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Never Let Me Go

Go see Never Let Me Go is like testing his strength, his little heart all soft. Because it has from the trailer, the intimate conviction, reinforced by the opening sequence of film, attend a sad and tragic that nothing can save him from drowning tear. With this certainty, it remains the film to reveal its mystery, that already drilled from the same trailer and this first sequence. What is he therefore the vast English countryside stretching pell-mell on a winter drizzle and a truth of the great conspiracy? The interpretation subtle and motley trio of actors, real young guard of American cinema and English displays his talent on a script with conviction yet smooth.

Adapted from the novel " always near me" in Kazuo Ishiguro by Mark Romanek , Never Let Me Go hollow identity of cloned three young men in the early 70's to become donor organs. They are raised away from view in a school run by the always troublantedans the sole purpose of being programmed to one day be ripped open, sacrificed for the survival of others. Any narrow philosophy of the film tends to wonder about the value of a life on the packaging too, because unlike many science fiction movies, generation by oppressed accepts his fate with a startling docility, she accepts it because she did not realize that there are parallel tracks. As she appears resigned as the youth in the flight of the stolen love by jealousy, thinking this girl at heart we plunge choices, sometimes independent of our will, that led to our relational experience. Amidst this bitterness perfectly highlighted by the dull photograph and postcard of three decades become embedded into each other connected by the evolution of car design, three struggling actors superb. Carey Mulligan , perfect from start to finish in a game minimalist grandeur, his silent tears streaking his face intelligent remain long in the cinematic imagination. Keira Knightley then interpreting the character in the hysterical excesses, yet just the opposite of what one might expect of her. Andrew Garfield finally playing a slightly older child remained with handle and resignation.

While each intervention is underscored by music with lots of violins, their faces express the conviction that their flexibility is low, the players really take their game and raise the film the story to interest. It is also true that the film oscillates between fairly interesting science fiction and old-fashioned romantic drama, it moves us undoubtedly make us who we are and that before us lie on the table jellies hospitals but outside these outbursts and transient instant rebate brought into question by the radiantly melancholy face of Carey Mulligan, it will store energy in a curious achievement driven primarily on emotion, as if she was alone vector of reflection.

Released in Belgium: 30/03/2011

Waxing After Going Tanning

Liberty Leading the People

needs no introduction Eugene Delacroix ( portrait by Nadar left)! We owe several famous paintings including the famous "Liberty Leading the People".
Since the revolt of wind blowing across the Arab world, historical and formal analysis of this table is entirely about even if it refers to a French reality.
To put the achievement of this pictorial work in context, I invite you to follow this link by clicking here
To access the formal analysis of the table, it is wise to follow the animation and sound subtitled here

Scooter For 4 Year Old

Winter's Bone ** *** ** True Grit

Laura Palmer is alive! Lynch had not lied to us, it was well past the other side of the red room, where a midget talking backwards. The turning Tronches Broken Bone Winter's here she opens the door of a home where a representative panel of the American heartland hit the card and Dolly Parton sings on the banjo strumming. Sheryl Lee , the actress who plays Laura, the necrophiliac fantasy of a generation who discovered with Twin Peaks that television could exceed the cinema. Laura's body found wrapped in plastic beside a river, dead as innocence, found an outlet in Winter's Bone. Yet there she made a quick appearance, but its role responds strangely to that of Laura Lynch.

It is also in question Winter's Bone from director Debra Granik , an innocence under strain. Ree Dolly ( Jennifer Lawrence) lives in a forest in Missouri with his younger brother and his little sister whom she works full time, her mother prostrate on a sofa is down, a victim of trauma brain and behind his father in prison of a past trafficker. When she learns she may be expropriated because he just paid his bail by mortgaging the family plot, she decides to go looking for him. Unfortunately in the hometown person No one has seen the faces decayed close even when it pronounces his name. In unearthing the truth, Ree will face severe problems such as Laura and Twin Peaks pay his effrontery.

Halfway between a novel by Erskine Caldwell and Issuance of John Boorman , Winter's Bone rancid smell of misery and despair of an America bent on itself. This one even scary when you see her around and feeds the fantasy of incest and bestiality, cowboys and loggers gallows at the wheel of their trucks, shotgun under the passenger seat, a resident of dilapidated old farmhouses on which snort of starving dogs. At the rear of the barns, torture chambers, cellars oozing where women even more ferocious than their husbands alcoholic amochent faces pure rummaging through their trash. There is in Winter's Bone , not an escalation of the grotesque, but a search of the infallible truth choking in mud rather than abandon this path and cross is perfectly embodied by Jennifer Lawrence, she offers her his only escape character, the strength of despair, infallible stem wind that accepts his fate as she enlisted in the army. All his choices are also inconsistent, they are motivated by that, survival. You must see spit at the foot of a man and the next scene his family deal with infinite tenderness just crumble before her beautiful shell before the lifeless face of his mother from whom she asks for help, just once mom. And yet how powerfully she checks out the opacity of the lake, the hands of the issue while his tears were drowned in the din of an electric saw.

In the gallery of wonderful facial injuries that gin this movie test be insulated with joy the new Denis Hooper in the person of John Hawkes , whose interpretation sometimes terrifying, sometimes protective be as sharp as the barrel of a gun. Incredible scene face to face in a dark night through the rearview mirror of a car. The film is also brilliantly staged by Debra Garnik, who did not sign there that his second feature film. In each sequence, despite the constant tension and escapes the camera captures the details of a significant beauty, she reminds the theatrics of Terrence Malick : oil, carcasses of car, statuettes of children lost in landfills, the faces of dogs or a small film in black and white squirrels fleeing deforestation. There is no dead time in this epic, the simple accuracy of a work that does not say too much, not doing too much and do not pay into sentimentality when he held out his arms. Winter's Bone is a film of raw beauty.

Women In Public Showers

Always one to make a ton with the Coen brothers ! Each year, the same old story, it seems they have spawned a new masterpiece. It is clear that there are still countless serious turnips in their filmography. In general, the Coen Brothers are tackling two types in particular: the film noir and comedy. They are also much more relevant in a genre that in the other. With the exception of The Big Lebowski , we must recognize that Fargo, Blood Simple and Barton Fink far outweigh the Intolerable Cruelty , Ladykillers and Burn After Reading . With True Grit, one would think they have ventured to address a different kind, the sacrosanct Western, this is only half true. Adaptation of the eponymous book by Charles Portis already filmed by Henry Hathaway (1 00 dollars for a sheriff ), True Grit borrow at Western that the formal structure, but basically it s 'acts mainly an excuse to throw some good jokes that the two troublemakers are fond. Grocers in good they are, the Coens we sell a product so that is not one, but that leaves eaten with pleasure. Finally no matter what you eat as long as it's good.

Splendid scene input, the camera zooms in relentlessly raped by a dark-yellow light of a glowing fireplace is the door of a house that lets the filter. At the foot of the porch, one discovers the lifeless body of a man whom we learn has just been shot by his groom. In the dark, snow falls diaphanous. This prologue also respond to the penultimate scene of the movie where the light of a lost home in the dark will come to embrace the latest breath of a young girl and a sheriff exhausted by last ride against death. Mattie Ross ( Hailee Stenfield ) is determined to avenge the death of his father from the top of its 14 years. With a plumb unprecedented in the history of cinema for a girl of that age and a fairly powerful diatribe, she will persuade the bounty hunter from the corner, an old drunkard eyed Rooster Cogburn (Jeff Bridges ) to go pick her killer Indian Territory where he was holed up with his gang of thugs. What follows is therefore a long crossing of scenery and rides horse interspersed with encounters with one particular and rather awkwardly recalls that of the Indian poet Dead Man . The duo is a trio when Texas Ranger mingles with the prosecution, tasty Matt Damon which contradicts all the evil they thought of him, but the role of tenure under-operates somewhat tasty cons Employment of remained.

In effect it is comedy in True Grit. Each scene is shot in this direction, to cause laughter, stress, slashing commissures and exercise tips and trick redundant. Jeff Bridges and redoubling of glances, of uprisings eyebrows and dazed tunes to evoke surprise or suspicion, however, it is in unison with the 'potacherie' invented by the Coens. The genius of the replicas is enhanced by the brilliant performance of the small Stenfield Heile, only 14 years, a fine career ahead of her. This is not given to everyone to snuff Bridges, Damon and Brolin in the same film. The Coen giggle, unfortunately dint of playing too much spin with this delicious, one that sees a child having more guts (grit) as adults, they end up neglecting other aspects of Western, namely the epic (this is not a few races that can gallop the vent), the dramatic tension (the death of the horse blackie looks straight out of a novel by Walter Farley), the symbolic issue. Even if it takes the codes of the Western classical and essential Manichaeism with a credible villain played by actor Barry Pepper only true face of the film, he can not help shedding a little parody with second Approximate roles and a voltage hungry to show the sad final scene where Marshall faces four bandits, they are far from Ford or spaghetti Leone. Diverting tale Carroll, little Mattie / Alice discovers the adult world by killing what has to mean that they fall into a pit full of snakes and rotting corpses. Including vigilante is no act without consequence, it is grunting his memory amputated arm with which she suicide. Moralizing the Coen brothers, but not see you ... Some grocers were told, armed with some know-how and a sacred gift of the gab.

Pinky Discharge Am I Pregnant

Santiago 73, Post Mortem ***

It's been two weeks since the Chilean film Santiago 73, Post Mortem was released in French cinemas. I guess he will not stay very long in theaters. Yet it is a very special film, original and deeply disturbing that I could recommend you too. Located in Santiago de Chile in 1973, the plot takes place against the background of the coup against Salvador Allende. Mario (the terrifying Alfredo Costa ) is a small, taciturn officer, whose dark and is suspected to feel worse formalin or bleach. He works in a morgue as scribe of the coroner, he spends his days in hand to review the autopsy reports conscientiously and to retype it in the evening at the machine. Mario is in love with her neighbor Nancy ( Antonia Zegers), a cabaret dancer in decline, his chest falls and scares her thinness. That evening, she sympathizes with the coconuts on the corner by holding meetings in his room dissent.

In Santiago 73, Post Mortem , Pablo Larrain young Chilean director, already noted for his previous film, T ony Manero , will transform the immensely painful history of his country and the bloody coup State orchestrated by Pinochet against Allende. He will immortalize frozen into a painting of terror where blue hues of the mortuary and its corridors littered with bodies will marry in a maelstrom morbid with the colors green lanes in the suburbs where Mario lives. Suburbs devastated ghost town where the hunt for communists turned into a genocide organized the protest. To give this shade so particular to the screen, Larrain has not hesitated to use the objectives of the Russian era. Off-field or fixed plan naturalistic staging of Larrain is a work of craftsmanship, a slow building of horror, as in viral transmission, will perniciously stifle and destroy the humanity of Mario. He, the worker who pulls carts lifeless bodies cooled to room of the hospital. He, the quiet man who cleared and finds the strength to say to a depressed and Nancy's stinking smell of alcohol it is the most beautiful thing he's ever seen.

The most amazing in Santiago 73, Post Mortem , this achievement is subtle, almost burlesque is always waiting for the viewer and his intuition in the rear. It serves a scenario that uses powerful intelligence metaphor-cons as a weapon of propaganda. The desire for love with his neighbor Mario is indeed the metaphor of this country who wants to conquer a socialist ideal, desire is caught in the teeth of a violent junta's bloody power. And through the character of Mario, played wonderfully by Alfredo Costa, incapable of being loved, handled by his object of desire (you must see this handjob scene in a hurry when the body of Mario saw back bends under the weight of humiliation can be issued without any resistance), will become like his power, a vehicle for violence. A man who will seal the memories of the past under tons detritus.

Released in Belgium: 16/03/2010