Pirates Of The Caribbean Altosax

Duel or The figure of duality in the film by Souleymane Cisse

The structure of films Cisse is confusing. It al'étrangeté things first, elements of nature constantly present around us and yet retaining all their opacity and mystery.

Cissé's films always begin with images so familiar and yet so foreign that are trees, earth and sky, giving them new meaning, as if it was the first image of the world that was given to voir.Si the essence of cinema is " shoot for things to just name them "(Jean Luc Godard), Cisse gives this thesis a masterful illustration. His images back to the genesis of the world, a world where things have not been named yet, a world that must inform the bark rough skin so that finally it reaches the first illumination of knowledge.

This aspiration full and "premièreté" the world is announced by the titles of the films Cissé wind (Finye), light (Yeelen), time (Waati), who register their films in the search for the essence things, the only principle which derives all the other elements. These titles indicate the quest for the original, a world that would have solved its deep unity, condensed around a single point, before the bursting of its elements into a multitude of independent spheres.

However, this unity or oneness that announced by the Securities is belied by the very stuff of movies. If the titles reveal a deep desire for the unity of the world, the films themselves are subject to a constant duality, which turns a duel, as if the world, rebel at any attempt of confinement, it proved impossible to grasp, impossible to mold in a matter unique.Ses films did not quiet the structure of images flowing quietly, but the primary principle that guides them, and found at all levels of the film is that the clash between antagonistic forces, the confrontation by his filmmaker corroborates how to shoot and grapple with his images. It creates in the viewer the impression that the film material, characters, palpable and impalpable things, all entities that exist before the camera is constantly bent, like a huge iron plate that the filmmaker seeks to overhaul smith to give it a new form. Everything happens as if, in the constant battle between two entities that are fighting them fatally, the camera was a third term, which pulls its weight on the outcome of the fight.

In Cissé's films, the duel is the main topic. So is it of Finye, where he was to show the confrontation between rebellious youth and progressive and power, represented by the military governor. This political dimension of the confrontation, Cisse Yeelen happening in a more mythological dimension, giving the duel between the son, Nianankoro, and the father a more cosmic significance, making them fight alongside these two human beings of other forces supernatural, since each has a magical kind of substitute, representing the center of power that has been passed down from their ancestors.

In Waati, the idea of confrontation is Central entire film is that the violent melee between Nandi and the land of Africa. The film has that strength, that of a body that strikes against the world, not only his show but his living flesh and bruised. If Waati exceeds all images of African horrors, if not simply a demonstration of realistic battle between blacks and whites in South Africa is that it erects a body, a look like the only fighting force and change, and while the film is that face-to-face meeting between Nandi and images running through his conscience, especially bloody battle that is underground.

This persistence of the fight in the films of Cisse is accentuated by the presence of supernatural forces. Human beings do not only compete but revolve around them dark forces, impalpable, those that exist in every part of nature. Thus, the duel of men is doubled another duel between the gods, or more generally between charged objects with supernatural power. Such is the case Yeelen, where the final confrontation between father and son is supported by the struggle between the drumstick and the wing of magic Kore. However, this example is not a special case in Cissé's films. In Finye Waati and, although the gods seem to have deserted the land, leaving humans struggling all alone with their problems, there is always a tenuous presence, power transmitted by a character, mostly old, a sort of relay between gods and men (the grandfather of Baa in Finye and grandmother in Waati). Thus, the duel in reality is constantly exceeded, included in another duel, more cosmic, and seeks Cisse to show us not only the contradictions of reality and the social and political problems faced by its characters but also all the intangible forces that surround. In fact, this duality between reality and the supernatural is powered by the very way of filming. We notice that in his films (except Yeelen which is entirely subject to the mythological dimension, which makes no reference to contemporary reality) Cisse constantly oscillates between filming realistic situations where the crudeness sometimes turns into triviality, and filming more lyrical and legendary when it comes to film nature, which is never seen in an objective, but as a nature peopled with ghosts and he succeeds magnificently in making palpable soul, giving us the impression that constantly blows through the trees stirring despite their apparent fixity.

It is strange that Finye, such as film, however, placed under the sign of reality, since it tends to show the political situation in Mali in the 70's, begins with the image of a forest and a river from which emerges a child translucent body. He ends up the same image of the child arising from the water, holding his hands a bowl. Something in Cissé's films suggests the structure of a sphere that closes on the characters, in which they are deployed but they can not escape. So, after trying to grasp the complexity of reality, it curiously concludes his film on this original image, not yet reached by the debris of the real world, as if this was a phase that will pass through before humans arrive to find a certain purity symbolized by water, as if it was all a break from the movement of the universe.

Moreover, one might find this duality in the way of filming for Cisse in the reports between the titles of films and the films themselves. So Finye. A priori, there is no relationship between this element (wind) and the film has an essentially political dimension. Only the foreground, where we see the trees move in the wind, entered it in the matter of the film. In other plans, we will seek in vain any perceptible presence of the wind, things remain static and still, no breeze and does not raise the girls' skirts or loose clothing for men.

It would be so useless and unfair to make a symbolic reading of the title, giving the wind a metaphorical function: wind of change wind of revolt that blows on this once peaceful city of Mali. Only one report could be suggested that a force out in the world, beyond the control of men, beyond their understanding, a force made up of echoes and eddies, which rises from the depths of nature, and is humans live in his presence and bewitching impalpable. Only the music of the film has something to do with the wind, because it echoes of a thousand broken, because it is broken invocation, whose presence gives some immaterial images a strange significance, as if reality was constantly overtaken by a wind that carries it. Thus, some scenes very realistic and almost commonplace for young people who pass the test tray acquire, in the presence of this music emerged from a depth unfathomable any other value, undefined.

the same way to film thus incorporates mythological or supernatural dimension. At the front so he has to film scenes realistic, Cisse made plans succeed where the camera becomes more mobile, traveling with the slow movements of the trees that populate the entire space of the plane, standing arisen as the Heaven and unplanted in the ground. Besides this mystical way of filming not only the elements of nature. Even the body can sometimes be transformed into a surface which the camera explores the windings and protrusions, trying to navigate as if it were the first human being it encounters on its way. It was so from the scene of the confrontation between father and son, where the camera Cisse back throughout the body Nianankoro, endows a mineral substance.

was the impression that it is a constant reinvention the world, a pure discovery and first images as primitive. The final duel is indeed the one between the camera and reality. Cissé's films are thus a metaphor for the ontological force of cinematography.

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Eye to Camera

ABC Africa Abbas Kiarostami of

ABC

In Africa, we find the sacred triad that Kiarostami has placed in the center of his film and who works in a way his work underground: the camera, the look and reality. Interaction between these three elements gives rise to a very personal film, which corresponds to both the thematic and aesthetic of the films of Kiarostami. It includes the same concerns that worked the previous films: reflections on the power of the camera, onto the film and its relation to reality, the single movement which includes both the camera and the filmmaker to the meeting a decisive fact in danger and he is saved. As
And life goes on, the film is entirely worked by a fundamental dialectic generated by the encounter between the eye the camera here in the real object placed on diegetic, and the spectacle of reality, personified by the faces and places of Africa. As in previous films, the camera becomes a central character in the film. In "And Life Goes On", the camera, mediated by the filmmaker, not content to record reality but aroused, which arise even among the rubble of the earthquake moments of life that were beyond destruction and death, as if in this struggle between life and death, the film was there to sustain life, to fix forever these moments of flickering and fragile reality, to give continuity to what is fleeting and inexorably doomed to destruction. ABC in Africa, the centrality of the camera is more important than the nature of the film, which is a command on a subject of "humanitarian" [1] tends to relinquish his power, by assigning it a place limited: to comply with the so-called objectivity of the report, not to intervene by introducing the subjectivity of the filmmaker and his personal view on the world he films. Yet Kiarostami thwarts this trap by making a constant offset between two instances in the film: discourse from humanitarian to show that imposes a tragic reality unbearable suffering and personal tragedies, and the momentum of the stubborn camera that lets itself drift with the images and movements that beset on all sides, without supervision and without reins. One of the first scenes of the film shows the film crew that arrives in a village in Kampala. A guide to the voice of villagers sitting on the ground that hold bank notes between the hands. The voice explains that the villagers are part of the cell created by a local NGO that helps orphans whose parents died of AIDS. The voice continues to detail using it provides to orphans and families. Suddenly, the camera turns and follows children leaping in front of her, which begin to tame the filmmaker and his strange object, they dance, are the clowns, fun. The camera is carried away by them, he lets himself drift along with their cavalcade of fun in the dusty streets of the village, she recorded all the flow fact that she met a man drunk, another in serious expression, a woman who goes with his kid on his back, a mule, etc.. Something chaotic, playful and easygoing emerges from these movements suddenly released, which opposes the propagandistic language too early. At the static pose of villagers sat quietly in front of the camera to film and comply with the media image that has been in Africa, Kiarostami contrasts a more fleeting reality that leads to a drift images and movements unordered, unauthorized, and thus obeying a pure capture reality. Throughout the film, these two bodies continue to oppose. In another scene, the film crew is in a hospital. We see the faces of these children haggard, dazed by the fever and the approach of death. A door opens and it is the spectacle of death that assails us. For long minutes, Kiarostami films a nurse who tries to put the corpse of a child in a cardboard box and then transport it and bury it. The light, framing, all combine to give those images a long solemn and sad. It is said that now the filmmaker seek to film these tragic images, colorful carnival at the beginning of the procession will replace slow and desolate. But no. Kiarostami up right after and brightly colored images of a choir, all dressed in yellow, sings and dances of religious incantations. By diverting the order, Kiarostami does that joining the overriding focus of his film, which is the stubborn belief, almost magical in the power of the image. It is as if the camera became the underpinnings of life, that his screen was the surface registration indelible moments and unique images that the film tries to save from dereliction. The subjective camera that follows the filmmaker becomes something of a magnet that grabs the reality and hypnotizes to better capture the image.
However, a new dimension in the composition of the film, which makes it slightly different from previous films Kiarostami's. It is known that the effects of Kiarostami's signature is put in this abyss of the cinema, this dimension scopic allowing the filmmaker to somehow questioning the apparatus of cinema. ABC in Africa, the presence of the camera continues to be highlighted as to denounce both the coercive power and illusory. In many scenes, we see the children first puzzled look at the camera, then we see Kiarostami filmed filming children, we see close-up face and the scope widens to reveal the director scene included in the area they filmed. Another concern that that underlies the accuracy of its intention: to become visible, the film process allows the filmmaker to capture more of a reality unknown to them, including himself, recording his crew, his cameraman, as a image of a transcript in the space of Africa and of the film. These constant Décadrages, emphasizing the otherness and heterogeneity of these bodies, those of children and those of the filmmaker and his team not depict the image of Africa but an attempt by a crew of tame Africa, to seize cinematically. As Depardon, another filmmaker "outsider" who has filmed Africa, Kiarostami seeks to introduce subjectivity of the filming, as opposed to the supposed neutrality and objectivity of television news reports. Thus in Africa how it goes with the pain Depardon introduced his own voice, not as a commentary, but as sound track included in the material of the film. His voice as coming from beyond the grave, we did enter a world of evanescent shadows and ghosts of times past. Depardon had indeed been filmed in Africa several times before. His last film was a return to these places decrepit and devastated by war. The case is different for Kiarostami filming Africa for the first time. However, the unveiling of the filming process proceeds in the same momentum as in Depardon: making visible the presence of the filmmaker, to the land of Africa, his children, his face and he himself are interspersed in the same image as a sealed unit, like a welding irreversible.
This is also the strangeness of the place that brings Kiarostami to revisit the techniques of cinema, as if he discovered along the earth's flamboyant and Africa need to adapt its framework, its light, these new shades. In one of the most beautiful sequences in the film, Kiarostami films a conversation between members of his team and himself. We hear them reflect on the experiences of people in Africa, the presence of natural rhythm and especially the report that Africans have with light. Then gradually as the day goes out and the team rushes into the dark stairs of a dilapidated hotel, the screen goes black, mimicking the sensations experienced by people living in the movie . The image becomes like a living space, suggests that the sensations experienced in real space. For 8 minutes, placed before the black screen image, the viewer is brought almost physically in the space of Africa, it is also deprived of light that villagers grope in the dark in search of familiar objects. Disoriented, caught this black screen, then we rediscover the light, with the appearance of pale one day and rainy on the plains of Africa. In the last sequence, Kiarostami films long a child takes his first steps, staggering and yet stubborn. The entire film is well articulated by this Basic research, by the unstable equilibrium of the first steps that roam the world. ABC All Africa brings us to a world first, the pure feelings of a world newly hatched, are explored by trial and error.

[1] It is indeed an order from IFAD (International Fund for Agricultural Development) in Ugandan children with AIDS or whose parents have died of this virus.

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filmmaker and magician

The Milky Way Luis Buñuel of

The Milky Way is a strange movie, both satirical, mystical, surreal and mysterious, in which Luis Bunuel mixes genres with the same happiness and excitement that even his other films such as Belle de Jour or Veridiana. It contains the same irony, this diversion of symbols and Christian discourse into a sort of funny and irreverent pastiche. Christianity is without doubt one of the favorite themes of Bunuel, who incorporates into many of his films, either as a direct Veridiana, where many scenes are a parody of scenes from the Bible or of indirectly, by the critical underlying values and ideas of Catholicism. The Milky Way, however, is the only film of Bunuel that is fully dedicated to a description of beliefs, dogmas and demonstrations of the Christian faith. The subject of the film is fairly simple: two pilgrims who walk the pilgrimage to Saint Jacques de Compostela encounter along the way characters and scenes belong living in different times and at different periods of Christian history, which illustrate all theological controversies and contradictions between different dogmas of the Catholic Church. But if the intention of denunciation and ridicule of the dogmatic rhetoric and these endless discussions on the principle of transubstantiation, the eucharist, the nature of the Holy Trinity, the existence of miracles are dominant in the film and are delicious moments of irony and parody, it s 'acts just one aspect of the film. If Luis Bunuel had merely the purely critical dimension of the Christian religion, his film would have been a coarse denunciation of religious fanaticism. But the film draws its strength not from this distance that the director introduced between him and the various discourses on faith, but the fascination that this speech may exercise. There is no of true conviction of the theological stupidity, rather a sort of admiring bewilderment at these speeches that have made the history of the Christian world, and appear today with all their wonderful absurdity in the eyes of the moderns. There is especially a fascination with the immense possibilities of cinema. Bunuel mixes with equal success scenes and records belonging to different periods, ranging from scenes showing Christ debonair and human scenes in the Middle Ages, passing evocations of Christic sects living fully in the worship of Jesus and speaking Latin, then jumping to the theological quarrel in the Church between supporters of the triple nature of the Holy Trinity and those in the single and indivisible nature of God, etc.. This juxtaposition of different temporal and thematic scenes heterogeneous is not linear. A kind of contamination occurs between the characters and objects, some of them move from one scene to another, transform, making the link between different times and heterogeneous. It's like attending a number of magician, who brings out of his hat with equal conviction and enthusiasm, a rabbit, a leather bag, and a zucchini a Christmas tree. The happiness that one feels in watching the Milky Way is this magic that does not care about the likelihood, based solely on the director's virtuosity and character funny, beautiful or striking scenes to make a lasting impression on viewers.

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Identity and destiny

Mr Klein Joseph Losey


What seems at first surprising in Mr. Klein is the pace with which Joseph Losey his story, a rhythm both slow and oppressive, in which the characters find themselves caught in a sort of metaphysical trap, a matrix transparent and yet so physically tangible, which prevents them to glimpse, if only for a moment the absurdity of their destiny and fate of the evil which they succumb. This is one of the finest and most accurate movies I've seen on the tragic history of the Second World War. The beauty of the film, her beauty cold and poisonous if one can say is that it makes a kind of metaphysics and aesthetics of condensation horrible and senseless fate of Jews in this period of history. Instead of simply drawing up causes both social, political and economic factors that have led to the disaster of the persecution and extermination of European Jews, in a way that is both analytical and realistic, Joseph Losey makes a kind of transmutation secret issues, giving them a rare relief, making them witnesses to the absurdity of human destiny in general. The fate of Mr. Klein is not only representative of the history of Jews and their extermination during World War II, it is both the sum and the overflow, including it in the human tragedy in general. The story: Mr. Klein, a rich art dealer living in a luxurious villa uptown Paris, gets a man who just wants to sell a painting. We understand very quickly that he is a Jew, and that because many of ostracism which this category is the object, it can no longer survive by selling the family pictures. Mr. Klein, played with feline grace and worried by Alain Delon, with great confidence of the usurer, also with the recklessness and the arrogance of the man who knows his identity protected against identification to misfortune other, it provides a table for prices well below its real value. The man, resigned, accepting, shot dead but dignified. By dropping off the man at the door, Mr. Klein is a newspaper called The Jewish information. From that moment, the terrible gear is set up. Through surveys and meetings that made Mr. Klein, we discover that another Robert Klein, a Jew who wants to escape the police, combined a sort of conspiracy against the first Klein. Therefore, it is just faced with this question of identity, burning and necessary, as it depends not only on his psychological well-being, but his very life. Doubt on the purity of race creeps into it, while it penetrates, something infinitely more dangerous, in the spirit of the Vichy police. What is striking about the film is that the horror of absolute assimilation of the Jewish community, its identity in this amalgam considered inferior, is not just an abstract thing, say the general theme of the film. The question of identity becomes the subject of the film, making clear that general theme. It is not, as in many historical films, tracing the collective destiny through individual destiny, to make the public understand the great story by showing a few characters who find themselves caught in the snare this story. This is much more than that: the question of identity is the quintessence of the fate of Mr. Klein and the fate of the Jews. By the doubt cast by his double its origins, Mr. Klein is facing a tangible way to the meaning of this question: Are you Jewish. We know that this question of identity has depended on the life and death of millions of people, we know that this question is what has to sort terrible between the living and the dead. Thus, the question of identity, challenge, reason and purpose of the Second World is also the issue of the fate of a character, its hello or its destruction, as it was millions of others into reality. The grandeur and beauty of this film take this essentialization: identity is not only a schematic idea, comprehensive, elusive by its very abstraction, it is the essence of the film and the character.
The genius of Joseph Losey is that it manages to make practical, aesthetic, ideas and intuitions abstract. Thus the idea of fate. In Greek tragedies, which have best figured and represented the idea of fate, it is a battle between gods and men, whose outcome is always known in advance, by the same disproportion between the forces of the two opposing parties. The man rises, he struggles against the forces that surround and play him, he overestimates his own abilities and it is this same blindness that loses. He believes he is the equal of the gods, the master of his fate but he realizes too late that the dice were played in advance. In the film, the idea of inevitability plays not only rhetorically, but also aesthetic. You never see double Mr. Klein, his namesake abstract scheming in the shadows. He has no face, not even a silhouette, its very name indicates that it belongs to the realm of the living, and a voice heard over the phone. It seems that hidden forces rose up against him, so the scenario, which could be just the script for a thriller very well conducted, or a historical film that can be placed only issues in politics and the international context, is also a screenplay metaphysical down against her character's relentless forces of destiny, which, despite its denials, all its debates and its refusal, the nail on the spot. Another factor to this conclusion: Many plans seem in fact the forerunner of what will follow, as clues are thrown into the path of the character, and it can only follow blindly, thinking his problem and which only deeper into the trap. In many scenes, the camera performed before a traveling side, accompanying the character in his wanderings in search of truth, suddenly stops, and seems, by its steadiness even by the cessation or suspension action by the projector that throws light pale in the face of Alain Delon, hunted and pale, even where only blue cats eyes shine with an intense shine, will somehow stop the action, leaving only the fixed and implacable force of fate action. This movement and facial expression of Alain Delon will be repeated at the end of the film, when Mr. Klein pushed by the crowd of deportees and his desire to return to her namesake, finds himself trapped in the train that will take him visibly to death camps. The last scene is the shock precipitated the train, while the camera lingers on the face of a statue of Alain Delon, behind the bars of the cattle train. The character seems to have finally joined the fixity of his destiny, which has ceased to be announced and foreshadowed from the first frame of the film.

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Dialectics feelings

Changing Times André Téchiné


its own way is both sensitive and refined, Téchiné takes us again to that place that is also become his film, to Tangier, a city he had already filmed in Far and where He obviously loves his characters walk into this space is the boundary between the finite and the infinite world. This time it's Anthony, an entrepreneur who is not in the city aboard a truck as far in, but by plane and then black Mercedes, a sign of wealth and prosperity. But as far into it just looking for an absolute, a ghost that has haunted him for thirty years, and he can not undo, Cecilia, the woman he loved and whose face haunts her mind . In this frame both romantic and obsolete Téchiné constructed a film of rare power, not only because it does not leave locked up in the tics and clichés of the genre, but because its vibrant lyricism comes contradictions of his history, his way to both slow and uneven set of characters. The beauty of the film comes from his total openness to the other along with some fruitful opposition between the characters and situations.

Oppositions are clear from the start: Antoine is a man whose destiny unfolds around a single fixed idea, Cecile. The time for him does not exist because he could never turn the page of this love, and he continues to feed his fantasy life reunion. His time is frozen, immobile, and Téchiné makes this idea more palpable that it opposes the permanent movement and daily Antony, who, through his work, constantly moves in space. The opposition between inner time, cast in the lava of love, and time outdoors, subject to constant change, and gives consistency to this area congealing inside the character, which otherwise would have been more abstract. Many scenes show Anthony in his yard, overseeing the work, walking in mud and mire, in meetings, and these scenes are linked with other where it is completely driven by his obsession unique. Another factor helping to build this opposition: it is a part of the business that, and then the epitome of the character by Gérard Depardieu. Being an entrepreneur is arguably the least romantic that is, to handle large blocks of concrete, digging the earth with giant machines, not to mention the noise itself detestable that these machines produce, is not, prima facie, to conducive to poetry. The triviality of both aesthetics and ethics of the profession is emphasized many times by Téchiné. Thus Antony, who is currently building a media center in the region, sponsored by the Moroccan authorities to counteract the influence of Al Jazeera, said he does not care about politics and that his only goal is to perform the work that he has ordered. Yet Téchiné emerges from this work, a poetry rarely shown in film. It builds character, it does bury the first scene of the film under the rubble of his yard, a sign that the events and the earth contain always an elusive, risk and danger, as well as the feelings which the cons character can only bend. This collapse is frightening that, in the early scenes, just open the movie and the character to control, to the defeat of all control, at random. Téchiné could titrate his film Destroy, she said, as the opening scene, which is later in the narrative chronologically, begins with a tabula rasa, paradoxically, by the sudden breaking and telluric forces of nature. Similarly, one could hardly imagine at the outset that the actor Depardieu could embody a character so lovesick, also possessed, demonic in the sense of the word.

Admittedly, this actor has a long history, it has previously embodied in his prolific career, characters owned and mystics. Pialat in Diary of a Country Priest made him do a course Christ, and he epitomizes the priest at once massive and clumsy, which opposes the ecclesiastical institution thrust force of his faith. But what one sees first an actor, this body is to give life to the characters, their presence gives to see the visible and invisible. The body mass and thus opposes gargantuan Depardieu this ethereal and absolute love he professes. His love is disembodied and transcendent, while the massiveness and the frame of his body closer to the picaresque loves more than dreams ethereal and eternal. The beauty of the character comes from this opposition between appearance and essence, between the frame and changing external and permanence of his dream.

If Antoine embodies the temptation of the absolute, the relentless search for an eternity of love, not subject to change, not evolutionary, fixed in one eternal stasis, Cecilia, she is the opposite this system. She turned the page of this love, she has rebuilt her life with another man, she had a child, Sami, who returns from Paris with his girlfriend and child of his girlfriend. Cecile is certainly not happy in her marriage, but she continues to struggle with his own life, to go ahead and not let engulfed by sorrow and dejection. Her son is gay, he has a Moroccan friend he met in secret, and with whom he shares a kind of immediate sensuality but without illusions. He lives with Nadia he loves dearly, a sister. It also has a loaded history behind it: it is Moroccan, but she left her country a few years ago to live in France, probably in search of freedom and empowerment that she had failed to achieve in his country. She is also a drug addict, and she has a twin sister who refuses to see her, preferring a radical separation tear departures. The sweltering heat of the narrative side of Cecile opposes almost inconsistent and tenuous nature of the side of Antony. In sum, it is a kind of exploration of the possibilities in life, it causes germination, ad infinitum, as if Téchiné by focusing on these parallel stories, also wanted to capture all the developments that real life creates, and which, once set in motion the machinery, can be looked at opportunities to be multiple. The reduction of the narrative is the very manifestation of destiny and choice of Cecilia.

The opposition between the absolute and relative, the transcendent and the immanent, the permanent and changing, realism and idealism, personified by two characters, however, is not so clear that there appears at first sight, and Téchiné is a filmmaker who believes too the possibilities of cinema to stay in a problematic and also antithetical to let the characters in positions too Manichean. He had an event giving rise to a dialectic, that is to say, at the intersection of two logics, and perhaps even to their merger into one movement. This event, this will be the landslide site and the burial of Anthony under tons of earth scene as we said opening, not only because it opens the movie, but because it is the same pivot the narrative, thus, in the lava of the earth in the mud material unleashed in the work of matter, the mix of nature and history of the two characters, thus giving shape to a new trajectory, unpredictable and unimaginable at the start. The beauty of the film is also Téchiné this way of using the film as a metaphor for meaning generating force and movement of the narrative. All the matter of the film is enriched by fertilizer and so powerful cinema called the assembly, and allows to undermine the certainties and patterns too rigid scenario. The last image of film is that the hands of two characters, one intertwined in the other, filling the screen image of that union impromptu and probably perish.

If you go back to editing, we see that the changing times is characterized by many inserts that cover the film about the unseen. It is thus crossed by scenes that are all gaps that engulfed the impalpable. The staging of violence is through feelings of shifted images of violence. In many scenes, the irruption of images sacrificial slaughter like sheep, the blood flowing and pervades the earth, the mad dogs Sami and running after the bite, the gears that move the bowels of the earth, as many instances of this reality and spasmodic murderous. If the camera is Téchiné crossing and by the temptation of very low, if a force of attraction swung suddenly to the ground to record everything he methodically shuts as teeming life and cursed, it is only for power movement that other, perhaps more tenuous and invisible, the gateway to the other, toward the beyond of the space, and to the inexplicable magic of infinity. Thus, in many scenes of the film, a Panning, which starts on land and meandering paths of Tangier, ends with the image of the sea, opening the stage to the breathing of elsewhere. Similarly, one might think that the choice of Tangier as a city diegetic contributes to this openness, as Tangier is both the limit or the tip of Africa, but also the departure point for immigrants to Europe, c ' that is to say towards the dream into a fantasy life, to the mirage of life. The choice of the city and enrolled in the topography of the place, this dialectic of this world and beyond, that has been Téchiné to explore and to stage throughout his film.
What do you recognize a great work? likely to meet the style and idea, which allows to find in all elements of the staging, the first impulse of the narrative, and comes together, seeping into the lower part of film. The construction is both rigorous and flayed the Changing Times for understanding the internal coherence of this major work.

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The complex representation of Palestinian history The Atonement

The Gate of the Sun has of Yousry Nasrallah

Godard was saying to a character in his latest film, "Notre Musique" in 1948 the Palestinians have moved out of fiction and entered in the documentary. By this formula, it meant the loss of the place for them also equivalent to the loss of the sense of narrative. Their story exploded could no longer be seized by the news images of the television endlessly reproduced the same chaos, the same repetitive images of death and destruction. With "The Gate of the Sun," Nasrallah Yousri just return them somehow lost the power of fiction, by embodying the place of loss by making flesh and life in the collective memory. It's sort of the origins of the film, the film that restores the original image. A film by designating the place of loss allows the story started, and the characters live a multiplicity of parallel stories, which intertwine, intersect and overlap, thus forming an epic and tragic one rare density and visual narrative.

Transmuting filmic narrative fiction

The film is an adaptation of the eponymous novel by Elias Khoury, who is the epic of the Palestinian exodus. The narrative device the novel and the film is to stage in Palestinian history through the story that in fact Dr. Khalil, the character narrator, Younis representing the figure of the Palestinian resistance in the first hour, however, fell into a coma following a cerebral embolism. Dr. Khalil tries to keep it alive by telling his whole story and that of Palestine. In the book and the film is the story told in a recumbent figure who must thus reviving the memory. The therapeutic aim is common to the novel and film: the setting of the story can breathe life into a story that is dying more than pale and gaunt icon of dense and tragic history of the Palestinians.
However, the structure of the novel and film is different. In the novel, it's bursts of thoughts running through the consciousness of Khalil, the narrator character, and in which collide and intertwine both his personal history and that of Younis and a multiplicity other tragic stories and other paths of exodus and exile of Palestinians. In the novel, the bursting of the story is also fragmented and erupted in Palestinian history. The beauty of Elias Khoury's novel is that it replaces the History of Palestine stories multiple, fragmented and sprawling Palestinians. The unique voice of the main narrator, often leaves room for a kind of polyphony, the characters speaking directly through the voice of Khalil, become transparent. Each story recounts a moment in the Palestinian tragedy, the expulsion of Galilee, through the defeat of Arab troops, the war in Lebanon, etc.. But there, in the novel, no concern for historical reconstruction of the facts, there is only the part of Elias Khoury, a willingness to tell his characters the unthinkable event that none of those who lived it could not understand, and recurring form of mental images and rehashing of the same thought.
The narrative construction of the film is much more structured. Yousry Nasrallah has focused the story around the two main characters of the novel, namely Younis and Dr. Khalil. The construction of the film into two parts corresponds to a cinematographic technique. There was tight story that focuses around two main stories, which speak of two different periods of Palestinian history, the first articulated around Exodus, the second round of the Palestinian diaspora in Lebanon. If the main concern of Elias Khoury is to give a voice to those who have no voice, to gather as much Palestinian stories and put them into a narrative, the filmmaker's desire is to embody, through images, two trajectories representative of Palestinian history.

symbolic and thickness of film history

Doctor Khalil's story begins as "everything starts in Palestine" and then we see images of beautiful splendor of a vast undulating plateau, which runs a boy. The image seems shrouded extraordinarily beautiful, almost magical. The colors of the mountain, the sun, the sort of grandiose majesty that emerges refer to any mythical grandeur. "It starts in Palestine", and opens the story with this incipit that reminds us of the tales. It is as if the verb is transformed into an image. This is the ontological force of cinema in relation to the novel: that it embodies this ghost haunting the Palestinian and Arab consciousness long ago, he shall return in full to both visual and historical. Yousry Nasrallah, while symbolically returning to the Palestinians instead of fiction, can also give their story a universal dimension, by integrating it into the universals of love, sacrifice and compassion. It avoids all the pitfalls that await the film for its political charge. Univocal discourse on Palestine, with this exaltation of martyrdom and neurotic fixation on victimization, is foiled by the depth of both symbolic and stylistic staging.

Let's start with the symbolic. What makes the fascinating beauty and grandeur of the film Yousry Nasrallah, is that two levels of narrative overlap constantly, which also correspond to two levels of narration: the realistic level, seeking to represent this story justly suffers a deficit of representation, depicting the various battles that have marked the Palestinian tragedy, the exodus from 48, to the Oslo Accords, through the formation of Fedayeen, the fratricidal war of Lebanon the defeat of the Palestinians and their new exile to Tunis, etc.. But another instance works in the narrative depth, going beyond the mere representation of Palestinian history and inserting it into a more mythical dimension, by which she joined the universals of human love, death and loss.
The first images show the density of the film mythology. Younes and Khalil, the two main characters, the two incarnations of the hero character, the first and second pure impure, eat oranges. The same scene opens on both sides of the film is that its importance in the founding of narrative economy. Its symbolic power is coupled with a striking visual beauty and departure inexplicable. These oranges will be understood in the second part of the film, are representative of Palestine, they refer symbolically to Om Hassan picked oranges in the orchard of his house now inhabited by a Jewish Lebanese, and it brings in its refugee camp in Lebanon, allegory Elementary lost ground and at the same time sacred trophy of hope in return. Om Hassan were hanging on the wall, and was formally forbidden to touch. Khalil Yunis and violate this prohibition by a feast of oranges. Both hero and eat a kind of host, they integrate in their body the body of the lost homeland. That opening scene of the movie is this image of ritual cannibalism, absorption symbolic body of the country on the face of the two heroes is not by chance. It's the same metaphor of coalescence between individual history and collective history, between the emotional and political, between myth and reality. Is the union of flesh, indivisible, characters and their lost homeland. Beyond the superposition of narrative levels between staff and the collective, so it is that attends to their merger, a union symbolically sealed image, which will continuously show, with delicacy and fury, the human tragedy experienced by the people. It can also read this image meta-diegetic level. When Khalil Younis told "come, eat Palestine before it eats us, it is an attempt to desecration of land became disembodied idea. This land transformed into a symbol stuck in the minds not only of Palestinians but the entire Arab people, too often reduced to a cause, and recovered by the discourse of conflicting ideologies, the film tries to absorb it into the very stuff of fiction. She becomes mother earth instead of being only the distant relic of the lost land. By opening this beautiful double metaphor, Nasrallah refers to both the project and its style. The film will constantly use visual metaphors and strong, to thwart all schematic and open discourse of fiction to a tragic poetry.
The body is thus the place where part of the tragedy. Younis serious on his arm in indelible letters of fire, the fateful date of the destruction of his village and the beginning of the exodus. Khalil is on his back injury indelible the war in Lebanon. Just as Selim, the showman Chahinien, replay with a surreal farce the moment the terrible massacre of Sabra and Shatila. His white hair that become black as jet in for a shampoo quack, are the same metaphor, as we discover later in the story of this atrocity that has experienced child: the bodies heaped on him and around him after the massacre, the paramedics came to cover white lime to mask their stench, and then they covered muck. This is not the killing that we see but shifted its reproduction, pictorial, metaphorical.
superimposed records is also metaphorical and realistic by adding some kind of iconographic images. In many moments of the story, the hero of the film acquire the status of icons. Often these scenes strongly emphasized by the filmmaker, at key moments of his representation of Palestinian history. It was so during the scene where Nahila, female heroine of the first part of the film, followed by all other villagers refused to take refuge in Lebanon and decided to return to Dir al-Asad, the village where they found refuge after the bombing and destruction of their houses in Ain Zeitoun. The director first filmed the general plan of the crowd advancing column in the desert way back, then a closer shot, we see Nahila brandishing a ragged sort of stick, hair disheveled, his face inflamed, advancing a determined look on the road. This image can only refer to a famous painting, one of Liberty Leading the People by Eugène Delacroix, in which another woman, symbol of the French Revolution progressed well at the head of the crowd. This scene is poignant because it refers to both the particular path of the Palestinian people but also because it evokes a very subtle way, other contexts, making their story a universal depth. Similarly, the sequence of the foundling by Om Hassan in the middle of the forest reinforces this mythological character. It refers to all the stories of prophets saved by providence and collected by gooders.
There is a constant concern in Yousry Nasrallah to insert the film in a history of images, especially in film history. Any part of the story, particularly in the staging of the exodus returns, like a mirror effect, with many Hollywood films have depicted stories from the Bible. We think including the Ten Commandments Cecil B. de Mille.
This concern is also, in my opinion, to a political bias. This is to emphasize the parallelism between the history of Jewish and Palestinian history in taking over the representation of the first in the history of Western cinema. How to shoot Palestinian refugees and their long wandering in the plains and forests of Galilee that can align to the representation of the history of the Jews and the Palestinians. It a way to emphasize both the tragedy and irony of this story, in which a nation replaces another on the same land of Palestine, and condemns this substitution the other people to reproduce the same history of wandering and exile. In this sense, the film Nasrallah is the founder of the representation of Palestinian history, not only in its entirety and complexity, but also by its inclusion in film history. The filmmaker manages a double purpose, both film and politics: it anchors the narrative history of the Palestinians in a centuries-old tradition of storytelling by the numerous biblical references therein; it also inserts a history of cinema with a screening of several films reversed from the Bible that deal with the Jewish exodus, the political dimension reads between the lines, in this mirror effect that the director establishes so subtly between Jewish history and the history of the Palestinians.

construction into two parts: the epic of exile at the outbreak of the diaspora

As already noted, the film is constructed in two clearly opposed by both their material and staging. The first part, the saga of exile, traces with a lyrical style of a vibrant events that led to the Nakba, through the love story of Younis and Nahila. Married very young, barely out of childhood, they have ceased to be separated by political events. Younis is a fighter, he fought first against the British, then against the Israeli army comes to terrorize the Palestinian population to force them to abandon their villages and to leave for Lebanon. They meet from time to time, in favor of the Yunis returns to his native village. But their love story really is born after the exodus, when Nahila and parents Younis decided to return to the village while he continues to fight in Galilee before being imprisoned by the Syrian army. He then decided to make some inroads towards his native village in Palestine and find Nahila. At this point their love story begins. They find themselves in a cave and love passionately, again celebrating a wedding ritual that is of a more intimate and more pure than their official marriage. The cave is a place mythical place where their romance can be deployed, as in a bubble of pure, pristine, untouchable and unreachable. It is a place of escape and dream that gives the narrative all its splendor and helps maintain a link with the land. It is interesting to see how Yousry Nasrallah filmed there. The lighting is very dark, occasionally streaked with light of a candle which reveals that blurred silhouettes, gestures slow, soft and apneic atmosphere that permeates all contribute to forming a sort of bubble contrast with the outside world filled with noise and fury. This is not absent, and just harass the characters even in their retirement. However, despite all the dramas that are played in their lives, the existence of this shelter gives the first part of this mythical depth and breath of this temporary peace and precarious. In the first part of the cave, a place of passion and romance, the only piece of land in Palestine and pure integrity, as Nahila say at the end of the film works both as a metaphor for purity and as the horizon of the possible return, as the hope of a possible reappropriation of sovereign land.

The second part of the film is much less linear. The bursting of the story, its reduction, staging rather baroque style, with a break of the chronological narrative of return, at the political level, the loss of the original purity, the stagnation of the Palestinian cause in a become increasingly uncertain. The heroism, purity, love and fight lose their idyllic, are marred somewhat by a sordid reality, and whose reading is becoming less clear and unambiguous. The dream is no longer possible, as well as belief in heroism as a liberating action. Reading the reality is blurred by a series of deadly conflict and fratricide. Dr. Khalil no longer has the aura of legendary heroes. He was manhandled and humiliated by the police inspector who returns to his deception and cowardice. He recalls that its qualification as a Doctor is a theft because he has simply followed a course of "nursing revolutionary" in China. It accuses him of having abandoned his comrades, went into exile following the Lebanon war. His love affair ends in bloodshed, as his beloved Shams kills her lover before being brutally murdered by a hundred bursts bales of Palestinian fighters. It stuck like his comrades in a war of Lebanon absurd. And even when he proclaimed in the face of the world, following the first steps of man on the moon, that human beings have become gods, he is quickly brought to reality by the military forces it to crawl shouting Allah Akbar to redeem his sacrilege. This is the double negative Younis antihero who can no longer oppose the horrors of the real grandeur of the dream.
is because the real no longer has the aura of mythical heroic past and pure that its reading is blurred by a set of conflicting discourses. The equivocal nature of reality is underscored by a shift in the scenes. Thus in the first part of the film during the scene where Cham kills her lover, she calls him and when leaving the house, she shoots him in the chest and ran away. This scene was filmed a second time in the second part, but this time when Shams calls his lover, it opens the window of his house, accompanied by his wife, and then comes out of his house to be killed by Shams. We then see the wife of the lover who screams and rushes to the body of her husband, shouting louder than the Chams killed by three bullets. These different versions of the same event revealed the dislocation of reality in conflicting interpretations, as the original image of Palestine away from memory. The chaos narrative that moves into the second part of the film is a reflection of this deconstruction of the narrative and the image of Palestine. We know that deconstruction is an important concept of modernity [1] . It is basically a constant questioning of the relationship to truth and the world. Nasrallah operates both a formal narrative and a questioning of Palestine. The two sides are not only two different periods of Palestinian history, they also reflect two ways of making films. The classicism of the first results and the need for a linear narrative, at once dense and structured, which built the mythical memory of Palestine. The baroque is the second reflects this necessary questioning of the same story over and deconstruction salutary symbolism too easy to "Palestinian cause". Modern film and the film is to instill the heterogeneous and discordance in
[1] is the work of Derrida who systematized the use of the concept of deconstruction and theorized practice.

Streaming Midnight Hot

Daratt of Mohamed Salah Haroun


The Day the Truth and Reconciliation Commission announced on the radio a general amnesty in Chad to all criminals in the civil war that has gripped the country in the 80s, a great father orders his grand-son, Atim, to accomplish a vital mission: from Ndjamena to take revenge on the murderer of his father. On the canvas of the story which revolves between the political and the intimate, the filmmaker weaves a film of great visual beauty, which remains a fine line between overloading the senses and the sketch plans. Atim eventually trace Nassara (the feline presence of two actors alone is a splendor). It engages as an apprentice baker and teaches him the ropes.

Between Adolescent suspicious and taciturn with only obsession and revenge as the repentant murderer tries to redeem his violent past by driving pious and charitable impulses, a complex relationship settles throughout the film. In the sweltering heat of furnaces, in this mixture of sweat and toil of torpor desire for revenge, the horrors of the past and the death instincts are crumbling, are kneaded like bread to give rise to another feeling, a new awareness: that of forgiveness. The splendid beauty of the film lies in the intimate correspondence between the issue of conscience and weaving repetitive daily, between mental and manual, between the mental torture of revenge and healing in the most basic gestures. The filmmaker, in long shots and tight attentive installs these two bodies gleaming in the limited space in this promiscuity torrid gradually transformed.

It is no coincidence that the filmmaker has chosen the profession and the work of bread as a force of transmission. The scenes where both characters work side by side to give life to this elementary matter and millennium are among the finest in the whole movie, because they place the relations between the characters in this dialectic between the forces of life and the forces death. As if redemption was to first pass through the transmission of life. The theme of the transmission is also present throughout the film. The grandfather who sends in a Atim gun, a symbol of this history of violence and hatred, which opposes Nassara send a trade and gives him a way out of crime in which he had fallen on arriving in Ndjamena.

The film is rich not only in its themes and many discoveries but also by its condensation of meaning and genres: it is both a police camera, a film with multiple social and political dimensions, reflection on forgiveness and amnesty, and especially one of those films of confrontation between the characters, made silent ballet of bodies and sets of eyes hanging. It sometimes reaches such a level of abstraction one might think of an African Bergman.