tag:blogger.com,1999:blog-197402242024-03-12T23:34:01.590-03:00o signo do dragãoUnknownnoreply@blogger.comBlogger494125tag:blogger.com,1999:blog-19740224.post-9740612878526524622015-12-10T12:00:00.000-02:002020-04-10T05:25:23.039-03:00<p align="center"><b><i><a href="https://fr.wikipedia.org/wiki/Cin%C3%A9ma_de_minuit">Cinéma de minuit</a></i></b></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-19740224.post-24979671982681450802015-08-31T09:23:00.000-03:002020-04-02T18:42:47.006-03:00Union Pacific<p align="justify"><strong>CINECINEMA CLASSIC, 16 h 30 </strong><br /><br />Par Louis SKORECKI<br /><br />Entre Cecil B. DeMille et moi, il y a un pacte d'amour. Comme avec Lang, Dwan, Walsh. Je ne crois pas à la fiction d'un DeMille pyrotechnicien ou régisseur de spectacles filmés. Ni ses péplums, ni ses mélos historiques, ni ses délires bibliques ne relèvent du show-biz. C'est un moraliste, un primitif griffithien, un point c'est tout. Remonter à DeMille, c'est remonter à la source du cinéma, ce Nil naïf dont on a perdu la trace depuis longtemps. Erudition racée, sens inné du cinéma frontal et populaire (mais jamais populiste), longue fréquentation de la grande déception monochrome, celle qui fait le charme de l'art d'usine hollywoodien hélas enfui.<br /><br />Tu parles de moi ?, dit une petite voix. Qui êtes-vous ?, je dis. Je suis DeMille, dit la voix. Moi, c'est Skorecki, je réponds. Et votre petit nom ?, demande Cecil. Louis, je dis. Que pensez-vous d'<em>Union Pacific</em>? C'est du niveau de votre meilleur film, <em>l'Odyssée du docteur Wassell</em>, je dis. Je pense qu'entre 1936 (<em>Une aventure de Buffalo Bill</em>) et 1946 (<em>Unconquered</em>), vous avez fait vos meilleurs films. De quand date <em>Union Pacific</em>?, dit DeMille, j'ai oublié. 1939, je réponds; et avec Joel McCrea, l'un de mes acteurs préférés. Je l'aime moi aussi, dit DeMille. Je l'avais d'ailleurs dirigé dès 1929, dans <em>Dynamite</em>. Saviez-vous que Joel McCrea avait tourné avec Allan Dwan, Raoul Walsh, Howard Hawks, Edward Ludwig, Preston Sturges, Jacques Tourneur ?, je dis. Pas mal, répond DeMille.</p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-19740224.post-33348237319637061282015-08-22T00:05:00.000-03:002020-04-04T23:25:21.472-03:00New York 1997. Ciné Cinémas I, 20h30.<p align="justify">15/09/1999 à 00h43 <br /><br /><span style="font-weight:bold;">SKORECKI Louis</span><br /><br />Dans un ciné-monde où le décoratif tient le plus souvent lieu de sujet, que faire de ces cinéastes ultra-maniéristes, John Carpenter aujourd'hui, Paul Verhoeven mercredi prochain, qui vont encore plus loin en faisant du décor une obsession, un thème, presque une mythologie? Dans New York 1997 comme dans la plupart de ses navets séduisants, Carpenter revient sur le passé du cinéma hollywoodien à la manière de quelques-uns de ses grands aînés pasticheurs, Sergio Leone ou Clint Eastwood pour prendre les plus visibles. Revisiter les grandes peurs de l'Amérique (the Thing), comme ses plus belles légendes (Elvis, the Movie), cela fait toujours son effet à condition de ne pas en abuser, précisément, des effets, ces poses ripolinées dont Carpenter ne se prive pas. Si New York 1997 se regarde pourtant avec plaisir, c'est qu'il prend ouvertement son pied à singer Jack Arnold ou Roger Corman, en faisant comme si la série B existait toujours. Ce sens du remake ringard, de l'emphase revendiquée, passent ici par quelques-unes des plus belles gueules de la culture déviante contemporaine (Harry Dean Stanton, Donald Pleasence, Isaac Hayes), emmenées par l'acteur caméléon/fétiche de John Carpenter, Kurt Russell, impeccable en outlaw borgne, viré héros aldrichien. Futurisme glauque, polar-péplum, suspense archaïque, tout respire le mélange des genres, pour le meilleur et pour le pire. La recette de Carpenter s'écoute plus encore dans les musiques qu'il bricole qu'elle ne se voit dans sa mise en scène. Rock minimal, vaguement répétitif, vaguement électronique, à l'image d'un art du maquillage volontairement pauvre, comme une version disco des westerns de Howard Hawks, un sampling optique de quelques thrillers speedés de Don Siegel, une approximation baveuse des plus beaux Huston. Dans le meilleur cas (Invasion Los Angeles), il peut même rendre crédible, l'espace de quelques séquences joliment paranoïaques, filmées à la six-quatre-deux avec trois fois rien, l'hypothèse siegelienne d'une vampirisation de la population par des body snatchers à la solde de la pire société de surveillance et de consommation.</p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-19740224.post-60475284801441397692015-06-20T19:56:00.002-03:002020-04-05T15:39:31.240-03:00Peut-on faire du cinéma quand on est fils de pauvres ?<p align="center"><iframe width="640" height="360" src="https://www.youtube.com/embed/4GfyDHneXJg" frameborder="0" allowfullscreen></iframe></br></br><a href="https://www.hors-serie.net/emission.php?id=96&is"><span style="font-size:130%;">Entrevista completa.</span></a></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-19740224.post-4760543532148297692015-06-15T12:07:00.002-03:002020-05-12T15:26:12.432-03:00<p align="center"><a href="http://1.bp.blogspot.com/--djP8scsJJY/VX7qKLV1CtI/AAAAAAAAGls/McIBUOQBnLw/s1600/lourcelles.jpg" imageanchor="1" ><img border="0" src="https://1.bp.blogspot.com/--djP8scsJJY/VX7qKLV1CtI/AAAAAAAAGls/McIBUOQBnLw/s1600/lourcelles.jpg"></a></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-19740224.post-28039234928637572842015-06-14T23:35:00.000-03:002020-05-12T15:25:29.493-03:00<p align="center"><a href="http://2.bp.blogspot.com/-BB_e4ewD4NM/VX45is69PlI/AAAAAAAAGlY/Ij-0HL_Mbtk/s1600/douchetmannhunter.jpg" imageanchor="1" ><img border="0" src="https://2.bp.blogspot.com/-BB_e4ewD4NM/VX45is69PlI/AAAAAAAAGlY/Ij-0HL_Mbtk/s1600/douchetmannhunter.jpg"></a></p>Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-19740224.post-70816868772101843252015-06-11T19:25:00.000-03:002020-04-06T20:53:19.725-03:00<p align="justify"><i>... donde entre otras cosas se explica que el cine tiene por lo menos cuatrocientos años y que mucho antes de Griffith y Lumière, de Méliès y del propio SME, un griego errante que acabó en Toledo... "¡conocía esa atracción apasionada de los colores complementarios los unos por los otros, el uno en el otro! Esa escisión en dos colores complementarios como un movimiento escindido en dos planos, como una acción en fragmentos de montaje, con el mismo ímpetu al fundirse en una unidad nueva, de calidad superior: dos representaciones combinadas en una imagen, dos colores traspasándose mutuamente, ¡a fin de engendrar el transporte expresivo del éxtasis!"</i></p>
<p align="center"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-GjautZ76F0g/XomK91drsqI/AAAAAAAAHCs/68IxxH2rDd43QoYeR7_9D1eEfnI8_IUgQCLcBGAsYHQ/s1600/adieu.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://1.bp.blogspot.com/-GjautZ76F0g/XomK91drsqI/AAAAAAAAHCs/68IxxH2rDd43QoYeR7_9D1eEfnI8_IUgQCLcBGAsYHQ/s1600/adieu.jpg" data-original-width="1000" data-original-height="536" /></a></div></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-19740224.post-62383865460555666002015-04-03T17:59:00.001-03:002020-04-15T20:08:05.100-03:00<p align="justify">Lynch, Spielberg, mesmo problema: acham que com uma miscelânea sonora absurda (pena que Lynch seja um designer de som brilhante mas completamente surdo às composições que o Angelo Badalamenti faz para os seus filmes, e que as composições do John Williams complementem de maneira tão eficaz os designs de som hediondos dos filmes do Spielberg) amplificarão uma imageria precária (Spielberg) ou vaporosa (Lynch) que continuamente oferece as respostas mais triviais e vulgares às questões mais difíceis e incômodas levantadas pelos filmes (nenhuma coincidência que ambos tenham o Norman Rockwell como referência central: boa parte da obra do Lynch pode ser retraçada a <i>The New American LaFrance is Here</i> enquanto a obra completa do Spielberg poderia se chamar <i>Christmas Homecoming</i>), refugiando-se para isso no puritanismo mais retrógrado (mostrem-me um filme do Capra que tenha algo tão grotesco como as versões diáfanas das famílias Palmer/Beaumont), invocando sem nenhuma economia, sem nenhum pudor o invisível no visível (que confundem ou com o bizarro pitoresco, no caso do Lynch, ou com o impossível e o improvável fantasioso, no caso do Spielberg; daí, talvez, a recorrência de personagens tapados-embasbacados que batem ponto ostentando uma esforçada expressão de perplexidade durante os momentos em que o anômalo, o insólito, o inacreditável, uma espaçonave-um anão vestido de vermelho com uma fala esquisita tomam forma).</br></br>
Os dois lados (um "beato", o outro "perverso") da mesma moeda:</br></br>
<p align="center"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-jWlYkTCzWmw/XoewjD0ZyuI/AAAAAAAAG90/8kTpEiSnP_Ulbs_B-iLOm5pzwQGtV1jIwCLcBGAsYHQ/s1600/close-encounters-people-looking.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://1.bp.blogspot.com/-jWlYkTCzWmw/XoewjD0ZyuI/AAAAAAAAG90/8kTpEiSnP_Ulbs_B-iLOm5pzwQGtV1jIwCLcBGAsYHQ/s1040/close-encounters-people-looking.png" data-original-width="1600" data-original-height="677" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-4GTanYmZKS8/XoewkLO_IrI/AAAAAAAAG94/E5bHeke_t2It5CFJsZKxrUbTEAewdfxIQCLcBGAsYHQ/s1600/imperio-dos-sonhos.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://1.bp.blogspot.com/-4GTanYmZKS8/XoewkLO_IrI/AAAAAAAAG94/E5bHeke_t2It5CFJsZKxrUbTEAewdfxIQCLcBGAsYHQ/s1040/imperio-dos-sonhos.jpg" data-original-width="1440" data-original-height="750" /></a></div></p>
<p align="justify">O epítome de um cinema do capitalismo (inflação, inflação, inflação), que só poderia existir pelo e para o capitalismo.</br></br>
Tem quem compre (e a se julgar pela circulação da falsa moeda cinematográfica nos dias que correm, é o que não falta).</br></br>
Mas existem antídotos para o que fazem esses dois: Dario Argento (ou Hou Hsiao-hsien) para Lynch, Joe Dante (ou John Milius) para Spielberg.</p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-19740224.post-78640031006311853062015-03-07T02:53:00.000-03:002020-04-02T18:44:06.378-03:00Double bill<p align="center"><a href="http://3.bp.blogspot.com/-eAMEKaCKVYQ/VPqR9kqcwiI/AAAAAAAAGds/RxcnDm5KZK0/s1600/MarieJulien.jpg" imageanchor="1" ><img border="0" src="https://3.bp.blogspot.com/-eAMEKaCKVYQ/VPqR9kqcwiI/AAAAAAAAGds/RxcnDm5KZK0/s640/MarieJulien.jpg"></a></br></br>
<a href="http://3.bp.blogspot.com/-jaYAVtdZXzI/VPqR_aMncGI/AAAAAAAAGd0/WdGqYlJ9N80/s1600/fillenullepart.jpg" imageanchor="1" ><img border="0" src="https://3.bp.blogspot.com/-jaYAVtdZXzI/VPqR_aMncGI/AAAAAAAAGd0/WdGqYlJ9N80/s640/fillenullepart.jpg"></a></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-19740224.post-77852386647600817632015-03-02T03:00:00.000-03:002020-04-02T22:07:11.937-03:00Lápis, cajado e adaga<p align="justify"><i>Absolute Power</i> lembra muito, mas muito, mas muito mesmo os filmes da série <i>Les filles du feu</i> do Rivette: um quadro narrativo arquetípico não apenas deplorável, não apenas desprezível mas - é do que nos damos conta lá pela metade do filme - completamente <i>descartável</i> vai se diluindo nos seus chavões mais gastos e acaba se esgotando no cumprimento dos procedimentos mais ordinários de exposição narrativa que se pode imaginar (aqueles diálogos inacreditáveis da investigação policial do Ed Harris e da Penny Johnson, a parte conspiratória genérica com a Judy Davis, o Scott Glenn e o Dennis Haysbert: o Eastwood despacha tudo isso sem muitas delongas e <i>genialmente</i>, isto quer dizer o mais admiravelmente, o mais gentilmente, o mais economicamente, o mais <i>indiferentemente </i>possível) para dar lugar à parte substancial do filme que, como em Hitchcock, jaz na passagem do subtexto para o nível de texto principal do filme.</br></br>
E é justamente essa a parte que mais se assemelha ao Rivette (e que, ao contrário do que insistem certos interlocutores da falsa polêmica <i>American Sniper</i>, corresponde precisamente à parte do cinema do Eastwood em que roteiro ≠ <i>mise en scène</i>): sob a forma de jogo, de interação recreacional (uma pena <i>jeu </i>e <i>gamesmanship</i> não terem uma boa tradução para o português), sob as influências recíprocas de estilos de interpretação os mais distintos (é o mínimo que se pode dizer a respeito de um elenco composto por Ed Harris, Laura Linney, Scott Glenn, Gene Hackman, Judy Davis, E. G. Marshall, Dennis Haysbert e... Clint Eastwood), a direção estimula tudo o que é da ordem do lúdico, da pantomima (Eastwood como o homem de mil disfarces, surgindo e desaparecendo em pequenos números teatrais, ludibriando todos o tempo todo; a magnífica cena de dança do Gene Hackman com a Judy Davis no salão presidencial; os dois assassinos convocados pelas mais altas instâncias do poder; Eastwood invadindo a casa de E. G. Marshall e mais tarde E. G. Marshall invadindo a Casa Branca; as interações entre Ed Harris e Laura Linney, Ed Harris e Scott Glenn, Ed Harris e Clint Eastwood, Ed-Harris-ou-o-prazer-de-atuar), mais pelo seu frescor (Eastwood-<i>Breezy</i>) do que pelo seu despojamento (Rivette-<i>Out 1</i>), com as inúmeras viradas de roteiro (por uma vez esse recurso não é a coisa mais miserável de um filme) sempre alinhadas a mudanças significativas no registro de cada caracterização (o filme todo é construído praticamente como uma série de interlúdios), e conseqüentemente de cada interpretação. A direção acolhe organicamente todo esse material heterogêneo, assumido e escancarado em toda a sua disparidade, no interior de um único organismo narrativo que se desdobra em duas tramas ficcionais (talvez por isso tem quem chame "narrativa" de "trama": assim que você puxa uma ponta o resto se desata a partir do movimento deflagrado pela ação inicial), uma côncava e a outra convexa, uma superficial e a outra subterrânea, uma exterior (Eastwood ladrão reformado mas não desocupado) e a outra fantasma (o Eastwood não passa de uma aparição <i>o filme todo</i>)... como em <i>Paris nous appartient</i>, como em <i>Céline et Julie vont en bateau</i>, como em <i>Duelle </i>e <i>Noroît</i>.</br></br>
(me fez sentir, também, saudades dos tempos em que os "espectadores advertidos" de hoje eram apenas uns adolescentes espinhentos, excitados, admiradores caucionados de "Os Três Tenores <i>in Concert</i>" e Adriana Calcanhoto ou sedentos por Cheetos Bolinha, Pepsi Twist e quadrinhos: onde já se viu o republicano Eastwood fazendo contra-propaganda para difamar e <a href="http://en.wikipedia.org/wiki/Clinton_v._Jones">colocar na berlinda</a> o democrata Clinton e isto passar completamente despercebido pela intelligentsia da época? Ah, os bons e velhos anos 90...)</br></br>
Mas voltando ao que importa: quem foi mesmo que escreveu nos anos 50, sobre Rossellini, que "a distância mais curta entre dois pontos é uma linha reta", e disse, em 1968 (Cahiers nº 204), que "eu acredito que a vontade de fazer com que uma cena dure de tal maneira e não de outra é uma escolha política", seguido de "a política é o que existe de mais geral"?</br></br>
Desnecessário repeti-lo a respeito do trabalho do Eastwood nos anos 90, portanto.</br>
<div align="center"><a href="http://2.bp.blogspot.com/-ywnQhXZhzzE/VPON2qJiPtI/AAAAAAAAGWw/6hybm4BwDuQ/s1040/absolute1.jpg" imageanchor="1" ><img border="0" src="https://2.bp.blogspot.com/-ywnQhXZhzzE/VPON2qJiPtI/AAAAAAAAGWw/6hybm4BwDuQ/s1040/absolute1.jpg"></a></br></br>
<a href="http://4.bp.blogspot.com/-0qwHFuYxa50/VPON2ySu1_I/AAAAAAAAGWs/rUR8Z1VCpA0/s1040/absolute2.jpg" imageanchor="1" ><img border="0" src="https://4.bp.blogspot.com/-0qwHFuYxa50/VPON2ySu1_I/AAAAAAAAGWs/rUR8Z1VCpA0/s1040/absolute2.jpg"></a></br></br>
<a href="http://3.bp.blogspot.com/-DZfo5A1f8xs/VPP2Jc9JGHI/AAAAAAAAGYk/isqU3HQzzlQ/s1040/valeskaajudou1.bmp" imageanchor="1" ><img border="0" src="https://3.bp.blogspot.com/-DZfo5A1f8xs/VPP2Jc9JGHI/AAAAAAAAGYk/isqU3HQzzlQ/s1040/valeskaajudou1.bmp"></a></br></br>
<a href="http://4.bp.blogspot.com/-qDz3OF3QRr4/VPP2J9RuX-I/AAAAAAAAGYo/aWeiEMtfTQw/s1040/valeskaajudou2.bmp" imageanchor="1" ><img border="0" src="https://4.bp.blogspot.com/-qDz3OF3QRr4/VPP2J9RuX-I/AAAAAAAAGYo/aWeiEMtfTQw/s1040/valeskaajudou2.bmp"></a></br></br>
<a href="http://2.bp.blogspot.com/-hZvaErEtE1s/VPP2J29uI5I/AAAAAAAAGYw/77F1VC4754U/s1040/valeskaajudou3.bmp" imageanchor="1" ><img border="0" src="https://2.bp.blogspot.com/-hZvaErEtE1s/VPP2J29uI5I/AAAAAAAAGYw/77F1VC4754U/s1040/valeskaajudou3.bmp"></a></br></br>
<a href="http://4.bp.blogspot.com/-tt4fsKH0Gvk/VPP5zOrXUTI/AAAAAAAAGZE/LSVPuKqC3cI/s1040/valeskaajudou4.bmp" imageanchor="1" ><img border="0" src="https://4.bp.blogspot.com/-tt4fsKH0Gvk/VPP5zOrXUTI/AAAAAAAAGZE/LSVPuKqC3cI/s1040/valeskaajudou4.bmp"></a></br></br>
<a href="http://2.bp.blogspot.com/-pNWP_du5vjA/VPON25x_v7I/AAAAAAAAGWo/7WtduBpEHbg/s1040/absolute3.jpg" imageanchor="1" ><img border="0" src="https://2.bp.blogspot.com/-pNWP_du5vjA/VPON25x_v7I/AAAAAAAAGWo/7WtduBpEHbg/s1040/absolute3.jpg"></a></br></br>
<a href="http://4.bp.blogspot.com/-N4cGuxx27nc/VPON3oQrl_I/AAAAAAAAGW4/f3JL14amnPk/s1040/absolute4.jpg" imageanchor="1" ><img border="0" src="https://4.bp.blogspot.com/-N4cGuxx27nc/VPON3oQrl_I/AAAAAAAAGW4/f3JL14amnPk/s1040/absolute4.jpg"></a></div></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-19740224.post-25992759823859890802015-03-01T23:05:00.000-03:002021-01-16T21:52:40.933-03:00<p align="center"><a href="http://2.bp.blogspot.com/-oPVW-U_BeDk/VPO_VwbKcOI/AAAAAAAAGXQ/OlADa2REGPk/s1600/comollidetourparledirect.png" imageanchor="1" ><img border="0" src="http://2.bp.blogspot.com/-oPVW-U_BeDk/VPO_VwbKcOI/AAAAAAAAGXQ/OlADa2REGPk/s1600/comollidetourparledirect.png" /></a></br></br>
<a href="http://www.liberation.fr/tribune/1998/03/14/le-rayon-vert-dans-le-film-eponyme-de-rohmer-n-etait-pas-un-effet-special-mise-au-point-de-celui-qui_230139">Aqui</a> (<a href="http://theballoonatic.blogspot.com.br/2015/03/le-rayon-vert.html">daqui</a>)</br></br>
<a href="http://4.bp.blogspot.com/--h_ah9YDafg/VPPFBbHSoDI/AAAAAAAAGXk/04D3jrFxC-E/s1600/1.jpg" imageanchor="1" ><img border="0" src="http://4.bp.blogspot.com/--h_ah9YDafg/VPPFBbHSoDI/AAAAAAAAGXk/04D3jrFxC-E/s1600/1.jpg" /></a></br></br>
<a href="http://1.bp.blogspot.com/-hbWmtwvoLxs/VPPFBGq0JVI/AAAAAAAAGXs/xswPKOBC7lc/s1600/2.jpg" imageanchor="1" ><img border="0" src="http://1.bp.blogspot.com/-hbWmtwvoLxs/VPPFBGq0JVI/AAAAAAAAGXs/xswPKOBC7lc/s1600/2.jpg" /></a></br></br>
<a href="http://1.bp.blogspot.com/-LhtQ1ifw4TM/VPPFBIZ0YUI/AAAAAAAAGXg/IUDA4yGpfAo/s1600/3.jpg" imageanchor="1" ><img border="0" src="http://1.bp.blogspot.com/-LhtQ1ifw4TM/VPPFBIZ0YUI/AAAAAAAAGXg/IUDA4yGpfAo/s1600/3.jpg" /></a></br></br>
<a href="http://2.bp.blogspot.com/-TsV6gDXVJUs/VPPFBy0AXgI/AAAAAAAAGXw/OPTQqxF6fGQ/s1600/4.jpg" imageanchor="1" ><img border="0" src="http://2.bp.blogspot.com/-TsV6gDXVJUs/VPPFBy0AXgI/AAAAAAAAGXw/OPTQqxF6fGQ/s1600/4.jpg" /></a></p>Unknownnoreply@blogger.com4tag:blogger.com,1999:blog-19740224.post-54475396977145216132015-03-01T17:29:00.000-03:002020-04-02T18:45:03.057-03:00<p align="justify"><i>The strange thing about Bach is that it doesn't at all fit our conception of the misunderstood genius who is years ahead of his time. He was certainly misunderstood, but not because he was ahead of his time, rather because according to the musical disposition of that day he was generations behind it. </i>[...]<i> And Bach as he grew older not only made no attempt of reconcile his thought with the temper of his times, but in fact withdrew into what must have seem to his contemporaries surely as a maddening nostalgia for the glories of ages past. For Bach, you see, was music's greatest nonconformist, and one of the supreme exemples of that independence of the artistic conscience that stands quite outside of the collective historical process.</i></p>
<p align="center"><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-Vb1xvl8d5uk/XoZPw_xL05I/AAAAAAAAG3U/eQjxA9rNAqI8RryEunGN29jcubMp65eQwCLcBGAsYHQ/s1600/rohmer.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://4.bp.blogspot.com/-Vb1xvl8d5uk/XoZPw_xL05I/AAAAAAAAG3U/eQjxA9rNAqI8RryEunGN29jcubMp65eQwCLcBGAsYHQ/s1600/rohmer.jpg" data-original-width="800" data-original-height="575" /></a></div></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-19740224.post-21598055714175476462015-02-28T06:36:00.000-03:002020-04-02T22:24:07.344-03:00<p align="justify">Por sinal, é quando vejo <i>Un Amleto di meno</i> que vejo alguém triunfando exatamente onde o Tarantino falha nesses filmes <i>Kill Bill</i> dele: ao mesmo tempo o espetáculo e a explosão do espetáculo, onde todas as cores (ou seja: todas as matizes, todas as nuances, todos os contrastes, toda sutileza) são separadas violentamente para se dispersarem e se reencontrarem com ainda mais violência em outros pontos, rebentando nas superfícies saturadas, nos fragmentos magníficos, na fanfarronice da irracionalidade que a todo instante nega qualquer sentido à representação e produz assim uma acumulação torrencial e estridente de anti-signos, totalmente opacos e refratários a qualquer exegese (cf. o plano final).</br></br>
É Shakespeare trazido ainda mais uma vez ao proscênio, mas desta vez para uma traição completa (não à toa Bene foi pegar logo <i>Hamlet</i>) de todos os pressupostos que o acompanham, o legitimam e o conservam como patrimônio histórico no imenso e indiferente caldeirão de formol da cultura, tudo o que finalmente reduziu Shakespeare e <i>Hamlet </i>a peças de museu (não tem ninguém aqui usando um excedente de referências para se amparar no reconhecimento de inteligências cúmplices, ninguém se escondendo na complacência do espectador culturalmente advertido como nos filmes de vocês sabem quem e em tantos outros filmes feitos hoje por vocês também sabem quem). A agitação dos corpos à beira da convulsão e da afilaxia não é gratuita: é a traição que injeta vigor na tradição, é a pressão do sangue que corre mais uma vez nas veias de personagens tão embotados (o clássico definitivamente não é a asseptização da tradição, Bene deixa bem claro) como Hamlet, Gertrude, Horatio, Ophelia etc.</br></br>
Para não falar, também, que o Bene <i>realmente faz</i> montagem eisensteiniana, não fica só de panca com um avid e uma estrutura primária de montagem de atrações como, por exemplo, o realizador de <i>Cassino</i> costuma ficar.</br></br>
E também que é o anti-Gomes, o anti-Martin, o anti-Serra, anti toda essa porra de cinema internacional contemporâneo acadêmico anestésico patrimonialista do caralho.</br></br>
Em suma, a raridade: um filme <b>verdadeiramente</b> moderno.</br>
<div align="center"><a href="http://4.bp.blogspot.com/-mq6f5tqx6L4/VPBY48x_SSI/AAAAAAAAGVo/vTISd8TCpYU/s1600/amleto1.png" imageanchor="1" ><img border="0" src="https://4.bp.blogspot.com/-mq6f5tqx6L4/VPBY48x_SSI/AAAAAAAAGVo/vTISd8TCpYU/s1040/amleto1.png"></a></br></br>
<a href="http://3.bp.blogspot.com/-uMRaCBCXW3Y/VPBY4g2rsuI/AAAAAAAAGVk/pRr2mFQ0q94/s1600/amleto2.png" imageanchor="1" ><img border="0" src="https://3.bp.blogspot.com/-uMRaCBCXW3Y/VPBY4g2rsuI/AAAAAAAAGVk/pRr2mFQ0q94/s1040/amleto2.png"></a></br></br>
<a href="http://4.bp.blogspot.com/-5Cw7banfnR4/VPBY47TAFtI/AAAAAAAAGVw/lL09B9AKidM/s1600/amleto3.png" imageanchor="1" ><img border="0" src="https://4.bp.blogspot.com/-5Cw7banfnR4/VPBY47TAFtI/AAAAAAAAGVw/lL09B9AKidM/s1040/amleto3.png"></a></br></br>
<a href="http://4.bp.blogspot.com/-XKzaY36WZxc/VPBY7ojSijI/AAAAAAAAGV8/5P5XjLbJvx0/s1600/amleto4.png" imageanchor="1" ><img border="0" src="https://4.bp.blogspot.com/-XKzaY36WZxc/VPBY7ojSijI/AAAAAAAAGV8/5P5XjLbJvx0/s1040/amleto4.png"></a></br></br>
<a href="http://1.bp.blogspot.com/-If2oU0syeLQ/VPA5FOAA3TI/AAAAAAAAGVM/Y9TmlCxT8Tc/s1600/amleto1.png" imageanchor="1" ><img border="0" src="https://1.bp.blogspot.com/-If2oU0syeLQ/VPA5FOAA3TI/AAAAAAAAGVM/Y9TmlCxT8Tc/s1040/amleto1.png"></a></br></br>
<a href="http://3.bp.blogspot.com/-6x8tep06kXQ/VPA5FRLaGWI/AAAAAAAAGVQ/bWmBhmj0meQ/s1600/amleto2.png" imageanchor="1" ><img border="0" src="https://3.bp.blogspot.com/-6x8tep06kXQ/VPA5FRLaGWI/AAAAAAAAGVQ/bWmBhmj0meQ/s1040/amleto2.png"></a></div></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-19740224.post-69220255423599296532015-02-19T18:48:00.000-02:002020-04-03T09:00:15.819-03:00<p align="justify"><i><a href="https://signododragao.blogspot.com/2011/01/sensacao-terrivel-ao-me-dar-conta-de.html">Berlusconi created the first and only Italian commercial TV empire. He was assisted by his connections to Bettino Craxi, secretary-general of the Italian Socialist Party and also prime minister of Italy at that time, whose government passed, on 20 October 1984, an emergency decree legalising the nationwide transmissions made by Berlusconi's television stations.[19] This was in response to judgements on 16 October 1984 in Turin, Pescara and Rome, enforcing a law which previously restricted nationwide broadcasting to RAI, that had ordered these private networks to cease transmitting.</br></br>
After political turmoil in 1985, the decree was approved definitively. But for some years, Berlusconi's three channels remained in a legal limbo, and were not allowed to broadcast news and political commentary. They were elevated to the status of full national TV channels in 1990 by the so-called Mammì law.</a></i></br>
<div align="center"><iframe width="560" height="315" src="https://www.youtube.com/embed/AoGR-eAUw6k" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe></div></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-19740224.post-13828197385823909882015-02-19T18:37:00.001-02:002020-04-02T18:46:17.359-03:00<p align="center"><a href="http://2.bp.blogspot.com/-UK0PSzrFIas/VOZI07ms59I/AAAAAAAAGSs/7liu_yMW1as/s1600/empedokles.jpg" imageanchor="1" ><img border="0" src="https://2.bp.blogspot.com/-UK0PSzrFIas/VOZI07ms59I/AAAAAAAAGSs/7liu_yMW1as/s1024/empedokles.jpg"></a></br></br>
<a href="http://1.bp.blogspot.com/-c3h5Q_RBuv4/VOZI2lLU_0I/AAAAAAAAGS0/K6AgjZHHvnU/s1600/mirage.jpg" imageanchor="1" ><img border="0" src="https://1.bp.blogspot.com/-c3h5Q_RBuv4/VOZI2lLU_0I/AAAAAAAAGS0/K6AgjZHHvnU/s800/mirage.jpg"></a></br>
<div align="justify"><a href="http://www.focorevistadecinema.com.br/FOCO2/guiguet-empedocles.htm"><i>Logo percebemos que essa terra, de uma beleza milenar que devolve a tela de cinema à clareza vibrante de uma Sicília explodindo de sol, exprime o lamento da nossa e da sua destruição presente. Através de Empédocles, Jean-Marie Straub e Danièle Huillet falam evidentemente de hoje: as palavras, o ritmo, a musicalidade do texto da tragédia de Hölderlin se unem bem naturalmente ao concerto das cigarras cortando conscienciosamente o silêncio do verão siciliano. De um mundo em sua aurora ao planeta saqueado de hoje em dia pelos apóstolos do lucro, a compaixão do olhar dos Straub revela, com a mesma lucidez e para além do espaço e do tempo, a amplitude do desastre.</i></a></div></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-19740224.post-27726808181354116592015-02-17T22:57:00.001-02:002020-04-06T00:12:41.287-03:00<p align="justify">O <i>Obsession</i>, além de ser uma projeção assustadoramente acertada de tudo o que se produziu sob o ensejo do que se convencionou chamar de "maneirismo", desde os seus primórdios (primeira metade dos anos 1970) até a sua inevitável derrocada (anos 2000, entre <i>New Rose Hotel</i> e <i>L'intrus</i> até hoje), é também, e foi o que saltou aos olhos após revê-lo em 35 mm., Hitchcock revisto menos pela colagem modernista do Godard que pela entropia (afinal de contas o filme é sobre acumulação de capital e seus limites físicos e temporais) do Warhol.</br></br>
Foi mal pela falta do Scope.</br>
<div align="center"><iframe width="853" height="480" src="https://www.youtube.com/embed/b1jxdhSE0F8" frameborder="0" allowfullscreen></iframe></div></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-19740224.post-6368115302561401922015-02-17T20:02:00.000-02:002020-04-02T18:42:22.364-03:00Anos 2010<p align="justify"><i>O principal problema da nossa época...</br>
não é nem o problema da História, nem o da Existência, nem o da Estrutura, nem o da Epistemologia, nem o do Cogito, nem o do Psiquismo, nem nenhum dos problemas que invadiram o campo da nossa visão.</br>
O principal problema é:</br></br></i>
quanto mais inteligente se é, mais estúpido se é.</p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-19740224.post-83627619535153209992015-02-05T00:16:00.000-02:002020-04-02T18:48:37.282-03:00<p align="justify">Se o objetivo era fazer um filme todo construído em cima de diálogos que só reforçam a inclinação ideológica (demagógica) do projeto, do tipo "Para mim a revista <i>Veja</i> veio sem o plástico" saindo da boca da personagem mais antipática (a que quer foder com o zelador vadio por egoísmo, pois como todos sabemos quem quer despedir a entidade abstrata "zelador pobre" é automaticamente egoísta, canalha, injusto e, portanto, entidade abstrata "leitor da Veja"...) ou "Trabalhe duro" para respaldar o rapaz que, ao contrário da mãe faxineira (e obviamente evangélica), não vai à igreja (puta transgressão numa época de hegemonia religiosa esmagadora como a nossa...), ou em cima de simbolismos esclarecedores (ou seja, perfeitamente inúteis enquanto símbolos) como o vovô latifundiário com barba de Matusalém (afinal a injustiça é eterna...) nadando com os tubarões (i.e. os seus pares) na madrugada, então o Cronenberg foi completamente bem-sucedido com <i>Maps to the Stars</i>.</p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-19740224.post-16963547171648461882015-01-31T20:55:00.002-02:002020-04-06T00:22:49.290-03:00<p align="justify">O artigo é terrível, mas o documento histórico é <a href="http://www.slate.fr/story/97323/shoah-jerry-lewis-film-invisible">inestimável</a>.</p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-19740224.post-6989005881935989322014-11-23T04:46:00.000-02:002020-04-10T14:40:44.911-03:00Siegel por Rissient<p align=justify><i>When I was very young, I saw</i> Riot in Cell Block 11<i>, and I felt it was a remarkable film in terms of directing style. And also the actors were terrific. Then I saw</i> Baby Face Nelson <i>and I noticed that the screenwriter was Daniel Mainwaring, who had written novels and some early scripts under the name of Geoffrey Homes, and who I thought was an excellent screenwriter who wasn’t as well known as he should be. Eventually, I became very friendly with him, which led to my becoming very friendly with Don Siegel.</i></br></br>
<i>I was discovering cinema. I was discovering film noir. I was discovering genre films. And what I liked in all of that was the physicality of the direction. I started to develop the conviction that cinema is not supposed to be intellectual — of course, it’s supposed to be intelligent, which is something else — and that it must be physical. If you think of</i> Riot in Cell Block 11<i>, you can imagine exactly what I was feeling — the physicality of the action, the leanness of the action. The mood is very dark, but at the same time it isn’t false. It’s a mood that comes from the subject matter, rather than being forced on top of it. Don was extremely good at studying groups of characters. For example, in</i> Riot in Cell Block 11<i>, there is a group of people in jail, and also the wardens. In</i> Hell is for Heroes<i>, there is a group of soldiers. In</i> The Beguiled<i>, it’s a group of women. <a href="https://www.youtube.com/watch?v=jJjn9Vt7k1Q">And he places himself as an observer, almost a kind of entomologist</a>.</i></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-19740224.post-46177384330884319432014-10-20T01:01:00.000-02:002020-04-03T08:47:38.498-03:00Filme incrível, o Bella addormentata<p align="center"><iframe width="960" height="720" src="//www.youtube.com/embed/XLZ8uPVY8Zg" frameborder="0" allowfullscreen></iframe></br></br>
<iframe width="853" height="480" src="//www.youtube.com/embed/AzDHQ56NJZU" frameborder="0" allowfullscreen></iframe></br></br>
<iframe width="960" height="720" src="//www.youtube.com/embed/820DOVXZSm8" frameborder="0" allowfullscreen></iframe></br></br>
<a href="http://3.bp.blogspot.com/-h0QMexOLS1k/VER6J5sUHHI/AAAAAAAAGJo/GG2pzf3xkaE/s1600/straub.PNG" imageanchor="1" ><img border="0" src="https://3.bp.blogspot.com/-h0QMexOLS1k/VER6J5sUHHI/AAAAAAAAGJo/GG2pzf3xkaE/s1600/straub.PNG"></a></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-19740224.post-36959585643884856382014-10-18T10:06:00.002-03:002020-04-22T06:47:27.767-03:00<p align="justify">O mais interessante em <i>O Som ao Redor</i> é que o filme endossa sua principal idéia - a de que rico inútil não sabe enxergar a realidade - demonstrando-a.</p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-19740224.post-50603657574223931792014-07-04T01:37:00.000-03:002020-04-02T18:49:12.953-03:00"To exorcise horror, we use many means, from whisky to tv"<p align="justify">A genre I'm well versed in is the so-called "horror film", although I prefer the French term <i>film d'épouvant</i>. I explained quite a few times what's my definition of horror. It's got nothing to do with monsters or things like that. I think that's a cheap way to scare people, worthy of carnivals... The "real" horror is hidden inside us since our birth. It's an atavic terror which dates back to cavemen, when our ancestors, the link between monkey and the first humanoids, hid in the deep of their badly lit caves, while outside, in the dark of those endless nights, tremendous apocalyptic storms broke out, and frightening roarings could be heard. And those helpless creatures couldn't do anything but hold each other in fear. The first terror is that of the dark.</br></br>
That's the real horror: that of something you can't see, of a noise that makes you shiver. In all of my films there are doors that open in the dark with no sound, creakings and rustling noises, a branch tapping against a window like the hand of a ghost.</br></br>
Ghosts. The beyond. A riddle that many people pretend to ignore. Spirits, or <i>revenants </i>as the French call them... those who come back. Many people, because of their ignorance, just refuse to talk about this. But I believe they are part of our reality. Ghosts frighten us, and when they are not "real" ghosts the effect is even more disquieting. Anyway, what they stimulate is our fear of the unknown, of the dark. To us, darkness means death. When a storm breaks out, the effect is complete. And the ones jumping on their seat just don't know that, for a brief moment, they look exactly like their ancestors in the caves.</br></br>
To exorcise horror, we use many means, from whisky to tv. They make us sleep. But even sleep isn't safe. Because our unconscious fills our dreams with nightmares... It's the Devil that plagues our nights, and it's he who rules our actions. He makes us envious, greedy and lustful, and leads us to sin, in its most horrible forms: from incest to matricide. That's the other recurring point in my films: man as an evil, devilish entity. Men who hide their real self under a mask of respectability, but are indeed capable of the most horrendous crimes.</br></br>
I've always been fascinated by magic: as a child, instead of <i>Little Red Riding Hood</i>, I used to read Eliphas Levi. I was fascinated by vampires. I think they really do exist, and are next to us, even though they don't have fangs and may die of a heart attack. To be a vampire means to live with someone who is much younger, sucking their strength, their ideas, their feelings. If you live with old people, you start thinking about death... to make audiences accept the notion of a modern-day vampire I had to show an old woman draining a young girl's blood. But, believe me, the world is full of vampires that are sucking the best off of you, even though no one's aware of it.</br></br>
<b>Riccardo Freda</b>, "Mario Bava - Master of Horror", Luigi Cozzi, <i>Profondo Rosso</i>, maio 2012</br>
<div align="center"><iframe width="853" height="480" src="https://www.youtube.com/embed/2OzXHfgXBY4?ecver=1" frameborder="0" allowfullscreen></iframe></div></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-19740224.post-15849037349848688922014-06-19T03:25:00.001-03:002021-01-16T22:24:43.379-03:00<p align="center"><a href="http://3.bp.blogspot.com/-Acy9Uf8qusQ/U6KBtst0iMI/AAAAAAAAF4Y/tm95SkCmsaM/s1600/brakhage1.JPG" imageanchor="1" ><img border="0" src="http://3.bp.blogspot.com/-Acy9Uf8qusQ/U6KBtst0iMI/AAAAAAAAF4Y/tm95SkCmsaM/s1600/brakhage1.JPG" /></a></br></br>
<a href="http://3.bp.blogspot.com/-Mbnl0raftfc/U6KBu0JbOqI/AAAAAAAAF4o/jBbPfgVxH-A/s1600/brakhage2.JPG" imageanchor="1" ><img border="0" src="http://3.bp.blogspot.com/-Mbnl0raftfc/U6KBu0JbOqI/AAAAAAAAF4o/jBbPfgVxH-A/s1600/brakhage2.JPG" /></a></br></br>
<a href="http://3.bp.blogspot.com/-ErYWG4dRI4E/U6KBulzc8yI/AAAAAAAAF4k/bkktcZepDXU/s1600/brakhage3.JPG" imageanchor="1" ><img border="0" src="http://3.bp.blogspot.com/-ErYWG4dRI4E/U6KBulzc8yI/AAAAAAAAF4k/bkktcZepDXU/s1600/brakhage3.JPG" /></a></br></br>
<a href="http://1.bp.blogspot.com/-hku6rYVADsY/U6KBvah0pTI/AAAAAAAAF4w/XhQLJ1ipGzs/s1600/brakhage4.JPG" imageanchor="1" ><img border="0" src="http://1.bp.blogspot.com/-hku6rYVADsY/U6KBvah0pTI/AAAAAAAAF4w/XhQLJ1ipGzs/s1600/brakhage4.JPG" /></a></br></br>
<a href="http://4.bp.blogspot.com/-fmcgJ75BQq4/U6KBwHlWcpI/AAAAAAAAF48/bzfI_AE-zU0/s1600/brakhage5.JPG" imageanchor="1" ><img border="0" src="http://4.bp.blogspot.com/-fmcgJ75BQq4/U6KBwHlWcpI/AAAAAAAAF48/bzfI_AE-zU0/s1600/brakhage5.JPG" /></a></br></br>
<a href="http://4.bp.blogspot.com/-4JGGPrb5a-w/U6KBwXoVL4I/AAAAAAAAF5A/q0fU0q1RZNM/s1600/brakhage6.JPG" imageanchor="1" ><img border="0" src="http://4.bp.blogspot.com/-4JGGPrb5a-w/U6KBwXoVL4I/AAAAAAAAF5A/q0fU0q1RZNM/s1600/brakhage6.JPG" /></a></br></br>
<a href="http://4.bp.blogspot.com/-EcbU7_4WQmQ/U6KBxGZ3-nI/AAAAAAAAF5I/x7HcltT0Jro/s1600/brakhage7.JPG" imageanchor="1" ><img border="0" src="http://4.bp.blogspot.com/-EcbU7_4WQmQ/U6KBxGZ3-nI/AAAAAAAAF5I/x7HcltT0Jro/s1600/brakhage7.JPG" /></a></br></br>
<a href="http://3.bp.blogspot.com/-GdcGFd8C7T0/U6KBx_iDIzI/AAAAAAAAF5Y/ZCNmjPclQz4/s1600/brakhage8.JPG" imageanchor="1" ><img border="0" src="http://3.bp.blogspot.com/-GdcGFd8C7T0/U6KBx_iDIzI/AAAAAAAAF5Y/ZCNmjPclQz4/s1600/brakhage8.JPG" /></a></br></br>
<a href="http://3.bp.blogspot.com/-UWvlmD-BxE0/U6KByBJHsCI/AAAAAAAAF5U/VgKJUSM260g/s1600/brakhage9.JPG" imageanchor="1" ><img border="0" src="http://3.bp.blogspot.com/-UWvlmD-BxE0/U6KByBJHsCI/AAAAAAAAF5U/VgKJUSM260g/s1600/brakhage9.JPG" /></a></br></br>
<a href="http://2.bp.blogspot.com/-y4W0d3DGL-Q/U6KBtfEe_KI/AAAAAAAAF4U/zMIgUeZELcg/s1600/brakhage10.JPG" imageanchor="1" ><img border="0" src="http://2.bp.blogspot.com/-y4W0d3DGL-Q/U6KBtfEe_KI/AAAAAAAAF4U/zMIgUeZELcg/s1600/brakhage10.JPG" /></a></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-19740224.post-80959609688784327772014-06-17T22:55:00.000-03:002020-04-04T20:10:55.390-03:00<p align="justify"><i>Predicated on the development of a narrative convention both strict and elastic enough to accommodate a tension between dramatic probability and fantasy, between the continuity of suspense and the discontinuity of structure - between discourse and poetry, in short - Feuillade's work relates more to the future of film than to its past. Which is to say, as Robbe-Grillet has said, that "Imagination, when really alive, is always of the present."</i></br></br>
Annette Michelson, <b>Film and the Radical Aspiration</b>, <i>Film Culture</i>, n° 42, outono de 1966</br>
<div align="center"><a href="http://4.bp.blogspot.com/-geWD3ngrQIY/U6DxG9t9nzI/AAAAAAAAF3w/-f6MRD_euyk/s1600/feuillade.jpg" imageanchor="1" ><img border="0" src="https://4.bp.blogspot.com/-geWD3ngrQIY/U6DxG9t9nzI/AAAAAAAAF3w/-f6MRD_euyk/s800/feuillade.jpg"></a></br></br>
<a href="http://1.bp.blogspot.com/-ablDJtDk5F0/U6DxInegvhI/AAAAAAAAF34/knNSSOgM_dg/s1600/Paris-nous-appartient-Jacques-Rivette-1961.jpg" imageanchor="1" ><img border="0" src="https://1.bp.blogspot.com/-ablDJtDk5F0/U6DxInegvhI/AAAAAAAAF34/knNSSOgM_dg/s800/Paris-nous-appartient-Jacques-Rivette-1961.jpg"></a></br></br>
<a href="https://1.bp.blogspot.com/-O9R2274Iikw/Xoj1DNjH30I/AAAAAAAAG-0/h0QiyhZ8Ozok9AmgY87GBiua879S8vUHQCLcBGAsYHQ/s1600/muriel1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://1.bp.blogspot.com/-O9R2274Iikw/Xoj1DNjH30I/AAAAAAAAG-0/h0QiyhZ8Ozok9AmgY87GBiua879S8vUHQCLcBGAsYHQ/s800/muriel1.jpg" data-original-width="1600" data-original-height="900" /></a></br></br>
<a href="https://2.bp.blogspot.com/-FFw3muvwfWI/Xoj2nz85kwI/AAAAAAAAG_A/9jvrxddMU1QGnnVBGBMP6xVvOxjgJUQ8wCLcBGAsYHQ/s1600/ss212.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://2.bp.blogspot.com/-FFw3muvwfWI/Xoj2nz85kwI/AAAAAAAAG_A/9jvrxddMU1QGnnVBGBMP6xVvOxjgJUQ8wCLcBGAsYHQ/s1145/ss212.jpeg" data-original-width="1118" data-original-height="1600" /></a></br></br>
<a href="https://2.bp.blogspot.com/-563uwW2-ToY/Xoj2ofFwoXI/AAAAAAAAG_I/3b6UOKpxUXwwQ_wa5iYjs_iTx3jgtFlaACLcBGAsYHQ/s1600/ss213.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://2.bp.blogspot.com/-563uwW2-ToY/Xoj2ofFwoXI/AAAAAAAAG_I/3b6UOKpxUXwwQ_wa5iYjs_iTx3jgtFlaACLcBGAsYHQ/s1166/ss213.jpeg" data-original-width="1098" data-original-height="1600" /></a></br></br>
<a href="https://2.bp.blogspot.com/-5Mp6kYPsQ5s/Xoj2oYsJPCI/AAAAAAAAG_E/yMZuO1z93HUCI1Xqta2PnmlBowcgIqAEwCLcBGAsYHQ/s1600/ss214.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://2.bp.blogspot.com/-5Mp6kYPsQ5s/Xoj2oYsJPCI/AAAAAAAAG_E/yMZuO1z93HUCI1Xqta2PnmlBowcgIqAEwCLcBGAsYHQ/s1150/ss214.jpeg" data-original-width="1114" data-original-height="1600" /></a></br></br>
<a href="https://4.bp.blogspot.com/-Kmte1aSzUmA/Xoj2p_3GCSI/AAAAAAAAG_M/YgUoIu9Fa3U9FY4keCRKfvgM-n_kPxBJwCLcBGAsYHQ/s1600/ss215.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://4.bp.blogspot.com/-Kmte1aSzUmA/Xoj2p_3GCSI/AAAAAAAAG_M/YgUoIu9Fa3U9FY4keCRKfvgM-n_kPxBJwCLcBGAsYHQ/s1155/ss215.jpeg" data-original-width="1110" data-original-height="1600" /></a></br></br>
<a href="https://4.bp.blogspot.com/-rqkivmp92iY/Xoj4aGspSBI/AAAAAAAAG_o/7KcBpxdaH7gOKI7ZUlpP39K_E8Ui62rSACLcBGAsYHQ/s1600/muriel2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://4.bp.blogspot.com/-rqkivmp92iY/Xoj4aGspSBI/AAAAAAAAG_o/7KcBpxdaH7gOKI7ZUlpP39K_E8Ui62rSACLcBGAsYHQ/s800/muriel2.jpg" data-original-width="800" data-original-height="483" /></a></br></br>
<a href="https://2.bp.blogspot.com/-XczD7KgkvKk/Xoj4Z7wUICI/AAAAAAAAG_g/flTwq6rrEU0sgSDpKGGgZShGKID4G8WRgCLcBGAsYHQ/s1600/muriel3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://2.bp.blogspot.com/-XczD7KgkvKk/Xoj4Z7wUICI/AAAAAAAAG_g/flTwq6rrEU0sgSDpKGGgZShGKID4G8WRgCLcBGAsYHQ/s800/muriel3.jpg" data-original-width="1088" data-original-height="665" /></a></br></br>
<a href="https://2.bp.blogspot.com/-73DM4Tzn4SI/Xoj4Z0eNITI/AAAAAAAAG_k/S2JuFPDwR50ZKQiT7v2ie1WE22c_-HGvwCLcBGAsYHQ/s1600/muriel4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://2.bp.blogspot.com/-73DM4Tzn4SI/Xoj4Z0eNITI/AAAAAAAAG_k/S2JuFPDwR50ZKQiT7v2ie1WE22c_-HGvwCLcBGAsYHQ/s800/muriel4.jpg" data-original-width="1600" data-original-height="964" /></a></br></br>
<a href="https://4.bp.blogspot.com/-y3DQxsiGllw/Xoj45_JFO6I/AAAAAAAAG_0/2INrJoxAtZcEW3aYf91EsbPd4Z_fiypuQCLcBGAsYHQ/s1600/ss216.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://4.bp.blogspot.com/-y3DQxsiGllw/Xoj45_JFO6I/AAAAAAAAG_0/2INrJoxAtZcEW3aYf91EsbPd4Z_fiypuQCLcBGAsYHQ/s1147/ss216.jpeg" data-original-width="1116" data-original-height="1600" /></a></br></br>
<a href="https://3.bp.blogspot.com/-YNUDRgHXKtM/Xoj458jKTgI/AAAAAAAAG_4/DvBucIsnJqQMT75ffYhCdr2NVWeGGbYeACLcBGAsYHQ/s1600/ss217.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://3.bp.blogspot.com/-YNUDRgHXKtM/Xoj458jKTgI/AAAAAAAAG_4/DvBucIsnJqQMT75ffYhCdr2NVWeGGbYeACLcBGAsYHQ/s1060/ss217.jpeg" data-original-width="1208" data-original-height="1600" /></a></br></br>
<i>Francis Lacassin e Tom Milne, "Alain Resnais: the search for Harry Dickson", Sight and Sound, outono de 1963</i></br></br>
<a href="https://1.bp.blogspot.com/-jb1EgXk7HeQ/Xoj50ZHR7pI/AAAAAAAAHAI/gIMj3j6qp_QANaZBqGvPA7KJH2uFuFRRACLcBGAsYHQ/s1600/marienbad.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://1.bp.blogspot.com/-jb1EgXk7HeQ/Xoj50ZHR7pI/AAAAAAAAHAI/gIMj3j6qp_QANaZBqGvPA7KJH2uFuFRRACLcBGAsYHQ/s800/marienbad.jpg" data-original-width="900" data-original-height="386" /></a></br></br>
<a href="https://3.bp.blogspot.com/-tyMNv88RVFo/Xoj54_b4mpI/AAAAAAAAHAM/a67tJ8Wj6ZU_AUpMdIoFxvT7l9BFci2iwCLcBGAsYHQ/s1600/muriel5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://3.bp.blogspot.com/-tyMNv88RVFo/Xoj54_b4mpI/AAAAAAAAHAM/a67tJ8Wj6ZU_AUpMdIoFxvT7l9BFci2iwCLcBGAsYHQ/s800/muriel5.jpg" data-original-width="1095" data-original-height="659" /></a></div></p>Unknownnoreply@blogger.com0