Monday, June 25, 2007

Extigy Windows 7 Driver

Words that heal in "The Secret Life of Words" ...

[ pellicole -17]
" The Secret Life of Words" is a 2005 film of the English director Isabel Coixet .
Being handicapped, I feel very close to this movie, because it deals with, among other things, the theme of the discomfort associated with the loss of psychomotor skills.
The stories tell of a journey into the soul of two people both upset about their existence: Hanna, ethnic rapes girl survived the former - Yugoslavia, is assumed by the head of an oil rig in the process of dismantling and where he met Joseph, burned because of an accident. Hanna lives alone, does not talk to anyone and is manic in the things he does. His days are obsessive, divided between the silent house and the textile factory where she works and her boss thinks she should do a month's vacation to come back smiling. Hanna spends this time on an oil rig, where he takes care of Joseph, for burns procuratesi temporarily blinded in an accident. The two are immersed in the pain of their memories to release fears carved into her eyes. So the immigrants are taciturn, working in a factory producing synthetic yarn of Ulster, during the recess accepts a binding-time position as a nurse. His patient is Joseph, an engineer was severely burned during an accident on an oil rig off the coast, and that there must remain hospitalized until he improves enough to become portable. On deck, semi - desert because the investigation still pending, have experienced the creative cook South American Simon, the old foreman resigned to a new destination and the utopian oceanographer Dimitri. But above all, slowly lower the guard of distrust towards the object of his care, Joseph, who has an invalid talkative and indiscreet man will prove to be simple and intuitive, able to decipher, his state of temporary blindness, blood and frozen offense of a deaf girl to their memories. Thin films and minimalist voice to those words that wander silently within us who is never without the courage to say: thoughts unexpressed, for an infinite time weigh like rocks, but he left a void at the same time inexplicable. Film on pain and burden of the past that each brings with it over time, their experiences, which sometimes becomes ominous and looming on our impairment, instead of looking to the future. Words that heal when they are true, the result of a genuine love and deep respect that comes from the desire of those faces and to know it for what it really is. Although it is very difficult to erase his own suffering, what it was, it has the opportunity to soothe an inescapable sense of guilt that trademark, such as high heat on the skin, others are victims of atrocious barbarism.
"Life segreta delle parole" è un film su come sopravvivere al passato, come superarlo e come condividerlo con il presente, sul dolore fatto del silenzio di chi sceglie di non sentire perché ha sentito e visto troppo. La scelta di custodire un dolore, di chiudersi alla vita per restare in vita, quasi di banalizzarla riducendola a schematismi, alla dura ritualità di un tempo scandito da pochi atti sempre uguali, una vita - nenia ripetuta come una cantilena, quanto più rassicurante del gettarsi a capofitto nel mare, nelle onde dell'esistenza. Questo film è una discesa nell’inferno di due persone disperate che legano le loro anime, le loro sofferenze, le loro vite desolate in un "non luogo" come è quello di una piattaforma petrolifera in the North Sea. Among them grows a strange intimacy, a bond that may not come out unharmed and that will change their lives forever. The words are those unspoken until the atmosphere around the film's characters end up breaking the barriers that kept hidden the past, leaving it as aferma Joseph, also the possibility of "crying so much that the tears become a sea in which all end up drowning. "
by Mariano Lizzadri

Monday, June 18, 2007

Flavour Gold Metal Core

Visions in "The Vesuvius"

[-16 films]
A little 'time ago I saw a movie that struck me very much. I did not want to write anything about this vision, in fact I only report the title to some friends (Peter Sacco, Luigi Catalani, Savino Mauro and Maria Pina Ciancio). But then you know that things that go down, I would say to inertia, renew the demanding life on the surface. And here I am with
"The Vesuvius" film visionary, ironic and grotesque 's 1997, divided into five episodes, directed by four directors. These five episodes, five bodies forming the film are set in the outskirts of Naples, Campania and the hinterland are: "The lineage of Iana" of Pappi Corsicato , "Maruzzella" of Antonietta De Lillo , "Sofialorén" of Antonio Capuano, "The devil in the bottle" of Stefano Incerti and "ascent" of Mario Martone. Collective work then, "I Vesuvius, which brings together five different directors with each other and at the same time linked by common origins.

The opening film is "The Race of Iana" Pappi Corsica which shows five riders, followers of the modern cult of the goddess Diana, who sow terror in the streets of the province Naples, demonstrating their superiority over men and becoming necessary, as if by magic, flying into fearsome warriors. In the midst of colored smoke in a suspended between Hollywood and its fairy-tale parodies porn, is narrated in the proliferation of the lineage of Iana, popularization of the cult of Diana. The rest of the episode spread freely with the same light that "ianare" show in their fight wheel, all backgrounds acids and a Neapolitan of space and geography of displacement in the other incidents that require the selection of points of view marginalized and privileged over non-metropolitan areas. The girls of "The lineage of Iana" Amazons are on motorcycles, girls fisted easy dee acrobatically flying on the beach below Mount Vesuvius. The worship of the goddess Diana is not dead and sweeping away the Camorra shots of bodies. They have not yet dissolved the smoke, which is handed another surprise to us, his voice and body Maruzzella, the protagonist of a story full of nostalgia in a porn film, in short, the story of a transvestite "Antonietta De Lillo. So a story set in a dark room porn cinema, dominated by transvestite Maruzzella able to do sexual practices mysterious alchemy of cooking more than anything else and shadow puppets that convey the ecstasy. Center of attraction of local Maruzzella, disillusioned by love meets a strange spectator who cries to the practices porno lower. And the hard
scene turns into a glossy paper of chocolates and a beach where the spectator Maruzzella and give a final with orange flowers to Billy Wilder's famous phrase "no one is perfect." The final fairytale tricks but now links up with the "masked" by Maruzzella thousand miles away from reconciliation and instead diverted to a life where they can recapture those pleasures which generously lavished in the back of the cinema. Capuano's episode "Sofialorèn" diving for fish in the fairy, a nod to masters such as Toto and Pasolini, but perhaps even the colorful tales of Hollywood half-century poetic lightness, speed of thought and depth of passion at the same time, as the intense encounter between the protagonist an inhabitant of abuse and recidivist bradiseismic areas of Pozzuoli, a petty thief looking typically "Pasolini". Or the overwhelming pursuit of the prince, a puppet figure of dark, light or as a tribute to Toto in the early history of the African princess - octopus, lovingly kept by the fisherman in a tub of Pozzuoli. In fact, "Sofialorèn" is the name that the fisherman who lives in the neighborhood of Pozzuoli, in a small house on several occasions considered not fit for use, gives its nice fish preserved in a glass bowl. "The Devil in the Bottle" focuses on the relationship of Uncertain uomo - diavolo. Fausto, e già il nome la dice tutta, è un barbone che entra in possesso di una diabolica bottiglietta grazie alla quale potrà esaudire tre desideri, con una sola precauzione: per evitare tremende disgrazie ci si deve sbarazzare della bottiglia vendendola ad un prezzo inferiore a quello di acquisto.
E’ la bottiglia misteriosa a dare l’opportunità al barbone “vesuviano” di riscattarsi dalla miseria. Il diavolo meglio del sindaco? “Ma voi non sapete quanti problemi devo affrontare “si lamenta, appunto, il sindaco, nell’episodio di Martone, mentre sale faticosamente le pendici del vulcano. Un finale pungente, amaro, ma affettuoso: “La salita”, nello stile di Martone, che allunga la sua memoria cinematografica da Pasolini a Rossellini. Incontri fantasma del primo cittadino oppresso da una città che implode. I morti di Secondigliano fanno capolino da un dirupo e il sindaco promette che farà di tutto per tirarli fuori, il cantante popolare cooptato dagli intellettuali di sinistra, che implora il sindaco di firmare una delibera per l’annullamento dei concerti, un libro raccolto tra la polvere: “Stato e rivoluzione” di Lenin, una prostituta malinconica, l’attrice popolare dell’avanguardia tornata dall’America. E lo spettro in abito di Francesca Spada che si suicidò, dopo essere stata oggetto di lapidazione politica dall’apparato del P.C.I, in quanto moglie di an official dissident.
So ends "The Vesuvius, with a mayor who must respond to an ocean of voices of protest, accused of giving straight to the media, but at least knows how to listen. Martone, "La rose", has chosen the mayor of Naples as an example of the former communist ruler has become a bitter dispenser promises hard to keep, beset by ideological past and the painful sense of guilt that arises from repudiate every day, worn out and frightened by its own impotence. Martone, who tackles the new political reality Neapolitan and accompanies the mayor (the reference is to Antonio Bassolino!) In a surreal stroll along the steep ridge of Mount Vesuvius. There is room for various symbolic characters of Neapolitan and symbolic situations such as the construction of child workers (always too far away to be able to intervene), but more significant is the encounter with the crow of Pasolini's Hawks and the Sparrows.
Between the lines one could also see a tribute to the myth and history not only of Naples: Pappi Corsicato about the Amazon, Antonietta De Lillo portrays the myth of the hermaphrodite, Antonio Capuano relive the adventure of Ulysses, who is enthralled by sirens, Stefano Incerti repeats the myth of Faust, while Mario Martone follows the vicissitudes of human power. But all in all it seems to me that these references are not quite basic compared to the fact Neapolitans that five directors have joined almost all young people to tell their stories through the city, dreams, imaginations fanciful. Real visions ... visions of Vesuvius!
by Mariano Lizzadri

Friday, June 1, 2007

South Park Dragon Ball Z

"One Hundred Nails," more than one film

[-15 films]
"The eater of the film is terribly romantic, hopelessly led to understand that reality. What he seeks in the dark is not the escape from it, but its very essence, sometimes so focused as to be unsustainable as a poison. He understood the world as well as to understand piece of bread, do not you think, but you eat. " ( Enzo Hungarians)
A professor enters a university library gets the books placed on shelves, and nail them.
flee after throwing his papers in a river, looking for a new life path. O resurrection. Ermanno Olmi
has made a film that talks about philosophy, he quotes Schopenhauer "Religions have never saved the world," updates Dostoevsky, leaving Metafilm reveal what he had written in 1854 to Fonzivina: "I come to say that if someone shows me that Christ is outside the truth and if it were actually true that the truth is not in Christ, well I'd rather stay with Christ rather than the truth. "
books, a symbol of revealed religion and lived an exemplary, reinterpreted through the centuries for the consumption of religions, sects, thinkers, gurus in the service of power or of themselves, are useless because they nailed, did not help the Community as common purpose, have inculcated false certainties in the form of absolute truth and did not encourage dialogue.
E 'need to escape, change identity, becoming an apostle, and why not, new Christ, landing near a village surrounded by persone che desiderano ascoltare un professore che riesce ancora a raccontare parabole, affabulare una giovane panettiera che potrebbe essere iconograficamente una Maria Maddalena o una Samaritana, e poi?
Tradirsi con la complicità di una carta di credito risparmiata alla distruzione e farsi arrestare per poter gridare i propri dubbi.
Quando il professore sarà rilasciato, sarà atteso invano al paesello, anche se qualcuno dirà di averlo visto camminare sulle acque.
Centochiodi non è soltanto un film, è soprattutto una riflessione sulla difficoltà di credere ed al tempo stesso pensare, sull’ impossibilità di interiorizzare il dubbio, sul tempo perso a leggere di cose che ci hanno reso avulsi alla realtà.
E’ paradossalmente un film che pur non volendo esserlo, è politico, avendo una forte impronta autoriale. Nel suggestionarci, suggerisce. Forte è la presenza della natura e quando i suoni sembrano scaturire da stati d’animo legati ad un ballo o ad una gita al mare, non è casuale che si possa anche udire una vecchia canzone intitolata “Non ti scordar di me”.
E’ una digressione poetica, testimoniale, autentica. Un’invocazione per il futuro.
Se ci sarà.
Oreste- Mi trovo forse alla presenza regale di Elettra?
Elettra- Non regale, ma assai misera, invece. Perchè straniero mi guardi così e mi compiangi?
Oreste- Vedendo su di te i segni di molti patimenti.
Elettra- Tu sei l’unico che finalmente ha compassione di me.
Oreste- L’unico, infatti, che ti avvicina soffrendo i tuoi dolori come suoi.
(Sofocle, “Elettra”)
by Antonio Savella