Bald Guys In Bandanas

I do not like the tops! ...

Really a little note of anything, because that is the Jutra coming up, because this, because this, because, like, movies Quebec, our cinema, our beautiful beautiful film, so interesting, so dynamic, so inspired, if all you want, they want their Oscars, wants its prices, wants us to do about him, I get a ticket that includes a list:

The Seven Days of retaliation
Vital Signs
Diary of a cooperating
City
Three times after the death of Anna
Fire
Originally a cry
Route 132
2 times a woman
10 1 / 2 Curling

... case that as a critic belonging to the brotherhood of criticism, even in my more modest scale than ever, I am voting, I prognostic what is in it at the Jutra nominated as a film of the year. Look. Ah ben ah ben. Conservatively, at a minimum, the proportion of films I've seen is measured between a third and half of the list. Have five or six remaining films. Five or six films to watch. Two hours on average per movie, then ten hours of time at least, plus the metro to go rent and lease charges, frankly it's beginning to do a lot. For a top-5 list. And for the film to see-because-that-is-Quebec, frankly.


short, "- I'm sorry, not interested." Remind later (an hour I'll be there.)


Yes yes sure, the film of a young, yes for sure , Oscar-Villeneuve, yeah ... well yes, buggery suspenders, national pride, so good but frankly Fire, Fire ... There's no hurry anyway, huh ...? Not hurry me. Pantoute.

Quebec cinema interests me ... sometimes. Because he happens to come up with something that looks like to the cinema. Because it happens to reflect the realities that concern me. And also because, being aware of the disorder that will give ALL independent filmmakers or almost - to get the struggling - to get the projects they take and the outcome, with compromise, funds reduced, rewrites imposed, will probably still below their own expectations and the effort they have put, I wear a very careful interest in what he can do under these conditions. It's been two, three reasons.


And sometimes there are meetings. The real. Which are often in shadow. As reviewed Orders ; have discovered W. of Pluto, one of the best films about adolescence, in my opinion. Not only in Quebec.


Thank goodness, because otherwise, to force me to serine on both sides that attending this film is a moral duty because we have s' interest in film shih Us " because it comes from us and it's sh paid with our taxes and that we, or because it deals with "major issues" or that it did in the "duty of memory", I could disgust me TRREE long since forever. I'm like that, I do not like being told what my property in this matter. Or what to think, or how.

This is not because I am Quebecois that I will focus ex Quebec cinema if I have reason to believe that he has nothing to say to me, he said nothing in my deep Québécité. Even that I would even say that being interested in something else, and having sometimes the chance to write this, I enrich, to my very modest scale, the critical discourse of Quebec , taking this stance of criticism Quebec who feels qualified to talk about the film world, from its Québécité inherited automatically. For questions of identity, this should suffice. Otherwise it would be incest.

This reminds me of another debate concerning the teaching of literature in post-secondary institutions in colleges. I think these guys that make me fall every time the ass of my chair, saying with the utmost seriousness and in all honesty should be taught exclusively in Quebec literature colleges. Perhaps even impose the same ten works, the corpus homogeneous for everyone and in all institutions, even lead to the hell absurd that teachers, like Sysyphes with their rock, have to teach, for example, the novel's premier colorless colorless most authors, Volkswagen Blues by Jacques Poulin, until retirement. While most students find it flat to death, some teachers also, and rightly so. Finally messemble.

fact remains that at the place of those who sometimes hallucinated storefront in newspapers, I see three responses, which vary depending on my mood, but I honestly think all three.

a) Answer Diplomatic "- Quebec literature, especially contemporary (see 1960s and after), is rich in forms and stories and speeches and she is indeed worthy of being taught and is interested, and have it done out of its relative privacy. But rather teach mmmettons, The white man, well, that Volkswagen Blues or Les Belles-Soeurs the nth time. It happens partly in the gulags ... I guess that means nothing to you ... "

b) Answer mid-fig ... "- teach 100% Quebec ...? Perhaps, but if you can name me some homemade tracks (say ten), which have important and universal human tireless news, say, The Metamorphosis of Kafka or A Season in hell ... "

c) scathing response:" - It will not be accepted? Zurück ?!? If you're left under the skirts of your mother up to 25 years is your problem. Try not to get us there as reforming education in full for all your neurosis splashes the world. "


It is not, at bottom, Québécité a work that bothers me. It is the desire, expressed regularly by institutional or other sources, to impose the expense of the rest, to be an intellectual blackmail (a duty), dreaming of a captive audience for reasons, I believe, that have absolutely nothing to do with the development of thought, a personal culture, all that.

I have written elsewhere how suicide Nelly Arcan me upset. The mini-crisis, I think, that it made me cross, made me realize one thing: it was somehow my responsibility to be interested, thinking, and question what my contemporaries, my relatives and their past also created. If I, one day, I published a book, I would become one of them. I would be categorized as "Québécois writer." I would enter myself in this flow and uneven multiforme, gathered under a single catch-all label that had often tended to denigrate. Now it was my responsibility to look into what were those who shared, who had inherited the same story as me, and crossed the events comparable to mine as soon as he was creating a work of imagination, or simply express themselves, be heard. Let there be no mistake: I am absolutely convinced that my culture (collective and personal why not) is capable of being great . The proof is modest: I am immediately surprised or complexed by the intelligence and originality that makes some blogs that I read a little guilty because it's actually less for books.

But I believe equally that choice, to be truly informed, must be done in the knowledge of what is done elsewhere in other crops that can tell me much, sometimes more, on my own situation. Pierre Falardeau For example, this was done by many Latin American writers. I would tell my board that is on the side of "small countries" of Eastern Europe, where the atoms hooked when it comes to fighting for intellectual freedom in a climate of institutionalized cultural provincialism, its numbers. Gombrowicz, again.

When I watch a Polish film, when I write about the work of a French author had been dead for thirty years, I'm from here, what I am, and from my Québécité. Often expected of a text it has a "hook" on the news. But basically everything is current, as long as my brain and my emotions lean on it and update the potential experience it has ceased to carry.

Institutional culture maintains a bias towards projects of any nature dealing with cultural issues in Quebec or to one form or another promotion of Quebec culture. Well ... As if there existed a kind of lack to be filled. And perhaps there there a yes. But there is also a lack of side to fill a critical discourse free to choose ... obscure object of desire, and build in his own way home, without going for a sort of detached traitor, someone who fails in his duty.

And so it is with our films, where my "Québécité", more often than not, do not recognize at all. Is it my fault, I see if for the umpteenth time My Dinner With Andre seems more important for me to type the latest movies-shock Podz? Maybe I'd be out of date when " my "movies I can prove it, too, interested in me, without claiming unfair that I'm looking for him, for reasons of galas and other marketingueuses patent, that I never feel like they gave me something in return.

Postscript

Speaking of the wolf ... and following my very popular (lots of hits!) gravélien winners of 3 January, I just noticed that the online journal offscreen has released a list of his "discoveries 2010 Team , all ages, classes and nationalities, combined. The brief introduction stating ...:

Like our magazine, a magazine that is not critical required to cover the latest films, these charts do not necessarily movies released in theaters this year, but the great discoveries - all categories, view room or on DVD - the writers. These "Top 10" (sometimes longer) list of outstanding films seen in 2010, but may have been made in another era.

Well, as they say: "That's the spirit." Besides, when you do not feel "obliged" to cover news in this film that this framework can be narrow, but it demonstrates freely about what our experiences have updated for us, you are exposed to something good: cause the news instead, simply follow the ; venture in revisiting the past, be, without being intended it, in front of things, instead of placing in the wake of "recent publications", with which, anyway, the test of time is often cruel. (Though it still would have appreciated some supporting lines for the choices displayed, because a list does not say always very long ...)

Golds Gym Home Gym Xr5

Bikes completely unusual! (Part 5)

Today for this last episode (yes, I know, I too shed a tear) top 10 unusual bike, I chose the theme: "different ways of dying for a bike Danish" (Blowin 'what would cheer you up). is that every day in Copenhagen, bicycles are born and others die, that's life. But sometimes these unfortunate agonize in public and it gives rise to rather interesting photos. Let's see what happens to bikes not picked up by police .

10.

the classic, it's safe to use as teaching for bicycle shops

But other shops that have nothing to see anyway have adopted the concept

like this optician

this clothing store

or pub

9.

others less fortunate, abandoned by their owner, to let the dust cover

8.

in winter, with snow and ice

7.

and spring ...

6.

a slightly less poetic

5.

drowning is also a sad ending widespread,

Copenhagen is a city aquatic

4.

and out of the water will not make them relive

3.

cases hanging observed especially for the weekend (watered)

Hanging art? Should we see a message?

2.

disarticulation but the cause of death remains the most common

1.

balance, I still prefer the recycling

here as bike racks, I find the idea very beautiful

But of course that fills most of a bike Danish pride is to finish his career at an age most advanced possible! (Before you finish one of ten ways mentioned above).

Reminder of previous episodes:

Part 1: I do not like being alone on my bike
Part 2: The bike- tuning extreme
Part 3: How to accessorize your bike even with two left hands
Part 4: bikes design is so cool we can get in Denmark

Scrambled Channel Dvb

Notes on some movies (1)

I.

4-20 January: Alain Tanner

How do we recognize that a film is originally French-speaking Swiss? At this pressing issue, one possible answer given to me by the films of Alain Tanner: secondary characters all wear the beard, small round glasses, long hair and thick knits. Remains to be seen whether this hypothesis stands the test of time: after all, thirty years ago and that Tanner turned Charles Dead or Alive (1969) , The Return of Africa (1972) and The Middle of the World (1974), which does not younger (and me either way). Will it refresh all that I am typing in the upcoming films Swiss World Film Festival? Hope not: a movie, when it was leased to the weight, loses all sense of its origin. FFM: Wal-Mart International Film ... But back to Tanner -

Representative of a cinema and social distancing Brechtian tendencies - where he made his mark - Tanner seems to have the spirit left ... And heart in the most absolute wave. Charles died or alive shows initially a leftist fantasy: the boss of a company takes out his watch tape of platitudes before a team of journalists, bristled, reminders, and begins to tell the truth. He never wanted this job, inherited from his father. He's bored. He never really knew what he wanted, "he admits. Soon, he beats the countryside without leaving a forwarding address, leaving his son careerist care of business.

A germ of alternative society, social microstructure begins to form when it is adopted by a young couple who lives modestly on his return to earth. The husband is a kind of a gentle giant bit stupid, an idiot who candidly admits Dostoevsky his ignorance of everything (one might even assume that he is illiterate, and that Tanner is not skilled in the manufacture of allegorical characters). Little ability to handicrafts, the former boss becomes idle. It stays while two others work for him. Being stored in his host a proverb a day, he becomes arrogant, ironic ...

The observation is not made, but perhaps it just a simple life that recovers three hollow old power structures, in the group with the boss and workers. The best thing to do for Charles, is still to make itself the police who seek to enter quietly, resigned, in the paddy wagon to carry him back, presumably, to his place of factory boss, leaving his guests to their innocence, he Falli compromise the role it has played in this failed attempt at egalitarianism. The first feature-length fiction film Tanner has already established all the themes ...

I find something about all this in my recollection of In the White City, as well as in The Return of Africa and The Middle of the World : the desire for freedom, to live otherwise, the discomfort existential one that feels cramped in its social role, and that drives him to break with the company, then found helpless before the great wasteland of potential. Default solution, or by blindness: the decline. The dream. As the couple's return from Africa who rushes home to fool him to his friends that he left on the continent, toward a life where they would finally be useful. something. As the politician who sabotages his election campaign becomes infatuated with an Italian bartender who becomes his mistress. There with her he feels truly himself, yet he does not "see", she says, with rightly so, in the midst of the world . Tanner's in movies, it is possible that only Jonah Who Will Be 25 in 2000 has managed to portray a real team effort, small-scale project to create a utopia of social equality, which failed not immediately crushed against the wall of the failure or isolation of sterile. Otherwise it may be, in Tanner, space for the performance of utopia in the drama of manners variable geometry: A witness flame in my heart (1987) and The Journal of Lady M (1993), and fascinated by belated efforts Libertarians loves Myriam Mezieres, their leading actress, which tells the drop in detail. Finally, should always check, though ... So much for my theory of fabrics: the rumor that suit is walking in these two films, mostly naked dressed up ...

II.

January 11-15: News of Orders , Michel Brault.

Quebecois films that claim a mythical dimension, it would now the Dozen, the remake of Dawn adaptation of Seraphin through Richard turnips and all who get excited about hockey or one of their best and dusty cadaveric our goodwill folklorico-literary (after The Stranger, why not a superprode inspired by Angeline de Montbrun ? Binamé we can energize it! It energizes everything, Belgium.) But, finally, no jokes, movies that really have access to this dimension - I count the Plouffe in there - and who, moreover, do so in dealing with recent events to them when they were made are still rare. Orders Michel Brault is, which is probably one of the few.

What strikes me to see him again 15 years after the first is how, unlike remembered what my memory is faulty, Orders does not so much the story of detention, than the arrest that led to it. The situation is almost Kafkaesque. In the aftermath of the vote unanyme who will enforce the War Measures Act, citizens have woken up, shoved in their homes by agents of the Act. "We had to slander Josef K., for without it nothing would hurt, he was arrested one morning ... "

Why are they arrested? No need to say. They serve the typical bureaucratic response: "A special law ... not need a warrant ... not need explanation. We receive orders. We are running them. "There you go. Enough said. Parents are torn from their office responsibilities: work, family, and are expeditiously carried who knows where or for how long or why, without further ado.

"My name is John Smith, in the movie I'm Clermont Boudreault, unionist ..." - the distance is to represent the viewer that the film makes the artifice of the stage. But the grammar of distancing what would it be in Orders , took over the old? If the movie, I think, is as topical as ever, not by his methods into abyss. It is, however, because despite these, the story tells us that absorbs and grabs us. It is no identification with the characters, not by the intensity (relative residing in) the interpretation, the situation is itself . Inspired by the events of October Orders accomplishes the feat to make us momentarily forget history, we better back then. Meanwhile, we feel the unworthiness of the views of the victim - the entire film is told from the perspective of victims - who must undergo to be arrested without knowing why, to be held in ignorance, to be thank you the arbitrariness of the guards and the Act, any fear of losing or have lost everything, be deported to a foreign place, repressive. It is reduced to this state of stupor in which no one knew, knew nothing of what was happening. Not surprisingly, the movie spends almost an hour to recount how his five protagonists were conducted in prison rather than talk, over time, their stay in a cell.

Despite the narrative-off, despite the use of alternating black and white and color, the film preserves a immersive dimension - against which it appears to stop fighting. Between this force and immersive processes distancing orders has something of a cinematic oxymoron, bringing together in a single work of elements opposed to a figure: black sun narrative scope of visceral sauce served Brechtian . He knows too, bit by bit, accountable environment. The decoration of Saint-Henri (which has not changed too much) and the Plateau Mont-Royal (the time when it was still a poor neighborhood) are captured in such a way that makes the entire distance between film Quebec today's reality of the places he claims to invest. There is the decor and there is the place. orders eastern side of place.

But where does this need for distance ? Arguably, in fact, that the aesthetic choices of Brault like to remind us what it shows on the screen is still below the crushing reality. It is no secret - a heading in that faith - the five main characters (played by Jean Lapointe, Guy Provost, Claude Gauthier, Louise Forestier and Hélène Loiselle) are condensations of fifty testimonies gathered from to former prisoners. Their trajectory is involved in a dimension typed more or less felt, I think particularly strong with regard to the fate of Clément Boudreault (Jean Lapointe) that learns the death of his father during his detention, and especially the character Richard Lavoie (Claude Gauthier) who reveals the favorite target of police cruelty.

after the home caught by police when he changes the diapers of her baby, unemployed, threatened by a (fake) killing, loving (apparently, during a scene) to clean the floor corridor of the prison, the film has the place of Richard Lavoie attributes that are the opposite of masculinity. At least for the staff of guards that make it stand all the insults, if not tell him "squeal like a pig ! "or treating" feufi. In veiled terms, so below , the fate of Richard Lavoie probably symbolizes, Orders in , Calvary particular qu'auront been subjected to homosexual inmates in October.

Now, why talk about the News of Orders?

... Because in doing as he does - at a distance cons immersion, nature and typed "representative" of the characters, exclusive adoption of the perspective of the victim - Orders we speak, we always talked about, and discuss Again, the situation of October as a non-episode past, gone, liquidated, but as an event that hovers, something that could come back. It represents the legacy of human Measures Act as a war situation reactivatable , always present, the condition of Quebec. One need only imagine how those in power respond to an internal political crisis in nature "separatist". His threat still hangs over us. Similarly, too - we can still hope - that remains the resilience of a people that has defined and constructed in response to persecution that do not belong to any of the episodes in its history that would now "archaic." This, at least my version.

III.

And all that is longer than I thought and I'm starting to tire,

... I pass rapidly over the immense pleasure that I had to review the Mean Streets Scorsese, perhaps the first of his films (1974) where we discovered a whole, or almost every obsession in his place, articulated finally.

What difference, indeed, is there between these Vitelloni of Little Italy in New York, and gangsters of Goodfellas or Casino ? A difference of scale, at most (in immorality in the quantities of hemoglobin paid too). But what is to be boosted by a film camera movements and a stunning soundtrack that puts tubes with these characters that unpredictability, or the mixture of ambition (reduced) and scruples (religious, sentimental), and total lack of taste (in Scorsese, the Underworld is still small despite its means because it remains vulgaris) bears to the edges of psychosis; these shots, finally, which are a signature effect - when you enter, following a character, seen from behind in those places where "it happens" and we take in the breathtaking atmosphere yet saturated characters infréquentables: here: here it is in Mean Streets Small portable the Scorsese , the film that take him on a desert island, would not do to remember what Scorsese has also repeated on a larger scale, but that does not add to this portrait in microcosm , probably also more human, because in Mean Streets, it still passes the entire length of the film wondering if someone has skin Robert de Niro, or if Robert de Niro eventually (foolishly) have on their skin, whereas in subsequent films, it kills everything-goes, it was shot without a second thought is uninhibited -: dehumanization is heavier and more frightening too; the most savage violence. Mean Streets, or the world of gangsterism scorsésien reproduced scale (yet) human. And the accession of a filmmaker in full control of its turbulence - which is definitely not synonymous with restraint, the contrary. Taxi Driver was nice to receive his medals, but in terms of "personal film", he belongs Nor his screenwriter, Paul Schrader? I thought it between these two major works, it is in Mean Streets Scorsese that engages fully.

IV

say I have also seen, without talking now:

... of Caesar and Rosalie (1972) by Claude Sautet, change the canvas hollow (modernized) of Jules and Jim but Chuis not sure we will see, and the infatuation of ego for me to see Sami Frey a kind of double morphological then Gulag, white square on white background, with Iosif Pasternak and Hélène Chatelain, a damn great film despite its inaccessibility and its reputation as confidential (an insert of Andre Roy 24 Images , long time ago), and I was lucky to hand over a few years ago. Need to honor ç'ui there, somewhere where it can leave traces, next time.

How To Do Reference Community Service

Still other evocations weirder

Remember : there is one and a half, I presented my small collection of photos with stuff in French (or almost) in . Good news, he'll still have lots to show you!

is that the French, it is chic and it sells:

Or not:

A small reference that warms the heart:

Our famous Gauls are indeed well known in Denmark!

we find some little mistakes:

is in the same restaurant that I was privileged to enjoy a "Tarte Tatin" (true)

which proved to be ... three slices!

Some stuff is still funny:

But the best of the best was this kind of shop decoration incredible

So no, it is not in Christiania, despite its appearance! It is located in the Vesterbro district, at the corner of the street Kaalundsgade and most unpronounceable name in the whole city:

What I find less funny though, is that stamp as "French" things that are not at all!

the engelsk hotdog is the classic example

The Leverpostej is a kind of pate, but hey, this is not provided what French.

The taste is quite unusual for the French actually.

Nan, but there WHEREOF the French there??

Enough joked. To find good yum yum really with us in Copenhagen, there is a place is this one:

No doubt, really taken by the French! :-P

How Fast Do Dune Buggies Go

Joys of Archives, 1

This could inaugurate an entry in the genre "found papers" would not do because, as I have written elsewhere, it does not lack with us (and I now have a scanner that blows rarely), but also because a blog, eh, it is illustrated, it is not just for text, I tend to forget that.

Exhibit # 1, so:

"The Stanley Kubrick Archives, Taschen, p.446 (" SHi.02 ") [original]

hacks compulsive, Stanley Kubrick, during one of his sessions headlock early preparation Shining , advances a hypothesis about the psychology of Wendy, it was too dynamic too full of resources and time in King's novel, for it is plausible to see it stay all this time with a misfire such as Jack Torrance. Hence "solution Confidential" and temporary " Wendy could be" strong. " Magnet Being satisfied with failure and problems with Jack. She did not leave because she needs it. She needs to feel his weakness and frustration. , "reads the top left.

I wish to decode the other notes on the page, but even with the zoom, it has its challenges. The "scanner" is a valuable tool for reading Kubrick Archives , because in the original volume - or rather its Special 25th Anniversary edition, reduced by about one third compared to the first edition - the image is about ten centimeters in eight, and it must frankly be equipped with a magnifying glass or zoom to decipher the handwriting scrawl Kubrick:

("The Stanley Kubrick Archives, Taschen, p.446 (" SHi.02 ") [Annotated].

PART # 2

... the game a little morbid that the review of working papers Kubrick calls to make, once that was equipped with a magnifying glass, it also wonder how what began with a scribbled note, a issue an injunction, a virtual solution (not the tactics of Kubrick as a screenwriter has also appeared comparable to mental work of a chess player in the notes: a chess player who would try to sell all sequences potential of a running game, to stop on one that seemed the best and most logical ...) incarnate on the screen.

How to show affection for Danny Jack? That should be way at least once ...

(14 oct.1977, brown book)

[Ibid, p.447, document SHI.06]

What a which would prevent him from sleeping - Kubrick and emotional outpourings, anyway, that's two, although demonstrations of paternal affection are not foreign to his films, they still, unlike the violence of war For example, a certain reserve in their treatment. A videophone conversation on the station's orbital between 2001 a father and daughter is particularly true for its demonstration value on the future of telecommunications. Remains the fact that Kubrick picture of inconsolable sadness Barry Lyndon bent over his dying son, who has perhaps given the opportunity to play his actor-star, Ryan O'Neal, in a register close to melodramatic one of the leading man known who had made famous in a mash of station Love Story (with the substitution of the son by a girlfriend leukemia in a modern setting.)

To Shining , be assumed that what remained of the original intent - show "at least once" Jack's affection for his son - has housed its last residue in the scene that starts at 8:30 of this clip, courtesy of YouTube. But then I think we can really truly safe to say about residue, a small deposit, otherwise the scene is even more afraid (or be convulsed with laughter, dependent for whom) -

MEANWHILE, THERE, THIS SIDE OF THIS:

PART # 3

During that time, going over my records to me, now that I falls on the ass of this historic document of prime importance.

Some reassuring to learn that human The speaking, amateur, pause, layout, full spool, agoraphobia, Crossfade , The Censor unemployed, the Turnip and chained my favorite there, The council of war, are still for sale and, for a ridiculous amount. (Contact the author of this blog by email for details.)

scribbled somewhere between June and July 1992 in anticipation of a brainstorming meeting that would address decide also the "new" under Book Movie Cégep Saint-Laurent (entitled Yellow in its pilot version), the name Cinératures (which will be finally adopted, but without the "s" I regret), makes his first appearance in the history of mankind.

(And another appearance in this blog even , where last year I proposed to establish the record of this review, which could happen after all, thanks to the valuable assistance of Hewlett Packard, eh, you know, because last year, I recopied the texts to the glove (eg here, here , here and here ) and myself (naturally) quickly disgusted, because frankly there are better things to do at this time and my ten fingers copy (even at a typing speed of 65 wpm.) my essays from college students, openly anyway, and there are limits to spawn in nostalgia without the assistance of technology.)

(Well, I think it would be known that if this project were to develop with some consistency, and for all the love I feel for the players in this little adventure in the territory of college, her story will be any heart dedicated to Mr. Julien Levy , which was the rédac'chef of Cinératures during its third year of existence.)

Bloated Stomach Anxiety

Finally! Past results of the comprehensive gravélien 2010

. Best SUV of the Year:

• The Social Network (David Fincher). The movie to see for a) hate joyously b) heal forever ... ) regret that we could have ... ) ) = not having studied or is part of the faculty club of Ivy Leagues U.S. ) ) = not to be a genius .. ) = .. or not to be a millionaire.
• A Serious Man (Joel & Ethan Coen). After the coup (thin, but clever and intense) of No Country For Old Men , the Coens show vividly that there is really no limit to them is insurmountable when they forcefully reconçoivent inspiration the disaster movie .
• Carlos long version (O. Assayas) - is perfectly qu'Assayas forget, an adventure television earlier thought he was in Bille August for The sentimental.
• The Ghost Writer (R. Polanski) - In all respects the film author of a clever, Machiavellian and misanthropic than the apprehension of an extended stay in Switzerland did find his talent and put back on the map .
• Shutter Island (Martin Scorsese), a little disappointing, but in its fabulous art direction and atmosphere to spare. The overvalued

:

• Avatar (James Cameron) - The plasticine and cheez-whiz digital reach their upper stage évolussion (devolving the cinema as much) in his adaptation of the classic immortal Peyo shtroumpfs in Pocahontas, which, unlike the original, preaches in its content that destroys its form A film and completely soulless technology that preaches a return to nature and spiritual values. As proof that there is worse cynicism involuntary, we note that in the end, the settlers marine go home, head down and dick in hand, without a bath blood or genocide behind them. More cynical than that, and the gas chambers at Auschwitz showers turn into ...
• Inception (Christopher Nolan), Black Swan (Darren Aronofsky): The dream world is not dead in the film, it just smells funny. Witness these two flirtations with madness that leave the viewer rationally ground from beginning to end. Two alarming symptoms of zeitgeist of the era: Madness, dear friends, Is not Meant to Be a Walk in the park.
• Curling (Denis Côté). Last date of ostentation in the former meisterkritik of ICI (and colleague of mine, but whatever), and illustrates once again that as a moviegoer as a filmmaker, he seems to have sensitivity as for when a plan begins and when a plane stops. Between the two? Grosso modo, the wind.

We catch up:

• Heartbeats , Xavier Dolan. Light, regret, but Dolan will be there tomorrow.
• Wild Grass , Alain Resnais. Frankly since the turn boulevardier Life is a novel we will probably retained at the entrance ...
• Film Socialism, Jean-Luc Godard. It is supposedly his last. But given that there are all the others, where is the urgency?
• Jackass 3-D . One of the many avatars of the possible future of cinema in the great tradition of puppet: people get hurt and say ouch , or return - drop gag (it's childish, I know) that never fails to make me laugh wickedly. The only film in 3-D sorry I have not seen in 3-D.
• Enter the Void (Gaspar Noe), despite all the evil you may think, a Noah, when it is not seen in theaters, this is not Noah, but it's still film. (Unless it's the reverse?)

will be caught up, for better or worse:

• Dede through the mists (-). The hagiography expected, predictable and "feel" of our Kurt Cobain, version pea soup. Incidentally, Dede Fortin did not suicide by hara-kiri by . Okay?
• I killed my mother (+). In "prodigy," there is "extravagance", and if Dolan is not the "miracle" that some claim (or waiting), his extravagance always happy. Go Xavier! We are like you.
• Bonnie & Clyde (-/+). Effect of time, the film that Pauline Kael was talking like a classic American revolutionary of all times would tend to move in a college class as the perfect model and just revamped paint by numbers patented screenwriting by Syd Field. "Time destroys everything ... "
• Fish Tank (+). A recent incarnation of the incredible skill of a british film which, with its small size, knows impose characters (and their environment, and their "moments"), so quite indelible. Not true, Truffaut?

SUVs and reviewed similar to fabulous first time (= directory):

• The Wild Child (F. Truffaut). Like Kubrick somewhere, "the trial of the civilization "that must undergo the natural man haunted Truffaut point to be traced back to the dawn of humanity, this evocation of the history of little Victor of Aveyron, the" wild child "of the title. A work-key, extremely moving.
• I get home (Manoel de Oliveira). The tempo Oliveira films are perhaps the most subtle mingling of the theater, film and literature that I know. His films, rather slow in appearance, provided that they leave thinking suggests. This is rare.
• Passion (Jean-Luc Godard). Perhaps one of the top three Godard films ever made. A moment of grace and exceptional cohesion in this author "scattered", which crystallizes all its strengths and themes of the time without fail one minute.
• Les Plouffe (Gilles Carle). Probably the only evidence of Québec cinema alive than the Quebec-French co-production was not necessarily designed to produce only pitiful shit, even if it is content to thirty years.
• The Sorrow and the Pity (Marcel Ophüls, 1968) absolute masterpiece of sound. Few films have expressed so eloquently (or irrelevance) of what it means to be part of humanity when we are faced with limits moments of history. Great, great, great film.
• Inland Empire (David Lynch, 2007). Contrary to what I thought at first, this movie makes sense, and makes system in a way impossible to ignore. Amazing year on the grounds of fitting in all its forms, the work of a genuine researcher , Inland Empire could help the author to win the title of Doctor Honoris Causa for having so well embodied in a film Gilles Deleuze's concept of rhizome.
• Going Places (Bertrand Blier, 1973-4). "You really have to respect the lechery [Blier do what is in his films]," said Pauline Kael once. Going Places in , Blier is almost in the radius and ribald ribald, the grace and emotion that had brought in Chaplin's silent comedies (not to mention the thrill of danger, transgression). In addition, the expression of Patrick Dewaere ecstatic at the end when he looks Isabelle Huppert be deflowered by her friend is a wonderful time with erotic libertarian.

timeless discoveries:

• Very Nice, Very Nice Arthur Lipsett . Revelation. Six minutes, but infinitely.
• The shadow army (Melville). Large piece of existentialist film.
• Casino Royale (James Bond, the latest version). Only franchise in a state of exhaustion can achieve such a renewal of their familiar tropes with an injection of unexpected depth and even a kind of tragic inspiration. Famous.
• Network (Sidney Lumet). Yet on the impact of cloud-catarthico misanthropic. "I'm as mad as hell, and I'm not going to take this anymore! "- A very contemporary film, perhaps more than then.
• First Blood (Ted Kotcheff, 1981). In the words of the late Falardeau, I never exaggerate.
  

Disappointments, more or less:

• Diary of a cooperating (Robert Morin) after reflection, a very low Robert Morin, but could give no worse stuff (though terribly outrageous) they ventured one day, and bluntly, in the porn on the web, the worst kind. But is this really necessary?
• Vital signs (Sophie Deraspe), or how to do too much, too deep, and get a result below expectations, too loaded on the plane humanistic and existential, to the capacity of actors, in addition, and content of the dialogues. No showing off, just clumsiness. And the shadow of Reygadas Seidl like leaden horizon of the film. In human terms, however, is impeccable and very generous.

The reunion more or less desirable, more or less inevitable.

• Claude Lelouch with Ones and others or fifty years of history French compressed into three hours of television variety, including a detour musical side of the death camps. That would inevitably lead to Michel Drucker during transitions, although the camera does not give Lelouch instead. Good Year was still a good movie ...

YouTube The epiphany of the year:

• Having reviewed Sleeper, Love and Death and Broadway Danny Rose burst the same day: reminiscences both heartfelt and hilarious of a time when Allen Stewart Konigsberg put everything he knew (and mastered better and better) on the art of staging plays, in each of his films. Woody has already been great.
  

Over the holidays, we tapped:

• Let the Right One In , the Swedish vampire movie sensationalism disorder. Ah, those barefoot in the snow, the rumbling stomach sank as soon as we hear every drop of blood ... Ah, yes, and the shock of realizing, at second sight, that after their first or second interview, it is clear that Lina Leandersson still wonders if she should not go to the teeth in the neck Kare Hedebrant.
• The World of Jules Verne / The diabolical invention (Karel Zeman, 1958), it does not dry to be amazed by this fabulous adventure film that gives movement to the spirit and engravings of Gustave Dore in splendid scenery painted cardboard. Moreover, the film with a perfect fusion of time reading: Against the Day , Thomas Pynchon, where the scientific reality bends to the contours of the wildest theories to have been designed at the time of the Exposition Universelle Chicago (1893).
• Brazil (Terry Gilliam, 1984), for his dystopian universe completely ineffective. I almost forgot that it happened at Christmas, this film.
• Eyes Wide Shut (Stanley Kubrick, 1998) for trees that invade the dowdy decor: the ultimate practical joke of Uncle Stanley.
• Ghosts of hatter, Chabrol, in his more intense. Still inspires as much terror and pity whenever I see it.

We are bored to see or see again:

• Any Bunuel film (especially Simon desert )
• The Cook, The Thief, His Wife & Her Lover Peter Greenaway, when he was still making movies.
• Bertollucci A good period
• Rome, Open City Roberto Rossellini . In fact any Rossellini.

We do not care a lot for not having seen:

• Latest DePalma
• Latest Angelopoulos
• the last five years the World Film Festival

The TV series discoveries this year

• In Treatment
• Dexter

We would dig

• Jacques Demy after seeing Donkeyskin in 2009
• Max Ophüls , and subtleties of its mechanical timepieces;
• series Lost , to see if it is still shot of the watch so that nobody speaks.

In 2010, we will be remembered that give a kidney to see

• The Complete "One Out " by Jacques Rivette; also because "a Article Pacôme Thiellement us drool over again. The
• Napoleon Stanley Kubrick, but ... in your dreams, buddy ! .. (And I keep my kidney.)

We will be spruced up without benefit:

• Shining (Stanley Kubrick, 1980) guided by an evil blog delusional (but packed with interpretative suggestions absolutely brilliant for what is to rethink the film), it was not long enough that he was seen to find something new.
• Alien III (David Fincher, 199?). The first ad campaign in the cinema said: "On Earth, everybody Cdn hear you scream. " What?
• No Country for Old Men (Joel & Ethan Coen), does not stand up well to the test the second view, which reduces it to a clever film tracking, a Tom & Jerry in Texas. Javier Bardem in figure impassive killer who thinks he is the Left Hand of Destiny, is still afraid.

Discovering all categories this year:

• Murmur of the heart , Louis Malle, 1971. There was more shame to be a little rich kid when it benefits both Laurent Chevalier (Benoit Ferrous), in this milling 400 rounds with the middle class at the time of the war Algeria. A fabulous Carpe Diem by the late Louis Malle, discreet and unrepentant hedonist.

The true-false inventory event of the year:

• The retrospective of Ken Russell and Fant-Asia Cinémathèque Québécoise , marred by the reluctance of Warner to divest major parts (which failed woefully to the appeal which Lisztomania , especially the full version of The Devils .) damage.

In 2011, we would like to write lovingly about ...:

• The biography of Antoine de Baecque Jean-Luc Godard (as well as on the films of Jean-Luc Godard), for the hour of balance was struck.
• Val Abraham, or the genius of Manoel de Oliveira: equate the figure of Madame Bovary to that of the Princess of Wales (rest his soul), with a wonderful narrative that fluent his breviary of wisdom.
• Cruising by William Friedkin. (No kidding.)

We think we / I has (i) failed to write good lyrics about ... :

• films of Robert Morin, alas.

were not bored too ...

• Bruno Dumont and his golems preconscious, the press screenings Quarter Latin, Cinema du Parc DeVeDe when he presents, and digital projections in general, with their bright continuous flow.