Hispanic Female Quotes

Post mortem of Pablo Larraín

Synopsis

Chile, 1973. Mario, fifty-year employee of a morgue, a man sad and lonely, hopeless courting his neighbor, a stripper younger than him. The coup of Pinochet, with the consequent killing of President Allende, change things and among the corpses accumulated in the hospitals and the military chasing opponents, Mario is found for the first time in life in a position of power.


Post mortem the third film of the Chilean director Pablo Larraín , born from the same obsession that made the previous Tony Manero a grotesque psychodrama that even the identity of the inescapable realities of the contemporary Chilean military dictatorship. It includes the 70, again faces the coup of Pinochet and the resulting climate of fear and death on the streets of Santiago, but does not choose a metaphor to serve as a filter for the interpretation, but goes straight to the heart of trauma, the events of September 1973 which led to the overthrow of the socialist government and the establishment of a military junta by the coup and assassination of the President Salvador Allende in office.


Chile today can only start from there, from a reference worn but never completely overcome, yet able to stifle the imagination of a country and sentenced to a thirst for narrative and mythology that leads to cling to any event of national significance, the tragedy of one of the most devastating earthquakes of modern fairy tale for luck or a happy ending of the miners buried alive by the collapse of an underground tunnel. The magnet of history, however, is stronger than the desire to leave, continues to attract unsuspecting victims because they never accepted the daughters of a compressed yet fully realized: the compromise, that is, with the idea the military dictatorship is the founding moment of modern Chilean society. For

Larraín, born in 1976, three years after the death of Allende, the violence is explicit and invisible Pinochet era is a natural condition before, an original sin unspeakable, but necessary, because the only existing his country and people of his generation. The fault lies nell'ineluttabilità of this destiny, in a condition such as natural history in Larraín to get involved and that is the basis of its two negative film ideally almost indistinguishable.

Post mortem, then, is the whole life of Chilean society, addicted and no longer shocked by the death and abandoned to the thud of his own indifference as happens to a doctor specializing in autopsies, the nurse or her assistant clerk in charge of transcribing the results, but not for scientific reasons but existential. The discouragement and abandonment seem to have the same Larraín and the way that looks petrified reality of his country. Post-mortem with choose to add the power of stupidity, making Mario, his man without qualities who takes charge of its destiny, a fascist experienced, indifferent, violent and ambitious.

Yet, at the bottom This path of ruthless self-analysis, Larraín finds the strength to react. There is no surrender, attests to the existence of evil as an ethical foundation of his people, but wondered how to exorcise it, continues in the darkness of history to get to the starting point of the spiral so far, a filmography after only two films have already seen this page, dragged him down and ruin.

Larraín knows where he wants to get there, knows what is the repressed collective of his nation: we just want to get prepared, and especially wants to prepare his audience. To do revolves around the problem, the approaches to scramble play the times of waiting and preparation, suggests but does not show and merely suggest (what looks like the image of the doctor with his helmet last existing photo of Allende, crushed by the military helmet and frightened by the proximity of death?) : you understand immediately where they will come, but not when and how.

obsessive and maybe even traditionalist, Larraín can not come to blame for a Chilean company that fully embodies and which can not fail to recognize their origin. His anthropology is negative natural history, the collective guilt of the individual within a political context, cultural and emotional violence that is in the unique response to change and incomprehension.

The dead body of Allende's body was Larraín that puts the origin of his films, with his magnetic presence makes the real goal of the director: the staging of the guilty conscience of an entire country, meeting with the repressed returns in other forms. Its operation could be worth more cinematic, with a human body that becomes the objective correlative historical and ethical implications of a nation.


addition Larraín can not and does not want to go. His research is a port, but not a palingenesis, and the lucidity with which he confronted the black heart of his country considers but does not redeem, notes but does not change. The accumulation of dead bodies in the hospital in Santiago is equal to the accumulation of debris in which Mario, in the final film, made with a flatbed endless and irremediable, buried alive and her lover Sandra. People and objects are placed on an equal footing, the madness of power generates the madness of the individual and the indifference with which the military kill men and women is reflected in the intent with which Mario kills his love, and earlier in the ruthlessness with which this' Last masturbates her savior. The public is private, just as it was in the Italian squares in the same year the Chilean coup, but ends up upsetting each value and trample the lives of those is involved in the plot of the story.


violence come from, in short, as we return to violence and drawn to a center that we know, but we forgot the face and name. This is true not only for the Chilean people, but also for ours, as we are still steeped in the blood created by terrorism. The years of lead Italy to represent a confluence of public and private abuses similar to that of Chile, a spiral of death and fear that it too has found its way to the bottom of a body to kill and remove ideally, that of Aldo Moro of course that means a film like Good Morning, Night returns as the main reference for the presence of Allende in Post mortem . Although there

Bellocchio approached the body of a man raped power to seek a release that no historical event has been able to implement. And he found it, finally, in a scandal visual equal and opposite to that of Larraín, in a walk along the streets of Moro in Rome, at the dawn of a new day impossible. A dream, but a dream, but also a way, the only film can achieve, to lift our country from the same cul-de-sac in which it seems trapped Chile Pablo Larraín.

Accelerated Emt Basic Colorado

Film of the Week - March 9

Potiche - The beautiful statue of François Ozon

Synopsis

France, 1977. When Robert Pujol, tyrannical owner of an umbrella factory, and is forced to move away from the family because of disagreements with employees, his wife Suzanne, hitherto regarded as a beautiful ornament, takes the reins of the company and change the face: it will be the beginning of a new life and a new model of woman.


Potiche - The beautiful statue is a comedy that makes you laugh - and these days, with the crisis that has invaded not only the economy but the whole art, is no small thing. The signal that this is a film successful, without realizing what he had promised too pompous ambition. At the same time, Ozon's film is not only to play movies quotes and even a tribute to Catherine Deneuve , the latest star of French cinema, but clever allegory of France today, his characters policy and its vices and virtues. For better or for worse, you might say.

The interesting question on the film is the mechanism of laughter that it implements. Why, then, as today's audience, the year 2010 (the film was presented competition in the Venice Film Festival last ), we choose to laugh in the face of an operation of vintage aesthetic. The movie is indeed set in the 70s and was shot in the style of the commercial cinema of the time, with the split screen, the light music light, the bright colors of the costumes and furniture, the size of embarrassing hairstyles and unintentionally comic close-ups, zoom and stop alienating. Everything is absolutely hilarious and obvious: we laugh because of the frame kitsch and camp (a term that indicates the universe from its post-modern and flamboyant homosexual culture), you agree to the intelligent and the stupid jokes in the name of a filter recognized and accepted (that of the vintage, the distance of cynical disillusionment). Laughter, then, is not spontaneous, arising from fear and doubt that, as we are engulfed by visual stimuli, we try to deal with any image.

From the top of an iconography that is common practice (the vintage is everywhere, fashion, TV, songs, film, to be precise), François Ozon , openly gay director, brings the figure Deneuve's not even asked to play but simply to draw upon himself the effect of recognition, through its shape requires a model of maternal femininity, understanding, aggressive bourgeois that has nothing ironic.

It is no coincidence that in the second half of the film, once conquered the audience, Ozon begins to run clear references to contemporary society and its ideological distortions (if one can still speak of ideologies). The director is continuing its investigation on the fairer sex, dealing with the relationship established with the politics and power, and coming to talk about feminism, economic crisis, trade union and family with healthy and intelligent laughs and a good eye fixed on the characters of the policy today.

What was said the two main characters are inspired by Nicolas Sarkozy (hysterical in the role of husband illiberal and master of business) and Ségolène Royal (the "beautiful ornament" Deneuve) and add to the figure of the "mailman", so they call the French Communist trade unionist, here in the role of Depardieu. Although the film is hilarious, the mood is really dark and black. None of these characters is saved, each in its own way monstrous and lost, including the entrepreneur policy that eventually Deneuve can remember something (or someone) very contemporary: its political and business parable, after all, what is less significant, seen that the improvement in the fortunes of his company to think necessarily leads to improving the fate of the country. Remember nothing all that?

Church Program Example

Film of the Week - March 2

Men of God of Xavier Beauvois

Synopsis

In a monastery in the mountains of Algeria in the mid- 90s, eight French Cistercian monks live peacefully with the Muslim community of the place, treat the people farm the land, pray and live in communion and poverty. But the country is shocked by the massacres of fundamentalists, and even offer protection authorities and the French government to call them back at home, the eight men decide follow to the end of their mission.



Inspired by a true story, the martyrdom of a group of French monks in the mountains of Algeria, Men of God of Xavier Beauvois, which contributes to the quintet of foreign films nominated for an Oscar is not a protest film or reconstruction of a tragic news story. Although the responsibilities of the massacre have never been clarified, Beauvois choose to return the message of peace and coexistence that those monks were put in place in reality and look for the strength of their example, not so much in the speeches a bit ' too programmatic between Christians and Muslims, but in scenes of everyday life, in the sense of love for nature that Trappist grow, respecting men and things you read in the gestures of every day.

Men of God is not a documentary, like the famous Into Great Silence by Philip Gröning, punitive or film. It is a civil and religious allegory in the form of film, shot with a modesty worthy of Robert Bresson, but also with emotional tension and narrative worthy, here and there, a thriller. The director takes us inside the monastery and makes us share the daily life of monks. Which is made of prayers and songs, works in the garden and medical visits to the villagers, but also a morning breakfast lunch and very light, small resentments and jealousies of innocents. The seven monks

protagonists are portrayed as normal and decent people, men of prayer and sharing forced to be heroes (or samurai, as noted by someone, being seven!). Their life is made of simple things, narrated by the film with a force, a sobriety, a truth of accents that are rare in cinema today. There is the daily life of those men who had chosen an Islamic country for their mission. There their efforts inside and outside the monastery, the prayers in Latin and Arabic, work with the residents of that village in the mountains of Atlas, the charm of a landscape so vast and pristine together to create happiness and dismay, the doctor Monaco (the fantastic old French actor Michel Lonsdale ) that anyone who needs free care (including terrorists). And then there's the shock that takes hold of the monks when the fundamentalists are beginning to shed blood in the region, and realize that as Christians they are also targets individuals, the anxious waiting for a meeting that they hope will never happen, the discovery of no less terrible that even in this meeting can find a way to confirm, clarify, strengthen their choices. The (few) detractors criticize Beauvois for having ignored the historical context of the former colony and the events that were behind each monaco (so good they deserve a movie separately). But the look clean and firm with which we follow the expectation of the monks, the welter of contradictory and very human feelings, the whole public debate and ultimately decide that inner everyone to stay, have the force of a film Dreyer and his outspokenness, humanity, the sense of group John Ford.

Men of God becomes a friendly gesture towards the spectators who expect nothing more than emotional involvement. You can tell at one point, during a dinner when the seven monks listen to an aria from Swan Lake by Tchaikovsky, the most famous one could choose the one that everyone knows and they know to follow with emotion. The time is long, intense, and so the music grows quiet close-ups of seven friends who know the fate that they deserve. Beauvois not save the commotion, asked the tear, but not force, it simply puts on the floor of honest men and pure in which you speak, their wisdom and simplicity, to serve their common passions and not wanted, just as Tchaikovsky's music , as enchanting as for the use made of it, granted.

is simple yet beautiful at this time, the film stands as an example of conscious folk art, beauty accessible to all forms audiences. The film is a poignant reflection on how religion can, as a source of love turn into hate, and the pace of the story that Beauvois, precisely because of its message, is more accessible to all. The importance or the power of art is certainly not restricted to its accessibility, of course, but the aesthetic balance of a film like Men of God, is a rare quality, not necessarily the best that film can have, but probably, in times like ours, the most necessary.