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 ...)