magiadoreal

Filmmaker Robert Drew, a pioneer of the modern documentary who in "Primary" and other movies mastered the intimate, spontaneous style known as cinema verite and schooled a generation of influential directors that included D.A. Pennebaker and Albert Maysles, has died at age 90. His son Thatcher Drew confirmed he died Wednesday at his home in Sharon, Connecticut. Starting in 1960 with "Primary," Mr. Drew produced and sometimes directed a series of television documentaries that took advantage of such innovations as light hand-held cameras that recorded sound and pictures. With filmmakers newly unburdened, nonfiction movies no longer had to be carefully staged and awkwardly narrated. Directors could work more like journalists, following their subjects for hours and days at a time and capturing revealing moments. Michael Moore, a filmmaker, said Wednesday that Mr. Drew, along with Mr. Pennebaker and Richard Leacock, "made it possible for real s...

Durante sua breve carreira Richard Bonington pintou uma variedade de temas, incluindo paisagens, vistas marinhas e cenas históricas e de gêneros. Trabalhando principalmente em Paris e Londres, ele também efetuou regularmente viagens para vários lugares, onde produziu rascunhos; em 1826 se deteve em Veneza por quase um ano. Enquanto esteve lá,  Bonington  pintou vários pequenos esboços que posteriormente utilizou em estúdio para criar obras acabadas, tais como essa primorosa pequena pintura. Bonington foi grandemente admirado em seus próprios dias por sua habilidade excepcional em capturar efeitos de luz e atmosfera com precisão irretocável. O pintor francês Eugene Delacroix, um admirador particularmente devoto, admitiu que nunca parou de admirar "a compreensão maravilhosa dos efeitos de Bonington e a facilidade de sua execução (...) a leveza do toque que (...) fazia seus quadros serem como diamantes que deleitavam o olhar." Aqui o admirável jogo de luz sobre as fachadas ...

At first, everything about L.'s baby boy seemed normal. He met every developmental milestone and delighted in every discovery. But at around 12 months, B. seemed to regress, and by age 2, he had fully retreated into his own world. He no longer made eye contact, no longer seemed to hear, no longer seemed to understand the random words he sometimes spoke. His easygoing manner gave way to tantrums and head-banging. “He had been this happy, happy little guy,” L. said. “All of a sudden, he was just fading away, falling apart. I can’t even describe my sadness. It was unbearable.” More than anything in the world, L. wanted her warm and exuberant boy back. A few months later, B. received a diagnosis of autism. His parents were devastated. Soon after, L. attended a conference in Newport, R.I., filled with autism clinicians, researchers and a few desperate parents. At lunch, L. (who asked me to use initials to protect her son’s privacy) sat across from a woman named J...

She had, one might say, renounced the world, or at least she had renounced the happiness of the world, although this renunciation could hardly be called mystical, one of the consequences of her bereavement being a permanent loss of faith. Quentin Bell, Virginia Woolf - A Biography , p. 13

O Livro Secreto ( Tajnata Kniga , Macedônia, 2006). Direção: Vlado Cvetanovski. Rot. Original: Lljube Cvetanovski & Jordan Plevnes. Fotografia: Thierry Arbogast. Montagem: Atanas Georgiev. Dir. de arte: Valentin Zvetozarev. Figurinos: Blagoja Micevski. Com: Thierry Fremont, Jean-Claude Carrière, Labina Mitevska, Vlado Jovanovski, Kiro Ristevski, Meto Jovanovski, Vladimir Svetiev, Petar Mircevski. Guy Chevalier (Fremont), orientado por um homem que acredita ser seu pai (Carrière), viaja a Macedônia em busca do livro secreto dos Bogumils, que pretensamente teria sido escrito pelo único homem que viu a face de Deus. Lá ele passa a ser perseguido pelo Guardião do livro e perseguido por sonhos e estranhos acontecimentos. Sem dúvida o estranhamento é o que marca a narrativa que, até ao final, mantém-se prontamente ambígua entre delírio e realidade. Bem mais do que a própria inventividade visual, por mais que possua seus lampejos que evocam algo remotamente o cinema de Tark...

He was desperetaly shy, he was intensely pessimistic. He was so convinced of his own personal ugliness that he would not have a mirror in his room. He would shut his eyes rather than face an interlocutor. He wish he had been a clergyman, a recluse, anything but what he was. He was terrified of being confortable and although he would not deny pleasure to others he was anxious to deny himself. Once he tasted a cigar and liked it so much that he resolved never to taste another. Quentin Bell, V. Woolf - A Biography , p. 5.

TODO APAGADO O VAPOR NAVEGA, FEITO COISA INERTE DA NATUreza. No entanto, por dentro, ele começa a despertar com o rumor de passos e vozes e daqui a pouco também será um novo mundo. Dentro dele há gente que dormiu, que sonhou e que agora se agita com os afazeres miúdos da manhã, para estar pronta quando o desembarque vier antes do nascer do sol, meio como a pressa dos meninos que querem correr em horas proibidas na escola. Elio Vittorini, Sardenha como uma Infância

In my first report , I mentioned that the Iranian film A Respectable Family was an unexpected gem. I’ve come across another, the Brazilian film, Neighboring Sounds (2012). It has a remarkable formal device that unfortunately I can’t disclose without ruining the film for those who haven’t seen it. It’s a technique that takes a while to figure out, since it’s cumulative. (Fortunately, unlike with A Respectable Family , I have yet to find a review or program note that mentions it.) The film is set in Recife, the fifth largest city in Brazil. It centers around members of two families living in a complex of smaller, older houses surrounded by new condo high-rises that will eventually swallow the entire area. (The image above vividly shows the juxtaposition.) The divide between rich and poor is extreme, however, and the residents live in fear of crime, with elaborate gates and with grilles over their windows. Suspense is generated when a small group of men offer their servi...

Como belos corpos de mortos que não envelheceram e foram encerrados, com lágrimas, em magnífico mausoléu, com rosas nas cabeças e jasmins nos pés – assim se lhes assemelham os desejos que passaram sem se realizar, sem que nenhum alcançasse uma noite de prazer, ou sua manhã luminosa. Konstantinos Kaváfis