Colour Of Rashes Or Spots In Hiv

Critical "Honor de Cavalleria"


Honor de Cavalleria
Albert Serra

2008 Appeared in the journal Sequences

Lost in La Mancha digital

Rarely have we seen work also stripped and consistent. Honor de Cavalleria , the first feature of radical Spain's Albert Serra, deconstructs "Don Quixote", the founding work of Western modernity, to its substantial pith. If the Emperor of junk has never seemed so bare, this experimental film manages to touch the essence of the text of Cervantes with incredible rapture.

Armed with a digital camera and an army of half a dozen brave fighters of auteur cinema, Serra sinks with Quixote and Sancho Panza in the Catalan lowlands, forming a small battalion of party unknown the forehead to the conquest of divine purity. On more than one respect, Honor de Cavalleria looks just like the chimerical odyssey of Don Quixote and his faithful Sancho, windmills and less.

Shot entirely outdoors without resorted to any decor, the film advance roundabouts, preferring arcs with straight lines, will allow all the freedoms against 1100 immortal pages of Cervantes. By refusing to spatialization, first: we enter the film facing the two knights already prey to their fantasies, on the lookout for a divine sign. Slowly the night falls, and our wealth bigots always restless, despite the inaction of their situation. Never mind, we will take all day, even though the light blur as their route. Serra

a clean slate and a clean sweep of all previous versions of this monument to both arch-known and rarely visited, playing on this closeness and ignorance, it ends on a proposal to be naturalistic, where the civilized man is one with his mount and his faith, as in the time of the Crusades . Curious impression that to observe a filmmaker and his camera flush fields spy turn characters pending an appeal invisible ... Although the nerve is the first mark, the filmmaker demonstrates first and foremost a talent obvious to capture silence as if they were tirades, transform the ubiquitous breath of the north wind (the wind of Northern Catalonia) in rumble of an army on the heels of his two peashooter, if not to embrace a narrative history shot with a mini-DV with the eloquence of a David Lean. Once skimmed

tags borrowed here and there Rossellini, Ozu, Pasolini, Bresson Sokurov, one quickly realizes that the path cleared by the filmmaker is a virtuoso sinuosity, guided by a vision of Reform: the wandering here becomes an art, that of all things to work around and face the truth as late as possible, that of nothingness, but is this really what this is? For if the earthy Sancho is tracking Quixote dreaming, for some, you'd see the man lost in the footsteps of God. Again, the film is skillfully between episodes reported by Cervantes, and the evocation of these, which are both interpretation, adaptation and change the original text. Taking

to cons-foot movie costumes respectful to the verb, the filmmaker opted for Catalan, native language, and non-professional actors - Lluis Carbo, who plays Don Quixote, is a tennis coach to retire (! ) - precisely drafted to embody what is truly Panza and Quixote robbed of their appearance symbolic, that is to say a simple-minded drinking tirades of an old illuminated. Outside the philosophy, hello 'Geriatric siblings', as if this observation accuracy was not sufficient for us to embark on this adventure Threepenny Honor de Cavalleria truly marked points in the affection is are the two characters to each other, fed each other from their own naivete. This is one of the few carrots we tend Serra drama during which these parentheses is taken up through this non-narrative, moved against the tenderness of a shared bath in a river or climb a slope together.

If would have been easy to turn these knights straw Laurel and Hardy Catalan, Serra forbidden intrusion psychologizing, even if only to enhance an unusual friendship. Although he leaves the plan, the last act, in which the faith of the duo is tested by the response - perfect or not - real knights and the possibility of separation, more brand implosion the companionship of a Quadrature of an epic, even if it only exists in the minds of completely escape characters and the audience throughout the projection.

© 2008 Charles-Stéphane Roy

Top Canadian Basketball High Schools

Critical "Life as it goes"


LIFE AS IT GOES
Jean-Henri Meunier

2007 Appeared in the journal Sequences

Jean-Henri Meunier is a director with experience mainly worked for TV directing portraits of musicians such as Lord Yehudi Menuhin, Dizzy Gillespie, Khaled and Jacques Higelin. It seems he got sick and that he and his family had left Paris one day in favor of Aveyron flanks. Hence

shock and envy of testimony, while listening to his new neighbors had much more to do with his maestro behind the scenes meetings, knowledge and verve well articulated. In fact, this Life as it goes is in line for movies that could almost be described as slow docs, these slices of life communal gleaned over a long period of time, like the recent Be and to Have or our Roger Toupin, grocer varieties.

To fully appreciate this secluded environment, we must ignore the director's propensity to play the bucolic, ensuring its shamelessly swoon towards the "little people" animating the municipal band, divided mainly between retirees and small pleasures of conscientious non-the-penny poeticizing the virtues of Nature, and silverware of idleness.

Between all that, Miller throws on his way postcard shots on the fly and other scenes of animal life, gardening about one more hay than grain, he is amazed at each burst of these so picturesque rural, even we do not drink we spare the most innocuous words that confuses Meunier like any good citizen desensitized with the philosophy of terroir. Where

Nicolas Philibert succeeded, by judicious choice of mounting and characters, to achieve the balance between representation and criticism of village manners in a broader context (universal education), Miller is content to close apology climate country as a remedy to our latent need for authenticity as global citizens. Ultimately, true freedom remains a figment of the imagination, regardless of the ground we tread.

© 2007 Charles-Stéphane Roy

Transfer Irish Pension To Australian Super

Review "Up the Yangtze"


Up The Yangtze Yung Chang


2008 Appeared in the journal Sequences

Flooding cultural

In Amsterdam, Sundance and Thessaloniki, people have long applauded Up the Yangtze , 2nd gifted Yung Chang's documentary, a Canadian of Chinese descent who have opted for the climate of Quebec production despite a strong foundation in New York. Flattering comparisons of this odyssey into the belly of Chinese modernity with Gosford Park and Hearts of Darkness somewhat reduces the scope of work under safe and welcome the ambition in the new production documentary focused on Quebec the world.

If the Nile pyramids and the Aswan High Dam, the Yangtze (literally 'blue river'), which traverses over 6000 km in China, now has a dam at the confluence of the Three Gorges project if Pharaonic is one. Taken with a serious drinking water problem, 50 million Chinese still rely on the resources of the third largest river in the world to preserve the culture of wheat, cotton and rice, which gives life to the surrounding areas.

The industrial project of this dam has become both subject of fantasy and disbelief from his earliest sketches in the 1920 - Canadians were also made contributions 60 years later after the Chinese authorities had rejected the pessimistic assumptions of U.S. experts, until it starts in 1993 - it must end in 2009.

The price of modernity, however, became very high for local populations, and many environmentalists have decried the impact of flood waters, flooding more important than before because of the frequent earthquakes in the region, but especially the irreversible sinking of a fertile area where 40% are grown agricultural products in the country. Beyond disaster Ecological apprehended, the most immediate problem remains the expropriation of the inhabitants of entire villages, which will be destroyed by the waves and take with them the memories of several generations, artifacts and a real piece of country.
Yung Chang has spent four years to complete his research after determining a trip in 2002 with his family in the region, hoping to rescue some testimonials from the 200 million Chinese have to rebuild their lives in the name of progress who cares little for them.

Born in Canada, Chang has rocked up in the illusion of their lives the old echo alluring country of his parents, two interviews, the object of his fascination will instead, to his surprise, on a luxury cruise boat up the Yangtze to the dam with on board foreign tourists, including many Canadians eager expatriation without wanting to mingle with the locals. If the contrast between the charming company of the West and the drama is playing open first strikes the imagination, another cultural relationship needed more discreetly in the service areas of the boat, where many children deported families to employment the shipping company learn courtesies of their net worth and thus remain a little longer captives of a corridor in which all naval misfortunes seem hell-bent on spilling.

While the majesty of the scenery Up the Yangtze naturally called excess, the Werner Herzog in itself, Yung Chang will not try to climb up the cruise over the Three Gorges Dam, perfectly aware that the jewel of his expedition in these sparkling panoramic gaze transfixed a situation whose absurdity is beyond comprehension. As the camera Shi Qing Wang keeps a respectful distance from the peasants disoriented, tearful, in the tall grass along the river as in kitchens circus sea, strong characters quickly emerge from the socio-technology stock, including Jerry Bo Yu Chen , unique symbol of boys without fear or reproach wanting westernized as quickly as possible, and Yu, one of millions of families suffering the collateral damage of the new hydraulic pride of the Chinese authorities.

Beyond its obvious qualities, Up the Yangtze exacerbates the niche that is currently developing the Anglophile EyeSteelFilm box in the documentary ( "SPIT" "Chairman George" ) and the short film in Quebec ( "The Colony" ).

© 2008 Charles-Stéphane Roy