; movieschocolatebooks: May 2014

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Saturday, May 31

A thousand times good night by NICO

''When you'll grow up, you'll see, that there is something inside you stronger than everything'' ...Da, exista si se numeste pasiune. Cand o sa cresti, daca ai acest noroc, iti vei descoperi o pasiune, acel ceva ce te face sa treci peste tot, toate, toti. Pasiunea te va hrani si te va topi, pasiunea te va inalta si te face sa treci peste normal, peste obisnuit si peste familiar.






A thousand times good night este un film despre pasiune, ar putea fi un manual de folosre si traire a pasiunii si cu pasiunea. Avem o Juliette Binoche atat de curata si frumoasa, incat rolul curge natural si lin- lin este doar un fel de a spune, pentru ca rolul femeii cu o pasiune este in toate felurile zduncinatoare, numai lin, nu ...dar vorba aceea: apele line sunt adanci... Juliette este fotograful de razboi, Rebecca, vocea celor ce nu pot vorbi, vocea celor ce nu pot fi auziti si facuti remarcati; ea este mama, sotie, fotograf profesionist ce schimba 

perceptia lumii, ce trezeste lumea incojurata de inocenta si liniste. Dar nu poti fi bun- buna la toate. Trebuie sa stii cand sa renunti, sa stii si sa realizezi cat si pana unde poti merge...Ea incearca sa fie femeia normala cu atributiile ei de mama si sotie, dar si profesionistul ce are darul de a vedea prin obiectivul aparatului, ceea ce numai ea poate sa vada... Poate daca era barbat, ar fi fost mai usor acceptata de familie, pentru ca femeile au darul sacrificiului, al dorintei de a fi pe plac, au in ele spiritul matern de protejare dar si puterea de a fi orice isi propun. Rebecca este intre doua lumi, este femeia ce se doreste iubita, pentru ca este femeie, dar este si profesionistul manat de pasiune... pasiunea este cuvant scump si rar. Folosit in zilele noastre cu sens diminuat de substanta -ca mai nou folositele saluturi: 'te pup' sau 'love you'- spus fara incarcatura lui de baza, toate sunt doar cuvinte frumoase carora le-a fost furat continutul, au devenit superficiale... Ce-ar fi ca atunci cand o zici, chiar sa o faci sau sa simti ceea ce zici. Asa si cu pasiunea...multi vorbesc despre ea, putini o traiesc cu adevarat, putini o simt si mai ales putini au descoperit-o. Ma inclin in fata celor ce au descoperit-o, dar mai ales in fata celor ce o dezvolta, traiesc si o simt curgand precum sangele, de fapt este sangele lor...le iei pasiunea si ii vezi cum se sting, ii vezi cum devin actorii propriei vieti, nu personajul real. 



Aceasta este Rebecca, femeia care incearca sa fie normala pentru sotul si copiii ei. O vezi cum se straduieste cu se lupta cu ea, o vezi cum verbalizeaza si spune tare cuvintele de renuntare la pasiunea ei, pentru ca isi raneste familia ...si incearca, se vede cum rupe din ea si incearca sa fie normala (normala pentru ceilalti-devine marioneta propriei vieti). La un moment dat ai impresia ca a reusit...apoi, fara nicio premeditare intervine acel ''trigger point'' care rastoarna tot ce incercase sa construiasca ''normal'', astfel realizand ca ea nu poate fi normala si pasiunea ei, este mai presus de de fiinta ei si a celor ce o iubesc...si pana la urma cine te iubeste, te accepta asa cum esti. Te accepta cu pasiunile tale, cu felul tau diferit de a trai viata ce ti-a fost data, te accepta pentru ca te iubeste, asa cum face si fiica ei mai mare, Steph, in discutia closure ce o au la sfarsitul filmului: 'Rebecca: Are you scared? Steph: Yes!...but it's ok''. 




Un film despre pasiune ca mod de viata, despre oameni de calitate (calitatea- valoare din puctul meu de vedere), despre idealuri inalte, furie, resemnare, revolta, acceptare, respingere, iubire ...dar mai ales, despre oameni curajosi ce stiu ca a fi tu insuti este greu, dar nu imposibil. Este greu pana iei decizia de a fi cum esti tu ''inside''- adevarul este ca esti mult mai puternic si mai increzator in ceea ce faci, daca stii ca cineva, acolo, undeva te sustine si te intelege, te accepta asa cum esti . Este un film despre femei puternice...Exista asa ceva, stiu ca exista, aceste femei muta munti pentru pasiunile lor si ceea ce ele numesc ''acasa''. Un fim ca o explozie... 




PS: A thousand times good night sunt acele nopti in care o mama nu a spus ''noapte buna'' copiilor ei... normalul unora, sunt nestematele altora.


Thursday, May 22

Children of Heaven

As if I were young again, as if little joys were hanging like ripe apples from the never-aging trees, as if I never saw the colours behind the rainbow, as if....This is one of the most touching movies about childhood and its long lost scent, a movie for the adult in you that never forgot about the child he once was. It is a reminder of the little dramas that go on in their little heads and the pain their little hearts gather in muteness. It is not about little prefabricated grown-ups dressed up as prodigy children, it is about how poverty and illness fail to corrupt their innocent ways.





Children of Heaven, directed by Majid Majidi, is about a little girl's lost shoes. Ali, her elder brother, takes the shoes to be mended and on his way back home, he stops at the market to buy some vegetables and the bag with the pink, worn-out, little shoes is taken by mistake by a man gathering empty cardboard. Ali returns home empty handed and a silent complicity is born between the two siblings, Ali and Zahra, meant to protect them against punishment and out of a mature understanding of their family's poverty. Still, Zahra cannot go to school wearing her slippers so Ali lends her his dirty, old sneakers provided she does her best to return from school as fast as she can so that they can swap shoes. The hardship of the family -the father works late hours, the mother is sick, the infant needs constant attention- are so evident in the eyes of the children that they would never do anything to either upset their parents or to cause them extra trouble. The possibility of winning the third prize in a crossing competition makes Ali hopeful about the way the shoe situation might change for the better. If he wins, he will get a pair of new trainers that he would give his little sister, thus putting an end to the situation. Ali is among the best in his classroom, yet due to the shoes inconvenient, he is always late for classes and is about to be sent back home as a punishment for his repeated misbehaviour. Zahra, on the other hand, accepts not to let anyone else on their secret and even as she sees her pink shoes at school, on the feet of another girl, she once again keeps her silence and puts on a brave face.


In a world where children have become addicted to various devices, giving up on their childhood in favor of the cold world of video and computer games, the gift of a ballpoint pen is a major event in the life of the two brothers.  Ali receives it at school for having scored among the first five students in his class, and he lovingly gives it to Zahra in an attempt to sweeten the pain of the lost shoes. And there is such great bliss in the eyes of both of them for to both, happiness comes from the small things. However, the story gets complicated and for every tiny aspect of their poor life, there is a correspondent in the world of the rich where Ali and his father go to make some extra money from gardening. In the city world, rich men have a good heart and children mingle without any concern for social differences. If it is too idealistic, at least it is the kind of hopefulness that keeps you content about the outcome of things. Such people shall thrive on their goodness, despite the hardships of this magical-realistic drama, and the rest of us shall be left with the powerful image of a simple boy running the streets of his neighbourhood to school, never once complaining about life injustices.

The story is simple, yet touching, the movie has a strong structure, great dialogue and is well-shot. It might strike you as manipulative in the manner movies with child characters are, but the details of the cross-country race and the bitter-sweet ending have simply managed to capture the quintessence of childhood in a great picture, Children of Heaven.


Sunday, May 18

Reign over me by NICO

My father's just died!!..
Do you want to have breakfast? I know a good Chinese restaurant....
No! My father is dead!

Reign over me ar putea fi foarte bine numit Life and shit we have to go through, shit we have to deal with and go on. Un film usurel si amuzant in prima faza, un film in care te trezesti ca suferi si incerci sa protejezi un personaj, vrei sa il vezi salvat, vindecat si cu toate cele bune care ti se ureaza mai ales la o aniversare...Dar descoperi ca nu stii daca ai facut bine, daca trebuia lasat asa cum era sau daca este bine sa il tratezi si vindeci, daca trebuia cumva sa il lasi sa isi vada de viata sa si sa se vindece singur, in ritmul sau. Avem un Adam Sandler un pic sarit, as usual, dar sarit in sensul de faramat in mii si mii de bucatele...Cine nu ar fi in locul lui?!?!...Unii ar putea fi chiar mai rau de atat, unii ar putea fi ...de fapt ar putea sa nu mai fie.... Si ce face el in situartia in care nu iti mai ramane nimic?...Nici macar un amarat de pudel...in viata, doar obiecte?





Sa povestesc filmul ar fi usor si plastic, as putea folosi cuvinte seci sau bine ticluite, astfel incat sa expun povestea lui Charlie Fineman cel sarit de pe fix, cel care a inchis timpul si lumea pe care o stia pana la momentul unei pierderi inimaginabil de mari, dar nu o voi face... nu sunt de parere ca trebuie sa povestesti un film, ci vazut si trecut prin tine si ceea ce esti ca om si simti ca individ, degeaba iti spun eu ca o sa plangi sau o sa vrei sa il ajuti pe acel om, daca nu esti ca mine sau nu esti Eu. Charlie Fineman este un om ca oricare altul, care ste un om boem in aparenta, un imatur si incapabil de a se descurca in viata reala, cu realul, ce respira, dar nu traieste, este plin de hobbyuri si plin de activitati care sa ii ingroape memoria. Si nu numai pe el il intalnim cu ''pitici pe creier''. Vedem cum oamenii aleg sa ''deal with life in their own way''. Asta se intampla deoarece oamenii sunt diferiti si daca eu nu reactionez exact ca tine la o durere, nu inseamna ca nu o simt, ci inseamna ca sunt diferita si ma acopar altfel decat tine, inseamna ca sunt om cu pareri si trairi proprii. Daca eu nu ma incadrez in limitele si regulile impuse sau urmate de tine, nu inseamna ca sunt in felul in care tu presupui. Sunt eu , asa cum consider ca ar trebui sa fiu. Charlie Fineman este pierdut si regasit de prieteni, vechi si noi. Este broken-hearted, dar constient si restrictiv cu ceea ce ii face rau. In aparenta este pierdut. Dar si aici exista un ''dar'' si este emotionant... Poate ca Sandler un reuseste sa faca totul perfect, poate ca mai da rateuri, dar per total are de zis o poveste grea si delicata... Mereu, dar mereu este asa...Cele mai delicate lucruri sunt grele, daca nu aproape imposibile...Daca nu ar fi greu, probabil nu le-am aprecia rezultatul si nu ne-am bucura si pastra in suflet ca fiind speciale si pretioase, nu ne-ar transforma. Lucrurile grele ne transforma, ne dezvolta, ne imping limitele, ne transforma in personalitati ce pot fi descrise folosind cuvinte cu ''mai'': mai fragili, mai maleabili, mai directi, mai taiosi, mai frumosi, mai destepti, mai tacuti, mai restrictivi etc... 

Acesta este un film despre suferinta si ''all the shit that comes with it'' si Charlie o spune intr-un final mai clar si mai bine decat as putea-o face eu acum: I don't need to talk about her or look at pictures... 'cause the truth is, a lot of times, I see her... on the street. I walk down the street, I see her in someone else's face... clearer than any of the pictures you carry with you. I get that you're in pain, but you got each other. You got each other! And I'm the one who's gotta see her and the girls all the time. Everywhere I go! I even see the dog. That's how fucked up I still am! I look at a German shepherd, I see our goddamn poodle. All right... All right...



Monday, May 12

3-Iron or how golf can break you

The definition of the world we live in is our constant need to feel attached to things. Possession has become not only the ultimate purpose of our existence but the force that drives our minds and actions. We are eager to own things that wrap us into a numbing state of comfort, and people meant to keep our vanity intact and boosted. So, where does this leave freedom? The freedom of choosing not to own, possess or have for yourself? And the absolute freedom of letting words die in the land of silence?

Directed by the extraordinary, Kim Ki-duk, 3-Iron teaches us to appreciate the silence behind the sound of the golf club. The freedom of the golf course is only a matter of perception for a truly free spirit can actually enjoy it no matter what. Yet, the movie is also about how love could be free  if deprived of any unnecessary words. Tae-suk, the hero of Kim Ki-duk's amazing film, is young, pretty and out of this world. He drives his motorcycle from place to place, hanging fliers on people's doors only to return at nightfall and enter the empty houses. He settles in, eats light dinners, watches TV, tends to their plants and does a little bit of housework in return for the favour of having shared their places. He is quiet, smiling and harmless, the only noise he makes is playing his favourite CD. On such an occasion, he meets an abused wife, Sun- hwa, whose light presence escapes his trained ears.When they lay eyes on each other, they connect beyond words in the rawness of their souls. He saves her from the arms of the possessive husband and together they embark on a mute journey that brings them even closer. However, reality checks in a brutal manner and the nameless lovers are separated. The battered wife has found strength in her silence, whereas Tae-suk learns that love helps you grow wings and become invisible.

Somehow breaking the pattern of abuse and violence from his previous movies, Kim Ki-duk has not given up completely on his desire to shock the audiences and pull them from the apathy growing around and within them. To most people, breaking in and taking advantage of other people and their possession is beyond comprehension, the same way as violence could be disturbing to the same softer crowd. Nevertheless, this is an honest movie about experiences that escape the average eye rendered in an expressive manner, with some special wild beauty. Kim Ki-duk is a man for whom words fail to describe the inner beauty of things and people that sometimes turn out to be powerful tools of revealing the softness of feelings, emotions or gestures. His characters are visual and their violent gestures or actions are but an excuse to convey a fleeting moment of kindness. Its manner of directing movies is meant to be very participatory as he wants to get his audiences involved in the story, by merely filling the blanks in dialogues or the way characters are drawn. Given the right medium and the perfect context, viewers can use their imagination to give contour to the development of the plot and the outcome of the story in the most artistic manner of deconstructing violence. Also, it is extremely interesting how the director chooses to redefine the familiar space by Tae-suk's ability to live in the shadow of the people around him. While in jail, after having been caught in a person's house, he learns to shape space to his own needs so as to be become invisible to the ordinary eyes. Every time he tricks the jailer's eyes, he is brutally beaten until he comes to master his body and its lightness. This is Kim Ki-duk's explanation of the ghosts living with us and around us in the most unexpected and peaceful way. His character returns to haunt in ghostlike manner all the familiar places where he and the woman he loves have spent time together and in doing so, he is given once again the opportunity to distill his newly-acquired skills.




And thus, love is reinvented and living with specters becomes a new reality where the two lovers can peacefully co-exist with the abusive husband. Having returned to the house that Sun-hwa painfully shares with her husband, he is felt by both of them, yet seen only by her. Embracing her husband only to kiss her lover over the husband's shoulder feels as light as their bodies on the scales that point to "0 kg". Is this the weight of ghosts or the imponderability of love? On the riveting sounds of North African singer, Natacha Atlas, Kim Ki-duk's answer fill the empty screen: It is hard to tell the world we live in is either a reality or a dream. Could we really shake off our desire to possess and simply redefine freedom, with no losers and winners?

Sunday, May 11

Guest-post – CEALALTA FEMEIE este frustrata!


Un amic, viitor regizor, imi recomanda, nu demult, sa ma feresc de filmele regizate de femei.  Sfatul lui este unul misogin, iar generalizarile, in general, nu aduc nimic bun. Nu l-am ascultat si bine am facut. Am vazut niste filme foarte bune regizate de femei. Ca sa dau 2 exemple din cinematografia romaneasca, am vazut Love Building, una dintre comediile mele preferate din 2013, si am vazut recent #Selfie. #Selfie nu mi-a placut foarte mult, insa publicul tinta al filmului, adolescentii, a savurat acest film.

Sfatul lui, insa, nu este departe de adevar. In afara de cateva filme ale Sofiei Coppola, slabute, insa acceptabile, nu prea am vazut filme regizate de femei. Da, barbatii sunt misogini si nu lasa femeile sa intre in lumea asta. Saptamana aceasta insa mi-a atras atentia un film. The Other Woman se cheama. Este regizat de un barbat (nu-I dau numele, nu merita sa I se stie numele), insa scenariul este scris de o femeie. Numele ei este Mellisa Stack, iar acest film este DEBUTUL sau. Un debut cum nu se poate mai … feminist.
Despre ce este vorba in film (atentie, #spoiler)? Pai despre un barbat porc, misogin si mincinos, care minte pe toata lumea (sotie, amante, dar si parteneri de afaceri) si care, intr-un final, ajunge ruinat. Cum ar zice maneaua: “ca narozii ai mai mari/nici gagica, nici bistari”.

Care este, de fapt, problema cu acest film? Simplu: acest film emana frustrare! Personajele sunt construite de la inceput intr-un fel, iar totul este dat mura-n gura inca din start. Barbatul este mincinosul absolut, el neavand, practic, nicio calitate. Pe nevasta o mintea ca are intalniri de afaceri, trecea de la o amanta la alta, iar pana si ideile sale de afaceri apartineau, de fapt, nevestei. Nevasta se considera o proasta, insa de fapt, ati ghicit, era geniul de pe lume, geniu care nu-si putea manifesta genialitatea in preajma unui barbat nenorocit ca sotul.

Sotia, descumpanita, apeleaza la amanta. Amanta, saracuta de ea, nu stia ca si-o trage cu un barbat insurat care are o femeie draguta si inteligenta acasa. Nu, el il crezuse pe barbatul care-I zisese ca sotia il inseala. Acum, ca sotia i-a zis ca e invers, o crede pe ea. Probabil daca un martian i-ar fi zis o alta varianta, l-ar fi crezut pe martian.

Cele 2 NU sunt dusmance, nu vor sa se razbune una pe alta. Ele nu actioneaza la manie sa se paruiasca, asa cum vor barbatii porci si misogini sa credem, ci actioneaza RATIONAL, razbunandu-se pe cel vinovat.

Intre timp, urmarindu-l pe gagiu, constata ca el mai avea o parasuta cu care si-o tragea. Si aceea era o femeie cinstita si desteapta, care va actiona si ea la fel de rational ca si celelalte. Doar e femeie.
Cele 3 gandesc razbunarea in cele mai mici detalii. El trebuie sa fie umilit atat fizic (cliseic: laxative care sa-I provoace diaree; laxativele-minune produc efecte intr-un minut, ca asa visa scenarista-feminista noaptea),  cat si financiar. Constata ele ca toate conturile erau pe numele nevestei (pentru ca afacerile erau ilegale, iar ea urma sa intre la puscarie; ce barbat nenorocit, bineinteles). Insa daca cel care produce paguba repara prejudiciul, nimeni nu mai intra la puscarie. Deci ele sunt si cinstite mai nou: au reparat si o nedreptate. Ce s-ar face umanitatea fara ele. Nevasta, la final, din proasta satului, ajunge sa lucreze pentru cele mai smechere companii. Ce bine c-a scapat de porcul ala: altfel nu s-ar fi afirmat in veci.
Acesta este spoilerul filmului. Nu obisnuiesc sa fac asa ceva, insa acest film FIX asta merita. Pe langa acest aspect, mai trebuie subliniate 3:

-          In sala se auzeau doar rasete feminine. La unele glume (la cele mai previzibile) ma uitam in jurul meu in loc sa ma uit pe ecran: in ochii unor persoane de sex feminin se citea URA. Expresia RAZI CU POFTA era la ele transformata in RAZI CU POFTA DE RAZBUNARE!

-          Aceleasi glume, in alt context, au fost taxate drept de prost gust. A voma brusc, din cauza bauturii, este ceva de neacceptat (ce? aia e arta?). Cand se fac filme despre betivi care fac ravagii fara sa-si aminteasca, gen Hungover, acele filme sunt de prost gust. Cand insa nevasta se imbata pentru ca a aflat ca sotul o inseala, aceasta avea TOATE motivele din lume. Iar a voma, brusc, in geanta amantei devine o gluma extreme de buna. La fel de buna precum scena in care el se baseste intr-un restaurant, in vazul lumii. Daca era o ea care facea asta era scarbos; daca e un el e ok, de el trebuie sa se rada.

-          Dupa film, chiar si cele mai pretentioase cinefile apreciasera filmul. Scary Movie ori Hungover sunt comedii usoare si prost realizate, de la care oricum n-ai nicio pretentie, insa aceasta este o comedie geniala.

Nu-mi place ce am facut, urasc spoilerele din suflet, insa urasc mult mai mult acest film. La un film eu vad mai mult decat realizarea cinematografica (si ea extreme de slaba): ma uit, in principal, la scopul pentru care a fost realizat. Scenarista este o feminista frustrata, care probabil inca-si plange-n pumni ca barba-su si-o tragea cu alta. Iar feminista fu atat de fricoasa incat n-a avut curajul sa si regizeze acest film, alegand sa delege aceasta functie unui barbat. Multi barbate se ascund dupa fusta unor femei, insa exista si femei care se ascund dupa pantalonii unor barbat. Cum este cazul aici.

Apropo, inainte de vizionare nu stiam cine este scenarista. Imediat dupa film am spus, clar si raspicat: sigur e o femeie. Puteam s-o dau in bara: putea fi o femeie care sa puna un barbat ahtiat dupa bani sa se treaca drept autor. Insa era putin probabil: frustrata daca nu-I fudula, parca nu-I frustrata destula. #cumarveni
De ce am facut spoiler? Simplu: spoilerul goneste unii spectatori din sala de cinema. Exact cum trebuie sa se intample cu acest film. Acest film, de altfel, ar trebui boicotat. Fiecare bilet cumparat la acest film reprezinta o jignire la adresa ideii de cinematografie. Astept sa vad cifrele dupa primul weekend. O curiozitate personala, nu altceva.

Nu inchei pana nu ma prezint: Emil Calinescu, anti-feminist convins si tripu blogger:  http://emilcalinescu.eu/ , http://minunat.eu/ si http://emilstudentulminune.wordpress.com/ . Astept ca feministele sa dea cu pietre-n mine, iar femeile cu capul pe umeri sa-mi dea dreptate. Orice alta combinatie este exclusa.
Salutari CINEFILE si ANTIFEMINISTE tuturor!


Ps: Dupa film auzeam cateva chestii: Cealalta femeie a fost un film bun; Cealalta femeie a fost o comedie foarte buna; ori, mai rar, Cealalta Femeie a fost un film slabut. Eu zic altfel: Cealalta femeie este frustrata! #atat




Friday, May 9

The Weight or the beautiful side of ugliness

Call it either borderline cinema or simply the movie that kept your wits about, it is utterly a matter of perception. The Weight is the movie that draws the clear line between comfortable film watchers and those living on the edge. To me, it was this new cinematic experience that baffled and intrigued at the same time, still, too challenging a film to pass. It has become way too warm and cosy to just enjoy our comfort area and feel things from a safe distance; The Weight is the movie that grabs you in the most elegant and saddest artistic manner possible because ugly truths cannot always be uttered softly or clad in impeccable clothing that feel decent to both the eye and the spirit. Yet, do not come unprepared to the feast.




Now that I have drawn you close to me, let me tell you a few unexpected things about this interesting movie. Butterflies, whores, hunchbacks, transgenders, dogs, dead bodies, industrious hands, are all of this world, a place corrupted by fake standards of beauty and acceptance. It is not the fictional world of director Jeon Kyu-hwan, it is simply the filth we so gladly push under the so-called impeccable carpet. There is life in the morgue, there is art and poetry inside the distorted body of a lonely mortician, there is more beauty and emotion in the woman inside the body of a tormented man than there is ugliness and meanness in the pretty face of a wicked stepmother. Come to think of it, the life of little, despicable bugs as they call themselves, is more intense than the shining, yet hollow, existence of the people living above the ground. Cho Jae Hyun plays Jung, a hunchback working at the morgue with much passion and dedication. He has a transgender brother and an insensitive mother, both of whom work as dressmakers. Jung is lonely, sensitive, dying of tuberculosis, thorough about his job, sad, a passionate painter, a great tailor, still life is meaningless to him. He loves the only people who have chosen not to love him- the brother who yearns to become a woman and the mother who never wanted him. Still, there is such acceptance and mute pain in his movements and his eyes speak more words than one could bear. When love fails him and all reasons to live on eventually fade away, he does the only thing that has any meaning to him: a beautiful red gown for the man/woman he loves. Death shall welcome them in their true colours and all affliction shall come to an end.

The Weight is not only about loneliness and lack of affection, it is also about how sex, deprived of any further motivation, becomes meaningless and saddening. It is also pleading for our long lost humanity and lack of compassion and our constant preoccupation with whatever complies with our standards of beauty and acceptance. We are much too focused on painting the world in black and white and on reflecting our own grey upon the others. People are killed, shot, or take their own lives in the movie, yet, The Weight is not dark in its core; it is more about life than about non-living. It is about the white butterflies, the waltzes, the paintings, the love that life contains than about the ugliness of it. All and each of us have his own burden to carry and the weight of life and death is something Jung has come not only to understand but also to embrace. Apart from the beauty that resides in its many layers, The Weight has great music and is beautifully painted. In all greyness, there are well-drawn spots of red, white, yellow or green that colour the repulsiveness of Jung's job or life. In such a world, the magpie gets depressed and flies as high as it can; and there, at the heart of the sky, it folds its wings. This is Jung's only way of dealing with the world and its gifts. In a different reality, he rides his bike through yellow fields of flowers, a soft breeze caressing his face and great opera music in his ears. Now, where are we exactly?

Friday, May 2

The Diving Bell and the Butterfly- E S A R I N T U L O M D P C F B V H G J Q Z Y X K W

As so sublimely rendered into images and emotions, The Diving Bell and the Butterfly is a lesson on how we are more than the useless casket of our daily labors- our memory and imagination are the true essence of our beings. And yes, it is aching not to be able to use our body to express the multitude of us, yet we are bound to cling to our humanity to survive. It is not only inscripted in our genes, it is our way of giving and taking the world's beauties upon ourselves. Both happiness and despair are a blink away, working their mystery in intricate ways and we never know what fate has in store for the next moment: it could be sheer joy or the beginning of the end. Either way, it is how we resiliently turn our misfortune around that makes us humane, genuine creatures.


The Diving Bell and the Butterfly is surely one movie that will tear out your comfort clothing and force you to contemplate your own rawness. It might do you good or it might strike you as unbearable. Regardless of the personal journey, it is one of the most touching and incredible movies about the strength behind the apparent frailty of the human being. Based on the true story of French journalist Jean-Dominique Bauby and inspired by his memoir, the movie was directed by Julian Schnabel and it won not only remarkable awards but also worldwide appreciation. The true story is not very different than the movie itself, and any minor changes made by the director only added up to the cinematic intensity. The main character, a 40-year old vivacious, popular, successful man, has a stroke and finds himself completely paralysed, still mentally aware of everything around him. This is the locked-in syndrome that allows him to ponder upon his past and gives him the chance to write his memoir before the end. Surrounded by his loving family, supported by the caring hospital staff, Jean-Do uses his left eye to communicate not only his wishes and thoughts, but also to write a book about his connection to the past, in the form of his beloved memories, and to his restless imagination. Trapped in a cast-iron diving bell suit, suspended between life and death, his mind is the free butterfly that wanders off through old places, green pastures, an eating feast, the company of his old father and the loving arms of both wife and mistress.

There is never-failing resource within our fibers, a stamina that pushes us beyond any familiar limits, challenging the impossible and the undreamable. This is what The Diving Bell and the Butterfly is all about to me- a painful journey within my own boundaries, in search of the burning flame inside. It gives you perspective upon your own smallness and the wealth to grow above your own confinement. Its greatness resides not only in the remarkable performances -those of the main character, Mathieu Almaric, sa femme Celine -Emmanuelle Seigner- his father, the never-aging, Max von Sydow, or his friend, Roussin played by Niels Arestrup- but also in the unexpected, yet marvellous, symbolism of the story. The Diving Bell and the Butterfly is the emotional puzzle of a broken man with a dauntless spirit. Come breath in your necessary lesson of boldness and grow some butterfly wings!