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.
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.
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.
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.
Excelente persona, bondadosa, compañera, amiga y leal seguidora del CineClub Imaginario desde sus inicios, así como de todas las iniciativas culturales, sociales y solidarias. 
