea is funny, two customs, one French and one Belgian forced to team up in a flying customs at the disappearance of European borders in 1993. The fascination of the French pseudo-comic for the Belgian has always intrigued me. It is above all the persistence of stereotypes and humor schoolboy jokes about the Belgians who calls me from childhood, especially when you consider that most French people have an overly fragmented in Belgium and said that a minority of Belgian suffers from a large complex of inferiority to their neighbor hexagon. I speak of a minority because it concerns only 40% of the population (the Walloons), the Flemish do not care solely of French. Car and Dany Boon is not supposed to ignore it, there has always been and it's even more true now, two Belgium. Need I remind you that Belgium has not yet managed to form a government so that elections were held 237 days ago!

The director has not wanted to do a history course, he limited his explanation to Leopold I, first king of the Belgians in 1831 who married second wife the daughter of Louis Philippe. A single sentence will be pronounced and unfortunate in Flemish on the duration of the film. By cons, we will be entitled to the hackneyed a fried once ', drafting Belgian accents that always end up looking like near and far focus Brussels forced deep and persistent stereotypes. The funny thing is without doubt the origin of French fries. Credible theories argue religiously she was born after the revolution under the bridges of the Seine. His story is that Boon Customs perfect excuse and a springboard for a series of gags and generally undignified located at the belt.

The scenario Nothing to declare is as flat as the terrain of Belgium, unfortunately there is not much to say. There is about a drug trafficking which from France to Belgium, which is also highly unlikely. Mathias Ducatel Boon who camps, the French customs, is in love with the sister of the Belgian customs Ruben Vandevoorde which is in turn interpreted by Poelvoorde, a type hateful, excessively racist, just like Walt Kowalski, a veteran of the Vietnam War to Gran Torino . Structure could not be more classic then two guys who hate each other and are forced to team up. Poelvoorde, whose performance is the sole interest of the film is particularly reassembled and spends his time yelling, he's in his expressions facial some magic and we will regret it starts this famous sabbatical as he announced that he is tired of all the folklore surrounding the promotional release of a film. And with nothing to declare , it was served. Dany Boon indeed a substantial budget for communication, even the Paris-Brussels Thalys has been decorated for the trouble. This is obviously a film more commercial than artistic. Boon wants repeat performance Sticks and that the expense of more basic concern for staging.

Most unfortunate in this film is not so much that most actors go completely off about them, especially Olivier Gourmet, rather ridiculous as a priest, Francois Damiens covering all ticks sketches of Francis' confuses and especially the actress Julie Bernard that plays like a quiche and without speaking French Cast only saved by Karin Viard . Not the most regrettable is the complete lack of realization. The images are of incredible ugliness, succession of close-ups where the cinematographer seems to have fallen asleep as the legions of fuzzy, there really is no aesthetical as if Boon relied on talent Poelvoorde asking the camera to him. It's heartbreaking because it will probably the only movie that many people will go see the movies this year and it has absolutely nothing to film, he is lazy and hopeless. It is based on an idea rickety and did not budge, never try to overtake. Moreover, it gives birth to a depressing moral failure on Europe and its integration fantasy. Worse he accepts the immutability of racism in its ability to move from one topic to another. And all this by making it the prerogative of the other precisely, the Belgian, "that is comfortable and relatively inelegant.

Friday, February 4, 2011

Demonstrating Abrazilian Wax

Carancho ** **

Carancho is the story of two birds of nights lost in the cruel darkness of Buenos Aires. Lujan (Martina Gusman ) is an emergency, it combines the hours because I must and drugs to cope, his face ringed with brown rings. It hurts to see a smile despite just waiting to be assertive. Sosa (the now famous Ricardo Darin 'In his eyes ') is a lawyer specializing in traffic accidents in the middle is nicknamed the Raptor (el Carancho) because he extorts the victims away on behalf of a corporation, insurance money. Sosa was still blood on his face because he was regularly beaten by her employers. On the scene of a traffic accident, where life-saving mechanical actions carried out in haste, these two people out to meet and fall in love. He's shifty eyes, the scars of its edges.

director Pablo Trapero here a dark book of rare density. Relentlessly, he continues, the price of a countless number of shots nervous sequences, close-ups capturing the terror Taming of its performers and staged ultra realistic, its two protagonists whose sole desire is to s' escape from a stifling and gloomy day in which they have been caught. The fever that seized the film and gives him a photographic unit impressive sights set on the noir but the urgency of love that, thanks to the inspired interpretation of the two protagonists, more beads on the screen transforming the subject into dramatic romance. As they live the night life in the fast time when we are sinking substances to take and where you spit blood regularly because all actions have consequences (just as in A breakneck of Scorsese who also addressed the world of emergencies), even small ones, and Lujan Sosa will find a glimmer of hope in the outline of a relationship they do not even the strength to truly begin. They embrace it barely already exhausted sleep in a dawn licking blinds.

Argentina, the ponderous and corrupt administration, take again to their rank. The director acknowledges here with virulence profiteers of human misery, those who sustain it on the tarmac ruddy victims but also the circular wheel of a civilization that hoarse in the garbage, like when Lujan prides himself in haste foot behind the door of a toilet infamous hospital. Everything is related effects ... there is really no way out once you put one foot in the gears. Lujan Sosa and will therefore find it difficult to cope. The film loses some of its energy forcefully and repeatedly violent obviously a fucking life ahead, turn the camera to see through the maze of a hospital stay and unhealthy, dirty puddles of blood, no more surprising, it is expected that the fall takes its time to emerge as a front truck at full speed.

Although Carancho sometimes resembles, by its context, all these series are American hospital corridors to central arteries of their screenplay, the conduct of its temporality nyctalopic is a genuine blackness as a direct result of a realization that stretched to the limit at any time become the prey of prey ready to perish in the greenhouses of exhaustion. In some visual violence, Carancho surrenders in a final where the snake eats its tail, quite simply ... a lot more than just his prologue that drowned tracks for attention. In fact it was hardly necessary as the staging alone provoked interest in its beautiful faces tired and sentenced to the hysteria of insomnia infinite.

Thursday, February 3, 2011

Milena Velba Open Bra



Aleksandra ( Nina Ivanisin ) studying English at the University of Lujbljana Slovenia. To make ends meet or say move faster and to afford the apartment of her dreams, she takes a small student job that pays pretty good. In hotel rooms in the capital, she is a prostitute with coldness and venality. It is by browsing the classifieds under the code name Slovenka we can hire out their services for 200 €. She divides her time between passes, and during his return trips to his hometown where his father, an old Rocker missed vegetate until the death he is keen but he rejects his love for his daughter, his only satisfaction. Aleksandra's mother was in turn taken from the home. As she moves into her new apartment, Slovenka will be aware, the head upside down, it does not fit into prostitution voluntarily.

The major advantage of Slovenian Girl lies precisely in the motives of this young student. Venal and manipulative, she has none of the board despite her poor girl in a prostitution ring. There will a strong will. The interpretation of Nina Ivanisin as such is quite successful, she brings to her character all the necessary duality. She has the face of a determined girl who grew too fast, cold and dry. She probably did not want to end up like his father (Peter Musevski ), a pillar of the counter which is celebrating its anniversary with the local bumpkins. This story could happen to a lot of girls who are disillusioned capitalist reality for the only truly credible. Who could really blame him? The fact that the action takes place in 2008 is Moreover, not anecdotal, it coincides with the Presidency Slovenian European Union presidency as the director has not brought anything other than traffic jams in the capital. He also recites throughout his narrative, the same sequence: that of a column of diplomatic cars through the city against the grain and burn the red lights. Somehow Aleksandra advantage of this migration diplomats.

Dajman Kozole , self-taught filmmaker chose to film his head on heroin, not without some research aesthetics. He never judges, he describes a real suspended between two shots son, those that activate the Pavlovian desire for money or those of the former lover still in love. The two left on the face of the actress in the same footprint frozen mixture of fear and determination, she carries the film, she offers a texture as smooth as marble veined white. The parallel plots woven by the director are more superficial, he really earned his narrative focus on the young woman and continued to lose with her in her quest for a better life made solely through the prism of an unbridled materialism.

is however without trouble and even with interest that follows the path of this chaotic and crafty woman furiously liar, that clings to this singular way she has to lick the paper of his cigarette before light it, tick it inherited the only person she truly loves, his endearing father. Their relationship is also apparel development, it offers the actress her rare smiles that light up his face subtly melancholy and gave him a delicate depth. The last shot of the film is also very beautiful, the youth returns to Aleksandra the surface in favor of a slow zoom in on her face, her voice being superimposed on that of his father who sang in a concert hall that has just left to smoke a cigarette. The past as future promise.

Tuesday, February 1, 2011

Jiffy Biscuit Mix Ingredients

Slovenian Girl I'm a No Man's Land

session early afternoon at the Majestic Bastille. Twelve spectators in the hall. After 10 minutes of film, a first person leaves. A half-hour a second escape quietly. The third gives little early. If we calculate well, 25% of spectators I'm a No Man's Land have therefore left the meeting before its end. First assessment to be learned: the movie does not leave indifferent. At best, it causes ... At worst, it irritates.

In fact, there are two ways to approach I'm a No Man's Land . Either by saying we will see Philippe Katerine clowning or engineering as his artistic taste. Is wondering how Thierry Jousse , former editor of Cahiers du Cinema (1991-1996), will assume the legacy of the New Wave or that of any single critic who tries to achieve (its The first feature we missed invisible when its release).

Proponents of the first approach, which emphasizes a whimsical, if not completely blocked is Philippe Katerine opportunity for parodying his own role (that of a singer who dresses like a drag queen on acid) may be disappointed. It is difficult to assume the status of an actor facing a camera when he's not a clip. Katerine plays like a banana. Facial expressions of amazement, staggered response, no change of tone, expression almost static. Yet well surrounded by Julie Depardieu , Aurore Clement and Jackie Berroyer , nothing works. Evil is very contagious, everyone ends up over-play. The responsibility for this failure may be dependent on the director and his direction of actors. Which brings us to the second approach to this film. How it is out Thierry Jousse after spending thousands of hours to watch films and write hundreds of papers on the latter sometimes being excessively partisan and arrogant. Well ... it is almost independent of our will to say but we must recognize that no talent for telling a story in pictures. It's extremely ugly plastically. No research design, a hideous photograph, a succession of close-ups ridiculous, some natural signs unnecessary conventional framings. Looks like the theater played poorly and badly filmed. It's pretty painful to watch. Hence the departure of 25% of spectators.

Rest history. Part of the criticism has grown complacent fashionable to write that this was a UFO. Indeed, if the lack of ambition or creativity makes extra-terrestrial then yes I could be called a No Man's Land of unidentified object. Yet the film contains all the elements of a classic frame is his way of being staged, which makes it unusual, understand the lack of cinematic character. His story is relatively trivial. A guy that success has made conceited and selfish inexplicably finds himself sentenced to return to his parents that he has seen since five years. Everyone in town recognizes him but has no interest for Roger he called Raoul Vidal or with whom he played rock music at the time. He falls in childhood ... cries of 'moms' hair in the shower when the water shuts off unexpectedly, he masturbated against trees and rediscovers his room, his music, his motorcycle, an initiatory path backwards somehow. A mysterious force (which has the name of that mysterious seen that the screen looks like a rewind) can not leave the village where he grew a bit like Groundhog Day where Bill Murray tirelessly woke to the sound of the music that heralded a identical to the previous day. Here, the director brings Katherine home for doing two things that liberate and enable it to escape permanently from his past and with the same time.