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Asia and Fable

I was asked some time ago and we've made time to implement them and dress them. I've even had a fight with their wardrobe, but I finally checked me and .... voila! Here's Asia and Fable!

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Happy Christmas! Galloping towards the holidays

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Merry Christmas! The search for meaning

warm wishes for a Merry Christmas to all who pass here. Someone will be sad for a party, I remember times of sorrow or mourning, but for all is to rediscover the true meaning of this event, the God who becomes man and wants to be born and grow within each of us.

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Snow, snow and more snow ... never as in these days I have seen beautiful rainy days! This is probably due to the fact that I have commitments that require me to go out and .... I afraid to drive in the snow. M'è happened some years ago to do a roundabout and the car has been postponed 2 times in 3 meters roundabout! Since then just do not want to learn to drive if everything is cloaked in white. It 'nice to see it go down, the landscape changes to the point where it becomes surreal, almost magical and the kids play great, but .... the snow is good in the mountains! Luckily I have my stoffine out of my head and warm (warm and cats who claim to sdraiarcisi seen above!)

The horses you see here are part of the series Tilda and I have made for 2 girls. The first asked me as a birthday gift, the second was withdrawn by an aide and delivery by the lucky girl by Saint Lucia in person! Needless to say, my daughter knows them both: they are handling her friends:)

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Blog candy

Wonderland opened the Mara Maionchi blog candy! I wonder if Lady Luck is a good Christmas and I look in the face; P

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Broken Embraces (Los Abrazos Embraces - Spain, 2009)

A film Pedro Almodovar says. With Penelope Cruz, Lluís Homar, Blanca Portillo, José Luis Gomez, Ruben Ochandiano, Tamar Novas, Marta rejoice, Agustin Almodovar.

"movie I Bisogno finirli large ad occhi chiusi,

not eat it"

What you peggiore condizioni può per immaginare a Register, unless Quelle said to have lost sight? Harry Cane oggi sceneggiature Scriver, decisions to arrest il meglio dalla vita può you anchor vargli reserved. But once, when his name was still Mateo Blanco, lived the intense passion of love for Lena (the beautiful Penelope Cruz , a true icon of the English director), ended tragically one night on the island of Lanzarote. The days continue to burn, and Mateo is time to face that past, the only possibility that remains today, the story.

Through his words reproduce the images of a substance so unfinished film, held for many years hidden away. Almodovar up work on the intensity of emotions, those that can forever change the fate of those who live, through a mix of looks, from the "denied" his character now, rather than face a painful past, yet inextricably anchored to the present. If those embraces were broken and made impossible by events, a single thread continues to link the lives of the protagonists of this film, without interruption.

It is possible to make films that bond. Through the construction of the classic love affair, that between Mateo and Lena, hampered by the husband of the latter, the evil rich and Ernesto Martel, the English filmmaker pays tribute, in fact, the essence of cinema itself. In the formal rigor of the staging, the obsession of the narrative, in the quotations of the classics and quotes auto-mation, you can see the passion of people, film and film making, is deeply in love.

And most of those who, through the lens of the camera, calibrates his own outlook on life and feelings.

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RADIO SINGER

A documentary by Peter Balla.

documentaries, good ones, usually do not seek the absolute truth. At least not one with a capital. Do not aspire to the role of historians, not economists or sociologists, but are content in a way to tell stories, to convey emotions, often in person, at the risk and sharing its vision of reality. Peter Balla, presenting Radio Singer at the Turin Festival a few days ago, has forcefully asserted its role as a narrator who introduces the viewer to his version, one of the many possible, a piece of our recent past.

Pietro Balla's film offers us a quick look at the season of political and social struggles experienced by Italy in the seventies, not so much giving us a sequence of historical events, but rather the taste of something far away in time, not to hide the regret and nostalgia for what today is no more, and for incazzatura what might have been.

The events are those of the October 1, 1977 in Turin, the day is preparing a big event for work in the city center. On the outskirts, in the town of Leintwardine, Singer, historical works of appliances that day closes its doors forever, ceasing to produce refrigerators, true symbol of prosperity and economic miracle.

A Leinì that day ends a cycle of intense struggle for the defense of employment, which for the first time in Italy the workers have tried to bring their protest outside the factory gates, involving entertainers and ordinary citizens. They performed on the stage of Singer, in fact, Guccini, Milva, Franca Rame, Dario For and the Living Theatre, in what became an innovative policy experiment, which sought to push the boundaries of the workers' demands. An attempt that, despite the investment of energy, however, was doomed to fail in front of the logic of the market. And so, the film footage that shows massive parades, crowded meetings, contrasted with shots Today, the streets and squares of half empty. The voices of marches and demonstrations are no longer in the days of Peter Balla.

As with images, two voices alternate in the documentary to tell the day from two different perspectives: that of the past belongs to Madeleine, workers have on Radio Singer, the first free radio to tell the world from the factory, to be the final farewell to the dreams of fighting in his place of work and life. Today it is the voice of the director himself who, in person, talks about his October 1 '77, spent at home listening to his companion, Magdalene in fact, while outside the story did run its course.

addition at the end of Singer, that something went wrong on October 1 in Turin. While the factory gates were closed to Leintwardine, the procession attacked with a Molotov cocktail bar in the center, supposedly gathering of fascists, killing an innocent child of immigrants. The same factory that immigrants had contributed to the miracle of economic boom, and that in those years lived the bitter wake of industrial decline.

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Public Enemy (Public Enemies - USA 2009) The double

A film by Michael Mann. With Johnny Depp, Christian Bale, Marion Cotillard, Billy Crudup, Stephen Dorff.

- In this place, people matter where you come from. I, however, I evaluate where to go.

- And you, where would you go?

- Wherever I want




Michael Mann on stage, with great formal rigor and narrative ability, the tragic epilogue of John Dillinger, bank elusive burglar that in the '30s, began the serious embarrassment in American justice. Lone hero and irreverent, Dillinger is to win the war luxury that was denied, beautiful women, fast cars, glitzy parties and clothes. At every stop, crowds waiting for the wings of the streets, fascinated by the myth of the outlaw, eager to share a piece of that life which, in America's Great Depression, seemed like an unattainable dream. Dillinger's character is one of those capable of challenging some of the principles that govern the lives of good and honest citizens. You can not simply liquidate its existence, and its end, like it deserves a hardened criminal, unable to bear the rules of civilized life. Dillinger belongs to that breed of bandits, without any qualms if a barrier is interposed their projects and at the same time itself, able to be faithful and loyal to the end.


In his life, and in the movie, the car chases, shootouts to alternate moments of real passion, tenderness and regret. But love will not save a man incapable of relating to others without causing death and injury. While the portraits of his fellow appears "dead," Dillinger inevitably finds himself alone, condemned to move forward, no room for second thoughts for future projects. The last shot is not what will go with the beloved Billie to rebuild their lives, away from it all. A character thus capable of challenging the very idea of \u200b\u200bjustice, revealing the contradictions of a system to divide the good from the bad often seems unfair and arbitrary. Dillinger relates to a corrupt and corruptible. The police themselves, and especially the nascent FBI agents, dressed exactly like the gangsters themselves, have no qualms in adopting the same methods of criminals to do their job. Brutal interrogations, blackmail, a lightness guilty in opening fire on everyone in the dark, is on the path of his machine gun. The hunt ends almost to superimpose its characters, no longer clearly divided between good and bad. Up to arrive at what looks like a real performance: Dillinger, shot in the back by officers, died on a sidewalk in Chicago, the release of a film. It fulfills its destiny, el'epilogo could only be tragic. But in this there is no surprise, Dillinger himself seems to be aware and determined to live to the full his fate.

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now - Little Miss Italy 2009

A film by Hour. With Ksenia Rappoport, Filippo Timi, Antonia Troops, Gaetano Bruno, Fausto Russo Alesi.

I was not prepared for you!

Finally! One would exclaim at the end of watching this film. Finally, because an Italian film, which is around in treacherous areas of the thriller genre, it is exciting and believable in its entirety. And this must be what they thought of critics and audiences the Venice Film Festival, where The double result is now the most popular Italian film. L ' Indigo Film, among others manufacturer of film by Paolo Sorrentino, Il Divo and The Consequences of Love, this film confirms its eye on against the Italian cinema of quality.

A great debut for Capotondi Joseph, director of music videos and advertising, which has a screenplay perfectly calibrated his strong point. A narrative, without snagging, catching the viewer from the very first scene, not forgetting to cause some jerk here and also in the chair. The plot, which of course I will not give details, is one of those who manage to go beyond the mere sequence of spectacular actions, to advance into the maze of the mind of the characters, linking events and emotions in a compelling plot. Doubts alternate beliefs, memories are mixed up to become obsessions. Viewers, therefore, the sole task of letting go to the unfolding of a story in which nothing is as it seems. Or rather, everything is exactly what it appears.
to give credibility to the story we think the good performers, most notably its two protagonists: Ksenia Rappoport rightly awarded the Volpi Cup last Festival of Venice, and Filippo Timi . The two manage to construct a portrait of two complex characters, both tormented by its past and unable to fully live the present. The double time is, in fact, the story of a love stuck in the bud by tragic events. The meeting between Guido and Sonia, a night for singles, seems destined to overcome loneliness in which they live both. She, a waitress in a hotel and mysteriously fascinating. He, an ex-cop who tries to defeat his painful past through long days to act as guardian to a big empty house. Just when love seems to have begun to dissolve both characters, stiff and awkward, the tragic death of Guido transmit everything into question. At that point the story takes an unexpected turn, upset by constant acceleration forward and return back time and travel on different narrative levels. The two hours is not only one in which, on the clock, you see a pair of identical numbers, but especially one in which extraordinary events may occur, which can create connections between parallel worlds. In which memories and fears emerge bullies, to revert to being a reality.

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China - Italy 2009

A documentary Riccardo Cremona, and Vincenzo De Cecco

is always a good exercise in putting oneself in others' shoes.
shame that hardly anyone who wants to do it because it is more comfortable in their stay.

is an interesting journey that we offer the authors of this documentary. It starts from the Casino of Venice where the tests are taking place to elect the Miss of the largest Chinese community in Europe, and through Italy, from Brescia to Rome, to finally build a portrait of a community become a visible presence in our cities. Told this and yet so little explored and, if not during news events as the revolt of Milan's Chinatown merchants or milk contaminated by melamine scandal. A groped to make the gap so they try Riccardo Cremona and Vincenzo De Cecco , young authors of documentaries, this film appealing. Produced by the publisher Chiarelettere ( www.chiarelettere.it ), the film in a sense is the result of a successful essay "The Chinese never die" by Riccardo Staglianò and Raffaele Oriani , to whom we owe also the text that accompanies the DVD. Again So if the documentary is still one of the few areas in Italy where the images can freely do more investigation on reality, giving substance to that desire to know, investigate and possibly undermine cultural practices and prejudices of which we hear so much needs in these times.

Little Miss China is indeed an ambitious project because, while as we said, the Chinese are generally considered a closed community, impenetrable, made up of little men and women willing to integrate and participate in forms of collective life, committed only to work, on the other hand, everyone knows and uses categories and prejudices that give us the feeling to know already all about it. But how do they open their shops so quickly and their businesses? But restaurants who knows what you really eat? Who has not ever ask questions like that and try, with tones ranging from suspicious all'irragionevole, to find the answers. Perhaps for the first time an Italian documentary tries to climb over this wall built on a mixture of mutual distrust and prejudice. And as for the first time this community ceases to be a good phenomenon for an article of sociology to become a group consisting of humans in all respects. Behind the signs and window displays, in laboratories and warehouses crammed with goods, the Chinese, sweat, cry, dream. The protagonists, and this is also the ability of the two authors tell their personal and family privacy with amazing generosity, revealing the face of humanity that, not too deep, it looks like. The feeling for those watching the documentary is, in fact, that of a continuous surprise, but not so much because there are revealed great secrets, but because the images emerge from the interviews and a daily life made of desires and fears, sacrifice and desire for freedom .
One of the most significant in this sense are not always easy relations between generations, between those who arrived years ago and his sons, born in Italy. Gilmore moved crying thinking about the sacrifices made dreaming about the future of their children, or adults who complain that today's young people no longer know what work is, or the desire to empower themselves, to realize their kids, they resonate in fact very close our discourse and our concerns for the future. Among other things just the second generations, in a sense, is entrusted with the task of breaking the cliché saying how does a girls' interviews, which is more in life than work. That the future can be thought of differently.

In short, we realize how the Chinese in Italy are not so different from us. Like us, or rather resemble so to those Italians who left, the poor, to seek his fortune. Fortuna also one built and working hours without saving everything, with the ambition of the social ladder, to get away from misery and fatigue. And so the protagonists of this film becomes a sort of mirror that reminds us of the image as we were, while at the same time to build a portrait of Italians in contrast to today: how we became plaintive, frightened, resentful and suspicious, as radio listeners whose voices counterbalance those interviews.

Perhaps because, in a game of historical claims, we are afraid to return us to be the Chinese tomorrow?

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Videocracy - Just look

A film by Erik Gandini - Sweden 2009

"For us the word Italian TV no longer refers only to the unit itself. The TV is much more influential entity, and is mystified by an unknown and unsettling power, leaked by now in almost all aspects of life, of dreams and of course politics. Almost like a monster. "

Videocracy is a hard film to digest, even for those who live in Italy and certain things should be used in a sense. We were not surprised, in fact, in front of the television show of overwhelming power on the daily lives of each one, noting what TV has become a box of desire, a kind of distorted mirror of reality and at the same time, a generator of dreams, bizarre, unrealistic and terribly fascinating. However, after watching this documentary, an almost embarrassed silence accompanied by the release of the audience hall. Perhaps a sign that a film like this is necessary even for those with some awareness.

Director Erik Haile, born in Italy but living in Sweden for many years, decided to try to tell how deep and "disturbed" or a relationship with the Italian television, a survey by the understated style building, very far from that Michael Moore, and placed in a position to be observer, who sees the fulfillment of a genuine social experiment. Experiment started about twenty years ago when, in a quiz on a private TV, the premium for the audience to the striptease was a homemaker. Gandini leave much room for players and their desire to stage themselves, without much shame or inhibitions. And so, one after the other appear on the scene the inhabitants of a world that everyone knows, people of that universe gold, some suffer but where the majority of young Italians aspire to enter immediately. Videocracy reveals, or rather makes visible above their obsessions, those characters already full and famous "stars" of the Italian television to those of a multitude of losers that it is sad to say, but understandably they too aspire to become rich is not doing nearly nothing.

And so in the documentary, the display of his absolute power of a media Lele Mora, dressed in white in his villa in exclusive Costa Smeralda, like an emperor surrounded by his decadent tronista, alternates with the pathetic portrait of Richard Brescia boy who, aware of how to make the worker is now considered a failure, wait for him to arrive stubborn success. After all it takes, as long as its a Lele Mora find out who lives in Brescia, the "Italian Van Damme." In the middle, a real link between these two levels of evolution of 'man Italian television, there Fabrizio Corona, a champion of cynicism and self-display. Really interesting character, with an ignorance sad and fierce at the same time, able to cancel any boundary between public and private dimensions especially in his life, he defines a kind of modern Robin Hood who steals from the rich, but instead give to the poor, keeps the loot for himself. And the money is really an obsession for him, the source and target of the frenzy that leads him to see in the vip by photographs of the machines to make money quickly and without great effort. By his actions, beyond all the rules and without awareness in a sense, puts in place a real vendetta against the same system that created it. A system that without doubt, however, will soon be able to pass on the rebel. Crown will not be defeated because a large number of girls aspiring to become a tissue and marry a football player, he will not be very troubling for a model so appealing. We will have to wait and hope, indignation, into something better.

Small side note: RAI and Mediaset have not even wanted to pass on the trailer for this film, calling it an attack on the current government: if there was need of yet another proof of how politics and entertainment are now two worlds overlap, they could not do better.

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The Informant (USA 2009)

A film by Steven Soderbergh. With Matt Damon, Scott Bakula, Joel McHale, Melanie Lynskey, Frank Welker.

"This story is based on real events.
The characters and situations are, however, been mixed.
And the dialogue have been adapted. Get this!"

Sodeberg's new film, a survivor from the toils of the work on Che Guevara, is likely several times to disorient the viewer. The narrative structure of the film in fact, can trace that of the same star in this true story in the U.S.. Marc Whitacre has been, in fact, a real case of U.S. financial and judicial reports of the nineties. Originally enlisted as a collaborator by the FBI in an investigation for fraud involving his own food company, in a few years Marc has come to be a con man and an inveterate liar. Happily married, rich and gratified by their chief, Marc could not, apparently, no interest in bringing to light the fraudulent strategies that his company put in place, worldwide, for monitoring of the derivatives of maize. Yet he himself propose the FBI as a collaborator, 007 a kind of hard, triggering a series of events that led him how he planned to become president of the company but directly in a federal cell. Marc, played by Matt Damon just bald and fattened to 13 pounds, invents characters, falsify documents, builds an intricate system of lies intended, however, to fall down miserably.

What appears to the protagonist as a kind of game, at one point seems to completely escape his control, to show its many identities: on the odd collaborator of justice, a hero fighting against a corrupt capitalism, with the author turn of a massive fraud by several million dollars. The film then departs immediately from a simple complaint, following the narrative together is the same mark, in a sort of continuous dialogue with the viewer, allowing us to come into direct contact with the reasoning of a sick man.

Sodebergh choose the tone of light comedy, with the constant movement of the boundary between truth and falsehood, always in pursuit of the delusion of a character evolving and unable to keep quiet.

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Cinema Saved from the South - A book by Rita

The Italian cinema is to be saved. Rita Picchi asks whether the role of savior will be covered by our South. Provocative question that at the end of this book published by Kurumuny remains deliberately without a definitive answer.
Rita Peaks theater critic and author, thinks that in his passionate work on the possible future of our film industry by choosing the vantage point of some southern writers. Through thematic analysis of the characters, such as rubies, Winspeare, Roberta Torre, and others, Rita Peaks offers a sort of journey back, but always with an eye to the future, to the origins of a cinematic approach to the South and the ethnographer Ernesto De Martino thematic contribution to Italian cinema. If
is true, as the director Cecilia Mangini in the introduction, that the cinema was a "constantly renewed through feedback of the real," a window on the contemporary and the opportunity for a critical comparison with the sometimes bumpy path of our society, Rita Peaks offers a rediscovery of this role. Too often, we as spectators tried in recent years a greater distance between the themes and characters on the screen and our daily lives. Scrolling titles produced in recent years is easy to see that, although made with a good quality Italian films basically talking about a country that does not exist. They say mostly love stories, starring young milf in distress, confused, on average, wealthy and struggling with their own little world and their life problems. Without great ideals, the policy gradient background, cinema Italian has given us stories painless, unable to upset or offend anyone, but rather peacefully mingle with each other. Goffredo Fofi wrote twenty years ago instead of "the cinema is more vital than in the countries in which the contradictions are explosive, especially in the South." For a film so distracted was offset by a suburban cinema, far from the capitals of the big screen, and by virtue of this distance is able to catch the contradictions of existence. "Perhaps, writes Rita Peak, this art should find a way to make it come alive. Contaminated with the moods, often with unpleasant body odors, smelly, and the gaps in mind, the sudden short circuit: a portion of irrationality unsustainable and the courage to really dirty hands. "

It 's a movie, one told by Rita Peak, which feeds on a South as a place of roots and soul, a place still able to disturb the vision, serving as a look at more real. It 's a film steeped in anthropological studies of Ernesto De Martino, driven by scientific rigor and civic passion. And by that same desire for nonconformity that led some young filmmakers in the fifties and sixties, groped in the story of the South of the great economic and social changes of the so-called economic boom, with the same air of controversy and with the same passion civil. The above examples are many, Stendal by Cecilia Mangini, documentary reconstruction of a dirge, to anthropological films inspired by Luigi Di Gianni.

The need therefore, if want to save the Italian cinema, is to move away from conventional patterns and predetermined, rediscovering the roots of cultural anthropology and not unsurprisingly, are common directors also far apart over the years. Rita Picchi does it for example emphasizing the link, and thematic areas, which is between the Gianfranco Mingozzi's documentary "La Taranta" and Edward Winspeare author of "pinched" and "Blood alive."

the end the author does not dissolve the doubt, we'll see if the screen will find that strength and that courage, if the authors of our cinema will produce films uneducated, ill-thinking, politically incorrect, but absolutely necessary. What is certain however that the South will still be a great opportunity for those who will be brave and curious eyes.

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We should all those who ask why after 2000 years of its birth still talk of Christ. The answer is immediate: there is no human response to the many questions of meaning ( who we are, where we come from, where we go ). Someone has likened human existence to a person who wakes up in the middle of the night and finds himself on a train travel: do not know where it started and where it is going. He knows that at some point imboccherà a gallery from which they will return. If we talk about Jesus, if we look at his work, if the character reference point for the computation of time, if he who is restless, bewildering, disarm the minds and hearts of believers and atheists fascinates many the reason is one: is the only that he returned alive from the gallery. On the basis of this comes the search for meaning and not because we came up with something that was convenient to have.

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Peaks Ice Age 3 - Dawn of the Dinosaurs (USA 2009)

Directed by Carlos Saldanha. With Ray Romano, John Leguizamo, Denis Leary, Simon Pegg, Queen Latifah, Lee Ryan, Massimo Giuliani.

"Once I fell in love,
was a banana, I decided to marry her

There was great expectation (including receipts) for the third episode of the Ice Age. And waiting the public and critics on the whole are not disappointed.
The plan chosen does not shine particularly for originality, but obviously the formula works so well that you do not change: the narrative structure, in the best tradition of the animated film of recent times, is based on finding a character by his comrades . In this case the protagonist is Sid, the sloth bungler who was kidnapped by a giant, and apparently very ferocious Tyrannosaurus Rex. Mannie and Ellie are going to have their baby and this seems to upset the balance of the pack, especially for Diego the saber-tooth tiger, which now begins to feel too old and mollaccione and Sid, who, in an attempt to create its own family stealing some eggs, sets in motion the mechanism of film narrative. Failed because Mannie and Ellie the woolly mammoth, Diego, along with the inseparable possums Crash and Eddie, safe and sound to find their friend? Of course! And above all, like any self-respecting edifying end, the adventure will strengthen their team spirit, their friendship and the desire to help in times of difficulty. Despite the differences between herd members, their desires and fears, is to prevail then the desire to work within their own family. Ice Age 3 is fully in a reassuring narrative scheme, sinning in a sense of repetitiveness and excessive references to and quotations other animated films. The search for Sid in a strange world and threatening, for example, suggests the adventures of Nemo's father, to name just one. In short, the feeling "warm soup" is dangerously around the corner.
Of course, there are the hilarious, the entr'actes squirrel Scrat, the acorn always in pursuit of love and this time, arrive on time to raise the pace at times when the plot slows down. Just as there are in general the most exquisite moments of action, with car chases, tumbles, surprised, rely in large part to the "direction" of the character of Buck, a ferret adventurer who is the real news the saga. Left for too long in the dangerous underground world of dinosaurs, Buck, as a kind of novel Captain Ahab, has devoted her life to pursue his Moby Dick, a giant dinosaur, white and very bad. Your contribution will be crucial in saving Sid, and even give the audience moments of pure action. Too much love of the hazard, the late Buck chose to continue living in his world, still chasing his nightmares.

Disappointing the 3D version. Except in a few moments, does not add much to the vision and made only seem to attract the public and justify the charge that they charge merchants for the eye.

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Pinuccio Lover - Dream of a midsummer's death.

A Goofy movie Mezzapesa. (Italy 2008)

"My name is Pinuccio Lovero,
forty years and I finally do the caretaker at the cemetery"

What is the dream of Pinuccio Lovero? Be appointed as guardian of the cemetery Bitonto. Wear the uniform of an ordinance, with hat and red tie. It 's a dream that grows as a child and in the summer of 2007, finally was hired to replace the caretaker for three months in disease. But will settle for what fraction of Mariotto, who besides being smaller, has another defect, since he was hired Pinuccio Lovero dies anymore. It seems that the inhabitants of the village of campaign have decided to make a scorned Pinuccio that always want to wear the uniform of the cemetery caretaker, and a kind of spell, do not die anymore. The graveyard is now cleaner and cared for, Pinuccio are passionately dedicated to polish stones and make flowers grow, proud and confident to expect in the doorway, but nothing, now no longer die to Mariotto. It starts to spread the word that Pinuccio "good luck", the people are happy, and only the manufacturers of coffins and florists would like to see him dead or at least moved!
Mezzapesa Goofy, young and ambitious director of Puglia, has transferred the story of making a documentary on the screen Pinuccio which has the merit of telling the stories of real Pinuccio without lapsing into caricature tones. The risk in this sense, even in the light of other examples of cinema setting Puglia, was high.
Pinuccio, physical, dry eyes and wonder mobile, versatile person with a thousand passions, interests, is able to continuously displace the viewer, telling his quirky view of life and love, memories and dreams for the future. Transmits the mystery and fascination of death, and does so with the simplicity of real people, with his arguments in front of the camera, bringing into play its sensitivity and its history with a generosity movingly. The film moves from the close Pinuccio southern province to the universality of a theme that has always enchanted mankind and to which everyone is called to give his answer.

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The sense of time during the holidays

The arrival of summer brings us to relax a bit 'and is also right ... The important thing I think is the ability to live as long appreciated in all its facets small, as that is something that will never return. Impieghiamolo well! The call, which I also address myself of course, is to prefer activities that elevate the spirit (good books, music, treat friends ...) to those materials which do not give anything.
But the most important thing is to live life and not letting life trying to "kill time" as they say usually.

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The eye of the cinema cut.

In a case of Rare Video , the debut of Luis Buñuel film.

do not know if the result is a work of art, but it is certainly cinema.
Cinema, in the sense that no art, no science can make the place (Jean Vigo)

"After the screening of a Chien Andalou , about fifty people showed up at the police station to file a complaint, stating: "We must ban that film obscene and cruel." It was the beginning of a long series of insults and threats, which has haunted me until old age. " Today there is no police complaint but the market from cine-doped watermelons and different banality, to cut out the eyes of a disturbing film, able to undermine the strong convictions of those sitting in the room (or, in the contemporary version of the viewer, in front of the DVD player). No film will be the same, if you allow yourself the vision of the early cinema of Luis Buñuel great, and for those of you more available, it will implement a real revolution of the eye. Un Chien Andalou , L'Age d'or and Las Hurdes , three masterpieces of the so-called surrealist cinema, are available in a boxed set Rare Video (www.rarovideo.com), edited by Enrico Ghezzi and Donatello Fumarola . A box set really well done, which also contains some extras and a booklet with critical notes and texts, among others, Aldo Nove, Jean Vigo and André Breton.
Three films that, eighty years after they first tortured projections, can create havoc in the eyes of every spectator, contributing to a revolution in the very idea of \u200b\u200bcinema and vision, which still maintains its strength. Experience returning at your eye, then.

The first film, Un chien andalou, 1928, is co-written with Salvador Dali, a method which Buñuel called paranoid-critical images and dreams were recorded without any filter, as emerged in discussions between the two authors, without a link or a default logic, but focusing exclusively on their emotional impact. The result is very similar to our experience of dreams, the situations are happening at the same pace of our visions of the night, without a rational explanation. The film begins with a famous sequence in which a man armed with a razor cut eye: a prologue that hardly go unnoticed, a real shock, which increases the power of the Camera, freed from the need to be a true reflection of reality, finally able to reverse the logical succession of vision. Welcomed by a huge interest and very different reactions to each other, with Luis Buñuel film that earned entry into the group of Surrealists, made in those years by André Breton, Aragon, Max Ernst, Man Ray, Picasso, intellectuals who had chosen to to expose the injustices of society through scandal and provocation.

The next film, L'Age d'Or (1930), continues to feed this desire to desecrate, to explore the limits of representation, to upset right-thinking and respectable. Again, the film was greeted with violent protests and attacks by extremists on the right of the room in which it projected, so as to trigger the prohibition of public screening for the film (ban remained in force for several decades until 1980 ). L'Age d'or is a film about a mad man and a woman, eroticism and its extreme consequences. Without the use of a classical narrative structure, but through a succession of visions and extreme situations as in Un chien andalou, even in this movie as a good surrealist Bunuel attacks the pillars of bourgeois society, the Church, the military and patriotism.

Hurdes Las - Tierra sin pan (1932) is the tale of misery and cruelty in a region of Spain, Extremadura, a name that contains the key to understanding the lives of their inhabitants, men and animals, which share a daily life miserable and tragic. Shot in documentary style, Las Hurdes, however, is able to transcend the mere fact of the story, becoming the mirror of human existence. Buñuel himself writes that "those mountains I have won once. The misery of the people fascinated me, as well as their intelligence and attachment to their country lost their land without bread. In at least twenty villages daily fresh bread was a mysterious object. Every time someone brought from Andalusia a loaf of stale bread that was used as a bargaining chip. "

What unites these films is the simplicity of the style of Buñuel, Fumarola writes in the booklet accompanying the DVD, the eccentricity is within all things that are staged. Buñuel not looking for a beautiful picture, does not take a sophisticated style and self, a defect that often unites the avant-garde, but favors an essentiality of the gaze, that remains to be addressed when the reality is when, with eyes closed, you focuses on the world of dreams. The possibility therefore remains the key to seduction: do not let themselves be fascinated by a look capable of restoring the essence of life, letting go to a visual experience that breaks down, overlapping, confusing things and conquest. Without resistance.

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Rain - Rain

It 's a really rainy season, possibly the wettest I can remember. Every day, clouds, water, humidity .. Where did it go that sun that warms us with its rays?

When my father died I received a card of condolence from Canada and so he said: "Even when it rains, there's always the sun beyond the clouds, but do not see it. Sooner or later it will shine again" .

's so, life is an alternation of joy and pain and if it is true that the pleasures are ephemeral, so is the pain that never has the last word.

Christ is our sun, which shines even when we see it.

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Happy New Year!

To all those that happen around here I wish you a 2009 filled with prosperity and peace.
The hope is felt more on the management of time will make the best because it is the most precious thing that God gives us. As one father of the desert, "Who lost gold and silver will find more gold and more silver, but those who have lost time will not find another time."