Jacksonhewittholidayloan

words Easter and New Year Alba wheel

Jorge Etcheverry

In keeping with the times to envision where the red for the look, Rogelio as stated in a time in my now distant and irretrievable country and lost and half cured in a corner of the mists of time

now inhabited by hordes of ghosts, incubus and succubus, or half reporting entities behind various masks and costumes that hide the medium solidify these vestiges of the former entities

And it seems that no one is exempt

And that's a nightmare that just woke me almost but not one of these

But back

Rogelio told generally to all those men and women -of different ages, different social-that were placed for periods ranging from inaccurate few months to a lifetime in the wide and colorful range then the left or rather of the left

So we decided to change for now and when the base color of this modest page you have before your eyes and managing this server
Page
limited by lack of expertise in this area your server. Which after years-what-decades of providing spaces and publishing authors and do
critical
Could not get anyone to give you a hand even this modest occasional amononar page. Their technical support requests fall on deaf ears

not hear father say when questioned the
Quiubo
But we are not writing in this Easter morning to complain about the apparent lack of collaboration that isolates us

Chile overall appearance seems to have turned a wrong corner at some point maybe decades and it seems it was one which was not realized

the absolute necessity to go beyond the genre poetry, they do so as soon as possible young people, some at least, more gifted than I, or perhaps with the help of electronic implants in their frontal lobes

Or have parts Whole metal in their bodies are still developing nubile

But it seems this is still not going

Maybe it's just that I still have that ability to project my squalid vision for the future was one of the attributes that had as a poet
But we stray from the subject

This is not only red color the obvious blood that bathes the streets of this century left behind the first decade of the new millennium and here we can only quote the poet par excellence

"Come and see the blood in the streets"

is the red
opens pink
The red planet Mars is a very old stellar stripping but maybe it has water and therefore life under the deceptive surface
The red color
Chinese sacred
That did accept and embrace the revolution while maintaining the most intriguing traditions and hidden

is the red rossa bandiera but Father Christmas costume

And so we're running the caffeine pulse of the first cup of coffee that we take half an hour ago chocolates accompanied by two of Polish

Easy to achieve in this multicultural country

Now we only have thread on the cane for you last words

Before you sign off

and fired in the morning of December 24 of dosmildiez

Good Beginner Climbing Harness

Kamehasutra Eng Color

new anthology of poetry in English Chile



Chilean Poets by Jorge Etcheverry

Description of the book: This anthology

Offers a broad spectrum of modern and contemporary Chilean poetry, Including Such Both works by eminent figures as Pablo Neruda, Gabriela Mistral, Pablo de Rocka, Vicente Huidobro and Nicanor Parra and a Representative sample from the succeeding groups and Generations of poets who have gained public and critical acclaim. The editors have devoted considerable space to the new voices but not only to the best known among them and not
just to their most familiar poems. The aim has been, rather, to encompass the diversity of aesthetic and thematic interests. Chilean poetry is no longer limited to a geographical region. The globalization began with the events of 1973, which sent Chileans into exile to the four corners of the earth, and it has been perpetuated and stimulated by the ever increasing facility of virtual communication. Thus, the anthology focuses not only on the multi-faceted poetry of Santiago
and the strong, majestic poetry of the South and the North of Chile, but it embraces also writings by established and emerging poets in Canada and the United States, a product of the Chilean diaspora. Moreover, it seeks to reflect the various segments of contemporary Chilean poetry, such as that being written by women and indigenous poets. It has been said that the English language is ideally suited to the creation of poetry. Here the editor has demonstrated that Chile occupies a place of privilege in this endeavour and that its poets can be justly proud of their explorations among the possibilities of poetic language.

The anthology include names such Armando Roa, Armando Uribe, Ximena Troncoso, Gonzalo Rojas, Elias Letelier, Rodrigo Lira, José Ángel Cuevas, Sergio Badilla Castro, Jaime Gómez Rogers, José María Memet, Waldo Rojas, Alfredo Lavergne, Rosamel del Valle, Vicente Huidobro, Pablo de Rokha, Juan Antonio Rios and many more.


======================== Edited by Jorge Etcheverry

Jorge Etcheverry, born in 1945, is to become member of the School of Santiago and American group from the 1960s. He lives in Canada and has published poetry, prose, Criticism and Various articles in Several countries. His books of poetry are: The Escape Artist (1981), La Calle (1986), The Witch (1986), Tangier (1991), A Bird's Eye (1998); Vitral to Birds, (2004), and thinks about the Sur (2004). Lately, I've Appeared in Anthologies Such As Chilean microstories Hundred (2002), Poets and General (2002), Anaconda, di Poeti Americania Anthology (2003), The place of memory. Poets and storytellers of Chile (2007); Latinocanadá (2007), Poetics of Chile. Chilean Poets (2007), 100 short stories from around the world (2007), and The Changing Faces of Chilean Poetry: A Translation of Avant Garde, Women's, and Protest Poetry (2008).

Mariela Griffor, Publisher
Marick Press

PO Box 36253 Grosse Pointe Farms, MI 48236
URL: www.marickpress.com
URL: www.marielagriffor.com
URL: www.chileanconsulatedetroit.org
Phone: (313)
407-9236 Email: mgriffor@marickpress.com

Spacewalker Shuttle Mv42 V1.3 Manual

THE MACHINERY OF BIRDS, text, winner of the avant-garde poetry in Spanish

Jorge Fernández Gonzalo
I


My body crossed by all machines, chips
orphaned by the vision, the rhetoric
by
birds with which to set out the impossible.

Light, in the bushes, calcined
still too
consistency.
Beware of words that penetrate the air
and throbbing between branches
blasted almond,
on pure guts sparrows.

My body has a hollow footsteps, chrysanthemums
perforation,
machines to name the dawn of arms,
machines for my fingers breeze
for joining my gaze
reef or a subtle gear mouths.

II

Every bird is a machine, machinery
my vision that aligns with your flight,
clotting step of their wings and skews
tiny crystals
surface air like a crystal that had no reflection any,
water as a background where a bird was a rock,
a stone thrown into the river,
a crack that slowly unveiled the cavities
a sky of ashes, the clouds break where a light metal
invisible
texture gives hands, stalking the limit
bodies pierced with a grain of clarity,
gives the purity of the complex,
configure a machine
spring birds and clouds,
wiring confusion, dysfunction
amazing thing.

Too many machines, and birds.
No bird is real, but the layman
link between an eye and a body that still can not get the tombstone
name, thickness,
happen when all that unites the event
is a strip of space, the margin
batch of oblivion.
birds You see the glass that they have trampled
in the tent of heaven
the same fictions that glimpse, the same puzzlement
light tracery
Cloud unraveled?
There are no words for all these devices

because every word reveals, only,
an interruption of larks.

III machines

Too, too many birds, too
improbable fictions in this sky
that leaves the placid comfort
made her lie and body of the poem,
writing that breaks the glare of the limestone, giving
Nomenclature
the stem iridescent light.

not give voice to those machines, the alliance between the birds and my eyes
aware of your flight,
but that space, the void yet to be thought
when they have passed all the swifts.

Jorge Fernández Gonzalo , 1982. Doctor en Filología Hispánica por la Universidad Complutense de Madrid, ha realizado una tesis doctoral sobre la poesía del poeta Claudio Rodríguez. A su tarea investigadora hay que añadir una reconocida trayectoria como poeta. El autor ha publicado los libros Amantes invisibles (2003), Premio Blas de Otero por la Universidad Complutense; Mudo asombro (2004), Premio Joaquín Benito de Lucas; Una hoja de almendro (2004), con el que obtuvo el Premio Hiperión de poesía joven; El libro blanco (2009), en la editorial Huacanamo y Arquitecturas del instante (2010) en la colección Adonáis. Codirige la revista digital Revista Neutral, on the work of Maurice Blanchot, and has published several studies on poetry, philosophy and thought.

Do You Bleed More After Giving Birth To Twins

Albablanca

Poem with Arturo Mendez-Roca presents the poetry contest 'Alba Wheel', which closed a few days ago and the result'll learn to be published next month by the quantity (and quality) of contributions from many corners

the specter of a white day
leans in a corner of my dreams

and outside the edge of the world, how do I fill

where

which city should I fill in the dream
here
or when you wake up and I lean
those specific corners of the world



life should be like that lady
tabula rasa
we try every day to fill

as best we can
with
problem that can not erase what we wrote


What color is something to fill life with substance


ambiguous that writing scrawled on the back that the world is

green as the sea caressing the pupils we licked our mind

filled our nostrils with salt
- seagull-squawking-up is perhaps


shooting blue as the sky
as
eyes when viewed under a black mane
or perhaps the same hair

and condemns us to a darkness that
redeem or eyes that I mentioned before


nothing concrete so yes

is that you first wake up I have to finish

to recognize some
this body under the covers of the bed riots

perceive something new details as the convolutions

angles, curves and extensions for a moment
new

palpated just smelled something unknown dimensions

before I install on the day and awake


Arturo Mendez-Roca
Ottawa, November 2010

What's The Difference Between Impetigo And Herpes

Prologue of Cronipoemas "

By way of prologue

is difficult to make a selection from the poems themselves when you do not get carried away by a thematic or formal illation accurate. My intention here is to assemble parts, fragments, allusions, details, places, of different shape, size, degree of completion and around what is called "Mood", which keeps the character a bit fragmentary, mosaical , other books of mine, and I think perhaps too unitary language sometimes distort or lie. Somehow this book implicitly assumes poetry-life relationship was not, and something that is understandable in itself, no drama, or cliché onion, almost, but not excluded a priori and I think they are existing forms of expression, valid or perhaps essential, whether good or bad in a sense of cultural hierarchy axiological or institutional. This poetry-life context, which places this book, there is a tremendous new but no less celebrated, not preaching must be sick as an axiom not necessarily have an impact on the degree of complexity or simplicity of the texts offer. Maybe in my case, what is perhaps a surprise, poetry and life are closely juxtaposed, as noted by Manuel Jofre, Chilean poet and critic, who says "the relationship between literature and life is very narrow in writing Etcheverry, "although there may be also more or less irreducible elements such as the Cuban poet José Carlos Sánchez Lara poetry called residual. Then it becomes even more clear in the title of this book, Cronipoemas, which includes texts appeared on paper, for example in an anthology of poetry and prose magician Chilean editors published in Santiago, or virtual version, as "words of the great woman "which appeared on a wall and virtual exhibition in tribute to the Cultural Celebration of the English Language that made the Creative Registry of the Canadian Association of English scholars, and other texts published in Letralia, but as narrative. I did not bother no critic or poet known or friend to make me a prologue, and they are very busy in the winter in Chile that is stretched in his vest wet smog or humid tropical heat in that other country of almost diametrically opposed neurons melts us. I hope these lines unbiased reading. Jorge Etcheverry


Arcaya
July 2010. Ottawa

Jenna Jameson Streaming 2010

The absence of the Mona Lisa Bird

Nieves Fuentes



I fell asleep watching one of those cheap reproductions of the Mona Lisa.

And I dreamed that

finally tired of keeping the enigmatic smile,

she rose, left the box



and opened the door lost in the outside world. Waking

found something strange. Table
where before there was the mysterious woman only found a gap.

Amour = Love = Love!

Nieves.

October 4, 2010.

Cheat Of Pokemon Leaf Green(vba)

The Year My Parents Went on Vacation (Cao Hamburger) Brazil, 2007. Friday October 2, 2010

When one is introduced, say, in the family of his partner, to avoid arousing resentment that can stain first impression, you should not talk about football, religion or politics. Cao Hamburger

is forget this advice and talk about all this but softly. I conveyed through an intimate and sentimental drama in São Paulo, in 1970, when the Brazil team that won the World Cup. To do this, with a hint of nostalgia but with a bittersweet feeling, tells the story of Mauro, a twelve year old boy should spend the entire year away from their parents and with her grandfather. The political and dictatorial forces their parents to wean them their son temporarily, while fate fatal, never will cause find her grandfather. This leaves Mauro in the hands of the Jewish community it belongs to the grandfather, where he will be cared for primarily by the neighbor, an elderly gentleman, unwilling to do so, but led by the rabbi of the community, who see the situation where Mauro is in parallel with the haphazard biography of Moses.

If football is omnipresent through the crowd of Mauro and religion shows a custom which makes the brush we paint the canvas landscape, politics is outside the field that is imaginable and described before strange behaviors of adults or shooting situations of repression are observed by Mauro. Brazil suffered the dictatorship since 1964 pushes the edges of the fictional representation and cracking these walls to establish through allusion and metaphor index its presence in the story.

The position taken is that of a few inches off the point of view, and set it from the perspective of cognitive and perceptual Mauro, a boy of twelve years. If we put some introductory titles at the beginning of the film in the situation then we will present the viewer is intended to see things as if Mauro. One option that may remind series The Wonder Years. We think that falls into a similar sentimental nostalgia, but here, the harsh social and personal context that our hero lives minimizes the effects of homesickness mechanisms for believing that any past was always better. Football and the victory of Brazil in the Copa act as a catalyst sweetener of a decisive breakthrough year for Mauro painful. However, this endearing patina itself that keeps close connections with the film Kamchatka (2002) where Marcelo Piña showed us the dictatorship in Argentina, indirectly, from the point of view of Harry, a child ten years.

This option does not avoid falling into the common ground of films for children: the first love ( Hanna ), awakening to sex but not the somewhat bizarre dreamlike quality of Federico Fellini's Amarcord (1973) or Léolo (Jean Claude Lauzon, 1992). Everything in this film is soft, gentle lines. And as if to establish a synecdoche to focus on a Jewish neighborhood of Sao Paulo used to use plenty of close-ups close-ups and display understanding that each part contributes to the overall perception. Similarly, the portrait of a particular community will achieves the general picture of a city or a country.

There is also an effort to make a compositional work in which the figures are viewed from unexpected angles, either from the reflection of a closet, or from the same handset, establishing the presence of another person in space a sustained effort of staging. Precisely intended to symbolize the ghosts of the dictatorship, that figure gripping spectrally.

And although the sport and movies are not usually good friends here football sign appears as a country's cultural identity. Alternate scenes are repetitive celebrating Brazil's victory: the rabbi and his relatives, women or people in the bar to emphasize how football that year was a sign of cohesion and also an outlet where people reach moments of happiness a harsh environment caused by the repression and lack of freedom of expression of a dictatorial government. Mauro

in childhood is like a bubble and even feel a sense of abandonment and denotes strange behavior is not able to conceptualize exactly what is happening. Not able to discern the magnitude of the gravity of the situation. He feels helpless, but nevertheless, lives dreaming football and stick to their immediate surroundings, families caring for you, Hanna, her friends, etc. Is in some way, what happened in Life is Beautiful (Roberto Benigni, 1998) , in which the father tries to convince the child, while in the camp, that this is a game in order to preserve the innocence of childhood. Just such ingenuity is what Mauro safeguards to be aware of the serious danger to their parents. Mauro

remember what I was saying his father figure of the goalkeeper in the lineup and will be with this figure to be identified. Ni with Pele or with Tostao, the stars of the selection. And is that the goalkeeper is a different player, because while others may make mistakes, no goalkeeper. Is there only goal expecting the worst. And if his father was always late everywhere, which means it is the figure of the exiled, those who take so long, never arrived. Manu

Argüelles ( The imaginary audience )
Trailer of the film:

Is Yoga Good For Meralgia

Arturo Mendez-Roca

Forgive Don Pablo

daring to incur the subject of his art

Bird's their fault for trying

including such key issues

of our being
of our geography Since



egregious amount
fly glide on horizontal or diagonal


threatening and dark alone when birds of prey


eyeing small animals with its telescopic sight
flock
or migrating from one hemisphere to another announcing
accompanying the change of seasons

since the world began



combine protein and embody
transmute

multiple entities in various

biblical angels bearing the word of God
Sword of Fire


indicator of
way to heaven is announced on its wings Birds


fire on the other hand
show themselves when
uncertain times but interspersed
threatening
before our eyes


Our ambition to fly us also makes us icaros

the proximity of the sun dissolves the wax

our wings

ever dissolve our stuff
same
if we ultimately
if we become more birds than birds

and crossed the room with our seed

and your parent birds


The iconic condor holds

shield side (I'm Chilean)

sheep down there buzzards vultures
tremble

vultures are preparing to descend the dark
broad scope of its wings


tender dove nestled however


their offspring nest in the best flags
give your gray or white plumage

the smooth curve
chest to what we call peace
and we grope

like bats without radar biological

to collide with objects

a different height in the deep

confusing night for forever

peacock

opening her fan in such legend and stage decorations

descriptions of dollars to us to be exotic

On the other hand the same forever

cocks that organize their chorus at dawn
arching ridge spurs

flapping wings bristling

baptizing and every day the birth of the world


again and again until the end of time

eagles condors

the same number of other birds as their geographies

are stamped on various flags in various currencies

stand in the legends in the myths


the sacred books are at the peak advertising industry

earth endless tear the entrails of Prometheus

huge walks the Roc

may have been some
myth already lost because, as on a huge animal might
bafo reptile
on whose back the world lies

likewise on the back of a bird is actually

as the world moves through the cosmos

Perhaps

more present in the personal life of each
not in the vast cultural frieze
nations whose paintings murals

paragraphs are crossed

bird has crossed
sparrows that feed them with crumbs
Sharon
other goodies
in the months that they can

when the Great White Bird of almost inexpressible winter

of these
latitudes gives way to summer
bird made of fire and moisture


When we sit in a cafe with terrace and drank wine

without shame or guilt
eat something
and sparrows chubby

pardogrisáceos universal latitude covering all
and length is also

come to our feet to eat crumbs


more birds Addendum as required by the speaker

sobrerrevolotearán which bands we survived by eating of our carrion

repeating this cycle as being with nature
In that we ourselves will become
part of these tissues solidified by the graceful plumes
That while isolating the cold
Thanks to its hairiness overlay that creates air pockets
and quality of its hollow stem
O
those muscles graceful in flight
adopt the way of looking at things and say
So from a privileged position
but covering all
As if we could be witnesses
That perhaps rightly expect

This survival of the birds would like to believe

Hovering over our barren
sown
Sterile The ashes of our cities
Occasionally punctuated
For absurd statue to another observer
Apart from this false observation

That

implement

Tanning Booth For Sale

Seraphine (Martin Provost) France - Belgium, 2008. Friday September 17, 2010

Address: Martin Provost.

Countries: France and Belgium.
Year: 2008.
Duration: 125 min.
Gender: Biopic, drama.
Interpretation: Yolande Moreau (Seraphine), Ulrich Tukur (Wilhelm Uhde), Anne Bennent (Anne Marie),

SYNOPSIS In 1912, the German collector Wilhelm Uhde (Ulrich Tukur), one of the first buyers discovered Picasso and Henri Rousseau "The customs", rent a flat in Senlis to devote himself to writing and rest of Parisian life. The landlady sends a cleaning woman, Seraphine (Yolande Moreau). Some time later, dining at the home of the owner of the apartment, Wilhelm sees a small painting on wood. Are surprised to learn that She is the woman who cleans his house. Thus was born a poignant and unexpected relationship between an art dealer and a visionary woman.

Comment

Provost The film delves into a unique spirit in an age of avant-garde artist's subjectivity charged more important than reality. For this reason, try to capture in their images the same innocence and dra-matic intensity with which the artist did in his paintings. In the first part of the tape breathes } air and wind of nature, the freshness of its waters and the peace of their days, in the best tradition of French impressionist film. The picture is bright, careful planning and timing parsimonious, while the dialogue is terse and simple, with the same ingenuity Seraphine paints.

The advent of World War 1 and later passed the Great Depression on tiptoe because the director is not interested in entertaining the political-economic environment, but leaving a trail of darkness and drama in the artist's soul, deep in the night of darkness and madness of the spirit. His paintings are then loaded dynamism and tension, inner shadows and gaining ground in the light and natural landscapes, their existence is far from reality and that alienation comes the best of his work, the most intimate and personal as happened to many visionary artists and misunderstood in his time.

gradually and without fanfare, with a polite tone and almost imperceptible, the viewer witnesses the glare / bust of the painter and perceive the gulf between herself and the world. Uhde's gaze serves both to discern the purity of "primitive art" rediscovers that modernity to be moved by the dislocations of the author. Provost manages all artistic film supported on a set staged to issue, tempo contemplative and uncompromising drama free and easy. Intimate but nothing maudlin, photography and music are on the superb interpretation of Yolande Moreau the perfect counterpoint to convey a state of mind, capaz tanto de sentir el frescor de las aguas o la rugosidad del tronco de un árbol como de reflejar la agitación y el torbellino interior de unas voces angelicales que vienen a los desposorios de un alma inquieta. Su manera de mirar las pinturas, el carácter artesanal con que fabrica sus colores, su contacto con la Naturaleza, la evolución en su relación con Uhde… son momentos exquisitos de un cine plenamente artístico.

Letter Of Using A Church For A Wedding

mundane Bracket

Arturo Méndez Roca

A awakened early. A way out typical breakfast around here, fried eggs with bacon and fries. And of course coffee. Before passing through a bowling alley to buy a newspaper. I attend a colossal seated (very) young maid black dress short. It squats a few yards ahead of me to pick something and I realize that I can walk enterito whole black. Good started the day and the subsequent shame and recrimination old voyeur. The fantasies that maybe perhaps the exhibition may have been intentional. I have nothing against the absolute equality of women in all facets of personal and social existence. Down fire from heaven on those who want to keep them in place, preventing them from education, power, creation and enjoyment, no matter where they come from or who they are. I aspire to keep my absolutely heterosexual eroticism and a little old-fashioned delights seeing involuntary exposure even trousers. A world run by women would be better than this. But they still have body.

Forget Esc Weekly Certification

The Night of the Condor

On Wednesday September 15 between 7:00 and 10:00 PM, at the SAW Gallery, 67 Nicholas Street in Ottawa, the Cultural Workshop El Dorado will present a cultural event entitled La Noche del Condor, an act that celebrates the El Dorado project led by Chilean socialist Salvador Allende, truncated the 11/9/7 and the independence of Chile, 18/9/1810.
also commemorate the bicentennial of the country and salute to Latin American countries whose anniversaries are celebrated in recent months, many of whom are undergoing critical changes.
have so far confirmed their attendance the following authors: Claudio Durán, Gabriela Etcheverry, Luciano Diaz, Jorge Etcheverry, Anita Junge, Fernando Veas, Mary Borys, Ramon Sepulveda, Camila Reimers, Rufo Valencia, Arturo Lazo. Among the cultural organizations that sponsor this event. The following agencies have confirmed su apoyo: la editorial Split/Quotation, la Red Cultural Hispánica y la editorial de Montreal la Enana Blanca. Estamos a la espera de colaboración y adhesiones de instituciones y autores/artistas interesados en participar y emitiremos actualizaciones periódicas de este evento. Este acto finalizará con un vino de camaradería. Para mayor información hagan el favor de ponerse en contacto con Jorge Etcheverry en jorgeetcheverry@rogers.com o con Luciano Díaz, lucdiaz@rogers.com

Make A Toy Boat Samples

Celluloid. The Finger of God begin and end

Arturo Méndez Roca

Parece que estamos yendo al cine de nuevo. Desde las por lo menos dos versiones al celuloide de la Guerra de los mundos de Wells hasta el clásico Independence Day, and what that Predator and its aftermath. The funny thing is that level as it is given religious or eschatological opposite from the Raelians to various cults centered around individuals who serve as a channel for such benevolent astral entities. It would be interesting to analyze why these opposing trends. As if the apocalypse had put a dummy costume to enter in any way in the popular consciousness and culture and do so through the big screen or small, where it is mixed with a vague consciousness of collective guilt. We are bad and we're destroying the planet. The figure of God disappears on the horizon but the punishment comes from the stars.

Sample Letter Of Disconnectiopn Internet

Nieves Fuenzalida

I slowly resfalé my historical tree ... a mimosa yellow? ... A red maple? ... taking me by the vines that my predecessor left me ... I played with my feet atavistic land ... that was dark and swampy ... I punched a mosquito ... I got sick ... I fought to pass the limits of the disease ... I realized that I left her with something that had not drunk before ... ideas ... that rode mounted on white cells of the tops of scaly skin on my body full of hair ... I took a stone and threw it into space ... I was afraid because I do ... I hid in a cave under a mountain full of flowers ... but also poisonous scorpions ... I was filled with desire that led me to draw on the cave walls of my prison ... I walked slowly toward the entrance with fear ... where he saw a bright light and clear ... I found the dawn ... And here I am now looking for water on the moon ... after destroying my Universe!

Nieves.
Ottawa, Ontario, July 7, 2010.

Difference Graduated Inverted Bob

remember Esperanci

Excelente persona, bondadosa, compañera, amiga y leal seguidora del CineClub Imaginario desde sus inicios, así como de todas las iniciativas culturales, sociales y solidarias.
Hemos had unwittingly say goodbye to her untimely, with pain.
hope your memories fill the void that has left us and we want to be able to accompany Pepe Carmona in a life with her absence.

Wording For Memorial On Wedding Prgram

Closing of the 2009/2010 season: Let It Rain (Parlez-moi de la pluie) Agnes Jaoui (France, 2008). Friday June 18, 2010

film Friday After s (projection number 100 of the Imaginary and final CineClub t emporer 2009/2010) will have a little party. If you plan on bringing something to eat or drink, you can put it as a comment to this post (trailer below). So we do not repeat. Lest we find ourselves with 20 plates of caviar and do not know what to do with them.


Agnès Jaoui and Jean-Pierre Bacre i come back with "Let It Rain" ("Parlez-moi de la pluie ') social criticism and presentation of misplaced characters already made in the great 'Something for everyone. "

Jaoui's story, directed the film, plays Agathe Villanova, a feminist recently involved in politics, who spends a few days in his hometown, along with his partner, Guillaume (Laurent pitcher). Karim (Jamel Debbouze) and Michel (Bacri), they want to interview the policy to make a documentary about successful women. Villanova accept, without knowing that this will jeopardize his political career and their relationship. Karim is the son of Mimouna, the maid of Agathe's parents, while Michel is related to the family on the other hand, maintains an affair with his sister Agathe, Florence (Pascale Arbillot), a married woman and opposite in personality and physical the protagonist.
The film begins by introducing each of these characters independently and without knowing which links exist between them or how history is going to join. For a while, the true story of 'Let It Rain' does not start and the viewer does not know the paths that might take.
However, this somewhat slow start gives way to a fun story of intrigue and confusion that is very acidic analyzed power relations and feelings of inferiority and the feeling of not knowing what to do with our lives and doubt if you stay true to our decisions, even if proved absurd. Using resource subtly snowball effect, the writers manage to mess up an initiative that is apparently harmless and put us on the opposite end at the end of the film with hardly noticed we have changes. Comment


'Let It Rain' is not presented as a pure comedy, but has dyes and endearing melancholy. But what is unmistakable in his tone, as in other films-Bacri Jaoui, is the pleasing absence of undue severity or exaggerated drama, not that this prevents the authors address serious issues in depth. It is admirable in this pair of artists how they can use the subtext and achieve tremendous things happen where it seemed that nothing was wrong.
The immense puzzle of personal relationships that make up the plot has more parts than those mentioned in the synopsis. Although there are so many, each of these ties are reinforced or challenged by what happens in those days. This is further proof that, while giving the impression that nothing much happens, the film is full of facts and consequences. All actions of the film, which could appear to be just a funny scene (for example, the choice of the hill with sheep for the recording of the interview) have a significance that goes far beyond. What mood are producing something silly or childish situations that lead to more embarrassment than open laughter. This simplicity is deliberate purpose further highlight the absurdity in which the characters are. Therefore, 'Let It Rain "offers a reading class in which we find much humor and with whom we have a good time, and another where we perceive social criticism.
Bakri, as he had done before, interpreted a man who sees little cultivated his reputation as a filmmaker is disappearing. Their customs are mess up and embarrass those around him. But this not only puts him under the microscope, but also serves to analyze others. This shows that one of the strengths of these two writers lies in the observation of the characters. The principal role is to get more sticks and played with such conviction that we must believe that it is so if we had not already seen in other films. The tandems that create Jaoui and Bacri usually have a third wheel, which in this case it's up to Debbouze, a character that probably causes all imbalances by its own definition.
'Let It Rain' is an interesting proposal that will allow us to spend a nice time while we reflect on family and social relationships or our own personality.

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The Science of Sleep (La science des rêves) Michel Gondry. France, 2006. Saturday May 22, 2010

The Science of Sleep (La science des rêves)

written and directed by Michel Gondry
Country: France
Year:
2006 Duration: 105 '
Genre: Comedy
Cast: Gael García Bernal (Stéphane Miroux), Charlotte Gainsbourg (Stephanie), Alain Chabat (Guy), Miou Miou (Christine Miroux ), Aurélia Petit (Martine), Sacha Bourdos (Serge), Pierre Vaneck (Mr. Pouchet), Emma de Caunes (Zoe), Stéphane Metzger (Sylvain), Alain de Moyencourt (Gerard)
Producer: Georges Bermann
Music: Jean-Michel Bernard
Photo: Jean-Louis Bompoint
Editing: Juliette Welfling
Costumes: Florence Fontaine

SYNOPSIS "The Science of Sleep" follows the misadventures of Stéphane (Gael García Bernal), a young graphic artist whose brain emits a continuous television program in conflict with reality. Landed in Paris with the hope of a good job and after coming into contact with a new neighbor, Stéphanie (Charlotte Gainsbourg), the possibility of a romance will find its way into his dream world of Carton.

When reality and fiction interfere.
When digital technology has changed the way we do and even watch movies, Michel Gondry has had the audacity to drink more traditional sources of cinematic illusion, so much so that in "The Science of Sleep" not only We can feel the echo of the extraordinary work of the great stop-motion animators (especially the Czechs), but their ability to craft fascination would lead even the patriarch himself Méliès and his conception of art as a continuous film and captivating trick magic.
Because, with this film, Gondry has confirmed that this is perhaps the most interesting directors 'modern' to find the entrance to own land in which the obsession to do something else gives way to the ability to offer their own world that is truly alive. Occurred already in "Forget Me!" And "The Science of Sleep" is confirmed.
course, this is not a film for all audiences, requiring the delivery of the viewer to a game in which any resemblance to reality is pure coincidence. But in return, you get a story that restores the adjective "romantic" its true and real meaning, in which the beauty suddenly appears in the frame when least expected, and typical to the question the New Wonder ("How I have done?") loses all importance: we do not care "how" (because many times, its own aesthetic craft it clearly shows), but simply enjoy the wonderful horse rag rides on the keyboard, the water made with cellophane, toilet paper tubes turned into buildings ... No matter: this is cinema and always has been, what happens is that, in both routine mediocrity see, we had forgotten.
As in his previous film, the convoluted love story, complicated and impossible strangely, manages to be convincing, largely because both Gael García Bernal as Charlotte Gainsbourg life filled with characters of unpredictable behavior. Fascinated girl's smile when he imagines how it can make a cloud, or the look of despair when he thinks he is losing his neighbor, his love, are like a more "French" of Jim Carrey and interpreted by Kate Winslet in "Forget Me!". The secondary, especially coworkers García Bernal's character are in this case, and with the exception of Alain Chabat, little more than a chorus that provides the comic counterpoint, even ordinary, which is the house brand and it works enhancer of the romantic effect of the tape.
The most curious, in short, is that in its insatiable quest for modernity, Gondry has finished falling into the essentials of film, which was there from the beginning, and with his eyes, has made bringing it to us back, full of life. "The Science of Sleep" is set to true reflection, but it does not go away at all: there is a connection, the similarities between the dream world and the cinema, which continues to be a kind of sleep can put into images create beauty. Miguel A.

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Alexandra (Aleksandr Sokurov) Russia, 2007. Friday May 7, 2010



DIRECTION AND SCREENPLAY Alexander Sokurov
MUSIC Andrei Sigle
Alexander Burov PHOTO SHARING
Galina Vishnevskaya, Vasily Shevtsov, Raisa Gichaeva, Andrei Bogdanov, Alexander Kladko, Aleksei Nejmyshev, Rustam Shahgireev, Evgeni Tkachuk
Cannes: Nominated for the Palme d'

ALEXANDRA camera is in its shadow, the star Galina Vishnevskaya, opera singer and now actress, real-life wife of great Russian cellist Mstislav Rostropovich Leopóldovich. The camera chases the old lady who decides move to Grozny, the Chechen capital, to meet up with a grandson who has not seen for seven years, because it stays there for the troops installed in the area by the Russian army to control and suppress violent insurgencies and the ever-combative Chechen population. Sokurov deposited in the eyes of this woman's position fireproof your own look. The director makes an exciting show of humility and effort to instruct the wise, clean stubborn longevity of this without despondency, that through all his wanderings outside the official slogans, questioned, and make patent unmask the absurd and senseless mechanisms governing all military installation. Adheres Sokurov all the dramatic setting of his film to the innocent honesty, perplexed and veterans of the protagonist's face it pours. The film is the actress. She folds the director becoming dizzy, tired, ailing and transparent narrative. Sokurov's ALEXANDRA reveals a different situation, since the mythical nature of this discovery and unforgettable character required to adapt to the canons of classical minimal descriptive narrative features a simple well away from the railway impenetrability, he has undergone since its inception. However, in no way takes formal option to abandon the principles that have characterized a great show authorial statement in works as disparate to it as "THE SUN", "TAUNUS" or "MOTHER AND SON." The mediation of the old woman with acute restraint can capture the brutality of the devastation of geographic space: the houses in ruins, dilapidated vehicles, paved roads and dusty and pain fill the stage to discover the walking parsimonious and sign of the protagonist. The same could be said of the description so stark, penetrating closer and makes us soldiers. Sokurov's very short flat close by, in which their faces are shown with an unforced naturalism, searching, inquisitive human being rather than of men in uniform. The impression of Alexandra, character, succeeds, as has been said, exhausted loosen the rigor with which the great Russian director used to surround his characters. There is no oppression, but recognition compared. "ALEXANDRA" just shaking because Sokurov, perhaps, is the first octogenarian moved by this utopia that picture in hand, radical humanely the true meaning of this beautiful film that we offer today in the CineClub Imaginary.

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STAG (Departures) Yojiro Takita. Japan, 2008. Friday April 30, 2010

Address: Yojiro Takita.

Original title: Departures (The sender)
Country: Japan.
Year: 2008.
Duration: 131 min.
Genre: Drama.
Interpretación: Masahiro Motoki (Daigo Kobayashi), Ryoko Hirosue (Mika Kobayashi), Tsutomu Yamazaki (Shou Sasaki), Tetta Sugimoto, Kimiko Yo ( Yuriko), Takashi Sasano (Shokichi), Kazuko Yoshiyuki (Tsuyako).
Guion: Kunda Koyama.
Production: Toshiaki Nakazawa and Toshihisa Watai.
Music: Joe Hisaishi.
Photo: Takeshi Hamada.
Assembly: Akimasa Kawashima.
production designer Fumio Ogawa.
Release in Spain: July 3, 2009.

Synopsis

Daigo Kobayashi (Masahiro Motoki), has just achieved the dream of his life, entering as a cellist in an orchestra, so what you buy an instrument that is a height. Unfortunately, after the first concert the band dissolves and Daigo stays with his cello, your mortgage and no income. Just wandering the streets without work and without much hope. Therefore, he decided to return to his hometown with his wife (Ryoko Hirosue). They get a job that will make you rethink life has taken so far and the values \u200b\u200band concepts of contemporary society.

Sometimes I go to the movies and you get a very pleasant surprise. That's what happens with Bachelor, one of the easiest films, tender and touching of last season. In Bachelor we have a drama content with touches of humor, where the hero, Daigo, we're driving down a road which is showing us how it is done by tasks that nobody wants to do in today's society (even he does not at first) and how through them end up reunited with a painful past, theirs.

Bachelor speaks of honor, respect, the moral duty to take care of you, of the greatest admiration, loyalty extreme ... But above all, coping with a trauma or a disadvantage in life, the agility of change, the conviction of self worth ... all wrapped in a no topical theme of cinema, the transition from life to death. In short, a resounding defense of enjoyment of life, through the analysis of what it means death.

A highlight two things: a perfect sound track, which combines Western music with traditional Japanese sounds, and the interpretation of virtually the entire cast, but especially Tsutomu Yamazaki, who represents the head of Daigo: sober and puzzling, therefore, can show a man at times mysterious, at times endearing.

One more example of the misery in which the film moves today: if we have to see it is because he won the Academy Award the best foreign language film in 2009. Yet its distribution has been poor, confined to major English cities. As an art as the film is in the hands of an industry where only the numbers is what counts, and the vast majority of the screens are reserved for mediocre products and very profitable in the short term, we have increasingly more difficult to overlook the more or less exotic cultures that shows the cultural and creative wealth that fuels our imagination.

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AFTER THE WEDDING (Efter Brylluppet) (SUSANNE BIER) Denmark, 2007. Friday April 9, 2010

Writer: Susanne Bier and Anders Thomas Jensen

Interpretation: Mona Malm, Ida Dwinger, Rolf Lassgard, Ernst Frederik Gullits. Mads Mikkelsen, Sidse Babett Knudsen.


History

Jacob spends his entire life as a humanitarian volunteer in an orphanage located in India's ability to receive a financial contribution by a Danish millionaire made her return to Denmark after many years to meet him and submit their humanitarian project. Coinciding with the celebration of the marriage of his daughter, Jorgen will be immersed in the family of wealthy benefactor and the real reasons prompted the return trip to his homeland will be revealed.


The director

After the wedding is the tenth film by Susanne Bier (Copenhagen, 1960), which has produced Zentropa, the company of Lars von Trier. Bier, who was part of the Dogma movement, won many awards with his previous film, 2004, Brothers (and screened at the CineClub Imaginary). His latest film, Things We Lost in the Fire, Halle Berry has
and Benicio Del Toro as protagonists.


Comments ...

This drama about responsibility, family and the past reecuentro gets to be a movie very human, yet contained emotion. Thanks to the wonderful work the understated acting and direction by Susanne Bier, the story never manages to avoid falling into the sentimentality of tear easily. Instead, the limelight very present in all the footage (DOGMA own movement which remains the debtor) are like the rest of the film a great depth of emotions, characters and their situation. The script itself is not complex but emotional situations and human portraits that shows whether they are emotionally complex and profound. After the wedding, which was nominated for an Oscar for Best Foreign Language film in 2007, is a very balanced film, but honestly measured moving.

After the wedding is primarily a story of encounters: between people, between people and the places to which they belonged, between past and future. That which we have left behind, sometimes reappearing with unexpected force. Every Secret Revealed opens a new world, a new range of possibilities. And always, when you open one door closes another. Jacob moves on, and we with him through his past to come to a crossroads that seems to leave no options. This poignant drama its strong support in a smart script dialogues, which give the action of a lively pace and an ever-growing interest. The irony, sarcasm and subtext are always present. But if anything stands out beyond the plot, and theme, is by the superb performances from all its players. Especially brilliant are shown Mads Mikkelsen (Jacob) and Rolf Lassgard (Jorgen) that make the scenes believable and moving film hardest.

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The Lady and the Duke (Eric Rohmer) France, 2001. Saturday March 20, 2010

Director: Eric Rohmer
Country: France
Year: 2001
Length: 125 '
Cast: Lucy Russell (Grace Elliott), Jean-Claude Dreyfus (Duke of Orleans), François Marthouret, Cobiant Léonard, Caroline Morin, Alain Libolt, Héléna Dubiel, Laurent Le Doyen, Serge Wolfsperger, Daniel Tarrare, Charlotte Véry.
Screenplay: Eric Rohmer. Based on the novel "Ma vie sous la révolution" Grace Elliot.
Producer: Françoise Etchegaray.
Music: Jean-Claude Valero.
Photo: Diane Baratier
Editor: Mary Stephen.
Costumes: Pierre-Jean Laroque. Sceneries
: Antoine Fontaine.


Synopsis

The Lady and the Duke is based on the autobiography of Grace Elliot (Lucy Russell), former lover of the Duke of Orleans (Jean-Claude Dreyfus) in the time of the French Revolution. Suspected of being a British spy, Grace, through its optical monarchy, portrayed the historical evolution of a troubled Paris for the scene of blood and death that followed the outbreak of revolution.

Painted Reality

The French Revolution globalized freedom and equality, launched as "discover" a continent and set the pillars of the polymorph and brittle structure that has been (that is) modernity. But from the beginning, he sacrificed the third prong of the revolutionary ideal. The fraternity is not assimilated or been assimilated for now never as political aspirations. Just a few technological steps separate the guillotine of the electric chair.

Eric Rohmer risk their popularity to denounce The Lady and the Duke , which reviews the legendary revolutionary episode from an uncomfortable view: their aristocratic victims. Sale and veteran French director (81 years, more than thirty films) of the brilliant and authentic universe of contemporary Paris appointments with nearly a quarter century after his last re-enactment, Perceval le Gallois (1978). And it does translate to the movies almost verbatim memories of Grace Elliot, Scottish lady who lived in Paris during the bloodiest years of the Jacobin government of Robespierre, convinced royalist lover while the Duke of Orleans, a revolutionary political scheming.

Beyond the controversy that has been able to raise the question Rohmer popular triumphalism with which it has always evoked this landmark of French nationalism (and all subsequent liberal tradition), The Lady and the Duke mostly has an exceptional interest in form. To recreate the Paris of the late eighteenth century, Rohmer has rejected any show of loyalty restoration. Commissioned a painter of landscapes and a series on the fund, which of course recognize the romantic iconography of the period, inserted the actors in a process equivalent to running "empty", as used by the film in years 30 and 40 and much improved now by the possibilities of digital image processing.

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KONTROLL (Nimrod Antal) Hungary, 2003. Friday, March 5, 2010.

Jim Adler
Escrita por y por Nimrod Antal
Editada Stephen Sandor Csanyi
...... Zoltan Bulcsú
Mucsi ....... Professor Csaba Pindroch
.... Muki Badár Alexander ..... Ratatouille
Zsolt Nagy ............ Tibi Bence Mátyási .... Bootsie
Defeat
Szabo ........ Eszter Balla Shadow ........ Sophia


La historia de la película El argumenti Elegante es en su simpleza, centrándose en un Equipo de Cinco "controladores" del metro de Budapest, cuya lab consiste en comprobar que los pasajeros los billetes apropiados tenge. Estos controladores no disfrutan the public's respect, and therefore are constantly tense or frustrating situations. And to make matters worse, their bosses are concerned about the high number of suicides that have occurred recently in the metro, but Bulcsú (Sándor Csányi), a smart driver with a mysterious past, suspects may not be actually suicides, but crimes a mysterious figure who pushes passengers on the road ... Comment


While the synopsis may sound like a depressing drama about the lower classes of Hungarian society, actually, "Kontroll" has many elements of comedy, mystery and dreamlike tone reminiscent in some times the work of David Lynch, but with a much more biting humor and enthusiastic. In fact, if one were to make comparisons, we would say that "Kontroll" is similar in tone and style with "After Hours" by Martin Scorsese. The argument is completely different, but both evoke particular mental state that confusion and lucidity combined in equal proportions, showing the world in ways both mundane and complex, with an ethereal hue that can quickly change between pleasant dream and nightmare. But ultimately, the best of "Kontroll" is the portrait of a subculture that, being isolated from society "normal" begins to transform the special situation, adapting to the circumstances and creating situations and customs that may be foreign to the rest of the population, but that somehow works in his particular universe. "Kontroll" is a film of many levels, and while we laugh with his quirky characters and thrill us with its action scenes (like a tight race at the railroad tracks), we can also ponder the possible interpretations that may have the film, made entirely in the Budapest underground. And as participants for a moment that cold, dark world, perhaps we can appreciate more our daily existence, or at least understand the reasons of those who repudiate. From a technical standpoint, the film is outstanding. Perhaps it may seem a victim of its limited resources, but in reality the film and the severe cold locations add an air of realism that contrasts and highlights the surreal tone of the film, which is accentuated with advancing the plot, so that when it the end we're not sure if we're seeing the "reality", or a dream of the protagonist, or simply a beautiful visual metaphor that the director has chosen to end the story of a sad but hopeful. "Kontroll" is a rare and exhilarating film experience confidently walking on that fine line between human drama and morbid comedy, succeeding in both fields, but without committing none. The work of the actors is brilliant and the direction of Nimrod Antal is firm and full of energy. Especially recommended for audiences, such as this CineClub Imaginary , tired of the hackneyed formulas of contemporary cinema.
(Based on a review of Pablo del Moral)

trailer of the film:

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BROTHERS (Brødre) Susanne Bier (Denmark, 2004). Saturday February 20, 2010

Director: Susanne Bier. Country: Denmark. Year: 2004. Length: 110 min. Genre: Drama.
Cast: Connie Nielsen (Sarah), Ulrich Thomsen (Michael), Nikolaj Lie Kaas
(Jannik), Bent Mejding (Henning) Solbjørg Hojfeldt (Else), Laura Bro (Ditte), Niels Olsen
(Allentoft), Sarah Juel Werner (Natalie), Rebecca Løgstrup Soltau (Camilla) Lars
Hjortshøj. Guion: Anders Thomas Jensen; basado a un argumento the Susanne Bier y
Anders Thomas Jensen. Música: Johan Söderqvist. Fotografía: Morten Søborg. Montaj:
Pernille Bech Christensen. Vestuario: Signe Sejlund.

La historia
Hermanos (Brothers) se presenta como una historia simple. Dos Hermanos, el mayor Michael (Ulrich Thomsen, el chef de Cocina atormentado por un terrible Secreto childhood in "Celebration"), a career military man, married with two children, responsible and mature, committed to his wife (Connie Nielsen, Danish actress who lives in Hollywwod) and its ideals and the younger brother Jannik (Nikolaj Lie Kaas quadriplegic boyfriend "I love you forever"), the black sheep of the family, a little immature, a little criminal, a bit irresponsible, definitely a little bit in all areas of your life. Jannik always assumed that someone other than him, he will take care of things while Michael
never doubt the responsibility and be where you have to be to help. In that spirit is embarking on a mission to Afghanistan to "pacify" the country. So far the characters conform to what everyone expected of them. But something goes wrong in the mission, a touch of destiny out of the box and Michael is presumed dead. This twist of fate will force them to face the worst of enemies: the other side of themselves.


The filmmaker Susanne Bier is one of the filmmakers outputs Dogma'95 Movement led by Lars Von Trier ("Dogville", "Breaking the Waves "...), and this film retains some of the constants Decalogue of that movement, but putting soundtrack and other details. But retains the same style of argument those films: the case hard, sometimes indulging too sordid details, sad and tragic, but interesting and much deeper into the darkness of the human soul.
In Brothers (Brødre, 2004), international conflicts that we all know through the press, suddenly burst into real life and bring about changes.

Susanne Bier: "I find it fascinating the way that the everyday world suddenly changes due to events more or less random, and how we react to such shocks. The representation of the Danish army in Afghanistan gives the film a political component, but it is mainly a history of love about the conditions needed for love in our contemporary lifestyle. The story is about the emotions associated with these events, because for me the film is to describe emotions and expressing feelings. I like getting under the skin of my characters, so both sides, serious and fun, are essential in my films. For me it was important that the brutality shown on Brothers contrasted with the tenderness, intimacy and human warmth. Both sides exist, and could not have described the one without the other would not have wanted to. My goal is to recognize the reality and find there's hope, because despite the brutality implicit in reality, the mood remains an undeniable part of life and is what allows us to remain human. "
Susanne Bier (1960) has directed the films "Freud leaves the house" (Freud flytter hjemmefra, 1990), "family problems" (Det bli'ri familien, 1993), "Not like before (Pensionat Oscar, 1995 ), "Credo" (Sekt, 1997) and "Love of My Life" (Den inthis Jan, 1999), which garnered numerous awards from the Danish Film Academy and film criticism. After beating all records in the Danish box office. The love of my life is one of the five most popular Danish films of all time. He later led "Once in life "(Haende på hjertet, 2000) and the acclaimed" Open Hearts (Elsker dig for evigt, 2002) which sold over half a million tickets and won no less than five film awards in Denmark, including best Danish film. After "Brothers", Susanne Bier has directed "After the Wedding" (2006), nominated for an Oscar for best foreign film "Things We Lost in the Fire" (2008). In addition to directing feature films, Susanne Bier also makes short films, music videos and commercials.
In short, interesting film, which avoids the excesses of the Dogma films in which the director did not want to charge the ink in the sordid and terrible. Natural and total reliance on the actors, both in the younger as the older. Issues such as guilt, redemption, fear of commitment and inability to get something you crave are exemplarily shown, although the film has a pace seemingly cold and somewhat distant.

Trailer for the movie: