Military Hiv Test Results

"Our Daily Bread"


OUR DAILY BREAD by Nikolaus Geyrhalter


2007 Appeared in the journal Sequences

Four years after its passage on the festival circuit, the documentary Our Daily Bread makes its way to Quebec, where the ravages of Agribusiness ravage a little more our soil, our air and our waterways every day. Challenging the monopoly of the Union des producteurs agricoles (UPA) and the sacrosanct Food Guide - the beef lobbies West Prairie wheat and dairy farms in the East have for too long dictated the content - no longer take place in the indifference then consumers are conscientized the benefits of local food and biodiversity in recent years. The film essay of aesthetic Nikolaus Geyrhalter, schizophrenic series of pictures on the exploitation of the land mass and resources first, would it be so far out of date four years later?

Difficult nevertheless remain unaffected by such a demonstration front and without dialogue, where the accumulation of images and rituals form a speech falsely industrial liabilities on the underside of our appetite. In alternating scenes of harvesting coffee breaks of the workers, the Austrian filmmaker launches a simplistic message, but no less compelling: if we are what we eat, we'd better know how comes the feast.

Obviously Geyrhalter is as interested in what he observes - several practices and hardware are definitely unknown to the general public - to make objects of cinema. In this sense, our daily bread has more to do with Kubrick, Andersson or Farocki's films that left denouncing the poisoning of the planet and the cartel of multinationals. Symmetrical plans begin here at the service of a real stage, a planned use and ingenious the background - the sequence of operations saline is eloquent in this respect - and even if human acts appearing more often than not.

What to remember when this film halfway between the Museum of Horrors and the Hall of agricultural machinery: the industrial revolution that eventually we all eat or, in the words of Asterix, "the old proverb is changed; we do not eat to live, he must live to eat?

© 2009 Charles-Stéphane Roy

Can You Spread Herpes With Toilet Paper?

Ex-Centris


Ex-Centris 2009

1999-2009 Released Sequences in the journal

1999-2009: a cycle of independent film ends

The announcement of the cessation of commercial programming films at Ex-Centris on January 13 has triggered concerns in cinephile and the Brotherhood in the film industry in Quebec. After 10 years of unwavering service to the auteur here and elsewhere, the businessman and philanthropist Daniel Langlois wants to refocus the mission of his castle multimedia Boulevard Saint-Laurent proposals Digital more diversified. How cinema Independent, whose precariousness is further proof, he will survive this new warning shot?

Before June 1999, when Daniel Langlois and Claude Chamberlan inaugurated with great fanfare three cinemas Complexe Ex-Centris, independent cinemas in Montreal and elsewhere, died one after another, poisoned by the emergence the first multiplexes. Complexe Desjardins, the Élysée, Berri, Loews, the Egyptian and the Faubourg Ste-Catherine, after being held up during a decade of ups and downs, have all passed away following the last major reconfiguration Park-era analog rooms - only the Parisians will hold out until April 2007, dropped in quick succession by Cineplex Galaxy Cinemas and Fortune.

1999 is a crucial year in more ways than one for Quebec cinema. On the one hand there, a bit skeptical at the first edition of the Prix Jutra, which will crown without suspense The Red Violin. On the other, the emergence of Denis Villeneuve with Un 32 août sur Terre , engaged with the documentary Forest Alert Richard Desjardins and Robert Monderie, and perhaps the more capital again, the Kino constellation. While Blair Witch Project loop the loop of the great decade of American indies as Miramax and Artisan first version, that of independent Quebec will start in his way. Belanger, Chouinard, Briand, Turpin, Baril, John Falardeau, faithful viewers Cinema Parallel, Chamberlan follow in the relocation of its offices and its festival at Ex-Centris. The convergence of means and vision makes sense, this marriage is destined for great things.

10 years later, we must rely on Cinema du Parc to the uncertain financial footing, a swollen Cinema Beaubien five rooms, a Film and seasonal constraints, not to mention an Imperial Cinema Imperial, which is still a few days a year. Digital distribution is slow to impose its domination (but softened its transaction costs), the distributor to limit their purchases of auteur cinema, when they do not fall back on an ever-surprising self-productions, sometimes with success ( Bluff , 2007). In 2008 alone, the Quebec Association of Film Critics (AQCC) identified no fewer than 70 feature films in Quebec, including fiction and documentary, released in theaters or festival, or not produced with the help of a cultural investor. It is hard to imagine how this rate could be reissued next year, and even the next, if no other room dedicated to arthouse films not up to earth.

For some, the future of the publication of this kind of cinema through domestic consumption (video on demand, web or DVD), others argue that Quebec already pledged Network Plus (parallel circuit of 40 rooms independent, often multi-purpose) should be able to enjoy a body such as ACID in France (Association Independent Film Distribution for her, born the same year as Network Plus), whose programming and support films are provided by a panel of filmmakers. Anyway, hope that the exhibitors brave enough to retrieve the slot vacated by Ex-Centris will not make the mistake to install a program designed months in advance, as was the case in the case with Cassavetes, Fellini and Parallel, which was imposed too often interminably flops and put on display early in the street become more successful.


CHRONOLOGY OF A DEATH ANNOUNCED
Having delivered many innovations for wet firecrackers, Daniel Langlois, in his way, gave a major boost to the visibility of auteur cinema in Quebec and internationally since the beginning of Ex-Centris in 1999. Here's a quick look back at 10 years apart and heading changes.

1997
A year after he set up his foundation for art and scientific research, Langlois founded the Ex-Centris, which will open its doors in June 1999 after two years of work on the Boulevard Saint- Lawrence, next Cinema of the deceased as president. 93 rooms, 188 and 271 spaces are dedicated to cinema, broadcasting multimedia events and corporate activities.

1998
Lee teamed up with Claude Chamberlan and house the activities of the new Cinema Parallel. The building of 70,000 square feet will also house the offices of Terra Incognita, Studio Ex-Centris, Media Principia, Fondation Daniel Langlois, DigiScreen, offices Softimage Inspeck, Pixman Pixnet and a host of other companies in new media.

2000
Langlois bought Don Lobel Cinema du Parc and Ex-Centris cinema complex becomes the first North American member of the prestigious Europa Cinemas barely two years later. "The rooms Ex-Centris is the most beautiful theaters in the world," said Claude Miller was then at Cannes.

2002
The same year, Lee joined forces with Team Spectra and Alliance Atlantis Spectrum Complex project, a vast entertainment complex in downtown Montreal with four theaters, whose opening is provided two years later. The project was put on ice and Langlois focuses on activities of the complex: the Festival of New Cinema, Magnifico, Cine-Oke, Ciné-Kid and Mutek are the beautiful days of Ex-Centris and the place is fast becoming a haven for film lovers of Quebec.

2003
The distribution of digital movies DigiScreen born, but its leaders are struggling to convince theater owners to adopt massively Quebec.

2004
Langlois and Sheila de La Veranda, on behalf of the FNC, answered the call for tenders and Telefilm Sodec under the Call for a film event in Montreal Tenders will not be considered by the review committee. The same year he created Digimart market digital film and multimedia, which will initially associated with the FNC in 2005 before flying on his own. Langlois joined in turn to the new International Film Festival of Montreal (FIFM) Spectra, which will only last a single edition.


In February 2005, Lee left the FNC before founding with Robert Lepage's production company Tied for Quebec to achieve inter alia the film adaptation of "The Dragon's Trilogy," a project that will never day. At the end of the year, Lee decided to stow Digimart the next edition of FNC.

But 2005 was a challenging year in terms of entries in cinemas Ex-Centris and park, and some positions are merged, the same programming team now take care of the supply of films in two cinemas.

After seven editions, the mini-festival Magnifico also interrupts its annual activities under the Main Madness, but we are witnessing the arrival of the traveling festival Resfest, Ex-Centris, which will invest time in two editions.

2006
Softimage celebrates 20 years and begins to sell Terra Incognita Cinema du Parc, which will be recovered by Roland Smith a few months later.


In March 2007, it was the turn of Digimart to terminate its activities after two editions after contracting a large deficit. Six months later, Daniel Langlois Foundation celebrates its 10th anniversary over the Parallel Cinema breath to turn his 40th birthday.

2008
Last August, Mark Brennan left the general direction of Ex-Centris while the position is abolished and its functions are shared by three employees of the team. For the first time in nine years, the Festival Mutek Ex-Centris is also leaving for deployment in various venues in downtown. This fall, the FNC recorded the best attendance in its history, surpassing the 100,000 festival-goers on all its sites, including Ex-Centris.

© 2009 Charles-Stéphane Roy

Black Hair In Brampton

Criticism 1999-2009 "North Cape"


NORTH CAPE
Sandrine Rinaldi

2008 Appeared in the journal Sequences

Night Soul

A new musical genre, is possible? It has The Ball was of Scola, it's been many moons, and since that adaptations of Broadway without much interest or high art as Chicago or Mamma Mia! Apart Moulin Rouge Australia, it must turn to France from left field to make us dance neurons.

Best waltzes are shortest. Northern Cape this logic applies in 59 minutes although dense and danced. The device could not have taken much longer, in fact: the film follows a party of the end of the world - Britain, to be precise - and we leave before returning home. A comedy chtimi earth, it does not Welcome to the Sticks : Sandrine Rinaldi, known for his criticism appeared under the pseudonym of Camille Nevers for Cahiers du Cinema, La Lettre du Cinema, and some chronic radio France Culture, delivers a surprising way film, the hermetic good boy, terribly engaging and often very funny.

second film after the acclaimed Hoax or history portraits in 2005, North Cape is a tribute to Northern Soul, Motown way black music played by Caucasians in northern Europe as popularized in the Commitments Alan Parker. In a tiny ballroom, young people neither beautiful nor ugly, which all seem to be friends, sway their hips to the sound of tubes tirelessly Betty Everett, JJ Barnes, The Shalimar, Marva Josie, Dena Barnes, The Metros, The Incredibles, Bobbie Smith, Sam Fletcher, Al Williams and other contagious melodies known. The evening is an opportunity to share some frivolous conversations, flirting and somehow set the counter to zero office.

While the soundtrack connects the songs in full and without pause, the camera browses some discussion forced speech delivered in a staccato tone shifted, creating absurd poetry and light, which is difficult to draw meaning from the next room before the guests will gather on the dance floor, the time just as deliberately bad choreography, courtesy of the Catalan choreographer Isabelle.

North Cape is entirely a matter of contrast, heat pieces decorated in hideous refreshments parish closed a crowded movie characters lived strictly satellites disappearing behind other extras once their replicas balanced. The dialogues, aphorisms mixture of networking, platitudes and words sunk songs translated literally out of context ("There is no mountain high enough, no river deep enough"), struggling to establish itself beyond the omnipresent music, the only real social glue behind which the characters seem to coexist .

From the American musical, Rinaldi has held dances, sometimes broken in synchronized movements, often chaotic, reduced to their function expression on the playground of a convention timeless, that the rut organized and willing to Young adults more likely to stretch their legs as the heart.

Critics dared reconciliations between North Cape and Mods, one of the newest films Serge Bozon, in which young people lived their uncertainties to the sound of a noisy garage rock, it also notes the affinities between the method and Rinaldi that of Eugene Green, especially in the living world or Le Pont des Arts , social criticism muted. In comparison, the cosmogony that offers the filmmaker is in turn sealed to our real random and disorderly, existing only for the installation, the pace or reply designed to supply not just any story, but a mechanical recreation, living a kind of semiology and flattening of a phenomenon that would almost fairground. This preposterous proposal

and thorough that we can not switch into a state of waking dream, not least with its irresistible wind of nostalgia. For North Cape able to fix images in zero time of nocturnal pleasures, that of partying past and future, peopled with familiar faces and new flames fed by the insatiable still hope to bring forth again the germ of recklessness and excitement of the transient conquests, one that will push us even to attend raising the least inviting, claustrophobic places and events gentes.

In this, Rinaldi succeeds quite the challenge: pick up the audience in celebration of which he was not invited and open to foreigners that he will not have time to know before returning to reality once the record will have you, glad to have found the early morning sun and the memory of its hackneyed derail the most memorable and have made full of timeless tunes that could feed many binges ahead .

© 2009 Charles-Stéphane Roy

Old Toy Trucks Little Toy Drumschristmas

Review "The Times of Harvey Milk"


THE TIMES OF HARVEY MILK
Rob Epstein

1984 Appeared in the journal Sequences

The gay power

The output of the biopic that managed to achieve Gus Van Sant on the gay activist Harvey Milk after twenty years of effort has to rediscover a figure larger than life 30 years after his assassination. To fully deserved all the praise that gets fiction today, we must not forget all the spadework has made The Times of Harvey Milk , the famous documentary by Rob Epstein realized 25 years ago, less than five years after the brutal destruction of the first elected openly gay American.

Considered one of the most important documentaries of the 1980s with The Thin Blue Line, Stop Making Sense and Roger & Me , The Times of Harvey Milk has all the classic chronological biography interspersed with testimonials close captured retrospectively. If the film is so easily - just like his successor in 2008 - is largely due to fate and the charisma of the main question, sort of Norma Rae fringe homosexual, coupled with a martyr figure to humor intelligent, calm tone and sense of justice all colors.

It also remains terrifying to remember that not so long ago, the forces of the political right of the first free nation in the world were taking all necessary steps to stigmatize homosexuals spheres of influence, the education for the exercise of power. Milk, Dan White as his lady-killer, are the archetypes of a flamboyant era where the podium was never far from the pyre.

Epstein, who made his name with The Celluloid Closet 15 years later, shows considerable deference to evoke a period explosive, like the narrative of the inimitable Harvey Fierstein (Torch Song Trilogy ), marked by a sobriety almost funeral, giving rise to the tunes of Milk homily .

himself aware of his probable murder, Milk had recorded 'confessions' on audio tape, baring his ambitions, his lucidity and his contemporaries faced in his last battle against the hostility of consent. With hindsight, it now seems impossible to separate the man from his quest, the San Francisco disco years, California's Proposition 6 (which prohibits gays from teaching in public schools) and the beginnings of the politicization of the gay movement in the United States. The timing of Milk has also seen his fate that his personality or his propensity to capture media opportunities, because beyond his sexual orientation, Milk is a great presenter, a charismatic rallying twice a smart strategist and an incorrigible optimist. If

use its influence to advance the economic weight of gays, Milk will do the same to defend human rights as minority claims economic, and in this regard the film Epstein and van Sant come to complement each other to enrich the portrait of a figure margin nevertheless address the archetypal American activist dedicated to the cause of human Street. While The Times of Harvey Milk never puts into question the means used by the Mayor of Castro Street to get hold of power outside its strict political purposes, Milk shade some flights of the orator, who asked his faithful to come out wherever they go while he himself has long maintained his privacy protected Judgement masses.

Although Epstein's documentary makes the lion's share archives and original images, Van Sant to con his biopic degreasing modern setting instead of before the real work of seduction which Milk had to bend to get both credible face to retirees, union members, most elected to its municipality, blacks, Latinos and hippies like, somehow, to his detractors.

other hand, the film Epstein came two years before Dan White, murderer of Milk and Mayor George Moscone, was released from prison and running his suicide, failed to close the loop on this paradoxical character, that Van Sant and screenwriter Dustin Lance Black will open up suspect in their fiction the likelihood of homosexuality Milk colleague despite his conservative moral and his public pronouncements against the indecency of the gay pride parade.

We can shun the movie because of its tendency to let the views of relatives about the subject of White's trial take precedence over objectivity that such an award called, but at the risk of missing a real history lesson and U.S. policy, coupled with the portrait Mechanical conscientious but a simple man to grind almost trite, but the injustices of the time convinced him to devote his life to inclusion and to reach the front.

© 2009 Charles-Stéphane Roy

Michaels Invitation Kits

Critical "Man on Wire"

MAN ON WIRE

James Marsh

2008 Appeared in the journal Sequences

After searching a misery in America Wisconsin Death Trip, the Englishman James Marsh flies over the heights of Manhattan with his documentary about the exploits of French Philippe Petit, the tightrope walker who conquered so completely illegal the towers of the World Trade Center in New York in 1974. In the manner of a thriller, Man on Wire reconstituted with an amazing amount of video and photo archive this extraordinary feat, which is as much a performance worthy of the Guinness Book of Records as 'terrorism' artistic.

Beyond is a weapon that could be replicated today, Marsh takes advantage of the intriguing personality of a sort of guru verbo-motor in the service of beauty and happiness, and reveals the general update an unknown art, tightrope walking, usually confined to circuses between man-cannon and hoops inflamed. It is said that man could not crack that during the Nixon years, and his court to see Baba-cool how much of the feet and hands to help him realize his dreams and make this practice an apotheosis of ephemeral.

Taken from the autobiography "To Reach the Clouds," published recently by Petit, Man on Wire chooses a bill that restrains a bit mechanical at times poetic impulse has attempted to infuse the clan Petit in their approach. Despite his obvious talents of storytellers and very evocative gestures, the omnipresence of small in the film, imposed by the tightrope walker to producers when negotiating rights to adapt, boosts the ego more passionate about the void that the right (past) to his cronies, who all agree to appear before the camera Marsh, and their eventual estrangement with him, leaves the viewer skeptical about the immediate implosion of the gang once completed the New York bravado.

Ultimately, the spectacular outweighs the film, and it is surprising that the new archives are able to provide the thrill and ecstasy sought much more than narrative interventions of the director.

© 2009 Charles-Stéphane Roy

Sigmacort 1% On Hemorrhoids

Critical "Frontier of Dawn"


THE FRONTIER OF DAWN Philippe Garrel


2008 Appeared in the journal Sequences

1968-2008: the graveyard of love freed

16 feature films after his debut, Philippe Garrel has acceded to the competition at Cannes last year with Frontier dawn, he, however, a regular at the Venice Film Festival since its consecration J ' hear more guitar in 1990. The eternal is the sixty-eighter still plays retro and spectral, how do otherwise if life is an old movie grichage reassuring? At

few details, Frontier dawn rises where Regular Lovers dozed. Based on the same lead actor (Louis Garrel, son of the filmmaker, whose character is called again Francis), the same black and white vintage courtesy of veteran William Lubtchansky, then the same horde of bohemian Paris of absolute love and it gives completely fitting a false result, the goal in the mirror, resurrecting the ghost of Dr. Mabuse Lang and poetry films of Jean Cocteau.

But while her lovers is scheduled to scented mothballs and tear uprisings of May 1968, his new film is set open windows and breathe recreation. The story, as old as love, precipitated a star in love with itself to kill himself when his passion for the Adonis photographer goes out of pride. The beautiful ragazzo will try to smother the memory of the deceased in the arms of a girl of illustrious family, the ghost of his freedom does not stop to consider the less death find his flame.

Inspired by the new "Spirits" of Theophile Gautier, Garrel declines again what animates all of cinema: as the only absolute moral compass, the hard-line emotions and beliefs, the fetishism of the plan The death of illusions. The characters are doomed to unhappiness, disappointment, and the idealized world they know - ageless, monochrome, consciously cheeky - Risk is sentenced to turn with them.

After us, the deluge: social progress, equipment and passion for Garrel remain fearful of utopias, and the status quo, an inevitable stalemate. Remains the refuge of the immaterial world, which wallows Carole, and his damnation any romantic, oh how much more attractive than the enslavement of old age and the duty of the species, or worse, the "bourgeois happiness," as Francis pointed to his best friend on the verge of joining his life to that of the wise Eve, the inverse reflection of Carole.

newcomer to the world of Garrel, producer Edward Weil ( Singer , two recent Olivier Assayas) did not attempt to sway the way Garrel to new horizons, even if this is more humor than usual, nearly self-derisive, which do not preclude references to Nazi camps, the "revolution without a drop of blood" and anti-Semites from splashing around film appearances as strident during uncontrollable romance nestled in the felt far and silverware. For despite him, everything that surrounds Francis, being rather soft and lazy, is political, but as Carol, he does not choose, and still less be imposed upon a budding romance or slowing. In this context, the "you still love me even if I become crazy? "The beginning is not, for once, to be taken lightly and it is a prescient call eternity of suffering and desire fusional dissolved in the daily and jealousy. Returning

thwart Garrel for the first time in thirty years - it was the generic The secret child in 1979 - Didier Lockwood's violin sounds again in The Frontier of Dawn as a counterpoint to the general atmosphere of the film, turning your ear to the brink of a tragedy that it can not actually point to leave. At atechnologique an image of the current reality, between Garrel turn a soundtrack rich in pre-digital tinkering with its ambient sounds not fitting in the field / field-cons and crackle amplified lower floors, doors, tables and other accessories antiquated .

autobiography, the film is also, as indicated by the scene of ECT suffered by Carole, a reminder of the internment of Garrel during the filming of the scar inside, or the presence of the director's son as his ghost and its double-screen. The cinema of Guy Maddin, another reincarnated spirit of another era, has inevitably in mind, with its intensive sublimation of a personal truth if it quickly takes the shape of a memory more and more away from its initial reality by wanting to purify it or relive it without ceases.

© 2009 Charles-Stéphane Roy

Can You Take Flucloxacillin And Drink Alcohol?

Review "Behind Me"


BEHIND ME
Rafael Ouellet

2008 Appeared in the journal Sequences

life before they

Intriguing ride, door-to- wrong with the movie of teens, the suspense, the docudrama, the 'high concept' and socialist realism, Behind me, the first incursion of key-on Rafael Ouellet in the feature film funded, offers a primer catchy, but its effects run out of steam quickly.

At pretty much behind me takes over from Cedar looked , self-production which has Ouellet cinema on the map in Quebec and abroad (Shanghai, Mannheim, among others). The village of Dégelis (Lower St. Lawrence), a handheld camera, a generic thin, two young girls who tamed the call of the big city: Ouellet's inspiration seems to have marked between a manner and familiar surroundings, invigorating the possibilities - his next two projects, New Denmark and Trucks, will also take root in this soil there. The promise of

Behind me is that of a filmmaker in tilling his art, with the experience of clipper and cinephilia the key. Taking the formula of female tandem, Ouellet retains both its actresses in this bracket, with more scenes and dialogues written to ensure its lead story, more conventional than before, to a final surprise on which rests entirely causation of his film.

Less opaque than they seem, the intentions of Betty, who arrives in a small village after nine hours of highway, hanging over all its meetings, seemingly casual, with some girls barely younger than herself . With its large sunglasses, her clothes and her dark casually interested, Betty clashes with the local wildlife as a praying mantis on a mission. The interest of the film, we feel it immediately, is not how his ballad ends (Now doubt is), but to discover when, how and especially that the inevitable will happen. The fate

empties quickly Leah, the epitome of the ingenue, and her femininity inevitable - Betty can not itself help to show him her awesome beauty on a few occasions. But as good looking as it is, life in the village for 14 years, stuck in a grandmother working part time in a canteen, is not the most conducive to realizing its potential or even just his desires. Lea possibly live if the frenzy of the first times - first kiss, the first drug trip, the first fugue - through Betty, it seeks above all the presence of an accomplice, a confidante and a kind of mentor, not for lack of thrills, but rather for fear of appearing stupid stuck. Behind me

applies thereafter to follow a logical step for Leah to tip the other side of the mirror, she applied to be and do like Betty. In addition to demonstrating a genuine insurance to depict images with little explanation and an environment which must flourish many girls like Leah, filmmaker manages to create a very real dynamic between the idol and his disciple in this respect, it is not surprising that the fairest scenes of the film are those in which two people examine themselves and one another For their part, operating more than once the game's transfer of attitude and personality (Betty should get at Lea to win his confidence, and vice versa).

Yet, like Betty's something wrong with the film so that the charm really operates, this is something that takes the viewer to accept being handled in turn by the seductive, or, better yet, to wish to flee rather than accompany the lamb to the slaughter. On the one hand, the game is an approximation of actresses do not forgive and transform dialogue into school recitations sometimes, a major irritant, so that each replica is vital in carrying out careful of any game of persuasion. The other, the characters are too straight to really worry about their fate.

Finally, the film, although it provides compositions welcome at times, too often balance between exploration and formal loyalty to the relationship is transformed before our eyes to deliver an outcome truly implacable as the command that kind of history. Whether for reasons of economy or editorial independence, Ouellet took a big chance by taking into account only his writing, directing, editing and camera (although Pascal L'Heureux is also credited to the department) while directing actors would normally occupy a prominent place in its specifications. Auteur film 100% behind me does not give the least impression that the result does not surpass the promise of its premise, as concrete it may be.

© 2009 Charles-Stéphane Roy