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Buscadero (1972)

USA, 1972 , Comedy , length 102 '] Directed by Sam Peckinpah With Steve McQueen (I) , Robert Preston, Ida Lupino , Ben Johnson

Junior Bonner is the son of a former rodeo champion who now cultivates the dream of moving to Australia in search of gold. But Junior's career is in decline.

as Sam Peckinpah. America does not tell anybody and nobody succeed. Master of the New Hollywood, P. once again gives us a story full of disenchantment that candor mixed province that the U.S. has rude. Desires, illusions and broken dreams, they are the components of a province so innocent and pure but also naive, fond of rodeos, gaudy parades that celebrate the American dream that never arrived. Junior Bonner and his father are the ones who have tasted the dream, but too little, and why try to catch him but with a bitter taste in the mouth of someone who has wasted opportunity too early.
difficult to reconstruct the shards of a life to waste what little he knew Offir and now it is difficult to react to his revenge, which consists of disappointments, disappointments and defeats. Junior and his father are two American men who do not believe in fences and white sedan parked in the garage, are men who believe in the destiny of man-made half and half served on a china plate of bad too fragile. However, this is Sam Peckinpah's America: the America of missed opportunities, rumpled shirts and cowboy hats with holes, jeans sdrucidi and dust on the windshield of old cadillac. It 'a real American, but that there is very nice, and maybe this is even more beautiful. A
Buscadero is just not that American dream, an opportunity lost, is nothing but dust, mud, and a dry wind from the metallic sound of a gigolo rusty car.
And there's little to say about Steve McQueen, and his face dirty and worn out that of those who lived and drank too much, tired eyes as two fires off dragging two legs ached, but that move just to get back for revenge. Winning on the life and America. Steve McQueen, Sam Peckinpah, they are the real America, but this time God will bless.

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Random Thoughts # 7

Ciapaiev (1934)
Nothing but a (good) Soviet propaganda films, but this time the socialist hero's face is more human and sensitive, almost like a Joh Wayne Bolshevik, rough and raw, peel the tough but noble principles. An eror almost romantic. In the end the propaganda remains in the background, and is affected by this bell'avventura.

Other Men (Strangers on a Train) (1951)
One of the minor Hitchcock film but not lower in quality. Characters from the ambiguous behavior outlined in their shapes but with almost surgical precision, framing effect (very good prologue). A bit 'too easy perhaps, the suspense has ulterior motives, there is less philosophy but the suspense will like Hitchcock, and so that's fine, no need to add more.

The Match Girl (1989 )
There's no acting, dialogue cut to the bone, fragments of a life stifled and rendered silent by the noise of the outside does not exist (the deafening noise of the factory and the noise of the tragedies of the world). Scene broken actions imbued with nihilism, there is no hope, there are no autonomous choices, only choices derived from the case. An exasperated and exasperating film. Icy, ghiccia to the core.

the thirteenth hour of the night (1969)
A work out of my head, in the true sense of the word. Crazy, sketched musical "wishes for the new year" full of ay and joviality but that hides a veiled sense of melancholy and "towards" the American film and a critique of the Soviet Union still too far behind. A contemporary musical by the plant without doubt but with factors particular to filmography Soviet classical (traditional folk singing could not miss). The Russians have made very few musicals are cash on the fingers of one hand, but when they do, they have semore good results and interesting products.

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The Black Sheep (2010)

A film Ascanio Celestini . With Ascanio Celestini , Giorgio Tirabassi , Maya Sansa , Luisa De Santis , Nicola Rigney , Barbara Valmorin , Luigi Fedele , Alessia Berardi, Alessandro Marverti , duration 93 min. - Italy 2010. - Bim output Friday 1 October 2010 .
Nicola is a thirty-five who has lived all his life in mental hospitals as a child when she went to take the eggs with her grandmother, then grow up as a patient. His life is punctuated by shopping with a nun, from simple jobs to giardinaio. Until he meets Marinella, old school and his first love. From here things get complicated.

Ascanio Celestini, after years of theater will be challenged for the first time with a feature film (After two documentaries for Fandango) and tells one of the most difficult aspects of the human race: the disease mentale.Orientativamente set between the years 60 (the fabulous 60s) and the year 2000, The Black Sheep is a sleek, but illogical trip to the disease Nicola, thirty-five with a difficult childhood as picturesque populated by grotesque characters and situations. Nicholas is the crazy story that becomes, with her grandmother who sells eggs, they eat spiders and going to the grocery store, which has never been to war and loves Marinella. How much would a normal life like this without that annoying label of "crazy"? Celestine makes us understand changing crazy with the saint. The lunatics in the asylum that is actually "a building of saints. "

Who is Nicole? Celestini it offers adventure and painful portrait of a curious child and a man to look through the eyes of" saint. "And this look is devoid of any mention of critical Nicola is in fact only able to give an opinion on the situation and takes it to its right to exist and fighting in his little lonely battle after the world, the company have abbandonato.Celestini is very good in telling this: mad people, are almost always abandoned by everyone: society, state, family. Like the saints, like the martyrs, left to their fate of death (the first mental and physical). In the character of Nicholas is contained all the malaise solitiduine of all the sadness of feeling of abandonment on the weight, patients in the asylum take over the shape of animals and trinkets that no one is responsible. This is the ordeal that the "holy fools" have to endure day after day.

Celestini is good, builds a good story and is sensitive, never inappropriate. He gives us a movie with a heart full of love laughter at Charlie Chaplin, Basaglia stated in 1978 that is no longer required "constraint" of mental institutions and their replacement by mental, not realizing that the constriction of the specific situation is always . Celestine offers a way to make this sweet and melancholy constriction a little 'lighter and easier to accept. The law Basaglia would restore dignity to the condition of the mentally ill in Italy but we have to say that the actual closing of all mental hospitals has never really happened, and that especially the condition of the mentally ill is still socially accepted and even today, more than 30 years after the law was to rehabilitate the figure of the "Crazy" still has to deal with obstacles of all kinds, especially social. Nicola understand what obstacles must be overcome in order to live and to be able to reach the heart of Marinella (school friend, one love of his life), but how can you overcome an obstacle when you do not know the causes? Nicola consapovole of his illness? Maybe not completely, because he was born and grew up in a sick and this is the only language he knows and the only option that was feared. Then Nicola Ascanio Celestini becomes a symbol of failure due to the fact that not all are born mad crazy and that is why they deserve more care and attention, not only medical. With an ending that is a fist in the face, falls right in the message that it is necessary that instills a sense of ethical responsibility in dealing with those who enter the darkness of the mind. All are afraid in the dark after all, then why not give a hand?

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Simon Of The Desert (1965)

A film by Luis Buñuel. With Claudio Brook, Enrique Alvarez Felix, Hortensia Santavenere Episode Simón del Desierto. Fantastic , b / w 42 min duration. - Mexico 1965.

Simon, a hermit who for 8 years, 8 months and 8 days living on a stone column in penance, poverty and prayer, is, or rather should, for what the Christian faith is perfect. But perfection, you know, belongs only to God, and that's why Simon, in effect proves to be a failure as a man and a Christian. The man who foolishly believe they get close to perfection even bypassing the Christian Church (Simon, rejects the priestly orders), the body that considers the mystery without Bunuel nemesis of the figure of Christ.
When a man decides, deliberately, to live the Christians to the dictates letters, though lit by crystal clear principles, it is still a human being, imperfect and limited, but even more vulnerable to worldly temptations. What Jesus taught is never to escape life but to live by adopting its principles. And when Simon finds himself in the midst of life, when actually alive and feels and perceives and absorbs the pulsations and vibrations of life, what does it do? We can not know. The film ends production problems so enigmatic. To those who believe and who not, are given the privilege to decide the fate of Simon, the sinner becomes a "living" or return to his spiritual journey away from the life that God has made for mankind after all? Life just
, or Satan, or the attractive woman, the mischievous student, the busty bearded lady ... so many times, a single purpose: Simon groped. We will succeed or fail? We can not know.
What is certain is that Simon of the desert is just as profane is sacred, and especially dismantled piece by piece, cut surgically the figure of the priest, destroy the Christian concept of the spirit distinct from the body, mind over body. A spirit that does not live with the body at the end is weak and the priesthood can be considered a refuge, a way to escape from the world, a column, an ivory tower where can you protect yourself from life. Demolishes one of the pillars of the Church on earth.
God after all, became man, he was flesh, lived, ate and drank, did not mind the company of friends, good laughs, and Bunuel presses and ride all the controversy went over from Simon ' end of the twentieth century, a time of revelry and lust, where it is difficult to believe that the values \u200b\u200bof Christianity can be applied, and the final cut of the clear distinction between the two points (spirituality and carnality) creates two corresponding groups, people living its too escaping the spiritual life to escape from the difficulties and working despite knowing the rules of Christ and who ignores these rules and live life with complete and utter materiality. And who's in the middle? Perhaps they are the real Christians. But a film like a mystery, it is very difficult to decipher and extract answers. It 's a mystery, as God, as the soul.
Bunuel not intimidated by this mystery, and now with Nazarin Simon tells two men fought with spirit and soul on which leave to dominate on the track and his perspective but as always, the complete absence of moral leaves everyone free to give the solution that comes closest to your idea of \u200b\u200breligion, spirit, God or whatever, While recognizing the importance of being eternal doubt and a margin of uncertainty in sceltra between soul and body. Life as a temptation, a sin, but still life. But we must be strong enough to survive, perhaps this is the teaching of Jesus, too abused, ignored, misrepresented. Bunuel in some way, try to do some 'order of thinking to a Christianity that goes beyond the Church.

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A symposium on language and languages \u200b\u200bat Pisa

Owning a language and express themselves through it, is a skill that we take for granted, most of the time.
rarely has the opportunity to reflect on the success of a possibility that ultimately may not even be there. Accustomed to direct communication, in which our thoughts are an exact match in the words that the cultural code of membership has made available, it remains difficult to imagine circumstances in which to build a meeting with the other who is not standing on the ground of shared words.
Experiments in Dialogue is an opportunity built around a discussion of this question and traveled along the gaps of the joint report generated by the subtraction of the word. Organised as part of the training workshop
Cesvot "From idea to project" AIART - Viewers Association - Delegation of Pisa and Tuscany AAT Aphasia Association, under the patronage of the Province of Pisa, Experiments in Dialogue, a festival before and a conference on, it is primarily a meeting between the many voices 'different'.
It is no coincidence that among the promoters of the festival appears that the Association deals with aphasia.
Aphasia as pathology, but also as a metaphor, paradox a company that runs the risk of drowning in the sea swelled in his own words.
The immediacy of the word has led us to ignore the word ineffective aphasia who can not open channels, bridge-building that goes back and makes us more alone.
the words of Anna Maria Blacks, coordinator for the Association Aphasia Tuscany, one of the promoters of the festival:
".... As we speak (always) quietly with ourselves, the condition of those who no longer has the time to act is the strangeness of the absolute identity of the gap and more shrill. Instead, the aphasic person 'thinks', only that he can no longer think in words. And losing the label, is likely to get lost and everything is chaos again. "
But the chaos you can not resist inventing new forms of transposition of the inner experience.
be aware of how our communication is on a roll in the air that can reach a destination if the launch trajectory provides the right, the right vehicle and the right weight is one of the challenges that the experiments Dialogue Festival launches its participants. The authors of selected works: ... .. sculptures, paintings, films, theater pieces, we asked to invent how to establish a relationship where the tools we have are inadequate to provide, in place of another's perception of the quality of our feelings, believing that diversity is nothing but a diversity of language.
A DVD, produced and distributed in thousands of copies, collect the 12 selected films that will be awarded during the event to be held on October 9 and 10 at the House of Leopolda in Pisa.
Scheduled performances of languages \u200b\u200b'other', dance, body expression of the theater, from music to video installations, will accompany the public meeting on 'The difficulty in the joint report and the contribution they can offer the languages \u200b\u200bof art'. Speakers
doctors, art therapy, educators, representatives of voluntary sector, communications specialists and Gestalt psychology, artists, suggesting how, given the transversality of the subject, no one can be considered free from reflection triggered.
To download the program initiative: www.educatodica.it