Com ara tinc molt de temps .... (És a dir, perqué últimament complexe of a messenger tinc i driver ...), I go finishing things.
tengo mucho tiempo .... How Now (One is saying it because últimamente tengo complex of messenger and driver ...) I can go terminando things.
A scarf that had become UFO
There was a scarf that is converted into UFO
The bout that we learn to do with Eve Gustems the Association (of course not much has come out as good as those . ... but what can we do!)
The aprendimos to make that bout with Eva Gustems the group (by I was not descontado Salido as well as a According quien le haremos .... but what!)
And today I enssenyar a thingy .... The Marieta, a single woman, because I know that lately many fronts, sent me this detallet. And indeed, as I said in your letter, I start smiling. Marieta Thanks! I was delighted!
Y hoy queria bone showed a sewing .... Marieta , which is one of woman, who knows as many últimamente tengo frentes OPENED, I was sent this detallito. Y efectivamente, just like me and decide in your letter, I must boot a smile. Marieta Thanks! I was encantando!
chance with the will and the will to the destination (Possible Lives Mr. Nobody) Married
there a limit insurmountable cinematic storytelling to the story in general: imposing a combination of the film as a physical support and projection / playback as cumulative experience. Narrative cinema the argument flows in the same direction as the arrow of time: under normal conditions, is unable to attend a scene which requires understanding the effect or had not seen the previous (unless half the movie starts). For the same reason, while a scene occupies space and screen time can not occupy any other. And when the argument is concerned with facts that might not have happened - like at the end of Mystery von Bulow (1990) - they should be shot like the rest, like scenes from dreams or desires. 's narrative as possible, the non-existent, for the viewer, is to attend multiple non-linear plots that are managed as a discontinuous series of parallel stories (which tend to reconstruct in our mind because our brain is designed well) . Never mind that the narrator stating that certain actions take place in the past and future ones, or that some are contained within the other , or acts that are potentially of what might have been but was not. Anyway, all these variations - each more complex and / or subtle - is consumed as a linear sequence. Because cinematic storytelling is sequential .
Possible Lives Mr. Nobody (2009) by Jaco Van Dormael explores the possibilities of narrative parole, an idea for which he had bet some films partially - Rashomon (1950), Mr. Arkadin (1955), Blow up (1966) - but related to the issue of narrative truth ( "what I see, what they are telling me, is part of the real part of the story or a dream? ). As this issue arises in a film's interest tends to focus on know if, as viewers, we are witnessing the main level of the narrator instance (which really is telling the story), or if, from the doubts of some people above them is an upper. It seems logical: if the protagonist starts to doubt the reality in which it is immersed, it is normal to see everything then can be seen as an option or a hypothesis. The problem is that potential Lives Mr. Nobody limits the problem of childhood and adolescence, as if the first years of life were the only ones subjected to random certainly - in this case, as is customary in the film, associated with romantic relationships - and the rest just give him to bear the consequences of uncontrollable circumstances established in the past (a drop of rain, a boyfriend who came that day to his girlfriend, a meeting at a station ...)
not enough to raise the possibility of what might have happened if ... Van Dormael actually set the story in a hyper future in which the protagonist is the last mortal man whose longevity it raises serious doubts about the things he has lived. In practice, the argument merely raises the issue of stock made possible by Mr. Nobody's relationship with three women to speculate on what his life would have been done with each of them. But it takes more to prevent the viewer that fits in what eventually becomes a discontinuous series of parallel arguments of those who try to reconstruct its linearity. Not just a technically and conceptually dazzling transitions between scenes (the mirror and the photo I think the best). not need as much thought about entropy in a story about chance, enough to make a movie that played with the elections or not sensed discarded (the image of the railways is very effective) without question the narrator or attribute everything to a dream . What's so much emphasis on these other lives that we give when we choose if everything is the product of the imagination of a child trapped in a decision worse than Sophie . Or put another way: how to specify the random images and the different possibilities of a dilemma vital means of expression if the employee is painfully stuck in the sequentiality? How to explain the discovery of a new primary color from our limited electromagnetic spectrum?
The case of Memento (2000) is not comparable, because Nolan used the same rules of causation and motivation holding classical narration to bring back the argument. Van Dormael, however, can not do the same because its approach is based on that, faced with a dilemma, there is no discernible cause or reason to explain the decisions we make .
Possible Lives Mr. Nobody confuses profit from the random will (the dilemmas that mark the existence of the protagonist is a resignation of the will, a mere blind choice) the story with the intention of telling (the same character questions the existence of a reliable narrator), and the fact of the narrative with a transcendent destiny (the dilemma that sustains the film is much more important than apparent minutiae that could have caused major changes in the existence of Mr. Nobody). The random chance is not only unexpected, a sudden unthinkable, but also the miserable, I repeat, the ugly, the error, the disposable. Things that fit poorly with the interest that we require all fiction . That is probably one of its limits.
All the time in the world ... Todo el tiempo del mundo ...
If you've been missing and lost, but I've spent a few months very hard and stressful ....... But do not worry, now that I have "ALL THE TIME IN THE WORLD" I will devote my strength to my seams ....
If I state very desaparecida and Lost, but past few months I will be very stressful and louis ..... Bone but not worry, now that Teng "ALL THE TIME THE WORLD" I will myself dedidar much to my costuras ....
Sex In New York 2 (2010) the issue of celibacy was forgotten long ago, and also the subject of marriage, and the infidelities that still tempt us to change the relationship. And, paradoxically, also the subject of sex. In this second part of blatantly commercial purpose, the thing goes minor infidelities (those that are the result of a grip of sudden physical attraction, of reactions to moments of downturn), of luxury as a lifestyle and consolidated partners rather than set . So in short and clear: of a new myth of female friendship after todo list of the thirty / quarantine has been completed . Namely, job success, relationship, marriage and children. Once these needs covered or accepted, she can relax and focus on renewing his friendship with women who accompanied her in the same trances and avoid vital leverage in the routine that inevitably results in a monogamous cohabitation.
This, it seems that Sex and the City 2 is a bad movie, bad , and that's how I imagined when I saw Miley Cyrus made a cameo and that the action was set in New York. But the fact is that Michael Patrick King - writer of reference of the series and director of the first film - has been able to relocate the center of the conflict and add a dose - the fact is that few - humor. Has even managed to finish the job with a critical (unfortunate) to the situation of women in societies under the influence of Islam. can not demand too much when the vein of argument has long since been exhausted .
The film faces the inevitable challenge of achieving coexistence always fun and new, avoiding fall into idleness (men tend to do as we approach the fifties), especially if you have chosen - as happens with Carrie and Big - not having children. Charlotte, meanwhile, must take the first cracks in his perfect mother archetype and begin to deny their daughters without bad conscience. Miranda, having reached the glass ceiling in his office, should bet on a change of attitude at work, less stuffy and - as implied in the film - more socially committed. Finally, Samantha is responsible for providing the touch of humor at the expense of sexual morality and highlight the contradictions that arise when putting an elitist luxury environment with as hopelessly prudish attitude towards sex and women as ultracarca to .
Sex and the City 2 only seems interesting when faced with a low expectation . If this is your first foray into the fiction of the New York quartet can take two things: either that the minimum entanglement is sufficient to entertain or that everything seems so caught by the hair to think that the fame of the TV series is overrated. And I assure you that comes first.
