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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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