Diwali Messages In Sindhi

THEY SPEAK ...

The Chakana or Andean cross symbolizes relationality. Its name means "bridge to the upper . Piece of contemporary craft Aymara 5cm x 5.2 cm 19.4 grams. Base lines and solid silver. Symbols semiprecious stones and shells: lapiz lazuli, azurite two kinds of pearl, abalone, mother pearl, three kinds of spondyle ... This chakana carries a series of symbols arranged in a circle where there are stairs, wave, half-chakana, the coca leaf. All of these symbols is the calendar Aymara. In the center is a spiral.
Spiral Pachamama. Piece of contemporary craft Aymara 4.6 cm in diameter and 18.6 gr. Base and solid silver spiral. Seven kinds shells and semiprecious stones: three kinds of spondyle, two kinds of azurite, mother pearl and lapis lazuli. The spiral is the way the natives are the space-time or Pasha, a term which also gave its name to the Pachamama, the goddess of the event. In all Andean rituals, a libation or ch'alla , is via a spiral motion. Sometimes we have coca leaves or petals of carnation spiral. Arranged as here, with seven kinds of semiprecious stones, this object pachamama is frequently used in healing rituals. Impactantes and energetic colors that evoke the spiral rainbow sky, uniting heaven and earth, or even the Wiphala the checkered flag Andean weaving links the world.
The three worlds or the three Pasha. Piece of contemporary craft Aymara 5cm x 5cm to 16.6 gr. Base lines and solid silver. The design is made of pearl, pearl mother spondyle, azurite ... This piece represents a chakana or Andean cross, on which appear three animals, the condor, puma and the snake, which correspond to the three worlds of Andean cosmic vision: the world from above, by the world and the world from below. Associated with the llama, an animal's preferred Pachamama which represents the earth element, this trilogy can also discuss items where the air corrrespond condor, puma and the serpent fire with water.

Sugar And Your Period

Prolonged absence

Miss Girardot

Our mothers province considered you one of them. You, the anti-popular star par excellence. The number 1 Blue, bench, red seventies. Clown ball to Giulietta Masina. Sensitivity to flower banter worthy of Edith Piaf. Flow of a large machine gun mouth, fag in mouth and sometimes the gun in his hand.

You will remain forever in the pantheon of star cinema with this plan tearing where the character of Nadia realizes his feelings for Alain Delon years of Rocco and His Brothers Luchino Visconti. Metamorphosis of innamoremento in consciousness of love among the arrows of the cathedral of Milan. Never

film can not forget the greedy Sabine Dillinger died Marco Ferreri, or castrating mother of Erika Pianist Michael Haneke.

Nadia crucified by love
Rocco and His Brothers Luchino Visconti (1960)

Miss Annie, bag of laughs and tears too often shaken by the existence , we lose the head to have vibrated too? ... Yesterday, yours has sunk into the haze. Today, your body has released. But as you confide in Such is life , the documentary on your end of memory by Nicolas Baulieu:

" The moments of happiness, you know, it concerns the heart, not the brain. The films that I shot, the men I loved, it's beautiful story of my life. Except that now you know better than me. My children, my friends, I love you and I leave you a bit. But one thing that will never disappear, it is the heat your love. Thank you. .

Men who like him:
Belmondo, Montand, Piccoli, Delon
A man I like Claude Lelouch (1969)
Live for Life Claude Lelouch (1967)
fires Candlemas Serge Korber (1972)
Dillinger died Marco Ferreri (1969)
Shock Treatment Jessua Alain (1972)

It seems that in France everything begins and ends in song. So, I wanted to hear your voice in Prolonged absence "pérititre" Dying of to love.
The melody of ghost shows and Gilbert Carpentier begins inflated hope and closes the gap on a wildfire. In no time, the bungee jumping conflicting emotions: your trademark.
Bravo Mademoiselle Girardot.

Absence Prolongée
(Frédéric Botton)

How To Add Aux To Boombox

Annie Girardot: a great actress has just left us today ...

We lost today one of the greatest actresses of French and world cinema. Annie Girardot died Monday as a result of Alzheimer's disease. " She left peacefully. Mom and I were at his side ... "wished to clarify his granddaughter Lola Vogel .

Coming of the French comedy, Annie Girardot was soon to be Name the movie thanks a unique talent makes a very compelling banter French allied with a fiery well served by a rare sensitivity and sincerity of the game, as comfortable in comedy (the masterpiece of innovative Erotissimo Gerard Pires in 1968 must live dangerously of Claude Makovski in 1975 Tender chicken and Stolen thigh of Jupiter Philippe de Broca in 1977 and 1980, the discord Claude Zidi of in 1978 Go ahead Mom of Nicole Buron in 1980) than in dramatic roles ( Maigret Sets a Trap of Jean Delannoy in 1957, Rocco and His Brothers of Luchino Visconti in 1960, Shock Treatment of Alain Jessua in 1972) or intimate ( Living to live and A man I like to Claude Lelouch in 1967 and 1969, Dying to love of Cayatte in 1971, The Old Maid of Jean-Pierre Blanc in 1972 , The slap of Claude Pinoteau in 1974, Dr. Francoise Gailland of Jean-Louis Bertucelli in 1975, Pianist Michael Haneke of in 2001).

His career was very abundant, with more than 100 feature films from 1950 to 2001 and dozens of creations at the theater (whose coronation was Mrs Margaret in 1974 with great success Public and critical) but also dozens of TV dramas. Many figured his films at the box office, and for the people of the profession's name was synonymous Girardot long profitability and quality. But the wheel turns ... From the mid 80's the break, continued the fiasco of the room she had ridden with her then-companion (actor Bod Decout ) that caused it severe financial problems and a scarcity of proposals roles. In the 90s the young generation filmmakers seems unfortunately not very excited yet very rich palette of this unconventional actress. In the mid-2000s, the news was made official: Annie Girardot suffers from Alzheimer's disease and treated by his family including his courageous daughter Giulia Salvatori (fruit of the great love of Annie with actor Renato Salvatori ).

In September 2008 a documentary directed by Nicolas Beaulieu is broadcast on channel TF1. It chronicles the daily lives of the actress about the disease and showed particular dedication shown by those who love him and help him through this ordeal. We understand that this document during the actress gradually loses the memory of herself: she has trouble keeping aware of the great actress immensely popular that it was. The last picture shows her sitting on a park bench. The film crew is at few meters and observes the scene, dumbfounded: Annie has forgotten a few seconds it was filmed, and seems lost, asking for help to passersby and trying to understand what it is there ...

Now she is gone, we still have his films that one can revert to the environment while recognizing what an actress of genius it was, beautiful, talented, daring, funny, in mind so bright. And who will remain well on film, forever, by the grace of the 7th art.

Annie Girardot , 1931-2011 (Photo © Francois Lo Presti , AFP)

Rocco and His Brothers (Luchino Visconti, 1960)

Several excerpts compiled Stolen thigh of Jupiter (Philippe de Broca, 1980)

Excellent song Woman eyelashes extracted from the masterpiece Erotissimo Gerard Pires in 1968
music Michel Polnareff and text by Jean-Loup Dabadie (the one of "20 movies in my life," to be over the
time chronicled on this blog with 19 others)

Z-transform Of Fibonacci Sequence

Universalism: WILBER AND INDIGENOUS

There was Freud, there was Jung, and there will Ken Wilber , they say. I discovered an article about him rather categorical in tone and nervous but let's be forgiving. It is well known that the res cogitata third world can legitimately lose his composure, where his displays a sovereign thinker conceptual mastery, which confirms its superiority. But if I had to write this article myself, I would at least moderate the title with a form interrogative rather than affirmative: "Ken Wilber is it as racist as the Nazis and the KKK?" For in Indeed, I do not think the gray areas highlighted by the author are voluntary on the part of Wilber. They are a legacy fatal and unconscious.

Anyway, this text is well articulated and focused on real faults of the alleged integral philosophy, even if the author believes that Wilber is a man of the extreme right America, of which the crypto-racism is well and truly aware. The model of spiral dynamics in eight stages of Wilber's spiritual Darwinism, grotesque vision of the magical and symbolic specific to the indigenous world, mean that his thought does not at all in the Andean intellectuals. But Wilber knows he only ensure the existence of "native intellectuals", some fascinated, if not downright hostile to the extravagant construction of its integral philosophy? Thus, for Wilber, the level purple, magical-animist ethnic tribes in this, would not be far from a zero level of spiritual evolution: "For Wilber states Awareness of shamans (and in general states of consciousness of the individual members of indigenous tribes) are merely states of consciousness primitive and inferior, and pre-conventional préformels . Our columnist cartoon probably native of Wilber's position, but it is clear that the pre-trans distinction , yet so useful these days, came to sink in sometimes paternalistic and colonialist arrogance, thinking universal and holistic.

ship first post-modern. According to Wilber, " seen in the light of consciousness and transpersonal mondialocentrique, we can consider Nazis and the Ku Klux Klan as inferior. " It's one thing that can not support the postmodern multiculturalist positions without contradicting himself. Because in the post-modern dogma, all cultures, including Nazism, are logically incommensurable. Remember the arguments put forward by Lyotard in The différand where post-modernism, so interesting about his critique of rationalism and modernism, eventually show gaping limits. Lyotard writes that the confrontation between a member of the Gestapo and the Jewish victim remains unsolved Valorie, because they are two distinct and incommensurable discourses. As post-modern, notes there, we can not legitimately use the authority of any ethical meta-narrative to make judgments, so it is possible to appeal to human rights or the rights of peoples to denounce atrocities such as genocide. All that remains finally to post-modernism, is a contemplation of reality by means of parameters such as consumerist aesthetic and the beautiful and the ugly, the pleasant and unpleasant, and without dramatic interest. We can certainly continue to talk about "differences" cultural, socio-economic, religious, but there is suddenly more way to enhance these "differences" in terms of marginalization, exploitation, oppression or injustice, because in the post-modernism is more metanarratives for these calibrations. There are plural truths, relating, diluted, and ethical values are transformed into purely aesthetic values and indifferent, as can be seen everywhere nowadays. Anything goes ...

Wilber is clear that limit post-modernism, and considers that its system of integral philosophy is superior, both in its consistency as his ethics. But what he fails to notice is racism implicit in his rankings and insult that means for those involved. Apparently, the natives are to him mere abstractions and objects of thought, children who are only re cogitata First World wilbertienne whose rationality is derived. Certainly, a view mondiocentrique, Nazis and the KKK who embody ethnocentric views, can be considered inferior. But the Nazis and the KKK have levels below them on which they can assert their superiority and spiritual levels that Wilber calls egocentric. "And who are, for Wilber, the egocentric? These are the indigenous peoples . Nazi and KKK. are part of level 4, level even blue. This level is higher than that Wilber is the native level 2 or even purple. That confirmed the evolutionary superiority of the executioners on the victims. It boggles the mind, as you hold very strong when Wilber and Beck say the same green (level 6) of the sensitive self, ecological, egalitarian and anti-hierarchical is exclusively present in contemporary Western culture. Any enhancement of the indigenous world in this direction would also Wilber for that of pure romance.

I can not comment on the rankings here rigid. It seems more productive to emphasize once more the attitude of the native, full of health fails us as we contemplate our navel intellectual and technological, is able to notice very quickly that biased universalism, denouncing the hegemonic pretensions of a strictly localized point of view. It's a bit like our Western universalist thinkers ever fell into the same error, causing the great leveling world. It converts the particularity of a philosophy (in relation to its context) in universality and supra-cultural, whenever this philosophy is the philosophy of universal . The maximum expression of this ideological category mistake (Ryle) is found in the Hegelian equation: " philosophy of the Absolute is absolute philosophy." In politics, the same phenomenon expressed in the dogmatic maçonnico-universalist in Illustration. Ear natives, who did not learn of humanism and spirituality to receive a big brother, this well-intentioned dogmatic takes on a strong accent of West-centrism and neo-colonialism. It is clear that the philosophy of Wilber is no exception to this lack of incorporation. It is neither complete nor mondiocentrée, but only West-centered in all the rankings that it offers. This, our native - radical otherness of our Westernness - was best placed to notice that any non-dualistic or universalist fascinated by Wilber. Without the light of intercultural otherness, not our own natives, we would not see anything about these serious inconsistencies and will probably continue to believe that our ideas are universal and integral good, bearing a bright future. Can he rise to a supra-cultural universality without genuine interculturalism?

Above all discourse on fashion universalism, mono or multi-culturalism, we could recommend to political as well as spiritual look more closely to the philosophies of multiculturalism, rather than acknowledge such criticism of conservatism Enlightenment from the southern hemisphere. It is we who are behind this otherness that we propose, and rightly so, since it comes out nothing new in the old world , Darwinism, Conservative and haughty as a whole when s' acts to assess the evolution of the other in the light of its universality.

" philosophy of intercultural criticism any absolutist and universalist claims of Western philosophy as a typical case of idealization: a determinate conception of the world, emerged in a particular culture is conceived and defined as design universally valid and true. The purpose super and supra-cultural Western philosophy in theory, becomes imperialism and economic hegemony and political practice. In modernity, this gives the equation that the process of development and progress coincides with the process of Westernization (J. Estermann, Filosofía Andina sabiduría mundo nuevo para un indígena , ISEAT, 2007, p.37).

It is clear that Wilber is impregnated with this defect, which is interpreted as universal, but confused and supra-cultural super-culturalism. Wilber's genius can not in any case not understand the native light. He estimated less than that of the Nazis and far from a perspective not universal, but West-centered. That's why the author of the article I commented on the class and complete "integral philosophy " Wilber in the same blue, along with the Nazis, rather than in the same Turquoise holistic vision. Here we find the way which the West sees itself, and that he is seen in many regions of the southern hemisphere. "Rationalism Wilber, excessively prominent role it accords to reason as the basis of ethics, spirituality and all aspects of human development, led him to become enormously racist," the columnist concludes This article inflamed and intuitive, which brings us back to the reason why.

Anthropology Like Bedding

"Forgotten Forest" by Kohei Oguri: anti-formatted movies, the anti-Hollywood, anti-Meet the ch'tites ... cash registers!

The fifth installment of the Japanese master Kohei Oguri was presented at the Directors Fortnight at the Cannes Film Festival 2005, fifteen years after its Grand Jury Prize and International Critics Prize for The sting of death , and twenty-four years after his first work Doro no kawa . It was thus an event involving a succession of homages earned the filmmaker who is 60 years appreciated for its value.

Kohei Oguri Kohei Oguri

has always tried to struggle against the conformists of the 7th Art and against all formulas invented by the merchants of the Temple and for transforming a genuine artistic expression in industrialized product and code-barrisé. There has been much speculation about our company Merchant insane where images are ubiquitous, and how they are used by decision makers without ethics. Oguri wants to rehabilitate the image, giving it all its evocative power and fascination, as Jean Cocteau in his time was struggling to do so with Beauty and the Beast and safer still with his three masterpieces Orpheus, The Testament of Orpheus and Blood of a Poet . Back to real and deep sense of the image is back to its roots, that is to say the painting. The forgotten forest ( Umogeri for its Japanese original title) is a true work of art in itself, an art film of great pictorial richness. It is no exaggeration to say that nine out of ten shots for the film are similar to real life paintings with a clean and independent. And found so much beauty to the original pleasure of contemplation, that which had been without doubt the first humans in the absence of language. This result is admirable all the more surprising when we know that the movie was shot on digital camera, which rule does not necessarily finish and clarity ideal for the plan, the examples in recent years were also numerous and verifiable in the cinemas (apart from the excellent rendering of animated films). Here is the perfect visual triumph, and even if we know that Japan has always been a pioneer in electronic and digital technologies, there remains still in awe of beauty as on the big screen. The smallest hut filmed by Oguri suddenly becomes a beautiful landscape, thanks to his mastery of framing and treatment light. It will be understood that the screenplay and dialogues light The forgotten forest here are quite high, the challenge for Kohei Oguri elsewhere.

In the story is told, several characters find themselves interacting in a small town surrounded by mountains. Including three teenage girls who play regularly to imagine situations and individuals prone to comical musings. These dreams sometimes do they take life on the screen, unbeknownst to us, or is this reality that we are offered? What is here from fantasy and reality? And for what purpose this gallery of personalities taking shape before our eyes and populating the small quiet town? For what purpose, these banal lives, more or less crushed under the weight of reality and destiny arbitrary, if not one day to reach back into the forest 3,800 years ago buried by the eruption of a volcano , and finally emerges from land to allow access to live and to find? The pace of the film is slow, but this should not slow contemplative discard. Because it is intrinsically linked natural cycles of life and seasons. Sound and bold, it is a challenge to the cinema lambda edgy and noisy that we suffer for years now, and more generally the dominant ideology of modern society where everything must be done with haste and hurry, where everything must be speed and efficiency. And finally, where everything must be in complete opposition to the immaterial substance that led to the outbreak of the universe, our planet and our belonging to humanity.

                                                               The trailer of the film in OV subtitled

Does Celexa Have Yeast

Wild star

.

Enchanted Nina the dancer's most serious opera in New York. A good student as pure as snow in a double button coat wise, in a pink room with stuffed animals treated of Swan Lake . Theme insidious arises from a music box like the ringing of a mobile.

One day, a happy lot is cast as Nina. The choreographer Leroy Thomas chose her to dance the principal role of the legendary ballet by Pyotr Ilyich Tchaikovsky. A trash where the princess aka the white swan will fight to the death his alter ego, aka the Black Swan Witch.

Nina and the world of dance

Natalie Portman

If Nina exudes the purity of an angel, it seems a thousand miles from the evil demon. To achieve remove the animal from the guts of his heroine, to transform a virgin in satiated artist, Darren Aronofsky brings together the best of his four previous films: the psychological thriller Pi drift perception Requiem for a Dream , the inner struggle to achieve the grace of The Fountain and skin battered by the art of representation The Westler of .

Skins wrecked

Ellen Burstyn in Requiem for a Dream (2000)

Mickey Rourke in The Westler (2008)

Since its inception, the filmmaker has never turned his back with his camera. This is his slightest defect ... His fifth film could brush against the Grand Guignol if Aronofsky the director had simply shoot a wolf werewolf story to thrill in a tutu. Fortunately, Darren movie lovers grabbed a bunch of broken mirrors, sharp and bloody hoisted Black Swan works in the pantheon of the wildest, most dense ever shot on dance: The Red Shoes Michael Powell and Emeric Pressburger and All That Jazz Bob Foss.

Follies dance
Moira Shearer The Red Shoes (1948) Rod Steiger
All that jazz (1979)

Between the translucent skin of Natalie Portman and the paint needed for the artifice of the performing arts, reads the ephemeral career of a ballerina and a movie actress. This fight against time is intensified by the thirst of ambition Black Swan packs , turns its space-time in an escalation of false connections to incandescence of its climax.

Many mirrors punctuate the frenzy of the film. Symbols of narcissism and the quest itself, they reflect the beautiful picture of Nina, but when the ice deform, split up, go out of tune movements of the dancer, they betray the dismantling of his mind.

A mirror hangs on the wall opposite

She did not think the mirror but think
Søren Aabye

Kierkegaard

In this game / I labyrinthine appearances, glide reflections of a few large Crimea of cinema. Unchangeable creatures on stage, backstage vulnerable: Bette Davis Eve by Joseph L. Mankiewicz, Judy Garland in A Star is Born George Cukor, Gena Rowlands in Opening Night John Cassavetes, Romy Schneider in L'important c'est d' love Andrzej Zulawski and, more broadly social, Glenn Close in Dangerous Liaisons Stephen Frears.

"Mirror, tell me if I'm still ... "

Bette Davis, Judy Garland

Natalie Portman

Gena Rowlands, Romy Schneider

To swallow Nina neuroses in this abyss where desire reveals the emergence of trauma, Danarofsky inspired by the heroines of her favorite filmmaker Roman Polanski.

If the thinness of Nina refers to the bloodless pallor of Mia Farrow in Rosemary's Baby , the young star is above all the twin Carol, manicure deadly interpreted by Catherine Deneuve in Repulsion . Smooth and soft in appearance. Deep, frigid and paranoid.

In Black Swan , the skin of the dancer is so tense, so bruised by the quest for perfection that he is condemned to be torn to drain the monstrous ego of the star .

Iris polanskiens

Catherine Deneuve in Repulsion (1965)

Mia Farrow Rosemary's Baby (1968)

A women's affair

The protagonist of Black Swan is Nina, but art. Like an insect vampire, he glues that all the characters in a single canvas hysterical women see men as pigs. Each clay enters the mind of the young girl with phallus substitutes. Just like the masseuse who sticks his fingers so deep in the solar plexus of the dancer.

To adapt the novel by Andres Heinz, writers Mark Heyman and John McLaughlin have tempered the figures of this drama in the mythology of fairy tales. Timeless narrative space where heroes become archetypes.

The subtle choice of the cast to play the mother, model, and double the midwife sick swan, intensifies the interpretations of this spider's web:

ROW, right when you hold us .. .

Barbara Hershey in The influence (1982)

Barbara Hershey, actress light in the 1980s, knows the horror Frailty in Sidney J. Fury as an energy supernatural takes home first, then his body.

as if Aronofsky remembered the series of rapes exercised by an invisible force, it shows men Erica disgusted, saddened head to foot with long raven hair that dry her face.

Carrie's mother to dance with the Devil Brian de Palma, the Witch and the Wicked Queen from Snow White by Walt Disney sketched seem to surround him with their train of jealousy and frustration.

Touching maternal

Barbara Hershey & Natalie Portman

Piper Laurie Sissy Spacek & Carrie in (1976)

former dancer never out of place, Erica is a mother "incestuous". She pushes her daughter to hang on the wings for landing the role of a swan, but does not hesitate to cut corners by cutting the nails of acrimony with Nina to the blood.

Interference This progenitor becomes terrifying in the scene of the cake. Nina the ugly duckling is chosen to embody the majestic bird. Erica exults, buys a "kitcherie" sweetened with pastel roses that open onto a ballerina. A huge cake in which Nina sees a mountain of calories. The girl refuses to taste it. The mother, upset the guilty with fake tears. Nina capitulated. The euphoria of Erica back pronto. In an eager smile, the mother tending to her daughter a finger stained with white cream. The child ends up sucking. Somewhat disoriented by what seemed to fellatio.

Winona, the great love of Dracula

Winona Ryder during the nineties, this beautiful romantic libido of more unrest. She lets herself be caressed by the knife blades of Edward Scissorhands Tim Burton offers his swan neck the fangs of Dracula Francis Ford Coppola. Then the offender lives and chaotic choice of actress gradually tarnish his prestige.

With a touch of perversity, Aronofsky's invite to play almost cameo Beth Macintyre. A fallen star, angry, alcoholic and suicidal. Like Frederic Andrei in Diva Jean-Jacques Beineix, Nina can not help but get into the diva's dressing room. Take place in the lair of consecration where Beth's face on the poster of his final show, his successor seems to look with disdain.

Natalie Portman Winona Ryder &

Nina, his hands trembling, steals some intimate objects of his model. Among them, a tube of lipstick. The girl tested immediately in the excitement of the forbidden. A few sequences later, Nina brandished the stick into a weapon of conquest for the role of a swan. Masked outrageously, she bites at her lips blood choreographer to achieve its goals / artistic appetites. It is thanks to the momentum of impulsivity that Thomas Leroy sees fierce ambition of the beast lurking in the depths of the beautiful. Nina has although the makings of a prima ballerina.

Double Edge

Mila Kunis & Natalie Portman

Mila Kunis d Ukrainian origin represents Lilly, the dark double of Nina. Aronofsky does not oppose the white swan black swan, he prefers to do his eclipse. Nina is a moon that captures light in the shadow of others. Lilly's solar lights every moment life with a sexy voice squeal when grains of sand. If Lilly dance worse than Nina, she moves more true. His laughter resonate louder. His hands are pressed on the penis and testicles of the dancers cast in their pantyhose. Sliding her panties under her evening gown when she wants to pee. With its two large wings gothic tattooed on his back, Lilly invades the whole space. Until mental Nina.

The Fairies Charles Perrault Dead Ringers by David Cronenberg, the theme of doubles, twins real or imagined, lies about it romance through the adversity of his suit.

The threesome with twins

Jeremy Irons Genevieve Bujold &

Dead Ringers ( 1988)

Nina loves and hates having Lilly in the skin. Cunnilingus between two women in the protagonist triggers a visceral reaction. Fantastic expression his discharge. A spooky travels moving his whole body. Lilly's hair covering her sex. Above this forest pubic who cannibalize, Nina sees feathers tattooed animated. Their movement mesmerizes his narcissism, the envelope, intoxicated, dominates the front of the stifle terrified.

With its winged metaphors, this sequence sapphic close to that of The Hunger Tony Scott as Catherine Deneuve Susan Sarandon vampirizes, makes available the wishful thinking of Alfred de Musset: two beings who love an angel on earth are in the sky. The poet does not specify whether the mixture of fluids is appolinien or dionysiac kindred!

The animal: that obscure object of desire

Natalie Portman & Vincent Cassel

Josette Day and Jean Marais in Beauty and the Beast (1946)

"Do you find her horny? Do you sleep with this girl? 'Says Thomas Leroy partner Nina during a rehearsal. The girl is mortified. The dancer relegated to figuration in the film, disappears quickly from the scene. The choreographer and Nina return to the figures. Leroy plate with one hand on the thigh white Nina. His fingers close like greenhouses. Her other hand grasps the sex of her interpreter. Thomas Press Box crotch to react the black swan which is struggling to emerge.

man deemed "to women" does not really love them. He once broke the heart of Beth Macintyre, but has no sexual attraction to Nina. Its sole purpose: to tear the dark side of the bowels of this white goose. To achieve this, it operates with sadism hot and cold. Suggests to the girl priapic instincts immediately cooled by the inflexibility of a heart of ice.

only male figure in the film, Thomas Leroy, however peripheral to the psychological deflowering of heroin. Despite his manly charisma to Blue Beard, Leroy is a midwife in Black Swan . When Thomas looks at the body of Nina extended to the end of the performance, he did not kiss to save her as a prince charming. The midwife of genius only see the sweat and blood flowing from the underbelly of the star released from her black swan.

Vincent Cassel between cannibal prince and

Jean Marais in Beauty and the Beast (1946)

Burt Lancaster Island of Doctor Moreau (1977)

The choice of Vincent Cassel is obvious. The actor physically imperial legacy of Jean Marais and Burt Lancaster. Two models ambiguous ASSUMED their homosexuality with bestiality and their city on the screen. The first in Beauty and the Beast Jean Cocteau, the second in The Island of Doctor Moreau Don Taylor. With an eagle's head resting on a lion's body, Leroy Thomas not breathing. It smells like a predator repressed animality of Nina, but never experience a feeling of suspicion.

And the mirror broke

the radius of the similarities, Natalie Portman could well be the Israeli-American girl Carole Bouquet. Same star status recognized the role that the quest become world's largest stars. Even beautiful classical physics a bit inevitable, but without the hint of mysterious energy that multiplies the brightness of light.

Since Leon Luc Besson in 1994, Portman has made her lines with George Lucas (Star Wars ) and Tim Burton (Mars Attacks !) was heated with Mike Nichols (Closer among adults consenting ) and Wong Kar-Wai (My Blueberry Nights ). It achieved excellence with the first sequence Free Zone by Amos Gitai and the short film Mansion, a magnificent prologue The Darjeeling Limited Wes Anderson .

Mother and daughter movie

Carole Bouquet by Douglas Kirkland

Natalie Portman

With Black Swan , actress meets a role in psychiatric gold combines "disturbed" the character of Erika in The Piano Mickael Haneke to "rabid" Irena, the protagonist of The Feline by Jacques Tourneur. Nina is part of this marriage in the tradition of heroines sacrificed on the altar of Eros and Thanatos. Victims to shreds. Mutilated women. Mutant creatures.

From the deranged madman

I sabelle Huppert Pianist (2000)

Natalie Portman

Simone Simon in The feline (1942)

From the sequence where the first feather-shaped shards pierce the skin of Nina, Natalie is transformed into Black Swan, and becomes The Portman.

As Lewis Carroll's Alice, she jumps in satin slippers in a big hole, falls, falls, explodes the mirrors to cross, but always end up against the wall. Nina then leaps, runs, gets lost in the endless corridors. Labyrinth stained graffiti where old men fondle obscene giggle crusts painted by her mother fornicate male birds with ballerinas in tutus offered. Nina panics, twirls, swirls, is sucked by false connections that the breaking up, break it at home hallucinations photographed in a dark almost big grain by Matthew Libatique.

"The red and black he does not marry ..."

Jacques Brel

But the hour of arrival on the scene has come. The lair of metamorphosis Nina sucks. The artificial lights the fire Crame. Between star and wild dance. Trance dance. And the flesh of the black swan tears. Transcendence. And two huge wings devour her arms. Climax. Climactic, orgasmic. You know, when the sheep and wolves howl in the lower abdomen to propel us towards the whole heaven before the dazzle of the crash.

***

GAY SWAN

The score of Swan Lake reveals the torment of Pyotr Ilyich Tchaikovsky , ashamed of his homosexuality. As Prince Siegfried in the ballet, the female loves him banned. The hero can not make love with the white swan, symbol of purity. This act is contrary to human laws.

At its inception in 1877 in Moscow, Swan Lake met with a resounding failure. The composer as an interpreter divine curse.

The last look in the mirror

Rudolf Nureyev by John Bryson

In 1984, Rudolf Nureyev sign for the Paris Opera a version of Freudian Swan Lake. He said then:

"This ballet means for me a long nurtured dream of Prince Siegfried reading romantic who exalted his desire infinity. It denies the reality of power and marriage imposed upon him his teacher and his mother. To escape the fate that he prepares, he brought in his life the vision of the lake, this "elsewhere" to which he aspires. An idealized love is born in his mind with the ban he represents. The white swan is the untouchable woman, the black swan is the mirror image. And when the dream fades, the reason the prince can not survive. .