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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:

Fybromyalgia And Fibroids

Burn After Reading (Burn After Reading) (Joel and Ethan Coen) USA, 2008. Friday February 5, 2010


written and directed by Joel Coen and Ethan Coen.
Country: USA.
Year: 2008.
Duration: 96 min.
Genre: Comedy.
Cast: George Clooney (Harry Pfarrer), Frances McDormand (Linda Litzke), John Malkovich (Osborne Cox), Tilda Swinton (Katie Cox), Richard Jenkins (Ted), Brad Pitt (Chad Feldheimer), Elizabeth Marvel (Sandy Pfarrer) JK Simmons (CIA chief).
Producer: Joel Coen and Ethan Coen.
Music: Carter Burwell.
Photo: Emmanuel Lubezki.
Editing: Roderick Jaynes.
production designer, Jess Gonchor.
Costumes: Mary Zophres.
USA release: September 12, 2008. Spain
release: October 10, 2008

SYNOPSIS After being fired from the CIA, Osborne Cox convulsively devoted to drink and write his memoirs, and it still does not know his wife has an affair with Harry Pfarrer murderer. Precisely because of this, a disk with Cox important material goes to a gym, where some unscrupulous employees, Linda and Chad try to blackmail him. The CIA sent, then, Harry Pfarrer to solve the problem, but the events an unexpected rush.
After his brutal No Country for Old Men, The Coen brothers give us an exercise in rampant mood. A test for a more creative directors, which at this stage of the game, have proven time and again its reliability in diverse fields, and with the added bonus of further providing a unique style that defines them as filmmakers.
Burn After Reading is constructed as a comic thriller with elements of spy movies. The domain of the Coen in the middle is total, and this is evident in the tape in question. It shows the ability of these filmmakers to adapt to different genres as parameters such as the thriller, drama, film or spy. There are sequences that play a totally effective generic schemes mentioned above, but always with an underlying line of cynical humor, critical and intelligent. A comic tone that comes to light from the first secuencer tell how Osborne Cox (John Malkovich), a former agent CIA is writing his memoirs about his tenure in the agency, plunges into a spiral of misfortune.
The Coens have written a solid script, consistent at all times and spun to perfection. Subtracted from it the best virtues of the work. From a brilliant dialogues and situations inspired, to a lasting character creation, exaggerated in its extent and in the realization of his actions, but so well worn by the actors who play the hyperbole is diluted to the viewer. The film features a stellar cast, where each actor offers the best of himself, in a few records that we have not used.
Burn After Reading is much more a comedy full of good comic moments and some great dialogue or riotous situations, is a film that parodies under the guise of poisoned darts launches for several strata of American society and culture. The film brings out the paranoid-conspiracy obsession that affects at one time or another, the lives of many Americans of all social classes. It is precisely in the latter where the Coens introduce also affect the fauna of characters from different social strata, but with a useless and practical intelligence that resembles each other. It also charges the U.S. intelligence service (CIA). Stripping even lead to ridicule their structure, modus operandi, and the coolness ethics of their decisions. And finally on the "wellness" and all the culture of obsession with image and health concerns as Americans (and now the English).
Burn After Reading is a fun film, delicious, full of memorable situations that are supported by a hyphen greased to the last page, and by some action at the height of the actors who perform them. All accompanied by the excellent score by Carter Burwell and a humor more poignant than it appears at first glance. Once again, Ethan and Joel have done it again, showing that they are able to exit gracefully before any land to be put forward.

Trailer for the movie:

Actress Mousmee Chaterjee

WALTZ WITH BASHIR (Ari Folman) Israel, 2008. Friday January 22, 2010.

written and directed by Ari F Olman

Genre: Documentary - Animation - Drama

Production: Ari Folman, Yael Nahlieli, Serge Lalou, Gerhard Meixner Roman Paul and

Music: Max Richter

Mounting: Nili Feller

Art Director: David Polonsky

Memory Drawings

In 1982 there was a terrible massacre in Sabra and Shatila, in which thousands of Palestinian refugees were killed by Lebanese Christian Phalangists . Ari ( A Folman ri), a mature dir ector film, serving in the m illite in the Israeli army at that time. Twenty years after that, he discovers that his brain has blocked almost all memories of the tragedy, so it will begin a journey of self-discovery that takes you to collect allegations of colleagues, peri or ists and you Stig's disaster, a first-hand experience that reveals the role of the armed forces indirectly responsible for Hebrew and what happened. "Waltz with Bashir" is doubly valuable work in the artistic and human. On the one hand, this is the first animated documentary of the history of cinema, ndo demonstration that innovation is still possible, fortunately, and that the means of artistic expression yet ca exploit new terms to continue, for Moreover, d emuestra courage of the filmmaker, which is at the center of a terrible exper ience , which takes participants ─ and by extension, the viewer ─ a hellish scene recreated with rawness and truth along a string of evidence leading to a resolution so terrible and unavoidable, in a tone that leaves the initial aura of nonchalance past extent its way from the depths of memory and it colors everything gradually revealing the true nature of this proposal so stark as necessary.

Using different animation techniques ─ tri dimensional flash, traditional filmmaker ─ serves as a perfect tool when it comes to recreating the dream passages abundant watering the plot, reliable instrument that reflects how the trauma of this particular generation lost to ─ another of many psychological harm ─ emerge as s in for ma dreams disorders or concurrent re repeated n night after night, making it impossible to oblivion. Folman opens the doors of their own and other memories ─ ─ buried in time, subjective views specific approaches that provide the same event, an amount of perspectives that, together and together, constitute a representation that does not shirk responsibilities and consider all those involved directly. A bold gamble, topped with wisdom and skill by a final sequence in which images file out n the stage for the inevitable dream caused by an evocative staging and return to reality, recording their brain the culmination of a tale so strong and hypnotic, visually appealing and fascinating. Devastating, powerful, surreal and true, " Waltz with Bashir "Is a literal drawing of cheats d mechanisms in ur very retentive infested chiaroscuro, achieving easily be assimilated by their shape but invade us so hopeless for the foundation in underpinning.

(José Arce)

historical context. The war in Lebanon

In June 1982, Army Israel invaded southern Lebanon in retaliation for constant bombing inflicted on the populations of northern Israel from that country. The Israeli government thought to occupy a buffer zone of 40 kilometers, thus preventing Palestinian rockets hitting Israel. But Ariel Sharon, then Defense Minister Israel, developed a plan as imaginative as fantastic: it was Lebanon to occupy my mo Beirut. That would allow its Christian ally B Ashir Gemayel become president of Lebanon, and eradicate the threat to northern Israel and lidar consolidated their positions against Syria, Lebanon and the border with Israel has always cons id ered their worst enemy. The government passed a penetration depth of 40 km, but the Israeli army lunged to Beirut.

A week had taken Lebanon and were at the outskirts of Beirut. But they sing c and s sur gi eron several questions: What does the army in a capital extra njera, far from home? Why ueren m Israeli soldiers daily in wars that have little to do with protecting Israel's northern border? The parallels with the Vietnam War was inevitable ble.

In August, two months after the outbreak of war and the Israeli army still to s doors Beirut awaiting orders to enter the city, signed a treaty with the Palestinians on the all Palestinian fighters would be evacuated by boat to Tunisia. In return, Israel would withdraw its troops. That same week, Bashir Gemayel , commander m the illicit Christian Phalange, was elected president of Lebanon. Besides be a young man, smart, handsome, with great charisma, he was greatly admired by the Christian militias and their families. It was also appreciated by Israeli leaders. The appointment of Gem ayel should ensure a relatively calm in the tense border between the two countries.

But Bashir Gemayel was assassinated while giving a speech headquarters falangist to B eirut East. No one claimed responsibility, but it is believed it was the work of Syrian and Palestinian factions.

That same afternoon, Israeli troops entered West Beirut area, populated mostly by Palestinian refugees, and surrounded the Sabra and Shatila. At dusk, a large number of troops Falangists, driven by the desire to avenge the death of their beloved leader, began arriving in the area. When cay or night, the Falange troops entered the camps of Sabra and Shatila, aided by Israeli soldiers. Were supposed to clear the fields of combatants. However, just were combatants, who had been evacuated to Tunisia two weeks earlier. For two days straight shots were heard from the Israeli positions. On the third day, Sept. 16, Palestinian women got out and rushed towards the soldiers who blocked their way. For three days the Phalangists massacred the inhabitants of the camps. Ruthlessly killed men, women and children. There has been talk of 3,000 victims but, so far, were unknown and the exact number.

spontaneous protests of hundreds of thousands of Israelis forced the government to create an investigation committee and to consider the responsibility of political authorities and military. The committee blamed the Defense Minister Ariel Sharon, for not having stopped the horror when he briefed the slaughter. He was forced to resign and banned from returning to the post of defense minister. However, he was elected prime minister twenty years later.

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Short: CHOKOPULPITOS (Pablo Llorens) Spain, 2005

is a c rítica intense and heartbreaking, humorous, advertising and the grim reality behind it. A short film no compromise that makes you smile and reflect.

here v er the short film:

Can Taking Milk Thistle Give You Palpitations

The Empty Nest (Claudia Llosa) Peru, 2008. Friday, January 8, 2009

written and directed by Claudia Llosa.
Duration: 94 min.
Genre: Drama.
Cast: Magaly Solier (Fausta), Susi Sánchez (Aida), Marino Ballon
(uncle Lucid), Efrain Solis (Noah), Barbara Lazona (Perpetua), María del Pilar Guerrero
(Max), Delci Heredia (Carmela) Karla Heredia (Severina)
Fernando Caycho (Melvin), Edward Llungo (Marcos).
Production: Antonio Chavarria, Jose Maria Morales and Claudia Llosa.
Music: Selma Mutal.
Photo: Natasha Braier.
Editing: Frank Gutierrez.
Artistic Director: Patricia Bueno and Susana Torres.
Costumes: Ana Villanueva.

Synopsis
Fausta (Magaly Solier) suffers from "The Empty Nest", a disease that is transmitted through breast milk of women battered during the civil war in Peru. Those infected are born without a soul, because the shock is hidden in the earth, and charge an atavistic terror that isolates them completely. Fausta
But hiding something else, a secret that will not reveal until the sudden death of her mother's unexpected events trigger that will transform your life and that of others.

film with female gaze
Claudia Llosa, in his second feature after Madeinusa, returns to her native Peru to make a point somewhat naive about how the cultural legacy lies in the parent-child transmission in its most terrifying: the transfer of a mother to her daughter's fear caused by a traumatic event during a war. In The Empty Nest
inheritance are poorly understood, legacies and inheritances are lost that are reused by consumerism heinous of our time. The estates are responsible not only to transmit values \u200b\u200band principles but also fears, such as the mother of Fausta
for violations, which will impact on his daughter and prevent normal relationships with men for much of his life. As he observed under the microscope, Llosa is coming through this mother and daughter to the desolation and loneliness of countless Peruvian women who were raped and battered during the twenty years of terrorist war in Peru, but it does so from a distance, without creating martyrs just showing the reality of a young woman traumatized by something that happened but what suffers.
The loss of inheritance speaking are evident in The Empty Nest by the emergence of a variant of the Quechua language and songs in that language. Fausta's struggle to keep these traditions alive in contrast to the celebrations (up to four weddings witnessed in the film) acquired a world gradually becoming established as the original, just as exotic landscapes funds are used in sessions photo to hide the reality by fleeing to the idealized by outsiders. That amplifies the loneliness of the main character and magnifies its last link provided for the protection of historical memory, cultural and emotional. The other inheritance, reused, used as raw materials to nourish the contemporary idioms seeking to capture the pure essence of commodification. This is the case of the pianist for working Fausta. Claudia Llosa
wears his pseudo-lyrical portrait of a close to magical realism making things unthinkable of its proposal to be credible, making it unlikely in real situations seem quaint. The power of suggestion in The Empty Nest lies in the ability to actually treat Llosa like a story, although it remains far from what it portrays. The manners of some scenes and magical realism that we talked about places us right in the tradition but distance prevents marking Llosa The Empty Nest become an example of social cinema pamphleteer. At the end of the day, the same way that speaks of a historical reality of that relationship through inherited from mother to daughter, also tells of a young man searching to find their identity by getting rid of the tradition. Approach to history is a way to see what we are to
through the evolution of the heritage that has survived.
Monica Jordan (The seventh vice, Radio 3)

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