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What I mean when I talk about running

In my case, most of what I know about writing I've learned running down the street every morning. In a natural, physical and practical. To what extent and how far I should strive? How much rest is justified and how much is excessive? How far does the right consistency and from where does the meanness? What should I look at the exterior landscape and how to focus deep inside? How I firmly believe in my ability and to what extent I doubt it? I have the impression that if, when I decided to become a writer, not have occurred to me to start running long distances, I have written works would certainly be quite different.

Haruki Murakami. What I mean when I talk about running.

As I run, just run. As a rule run in a vacuum. Said conversely, perhaps one could say that I run to achieve a vacuum. And it is in a vacuum where sporadic thoughts are immersed. For within the human mind is impossible to achieve total darkness. The human spirit is neither as strong nor as consistent as host to the absolute vacuum. No But those thoughts (or ideas) that enter my mind as I run are not, in short, more than just vacuum accessories. They are not content, are thoughts generated about the axis of emptiness

Haruki Murakami. What I mean when I talk about running.

Run, Fatboy, Run (2007) David Schwimmer

Atanarjuat, the fast man Legend (2001) Zacharias Kunut

Across the Tracks (1991) Sandy Tung

Chariots of Fire (1981) Hugh Hudson

The Thief (2010) Benjamin Heisenberg

Run Lola Run (1998) Tom Tykwer

The four golples (1959) Francois Truffaut

The Man of Bronze (1951) Michael Curtiz

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The Loneliness of the background (1962) Tony Richardson

Olympia (1938) Leni Reifensthal

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Cautelarísimas

last Wednesday I view of cautelarísimas Urged before the Audiencia Nacional by Gas Natural, Iberdrola and Endesa in order to stop the shared commitments of indigenous coal . Very interesting. It is the second time I see this "institute" rather unusual procedure. The subject and the time worth it. The room was packed (mostly journalists) and lawyers (from both sides ) To the height. On the banks of pubic witnessed a brief spat between a proponent of the power and someone, I think, of the ministry. It was a plus, but was curious.

As for substance, that is, the merits, the court difficult decision, really. All the arguments seem convincing.

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Amer (2009) Helene Cattet and Burno Forzani

[...] I tend to lock with blushing face, and I keep my self-experiencing for-other, my opportunities are continually dying, or the distances to deploy to me from the stairs where there might be someone from that dark corner where I could hide a human presence. Moreover, if I shiver at the slightest sound, if every creak announces a look, because I am already in a state of being-watched . Jean-Paul Sartre [1]

penetrated her gaze on an image at the time that this view was regarded as the death of every image ... then certainly the foreign body (the image) had lodged in her eye and tried to go further . Maurice Blanchot [2]

What you see and what you see [3]

The famous knife scene U n dog Andalusia (1930) work, no doubt, as a warning, a warning against the voyeuristic impulse that defines film viewers. That telltale look that Lars Thorwald launched LB Jeffries in Rear Window (1955) was also addressed to us viewers. To the extent that the photographer was discovered escoptofilia also was evidence of our desires. The film viewer is always a reflection of the voyeur and the film a perfect tool to meet their wishes. If we stop to think about the history of cinema is full of voyeurs. The films of directors such as Luis Buñuel, Alfred Hitchcock, Krzysztof Kieslowski or Brian de Palma is prepared and dedicated to the figure of the voyeur. In films like Peeping Tom (1960) Michael Powell, or Blue Velvet (1990) David Lynch the voyeur is presented as a sadistic tendencies character in Blow -up (1960) Michelangelo Antonioni, the conversation (1977) Fracis Ford Coppola or Blow Out (1981) Brian de Palma (the latter two would be an auditory voyeurism) the bystander was a person who wanted to discover what hiding behind the appearances, look and listen compulsively and insistent because he always hides something more beneath the surface. In fact consecrated and recurrent figure of the detective, the investigator and photographer for professional reasons has always similarities with that of the voyeur. In works like Key (1959) Kon Ichikawa or A chant d'amour (1950) Jean Genet presented the figure of the voyeur tied to the exhibitionist. The position of the object and the subject enters a certain ambiguity when the observer is aware of it. As Gerty MacDowell, the lame Nausica thirteenth chapter of James Joyce's Ulysses, that despite the observation that Leopold Bloom while practicing onanism hidden, and seems to enjoy the comfort of the excited Bloom. Or disturbing picture of Eric Fischl, Bad Boy (1981), where a teenager steals woman's purse while naked in bed covers.

I would venture to say that few films have a visual and sound processing so successful over the look and escoptofilia as Amer. The Belgian pair formed by Hélène Cattet Bruno Forzani made a debut of impeccably. An audiovisual experience more sensitive than narrative, as Helene Catter and barely Forzani Brunno include dialogues (and no need to find it), because their intention is to reflect the subjective feelings of Peeping Tom, what you see and what looks at you. In spite of its experimental Belgian partner completely rejects the narrative. The film is about a woman's life into three stages of life: childhood, adolescence, adulthood, and how the different periods carry a kind of look, a kind of voyeurism conditioned by the experience. Something similar to what has been done by fellow Belgian Dominique Deruddere in Love Is a Dog from Hell (1987). But in this voyeur views were always related to the discovery and frustration in sex, however the film Helene Cattet and Bruno Forzani would be close to George Bataille, sex is inevitably linked with death. Anton

Felser perfectly reflected in a painting the human instinct to Skimming through the lock (1895). This burning desire is what makes the infancy stage of the protagonist. Its voyeuristic experiences are marked by the first approach sexuality, the discovery of what parents do when they retreat into the room, and with death, his vision of the mummified body of his grandfather. The young girl wants to see and not be seen, perhaps because his eyes have some transgression of the rules. All this stage of youth is an air of nightmare, she is haunted by a ghost with a black mantilla is undoubtedly his grandmother. Sound treatment commitment, throughout the film, by a hearing subjectification of objects, friction, fabric, steps, panting all the amazingly increased by creating a sound composition that affects our senses. The wonderful picture at a given moment becomes primary colors, red, green and blue, does nothing but increase our perception that we are witnessing a nightmare. The transitions between the different stages are actually achieved, in a formally correct. The stage of adolescence would be marked by an awareness of being watched and the question "What is to be seen? that made Jean-Paul Sartre.La young man discovers his ability to attract the gaze of others, to be the focus of voyeuristic desire, so the camera so fragmented Belgian couple erotic writing body , a metonymic vision of his physiognomy. The sensual scene motorists still reveals a certain modesty and insecurity among the young. All those male eyes that seem to be devouring her with eyes placed in a position of tension and shame, incredibly achieved by Helene Cattet and Bruno Forzani .

maturity is marked the return home of children and the clear awareness of the sexual potential. The erotic taxi ride to the family mansion looks more like a sexual encounter a vehicle traveling. The ability to demonstrate the enormous groups of directors make the trip in an orgasmic experience. (No doubt one of the best scenes collected throughout the film.) The reunion with the old home as it is with old ghosts and fears. No doubt this final installment of the film has many echoes with Chambre jaune (2002) conducted by the Belgian couple years earlier. As George Bataille said: vision or image of killing can awaken the desire for sexual pleasure because the field of eroticism is essentially the field of violence of rape [5]. For So the mature segment of the film is not far from Japanese Koji Wakamatsu, and much of his filmography is divided from the union of Eros and Thanathos.En films like The Embryo Hunts in Secret (1966) or Violated Angels (1967) sex and death appear linked together. Belgian couple perfects all visual fetishism, use smart objects and clothes with sadistic eroticism is very balanced for a special assembly.

viewers will criticize Amer by an excessive and exorbitant formalism or an experimental vocation abusive. But few works of art have made a very interesting approach to look voyeurism and sexuality. A sensory experience that is difficult to translate into language. Amer undoubtedly belongs to those films that are worth more sense that we live them and .

1. Sartre, Jean-Paul, Being and Nothingness , 176 pp
2. Blanchot, Maurice, Thomas the dark Ed: Pre-Texts, 2002, p. 12
3. film Helene Cattet and Bruno Forzani has, apparently, many ralaciones the Italian Giallo subgenre popularized in the 70's. The reason why I do not mention or reference I have not seen any film belonging to this subgenre of horror. But the interested reader will find a great Transit Tony Junyent text that speaks of the influences absorbed from the Giallo Amer.
4. "How can we simply say, as do Freud, the exhibition is the opposite of voyeurism or that masochism is the opposite of sadism? ". Lacan, Jacques, Seminar 11: The four fundamental concepts of psychoanalysis . Argentina.Paidos, 63 pp
5. Bataille, George, Eroticism, Fabula Tusquets, 2007.

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Any way there are those who question the need for legal proceedings to ensure the protection of those involved in the case of sanctions.

was in a meeting on TV and its future. Some worry - I think over-the illegal broadcasting of TV pirates . It is necessary - you said - the housing management initiative empowered to initiate the procedure sancinador. Moreover, the resources, the allegations do not render something today for tomorrow. "Resources; allegations?, Wondered Alguns outraged. That's an obstacle, a hindrance; a delay. I suppose that everything which negatively affects their bottom line should disappear. Of course, the day that they would "write" Adminsiración, here we are invoking the sacrosanct right of defense.

PD: The picture I went up (from The Confidential) has nothing to do with the entry, but it sure attracts at least one second al'gun the attention of potential readers. and now that I think it does have to do. in the meeting yesterday said the only future of pay TV is football and porn. for that, I'll also try to put it kekas.

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Social Network (2010) David Fincher

Classicism retrograde

How to tell a story when we have seen and read all the stories? The question which divides the work of Jean-Luc Godard should be a point unavoidable to consider any filmmaker worth his salt. All stories have been told and have all been read, where it plays a real difference in the way, what will tell us what's really inside of things, as you know the French filmmaker. David Fincher in his last film did not want to consider this delicate issue and has chosen a classic, perfect, uniform and seamless, with a flashback that have a stale taste and dialogues stuffy. But David Fincher knows that the contemporary viewer, like film, has long since lost the innocence? "It is not possible to tell a story as told in the 40 and 50 in Hollywood, without falling into a simplistic and topical? What the complexity of the world and human relationships are mere sketches in a style so tight? Something must be suspected Fincher, since half of the film decides to shoot a modern outrageous scene of a race, totally disconnected with the rest of the film. Scene narratively empty and has no weight. As if Fincher would have thought that what I was doing before he sinned an end to classical times.

With this, if David Fincher is guilty of simple and elementary, so does the public feel reassured. They possess all the modern technological developments can provide, they know how to use convoluted functions and applications on their phones, those are very modern with the latest gadgets, are the same as praising a movie backward, topical and simple. Now that's a glaring inconsistency of modernity itself Umberto Boccioni made it clear with this sentence: Public modern life, art retrograde .-

The "great reflection" David Fincher poses with the social network is: the creator of Facebook, Mark Zuckenberg, is a misanthropic, antisocial and withdrawn. This contradiction is raised through a performance without shades, flat, full of cliches and hackneyed. Mark Zuckenberg, how could it be otherwise, is a computer geek, a nerd overflowing with intelligence and a privileged mind, or the Harvard environment portrayed in a very innovative, indeed, a , full of rich kids, children of Dad doing wild parties but elitist, that place where the jet set lives intellectual and economic country, full of Nobel prizes and brilliant minds. We could go on with examples. In part, the responsibility for this disaster as has Aaron Sorkin, thanks to overly bright and witty dialogue that just sounding stuffy and false, about characters who speak like they write on your computer, that is, without doubt, without hesitation completely sure of themselves, some dialogues " whose diction and staging hark back to the screwball comedies of Howard Hawks" said Carlos F. Heir, but in the XXI century sound contrived and spurious. Anyone would think to praise a writer in the XXI century as Shaekespeare write or Cervantes? Already an artist who painted in the style of Leonardo da Vinci? Why, however, the public loves to tell stories as we have always done in the movies?

To me, as Slavoj Zizek, what really worries me are those icons like Bill Gates and Mark Zukenberg. These thugs are marginal now as respectable businessmen. Their faces were friendly and close, to anyone, they hide as Zizek " a new figure of the master who is our equal, our neighbor, our double imaginary and therefore is equipped phantasmatically another dimension, the evil genius ". Of course, this David Fincher gives us equal and the creator of Facebook as being tortured, lonely and selfish attending meetings in pajamas and house slippers (acute portrait of misunderstanding)-something that strikes me as the American director has always been interested in representing the poor showing nothing complacent vision of humanity as Seven or Fight Club. more interesting that the film had been considering how the system capitalist allows a single individual stop much power and money in their hands.

Fincher's vision Zukenberg Mark offers us is not as stark as it seems. Is far from disappointed and disillusioned portraits of both F. Scott Fitzgerald in the Great Gatby or Orson Welles in Citizen Kane made on the life of his characters. The end of The Social Network is marked more by the hope that Zukenberg can regain the love of Erica Albright, the Daisy, through the Internet, which in the gloom and sadness of knows that his life is doomed to loneliness and isolation.

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O sangue (1989) Pedro Costa

Absence, meeting and filaciones

See the films of Pedro Costa calls the experience cinephile par excellence: A comparative, cross references recall a time when John Ford, or a particular style effect in Jacques Tourneur, a court in Jean-Luc Godard an overlay in Jean Epstein, an atmosphere in Moonfleet (Frtiz Lang, 1955) or the anxious look on the face of a supporting actor in a film by Nicholas Ray ... ancient and contemporary films, classic and fucking. [1]

Adrian Martin This statement perfectly summarizes what is opposite the Opera House Portuguese director bonus. O sangue is a film that consciously and unconsciously gathers inside the ghostly presence the past. The winks and hints that coexist within the fiction and Pedro Costa previously internalized, are a kind of palismpsesto, that works deeper than a mere postmodern game quotes and references reactivated in the manner of Tarantino. What makes the film by Costa is a deeper experience is the perfect living inside of the ancestors with whom the Portuguese director is in debt.

The start of O sangue could well be a final outcome of an entire movie, as if the beginning and end were closely linked. A young man in a desolate landscape looks lost on the horizon, suddenly a hand appears out of the frame and hits him a slap with echoes of Mouchette, a fast reverse shot reveals the man who has encouraged and looking lost the boy. After a few long seconds of silence, a plane at the height of the legs reveals that man has a bag that holds to then be walking. Costa switched to a more open and start a traveling while the man walks in front of the camera leaving behind the boy and his car, while yelling not leave me, what am I going to tell Nico? impassive man answered: That I'm dead. In this first conversation between father and son is clear and one of the main reasons on which the film is structured, the death and disappearance of the father cancer patient and the subsequent sense of orphans who will face the children. The absence and said Philippe Azoury is a prerequisite for adventure. Or maybe that's why sangue maintain ties with movies like Night of the Hunter (1955) Moonflet (1955). Movies where the feeling of orphanhood of their characters triggered a confrontation with an adult world and the consequent maturation. As in the film's two brothers Laugthon O sangue will face enemies and external pressures. The guy (Luis Miguel Cintra) that appears to be the younger brother, Nino (Nuno Ferreira), or both taken from a gangster film noir Frtiz Lang and Jean Pierre Melville, who try to intimidate Vicente (Pedro Hestnes) for tell them where to hide the money they stole his father. Both brothers had just deprived of their liberty, kidnapped and constrained within an adult world for which the only possible solution is momentary escape and flight.

But O sangue is also marked by the romance and the encounter between Victor and Clara (Inés Medeiro) likes of lovers of the night (1949) . A love that emerges in the folds of the planes at their intersection, we do not see birth, but sorry. Jean-Luc Godard said that a good image has a long history behind it and purged of Pedro Costa elliptical style makes your images are loaded unahistoria do not see, of feelings that are not shown but are strongly suggested. Save me Victor says Clara in the street just as she prepared to cross. A request, a request can only be said when there is a complicity, a trust. A meeting that was born of necessity, the urgency, but has an intensity and vehemence of the lovers themselves. A scene with a fragmented Costa bresoniano style and end up with beautiful dissolve on Clara's face, which might well have made Jean Epstein.

The night adventure of young lovers in the cemetery to to bury the body of the father of Vicente and Nino, among graves and tombs, has echoes of Dawn (1927) and Tales pale moon August (1953), a landscape it has some fantastic and illusory, that mixture of love and death, Eros and Thanatos, and the wonderful scene The Quiet Man (1952), Costa probably would agree with Andre Breton when he said: that a certain point of the spirit where life and death, real and imaginary, past and future, the communicable and the incommunicable, no longer perceived as contradictory.

l E Historie beginning of the poem (s) du cinema of Jean Luc Godard was an appropriation of a famous axiom Bresson reservation margin of uncertainty do not go to show all sides of things. Pedro Costa gives his film a sense of mystery and an atmosphere of sleep, which comes from work done extaordinario Martin Shafer in the picture. The images reveal a conflict, opposition internal between white and black, light and shadows, as revealed and hidden, as if Shäfer and Costa huyensen of clarity and maintained that level of uncertainty to which I alluded Godard. This confrontation, constant level, between the light and showing what the shadows hide, immediately leads us to the work of Jacques Tourner, an inescapable reference for all the work of Portuguese which provided its plans for a beautiful and mysterious opacity ambivalence through enlightenment. The puzzle was always in the shadow, in darkness, as Cat People (1942) or I Walked with a Zombie (1943).

O sangue appears in the films of Costa as an orphan work as brothers who appear in it, before it starts its beautification Costa misery. Ranciere aesthetication as a means intellectual territory and visually banal of poverty and marginality is returned to its potential and its rich shareable sensitive. [2] Pedro Costa's debut is a very baroque visually where we can appreciate the taste of Portuguese bias by the planes with the use of ellipses, the fate of the social and affiliations with the past that resonate more buried and hidden in his later works: Jacques Tourneur, John Ford and Robert Bresson.

[1] Martin, Adrian, What is modern cinema?, ed: Uqbar

[2] Ranciere, Jacques, The viewer emancipated ed: Test ellagen

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Buried (buried) (2010) Rodrigo Cortés

Enrique Vila Matas said that the worst vices of the writers are the traditionalism and the occurrence, the two worst versions of the topic. The film criticism as well. To avoid falling into hackneyed territory, try talk about the latest film by Rodrigo Cortés without resorting to obvious adjectives that often ends masking a lack of argument.

Tafiofobia: Fear of being buried alive. Do not worry, I intend to sell you a car. In July 1844, Edgar Allan Poe publishes The Premature Burial. In this short story, the narrator suffers from catalepsy and as a result of this, the man suffers from a horrible fear of being buried alive just let it live. Buried In Rodrigo Cortes their worst nightmares become reality.

tried to scream, and my lips and my parched tongue moved seizure, but no voice issued from the cavernous lungs as weight of a mountain, gasped and throbbed with the heart in each consuming and difficult breathing. same may be thinking Paul Conrroy (Ryan Reynolds) in the wonderful Buried boot. We hear panting, struggling, breathing fast and choppy, but the LCD just does not see anything. Time passes and we continue to hear the same breath. The people in the room is starting to worry, "What happens here? Why not turn on?" That's the thought that seems to own most from the audience. The latter are eternal, stifled breathing reverberates throughout the room but the display remains black. I think: "I too am starting to get nervous." I do not think that Cortes intended to emulate the Portuguese Joao Cesar Monteiro and his mythical Branca de Neve (2000) . Finally something light, like a cigarette lighter. Yes, yes, certainly. There is a man, yes, a man trapped in a coffin. Temporary relief in the room.

With the impressive start of Buried, Cortés shows his credentials: courage, freedom and lack of complexes.

By now we've all read or heard of Rodrigo Cortés presents himself as the descendant of Alfred Hitchcock again (with apologies to Brian de Palma): both have been able to build impressive works in tight spaces, "the British showed the fierce struggle for survival that kept the crew of a tiny boat ( Castaway , 1944) - while English has the same battle a coffin where only one man. The challenge seems more complicated priori.

How to make a movie with just one character and scenery? and perhaps more important for some, how can you not boring and tedious? How to maintain the tension and excitement with these restrictions? Cortez gives a brief survival kit Paul Conroy's character (Ryan Reynolds), a U.S. contractor whose convoy was attacked by Iraqi insurgents, Cortes used brilliantly, making the voltage keep the red hot for 1 hour and 30 minutes. Throughout the film reminds us poor Paul Conroy to Roger O Thornill but buried under the ground, how many calamities and Conroy will have to endure insults? How many difficulties and trials will have to face if you want to get out alive from his coffin? The Galician director leaves us something clear and pointed Buried and the narrator of Poe's tale: being buried alive, is beyond question, the most terrible of the extremes that has ever fallen to the fate of any deadly [1].

In his short 15 days (2000), the rogue character Castor Vicente Zamacois carried to the limit the use of trial products, exposing the paradoxes of consumer society. Moreover, in his first the verbose and acid Contestant (2007), Cortes carried the blame on the international banking system, in which Martin Circus (Leonardo Sbaraglia.) Gave us an advanced class economy. Buried In Rodrigo Cortes seems to put his satirical and biting look towards an ineffective bureaucracy, preventive wars and globalization. Buried

go down in history, surely, by the enormous technical challenge and involved narrative, as Russian Ark (Alexander Sokurov, 2001) as the first film was shot entirely in one plane, but the great achievement of director Gallego the viewer entirely forget the space constraints and acting. The accurate camera movements, angles impossible, the rhythmic montage, some good tips on script and a superb interpretation of Reynold are some of the many successes that film has.

caught Now you know the press and read: claustrophobic stressful, exhausting, bla bla bla bla .....

[1] Allan Poe Poe, All stories ed: Galaxia Gutenberg Circulo de Lectores, pp 180, 169

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Blank Page (1960 ) Stanley Donen

Crisis matrimonial and modernity. 1960 years

key cinematic modernity. The year where there are two movies that dazzle innovation, which will become referents in film history, one American and one European Psycho Alfred Hitchcock and Michelangelo Adventure Antonioni. Not chance the two are linked from the disappearance of a person. Marion Crane / Janet Leigh and Anne / Monica Vitti.

But it is also the year As a mirror of Ingmar Bergman, in which Harriet Anderson was troubled by the possible existence of God, behind the wall of the room. A movie of mysterious doors and empty rooms. blank page might be the American response to mirror As . Donen staged a schedule of doors and rooms, where a marriage of the British nobility, The Great Rhyall played by Cary and Deborah Kerr, held live in an old castle that receives daily visits from tourists, as a system to meet the costs of maintaining them. One such tourist, American millionaire, to name European painter, Charles Delacre, Robert Mitchum, miss chance in this mysterious maze of rooms to finish traspansando the forbidden door, where he will meet with a woman Deborah Kerr nobility, whose marriage is in a state of fossilization and routine. An encounter with the unknown that will become a deeper experience of love.

page will encompass blank in the sitcom marriage, gender to which they belong such masterpieces as The Awful Truth (1939) Leo Maccarey, New Moon (1941) Howard Hawks, or The Lady Eve ( 1941) Preston Sturges. "He described the genre of the sitcom marriage as an endeavor to demonstrate how the miracle of change can occur and consequently become common life marriage of a couple on the verge of divorce" [1] This miracle referred to Stanley Cavell is referred to her husband Nora helmet at the end of A Doll's House by Henrik Ibsen

Nora: Oh Torvald, would produce the greatest of miracles

Helmer: "The greatest miracle?

Nora: Do both have to change as ... Torvald oh I do not believe in miracles.

Helmer: But I want to believe in them. Tell me. "Change as ....?

Nora: That our life together becomes a marriage. Goodbye

The marital comedy, will then representation and modeling of this miracle exists and can be posible.Por therefore the mission of Cary Grant, how could it be otherwise, is to regain the love of his wife and her away from her lover, believing it in miracles. The viewer knows that if someone is capable of it, this is Cary Grant, because we've seen it before reviving a marriage that everyone took for dead, Philadelphia Story (1940) in New Moon ( 1941) or even You and I ( 1951), where cast also shared with Deborah Kerr. What will drive the plot in Blank Page , like all sitcoms, is that the two main characters meet again, so any criticism of the predictable end, reveals an ignorance about the rules of this kind, that if something is surprising is that combines similar events as diverse effect.

Stanley Donen is a director known for his knack for musical Singing in the Rain (1952) or Royal Wedding (1951), and although Blank Page does not belong to this genre, if it preserves a certain rhythm and musicality in movement and speech of the actors. The scene where couples split screen Cary Grant / Deborah Kerr and Jean Simmons / Robert Mitchum talk on the phone is a good example of air that hovers over the movie musical.

But there is something very modern in this film by Stanley Donen, beyond his years, and has highlighted Carlos Losilla "[...] Blank Page and are Indiscreta , his latest film, more attentive to the movements of the actors and the vacuum left by the disappearance, feelings and its eclipse, the couple and the threats they close on it, the adventure that must be overcome to be together "[2]. The eclipse and disappearance two figures" antonionianas "modernity Codes appear in this ; classic American film.

I think there is an extraordinary relationship in blank page and From overnight (1997) by Jean Marie Straub and Danielle Huillet, which shows the cross can become the resonances and echoes in the film. From overnight is an adaptation of one-act opera by Arnold Schoenberg in which one partner after returning from the theater, arrives at his apartment, where a crisis erupts marriage that will last all night. In the work of Staub and Huillet's musicality is evident as it is an opera, but as I noted above Donen film retains certain features of the musical, two movies in the shadow of doubt and crisis will be extended by partners, in both his characters come to the same conclusion Freud: the discovery of an object is in fact his resdescubrimiento and finally at the end of the two films make their appearance the children, how children formulate Rhyall family as well as asking the child to the marriage of From overnight? "What are modern men?".

[1] Cavell, Stanley, The pursuit of happiness, the marriage sitcom in Hollywood ed: Paidós. pp: 32;

[2]. Losi, Carlos, The invention of modernity: History and melancholy in the film story . Director: Núria Bou i Sala. Pompeu Fabra University, Department of Communication 2010.

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