Air Remote For Fujita

Brokeback Mountain (2005) Ang Lee

The Chinese director Ang Lee, author of works on display each other as The Wedding Banquet (1993) or Hulk (2003), shocked fans and critics with their 2005 film Brokeback Mountain, based on the eponymous story by Annie Proulx, winner of the Pulitzer.

The film tells a story of resignation, and is also a celebration of sexual freedom and tolerance. The story covers several decades, beginning in the sixties of the twentieth century, in an America deep in which being gay was almost a crime. The love story between two men who meet when both have to take care of a herd in the mountains of Wyoming is the premise of an unforgettable film.

For the protagonists of the film, Brokeback Mountain is an idyllic place for several reasons. Here is where you know where they fall in love and where they are at peace with the world around them and themselves, where they are happy. This place is opposed to civilization, where the popular laws (or rather, the prejudices of a society terrible) dominate everything. Brokeback Mountain is the only place on earth where you can take your love on the sly. Only surrounded by a vast and beautiful nature, where those sheep who care is the only thing that dominate and control the world. The herd is the company itself is too big to them.

The late American dream, so often shown in the cinema, here is told from the perspective homosexual. Both Ennis Del Mar (Heath Ledger) and Jack Twist (Jake Gyllenhaal) are two victims of his time, an intolerant era, where the important thing is to get happiness, but only apparent. As homosexuals are condemned to a life that does not want and both paths end up marrying women and having children. The only sense of their lives when they escape they get regularly Brokeback Mountain, to the land without civilization, where both are able go back to a state that may only exist in the Golden Age of mankind.

much greatness emerges from this film. As owner of a theme itself, herself your reference, however get the luxury of a nod to gender typically American, as the western , although in reality it is a costume drama. The story, as we said, is developed over many years and that is why the script is divided into clearly defined blocks. But those blocks are transparent, only with the use of makeup appreciate over the years, in a linear narrative. Of all the film undoubtedly prefer the first part, beginning with those wonderful plans of the mountains of Wyoming, beautifully photographed by Rodrigo Prieto. Gustavo Santaolalla's music does the rest, plunging the viewer into an earthly paradise.

The Sense and Sensibility Ang Lee can be seen from the first frame in the form of placing the camera on how well they cater for the situation in the magnificent directing actors. Lee prefers simple gestures to show the feelings of the characters. One of my favorites, one where one of the lovers embracing and smells the shirt of his beloved as he is by his side. How much excitement can fit in a single plane.

The two protagonists, the late Heath Ledger ( The Dark Knight, 2008) and Jake Gyllenhaal ( Zodiac , 2007) eat the rest of the cast, but also emphasize the interpretation of Michelle Williams, who played brilliantly for women of Ennis del Mar in a difficult role as a woman tormented.

There is no doubt that this is a jewel of recent cinema, with a film of the left track and one of the best in recent years. By far.

EDUARDO MUÑOZ

Rate Of Respiration Reptile Vs Mammal

Seven Deadly Sins

Director: David Fincher
Year: 1995 Country: U.S. Genre: Thriller Score: 10/10
Cast: Brad Pitt, Morgan Freeman, Gwyneth Paltrow, Kevin Spacey, John C. McGinley, Richard Roundtree, R. Lee Ermey, Leland Orser and Richard Schiff

Lt. Somerset (Morgan Freeman), the homicide department is about to retire and be replaced by young, ambitious and brilliant detective David Mills (Brad Pitt). Both will have to cooperate in solving a series of murders committed by a psychopath who builds on the relationship of the seven deadly sins: gluttony, sloth, pride, greed, envy, lust and anger. The bodies of the victims, the police will be converted to a puzzle that will require them to travel to the horror and utter barbarism. Skip to ruin, almost completely, and for many fans, one of the most important sagas in science fiction, to lead one of the most important and memorable thrillers of the 90's, has to do with several things, and possibly the least important of them is the very David Fincher, who between "Alien 3" (1992) and does not seem to have changed or reformulated their ideas about their trade. Things to think if this had been the first title in the filmography of director, mythical aura with that always attach to the dazzling debut. As in "Citizen Kane" (1941), which contained all the technical and TRAMAT of his time to crystallize into a whole, to a much lesser extent "The Seven Deadly Sins" brings together, condensed and reformulated all the constants and affinities plastic police thriller and drama to create something more than a thousand times imitated since.

thriller rather than a genre, is an ominous tone in which stories unfold bloodthirsty murderers, heinous crimes, but also characters that are beyond superlatives laws of nature and reason. In the thriller The aim is to cause the maximum stress in the viewer, because "to thrill" means excitement, enthusiasm, and the name "thrill" means shudder. There is no doubt that "The Seven Deadly Sins" complies with this definition in the superlative, it is the most shocking thriller of the decade, not only that, but an apocalyptic discourse that breaks without pity the police film clichés and society dying, insane, sterile. Not only the detective film, but movies are impossible to police partners (whose fashion started in the previous decade), research hyperbolic killings (which reached its zenith in the decade after the TV series "CSI"), the sleek black cinema and sleepwalking East, including the comic noir vein wildest given hand in "The Seven Deadly Sins" . At that time you could not go further, and even the end credits, which go in the opposite direction to usual will mean a reinvention. Four years after the extraordinary "The Silence of the Lambs" (1991), the film goes as far as possible without falling into parody, a psychopath who is more of an avenging angel on a mission divine, a crazy morbid compulsions unsatisfied.

addition, "The Seven Deadly Sins" offers a revolutionary and not always appreciated in their own merit, is to understand the post. Of course it before scanning techniques of negative and had begun to bear fruit, but this movie represents a great achievement plastic embedded in a highly personal narrative, which has become a classic. Hence the importance of transforming the image of this film into something which will become absolute aesthetic integration of the decisions of photography and design production in the mood and the emotional journey of his characters. In this much of the responsibility lies with the great Darius Khondji operator, which is a total complicity with the principal when the abstraction style to this story in the limits of sleaze and sinister. He was scheduled for 12 or 13 weeks of shooting, with days of 18 to 20 hours. Camera work environments always rain (which made the look like New York or Philadelphia, becoming a city without a name), timeless interiors with fumes caused a chronic cough in members of the shooting. All that is palpable on screen. You can smell the influence of Pakula's film and "The French Connection" (1971). This script by Andrew Kevin Walker demented required maybe a shooting experience as stressful and claustrophobic as the feelings they want to provoke in the viewer. Many will stay with the twisted logic and ultimately incoherent and exciting this convoluted plot leads us relentlessly and mercilessly by a nightmarish tunnel within seven murders based on the deadly sins. Others can play down the extent of their story and go deeper into the richness of its characters and the superb staging that accompanies them.

is gratifying to see the Fincher mime in caring for David Mills (Brad Pitt very solid) and William Somerset (splendid, as usual, the great Morgan Freeman), two antagonistic characters that are developed as two sides of the same coin. Suffice it to observe its early sequences separately. We started with Somerset, which is a weary detective and almost vital energy, in its cleanliness, putting on his jacket (which includes a hair), respecting the scene of a crime of passion. When falling asleep (using a metronome to it) begin the famous credits (a magnificent piece of video art that anticipates the tone, look and the darkness of the story), which may well be a nightmare premonition of own or Somerset Mills's own nightmare, as the end credits, is awakened Pitt's character. David Mills is awake. Drink coffee, not as Somerset, who knocked him to sink to its opening sequence (and then dismissed it when it takes the first crime scene sharing), choose your tie between several wrinkled (unlike that of Somerset). Once you know, start talking in the street. Somerset quiet walks among the flood of people walking in the opposite direction to them, while Mills has to be dodging and hitting one ends. Somerset remain calm, but tense Mills is seen. What Fincher expressed in this staging? The convenience of Somerset in the oppressive atmosphere and the fact that Mills is not ready yet to support it. This is brilliant staging, and presentation and confrontation of the two characters after their intimacy is an excellent presentation of characters.

This duo protagonist, and the grounds of his personality, are the real engine of a story that could have been much more predictable and monotonous with some smaller players delivered, and a director not as aware of your faces. The final appearance of Kevin Speacy like that indestructible angel of death is a chilling creation of a singular performer, led astutely by Fincher, who pushes him to a great effort in the final climax. It is set to surprise of catharsis, transformation of the police in the psychopathic murderer and martyr (a lighted, almost, ready to clean and butcher their creative talents to the Land of the "impure" the undeserving) pulling the viewer the last drops of security that could have left. The conclusion leaves a bitter taste in the mouth, such as emotional summit is not expected but is still grateful for the break from the horror. The show, lecture by Richard Francis-Bruce, the music, avant-garde and out of parameters, Howard Shore, have been commissioned to cast off all hope, we have tested harder. The film recovers its ability to convert the terrors of today's society a fiction, a parable of the insecurity, the inability of the security forces to quell the sinister side of humanity. The "evil" and "well" melt in an instant, inseparable. There is no light or darkness, but rather the opposite.

film is a debate both on moral and intellectual. It is also the triumph of the position of detective Somerset, who believes that a group of individuals can not force change an entire society. There is a battle of wits between the police impeccable and the murderer, but overcome evil ends up simply because it is the symbol of an entire society corrupt (this is the strength of the majority.) By exposing the bitter end (death defended by David Fincher and Brad Pitt), the film becomes a true classic, because the climax is just the logical conclusion which is drawn as a tragedy from the beginning. Without doubt it is a fascinating film. Fincher is redeemed with a film that is the opposite of "Alien 3" solid, well-written, evocative. At last you can give free rein to his personality, unusual soberly abarrocado the gruesome twists of a plot impossible, planning to Welles, to Ray, taking a giant leap in a mediocre films that could be glimpsed, expendable. Perhaps "The Seven Deadly Sins "is not the masterpiece (which expression as hackneyed, cherished and missed) that many claim to be (not others), but no matter. Its intensity, its purely cinematic expression is there, as one of the most authentic examples of gender and amazing film in many years. Fincher had been based author of detail and passion. Star-turned-director, his next move would be more difficult and slippery than perhaps he had imagined. But the artistic life was never plain sailing for Fincher, although many may believe wrongly so.

"Solid, violent and intelligent"

Biker Gay Are Loud Bikers Gay?

HALF OF OSCAR (2011) by Manuel Martin Cuenca

The other day at a school assembly, pupils prepared film, argued that English cinema was garbage, that any mediocre production from the golden California, was more bearable than the whole of English cinema. Lately I hear a lot of English cinema and everyone seems a great expert in its history. Well worth it.

At current movies made in the "Spains" you can criticize a lot and overflow errors of determination, but there are filmmakers who do leave the skin in other movies is a reality. The film, like everything else in our culture today, is guilty of cronyism, of being a lapdog American because other regions of the continent, frankly us sweat, and politicking. English cinema you need is to be left alone each other, and if you have come a torrent to save him, but still making movies risky as Oscar Half because peace here and then glory .

background Another problem, not least important, is the contempt for our own culture and an apathetic interest in our identity. And when I talk about identity I mean the mainland not to that of the flag and the world championships. By addressing an idea and I never able to put on the skin of a serial murderer in Texas or wanting. By God, if even permeated European culture Leone something as truly American as was the Western. Much mamoneo see here and much talk show with the L in practice.

In Half Oscar stressed that its director Manuel Martín Cuenca bet for this project, even more, that someone produced it and co-writer Alejandro Hernández says he admires Tarkovsky (there a world where you could say Tarkovsky, without you sponsoring a telephone company or look at you like a leper) and " in stories without turning points or events, a complex and devastating uncompromising." Enough reasons that pushed me to the cinema (the film was released on March 18 and displayed in one film currently in Madrid, the Golem: Film "Cultureta" weirdos and intellectuals invested) . What is it, this is a film with high toxic doses of metaphysics, that only those who recite backwards the Critique of Pure Reason, could understand?. Not really. The argument is quite simple and the theme of incest is far from any grandstanding or cheap sentimentality. It faces a real and everyday as it should be.

Oscar is a security guard at an abandoned half saline in Almeria. It is a lonely that the only correspondence received is your subscription to Diario de Navarra. His only connection to others is a retired security guard who brought him food, a girl who only has sex and a senile grandfather locked in a nursing home. After admission to the hospital from his grandfather, the sister of Oscar again, after two years gone, Almeria.

risky thing, as I mentioned earlier, this film is its slow pace, too slow at times, the prominence of background noise and the total lack of music that emphasizes emotion in the viewer. Heir to the film by Jaime Rosales ( Solitude, 2007), even appears in the acknowledgments of the end credits, you see, used to realize things like this, its kind of placing the camera as a witness absent action of the characters, with static shots in which characters are developed with parsimony (sometimes excessively), in which the director tries to fuse the actors with the beauty desert of Almeria. The characters are, because they are involved with the surrounding landscape (the desert ocher Mediterranean sunrises ...) and this intention, sought by Martin Cuenca, successfully achieved although sometimes visually bored. Too many claims, the characters lack something more thrilling, sometimes gives the impression that they are puppets in the hands of the action, which never quite jell, but praise carry out the challenge of a work like this.

Stresses collaboration of Antonio de la Torre in a small role as a taxi driver, although the scene between the hero and he does not end to fit into the tone and the argument of the film, and interpretation, sober, but it helps to be involved in the life of Oscar Rodrigo Sáenz de Heredia. Veronica Echegui in the role of his sister and Denis Eyriey give the impression of walking a bit lost in the film.

Oscar Half is ada film with good intentions and poor is a theme in film, but not finished anchored in the retina. Even so grateful that these works have a place on the card. How long?

AVELLA JUAN

How Long Can You Keep Carbonara For

The Conversation

Director: Francis Ford Coppola
Year: 1974 Country: U.S. Gender: Thriller / Mystery Rating: 8.5/10
Cast: Gene Hackman, John Cazale, Allen Garfield, Cindy Williams, Frederic Forrest, Teri Garr, Robert Duvall and Harrison Ford

Harry Caul (Gene Hackman) is a technical specialist sound is commissioned to record the conversation between a young couple in a crowded plaza of San Francisco. However, when it comes time to deliver the record, Harry is thrown back and is warned of the danger of the material you have in your hands. Back in his lab, listen to the tapes carefully and detects them as evidence of a possible assassination attempt against the couple who had been followed. The fact that in the past three people were killed because of another record did induce him to consider the ethical responsibility of their work. In 1974, when he had just made public the Watergate scandal, Francis Ford Coppola made "The Conversation." Used a script he had written several years earlier, and was why we had to hear the charge opportunistic timing of the take to the screen. Perhaps the ticket was favored (although the public success was poor), but time and a careful reading of the film, show that their approach goes well beyond the circumstances in which it appeared. A remarkable number of factors make "The Conversation" is a key part in the career of its director, starting with strictly short-term, note that this film won the prestigious Palme d'Or at Cannes in 1974.

The legendary film "Blow Up" (1966) by Michelangelo Antonioni, also winner of the Palme d'influence in the genesis of the project. In Antonioni's film, the protagonist was a photographer who discovered a crime through some snapshots taken in a London park. Coppola replaced that whole world of cameras and photographic equipment with a new one where the devices used to capture the reality were microphones and tapes. In both cases, the technique was treated as an extension of the senses, an instrument that was used to perceive what the eye and the ear had not been able to see or hear. To perform this exercise approach to facts, Coppola decided to give his film a slow pace that allowed the viewer to go slowly and more contemplative as possible in the narrative. This treatment completely determined approach was to have the film: how to display the events became so detailed and thorough. In "The Conversation", figure out things at the same time the protagonist, through a subjective point of view, that we never know more than he knows. A similar situation can be noticed in the recent film "The Lives of Others" (2006). Moreover, Harry is a loner and moody. Strain has developed a distrust of professional people and introverted character that make him a being uncommunicative.

This aspect puts them back on tape Coppola with Antonioni's work (no doubt, the most daring writer of the drama of human inability to communicate). Harry Caul lives all alone in an apartment in theory no one has access and is protected with enhanced security measures. Never give your phone number to anyone and always attracts clients from a car. Your daily life is surrounded by a deafening silence and hates to ask questions so as to exchange confidences. Aseptic character as they come, Caul is the spitting image of listless observer, always more concerned about how is the recording of what is recording. The staging is so precise that we are able to grasp all that sees the protagonist with the passivity that characterizes him. Changing attitude diametrically when the possibility of a crime awakens his conscience mechanisms of this prolonged state of lethargy and seeks to avoid that someone can be harmed because of him. Surprising is also the secondary and short of the then unknown Harrison Ford, making great business executive whose image display is a mixture of beauty and mystery. In the interest of the narrative Coppola strict and prefer a slower tempo, "The Conversation" takes on a hyper-realistic tone that comes to shock the viewer, who, at times, can have the impression of watching snippets of a private life.

However, as subjective perspective that takes the film causes excessive realism that runs from the opposite end, the deformation of the object referred to staff. It is then that gets really hostile environment for the protagonist because his mind, severely affected by paranoia, he suggests the idea that the old observer has now become the subject observed. But is it really? The answer lies in the hands of one viewer who has wanted to be surprised by this parable on the human inability to communicate, shot a flawless narrative pulse enveloped in an overwhelming atmosphere of suspense. Hackman is great in his complex role, which knows to provide a strong spirit and a mortifying introspective secrecy. In "The Conversation" there are different levels, interacting with each other in a way that could almost be described as dialectical, are being overtaken by other higher order which in turn generate a new interaction, to end leading to the final approach to the work . In a way the film has staged the transition from animality to humanity, traffic is marked by the assumption of moral consciousness. We are responsible for what we do, our actions are not free, its consequences are the result of the exercise of our freedom, and she can not resign. Hiding his face behind the curtain (as it did once before Caul not to take the three deaths caused their work) and will not serve to restore the lost peace.

In the 1970 Francis Ford Coppola film amounted to Olympus X-rayed the loneliness and the different conceptions of power. Michael Corleone in "Godfather " (1972) and "The Godfather: Part II" (1974) and Captain Willard and Colonel Kurtz in "Apocalypse Now" (1979), which like Harry Caul are men sentenced to detained survive in bubble wrap. The isolation is, for them, the only way to preserve their power. In turn, this secrecy fed into them a self-destructive paranoia that devours any link between the character and environment. His loneliness is therefore absolute and irreversible. Thus, "The Conversation" shows the main character as being powerless before the murder, his mind is between the real and the unreal. The film also takes a source of "Steppenwolf" by Herman Hesse story which brings to the melancholy introspection, isolation, loneliness and unhappiness of his central character. The scene in which an alienated Caul destroys all your apartment trying in vain to find the micro to the being spied on, is simply heartbreaking. Again a gentle overview shows the claustrophobic space in which the character operates. Coppola brilliantly shows, while the physical deterioration of the apartment, the disposal of a desperate character, complementing off though, who have won their most important asset: their privacy, what he robs his victims. Where was the mic? We ask everyone. Coppola also has an answer for this: the only thing that Harry Caul ever shatter or abandon: his saxophone. This makes inanimate object Caul, at least briefly, in an emotional human being.

"The Conversation" is not a moralistic film. Its outcome is tragic, a little in the Greek sense of the term. Think that the individual is able to alter, by his conduct, the course of events is more than anything else, a symptom of arrogance. The staging used by Coppola and tells us so from the middle of the footage. The insignificance of the protagonist to the imposing building that is engineered to deliver the tapes, put things in place. Caul is not responsible for what happened, but one more piece of a mechanism that has used it to achieve its ends. The individual, far from being the center of decision will be relegated to insignificance, and most dramatic for him is that he can not return to origin, since, as mentioned, the route taken is irreversible. The result (Caul playing the saxophone at home) only alters the starting point in the destruction of the house, or, which is, in the destruction of himself as a person. His desperate search is a search on anything that has nothing to offer, as there is no specific place where the evil lies and to allow recovery of lost dignity. Taking his own misery, an assumption that can not even be willing to individuals who, like Caul, have been human, is all that remains. Currently haunting this film, beautiful depth that can be discovered in it, with nothing to do with economic opportunity at the time that he wanted to blame. Today the film continues to offer its revenues, while Watergate, of uncovering now, he would not be appropriate. Missed.

"excellent and masterful portrait of loneliness"