Tango is not a dance, it’s a feeling. And how do you teach a feeling?

 

 

Please, just for me, forget the steps... Hold me, feel the music, and give me your soul. Then I can give you mine.

Je ne peux pas vous dire que je t'aime, peut-être

Appetite

“since the thing perhaps is
to eat flowers and not to be afraid”  

 

e.e. cummings 


Meant for someone

 

 

 

“(…)But do not ask the price I paid,
I must live with my quiet rage, Tame the ghosts in my head,
That run wild and wish me dead Should you shake my ash to the wind
Lord, forget all of my sins
Or let me die where I lie     

Beneath the curse of my lover's eyes…”

Talking to the moon

 

trying to get to you.

And I want a hug

"I want everyone to leave me alone and I also want someone to come snuggle me and rub my back. Or I don’t want that. I want you to go away and stop talking and I want a hug and I want ice cream sundaes and I never want to eat again."

                                                                    

 

                                                                             Siri Moon

Oscares 2013

 

Boy, I'm so happy :-)

Oscares 2013

 

Isn't She Lovely?

Isn't she lovely
Isn't she wonderfull
Isn't she precious
Less than one minute old
I never thought through love we'd be
Making one as lovely as she

But isn't she lovely made from love?

The assumption is

 

we realize how far we should let others enter.

Women

 

You're over 50 years old and you've never eaten pussy?

No.

It's too late.

Why?

You can't teach and old dog new tricks.

Sure you can.

No, it's too late for you.

I've always been a slow starter.

Lydia got up and walked into the other room. She came back with a pencil and a piece of paper. "Now, look, I want to show you something." She began to draw on the paper. "Now, this is a cunt, and here is something you probably don't know about - the clit. That's where the feeling is. The clit hides, you see, it comes out now and then, it's pink and very sensitive. Sometimes it will hide from you and you have to find it, you just touch it with the tip of your tongue..."

Charles Bukowski, Women 

Ain't no cure for love

 

 

I loved you for a long, long time
I know this love is real
It don't matter how it all went wrong
That don't change the way I feel
And I can't believe that time's
Gonna heal this wound I'm speaking of
There ain't no cure,
There ain't no cure,
There ain't no cure for love.

 

I'm aching for you baby
I can't pretend I'm not
I need to see you naked
In your body and your thought
I've got you like a habit
And I'll never get enough
There ain't no cure,
There ain't no cure,
There ain't no cure for love

 

 

P.S- I even heard the angels declare it from above

Love Actually

 

"Love is a fire that burns without being seen;
It's a wound that hurts without being felt;
It's an unhappy happiness;
It's a pain that drives you crazy without hurting"

Luis Vaz de Camões

Nynphomaniac

Coming Soon

 

CAST

Charlotte Gainsbourg, Shia LaBeouf, Willem Dafoe, Uma Thurman, Christian Slater, Stellan Skarsgard, and Jamie Bell

 

DIRECTOR

Lars von Trier

 

SYNOPSIS

A self-diagnosed nymphomaniac recounts her erotic experiences to the man who saved her after a beating.

 



P.S- Read more here and here.



Is this love ?

 

wanna know, wanna know, wanna know now

                          I got to know, got to know, got to know now

                            I, I, I, I, I, I, I, I, I, I'm willing and able

                                  so I throw my cards on your table.

 

There's a calm surrender

 

The body shuts down when it has too much to bear: it goes it’s own way quietly inside, waiting for a better time, leaving you numb and half alive.

 

 Sylvia Plath

Cine Me

 

          Barbara       

 

 

  http://www.imdb.com/title/tt2178941/

 

 

Barbara is a departure from distinctive German film-maker Christian Petzold's previous icy thrillers – an elegant drama based on human and political dilemmas.

 

Winner of the Best Director prize at this year's Berlin Film Festival, the latest film from Christian Petzold (Yella, Jerichow) is a simmering, impeccably crafted Cold War thriller, starring the gifted Nina Hoss-in her fifth lead role for the director-as a Berlin doctor banished to a rural East German hospital as punishment for applying for an exit visa.

 

Everything about Barbara is understated, to the point that it often seems as if not much is happening. But that's part of Petzold's skill. He has been making films in Germany for years — his best known pictures may be the 2007 Yella and the 2008 Jerichow, both featuring Hoss — and with luck, Barbara will bring him a larger audience. He's the kind of director and screenwriter (he wrote this screenplay with Harun Farocki) who can give a character a thoughtful soliloquy on a Rembrandt painting, like the one Andre delivers here, and make it seem perfectly natural.
And as shot by Hans Fromm, Barbara is beautiful to look at. There's no foreboding Eastern Bloc grimness here; instead, watching Barbara pedal through the rugged countryside on her bicycle, we're made acutely aware of the landscape's beauty. Barbara takes place in a country that would change drastically — or, perhaps more accurately, change drastically again — just nine years after its events. But Barbara, a woman in transition, can't wait. You can see why she has to keep moving.

 The end is quite surprising, and adds a nice and meaningful twist to a beautiful movie.


                                                                      (Recommended)

 

      

Falling asleep

 

Este estranho desencontro de ter o corpo num lugar e a alma em outro.

 

Rosa Lobato Faria

 

 

My name could be Margot today

Oh I want you, I want you, I want you

 

 

On a chair with a dead magazine
In the cave at the tip of the lily
In some hallways where love's never been
On a bed where the moon has been sweating
In a cry filled with footsteps and sand
Ay, Ay, Ay, Ay
Take this waltz, take this waltz
Take its broken waist in your hand

This waltz, this waltz, this waltz, this waltz
With its very own breath of brandy and Death
Dragging its tail in the sea.

 

 

 

P.S- Get it ?



Cine Me

 

Take This Waltz

 

http://www.imdb.com/title/tt1592281/

 

 

 

It's tough to really enjoy a film that doesn't emotionally click, in which we don't feel with our hearts that things should've turned out how they did, but Polley has such a beautiful directorial style and conveys her intentions so clearly that "Take This Waltz" warrants a certain degree of respect for its bold yet so honest and impressively perceptive take on love.

 

And that’s precisely why it’s fascinating. No less than that tribute to John Galt’s creed of the self-satisfaction of the powerful, “Take This Waltz” seethes—in an extraordinarily low-key, almost somnolent way—with an ideology, one that runs counter to the prevailing trend in romantic comedy. Like “Atlas Shrugged,” it’s a vehemently pseudo-Nietzschean film, the subject of which is not the power of desire but the power of beautiful people; it’s a movie that, perhaps, only an actress could have made.

 

Take This Waltz is so truthful and honest a film that on the rare occasions it hits a false note or becomes over-explicit or sentimental, it really jars. Like the Cohen song, Polley's movie touches on familiar feelings and evokes common experiences in a way that goes beyond what can be explained or paraphrased.

 

 

Singing my life with his words

I heard he sang a good song, I heard he had a style.
And so I came to see him and listen for a while.

The power of your intense fragility

 

somewhere i have never travelled, gladly beyond
any experience, your eyes have their silence:
in your most frail gesture are things which enclose me,
or which i cannot touch because they are too near

your slightest look easily will unclose me
though i have closed myself as fingers,
you open always petal by petal myself as Spring opens
(touching skilfully, mysteriously) her first rose

or if your wish be to close me, i and
my life will shut very beautifully, suddenly,
as when the heart of this flower imagines
the snow carefully everywhere descending;

nothing which we are to perceive in this world equals
the power of your intense fragility: whose texture
compels me with the colour of its countries,
rendering death and forever with each breathing

(i do not know what it is about you that closes
and opens; only something in me understands
the voice of your eyes is deeper than all roses)
nobody, not even the rain, has such small hands

                                                                      e.e. cummings

Sometimes I'm good

 

 

 

Sometimes I'm bad

 

 

Yeah, really !

So what

 

"As mulheres não são pacientes com o amor. São pacientes com tudo e de tudo fazem hábitos. Do amor é que não. daí que muitas delas deixem de ser honestas e se entreguem a uma forma de criação que é principiar do nada coisas efémeras que nunca acabam. Chama-se a isto Quinta-Essência, a região do fogo e do amor.
(...)
Há, nesse círculo da quinta-essência, uma atracção tão arrebatada que ela serve de linguagem entre gente completamente estranha na raça e nos costumes. Um deleite, que não é dos sentidos mas superior nos seus efeitos,..."



Agustina Bessa Luís

P.S- Darling, I miss you.

Find me

 

"Find your place in the world. Accept your destiny. And if you are lucky you will have someone, in life, you understand. You consent to such as you are. Who will you kindly pointing the way. Yes, I think one can say that I was born to be a writer. Which is odd, because I always wanted something else for me. Something big, larger than life. But it is a waste of time, to want things. Because, sooner or later, the thing that you want will appear and give yourself a pat on the shoulder. And it's good that you're ready. "

Becca Moody (Californication season 6, episode 4)

Like a flower, waiting to bloom

 

O Amor

 

Estou a amar-te como o frio
corta os lábios.

A arrancar a raiz
ao mais diminuto dos rios.

A inudar-te de facas,
de saliva esperma lume.

Estou a rodear de agulhas
a boca mais vulnerável.

A marcar sobre os teus flancos
itinerários de espuma.

Assim é o amor:
mortal e navegável.

Eugénio de Andrade

Rain down on me

 

That's how it feels
When I'm missing you .

 

Cine Me

 

 

           Beasts of the Southern Wild     

 

 

http://www.imdb.com/title/tt2125435/

 

  This odd, peculiar and strange movie is bolstered by an absolutely stunning performance by six year old newcomer Quvenzhane Wallis as a little girl who’s fighting for her father and her forgotten community.   

 

In other words, she is the inheritor of a proud literary and artistic tradition, following along a crooked path traveled by Huckleberry Finn, Scout Finch, Eloise (of the Plaza), Elliott (from “E.T.”) and other brave, wild, imaginary children. These young heroes allow us, vicariously, to assert our innocence and to accept our inevitable disillusionment when the world falls short of our ideals and expectations.

 

 

So hold on for a game-changer that gets you excited about movies again. It's called Beasts of the Southern Wild. It's won every prize from Sundance to Cannes. It introduces a gifted feature director in Benh Zeitlin, 29, who should soon be introduced to Oscar voters. And it creates a world to get lost in, a world of beauty, terror and mythic wonder. Zeitlin says he wanted to merge "the poetics of an art film with something that feels like Die Hard."

     

 

 

It's what no one knows about you that allows you to know yourself.

 

«Se revelares tudo, puseres a nu todos os sentimentos, implorares compreensão, perdes uma coisa crucial para a tua percepção de ti mesmo. Precisas de saber coisas que os outros não saibam. É o que ninguém sabe acerca de ti que te permite conheceres-te a ti mesmo.»

 

 

Ponto Ómega, Don DeLillo (Tradução de Paulo Faria, Ed. Sextante)

Sometimes I think the spaces between the stars

 

are filled with your silence.

Happiness is only real when shared

 

“Whatever our souls are made of, his and mine are the same.”

Emily Brontë

And what it would be

 

  to kiss you again.

 

 

 

Love for sale

 

Old love, new love, every love but true love.

Till there was you

Do you love me ?

 

 

And after all, you're my wonderwall

 

And all the roads we have to walk are winding
And all the lights that lead us there are blinding
There are many things that I
Would like to say to you but I don't know how.

Some days, I need you to be my hiding place

Cine Me

 

The Master

 

http://www.imdb.com/title/tt1560747/

 

Like a lot of Anderson's previous work, it is about pioneers, leaders and dysfunctional families, and like There Will Be Blood it is about the origins of American modernity, the pre-history of a certain kind of self-help and self-belief, entrepreneurial and evangelical.

 

Joaquin Phoenix gives a laceratingly powerful performance as Freddie Quell, invalided out of the US Navy in 1945 with a nervous breakdown, exacerbated by addiction to his own moonshine. His face is incised and gaunt like that of a medieval saint, he mumbles and giggles almost unintelligibly; walking around with his fists in the small of his back, elbows akimbo, like someone recovering from a terrible injury – which of course is what he is.

 

A challenging, psychologically fraught drama.

Mardi Gras

Mardi Gras is a state of mind.

 

 

And most of all

 

 mysterious masquerades.

Cine Me

 

Lincoln

 

http://www.imdb.com/title/tt0443272/

 

The phenomenal Daniel Day-Lewis plays Lincoln with the immersive, indelible power of an actor who wears his role like a second skin and feels it down to the nerve endings. This is acting of the highest order.

 

In Steven Spielberg's brilliant, brawling epic about the last four months in the life of our 16th president, Abraham Lincoln takes a few hits up there on his marble pedestal. Political double-dealing was not beyond this American icon, not when his country was struggling in the darkness.

 

 It is a nest of high politics for the white ruling class, far from the brutality and chaos of the battlefield. At its centre is a gaunt Shakespearian figure, somewhere between Caesar and Prospero.

Soon it will be spring

 

Rosas que desabrochais,
Como os primeiros amores,
Aos suaves resplendores
Matinais;

Em vão ostentais, em vão,
A vossa graça suprema;
De pouco vale; é o diadema
Da ilusão.

Em vão encheis de aroma o ar da tarde;
Em vão abris o seio úmido e fresco
Do sol nascente aos beijos amorosos;
Em vão ornais a fronte à meiga virgem;
Em vão, como penhor de puro afeto,
Como um elo das almas,
Passais do seio amante ao seio amante;
Lá bate a hora infausta
Em que é força morrer; as folhas lindas
Perdem o viço da manhã primeira,
As graças e o perfume.
Rosas que sois então? – Restos perdidos,
Folhas mortas que o tempo esquece, e espalha
Brisa do inverno ou mão indiferente.

Tal é o vosso destino,
Ó filhas da natureza;
Em que vos pese à beleza,
Pereceis;
Mas, não... Se a mão de um poeta
Vos cultiva agora, ó rosas,
Mais vivas, mais jubilosas,
Floresceis.

Machado de Assis, in 'Crisálidas'

I may hear a sound

 

I may know the word
But not say it
This may be the time
But I might waste it
This may be the hour
Something move me
Someone prove me wrong
Before night comes
With indifference

One man

 

One man come in the name of love
One man come and go
One man come here to justify
One man to overthrow
In the name of love!
One man in the name of love
In the name of love!
What more? In the name of love!

Darling, I am lying

 

 

There are so many things I could say, my love
Make you trip, so your lips would be mine
There are so many things I could do, my love
To convince you my love is divine
There are so many words I could tell you
There are so many moments in time
But I say 'fore we go to the land down below
If I tell you I love you, I'm lying

There are so many places to go, my love
There are so many places to find
There are so many worlds to explore, my love
There are so many stars yet to shine
There are so many secrets to tell you
There are so many men on the line
But I say 'fore we go to the land down below
If I tell you I love you, I'm lying

I maybe show the reason to call you up next time
So if you like your women sweet, ah, consider me your wine

I may be one for weekends to call you when you're flying
But if I ever utter I love you, honey I am lying
And if I look into your eyes and tell you, honey I am lying
And if I ever whisper words unheard, such sultry words

(Oh, je t'aime
Oh oui, je t'aime)

Darling, I am lying

Pleasure is on the other side

 

Save Room For My Love

Save Room For The Moment To Be With Me

Save Room For My Love

Save A Little Save A Little For Me

Won't You Save A Little

Save A Little For Me

 

 Ohhh

When your day is long

 

and the night
The night is yours alone.

 

You should be here

 

I think a lot, but I don't say much.

Cine Me

 

Django Unchained

 

 

http://www.imdb.com/title/tt1853728/

 

 

Quentin Tarantino's brutal revenge western is a thrilling return to form with inspired performances from Christoph Waltz, Jamie Foxx and Samuel L Jackson.

 

Django is a long film, undoubtedly, at two hours and 45 minutes, and Tarantino may even have been tempted to split it into two, like his Kill Bill movies. But Django relaxes and luxuriates in its long form, balancing deadpan moments of awe and reverence for the landscape, lovingly photographed by Robert Richardson, with the frantic orchestration of tension and violence, cheekily giving us crash-zooms on to important faces.

 

(Who else but Tarantino would choose to target human trafficking in the form of a spaghetti Western set in the Deep South two years before the Civil War? And who else would do it to a wowser of a soundtrack that includes a taste of Ennio Morricone, a mash-up of James Brown and Tupac Shakur, and (a Tarantino rarity) original songs from Rick Ross, Anthony Hamilton and John Legend?)

 

The movie is managed with Tarantino's superb provocation and audacity, with a whiplash of cruelty and swagger of scorn. It is superbly acted by Christoph Waltz, Jamie Foxx, Kerry Washington, Leonardo DiCaprio and, particularly, Samuel L Jackson, who creates a masterpiece with his chilling character Stephen, the grey, stooping servant-elder to DiCaprio's unspeakable slave-owner Calvin Candie.

 

Just to make liberals everywhere uneasy, Tarantino and Jackson make Stephen the biggest, nastiest "Uncle Tom" ever: utterly loyal to his white master, and severe in his management of the below-stairs race in the Big House. He fixes everyone with a chillingly shrewd, malevolent stare made even more disquieting by an unsettling Parkinson's disease tremor — an inspired touch. Stephen is overwhelmed with disgust for uppity racial politics (though that isn't how he phrases it) and he and Tarantino drop the satirical N-bomb, targeted with sadistic tactlessness and muscular bad taste at the white man's Vichyite collaborators in the Old South. Slavery is a subject on which Hollywood is traditionally nervous and reticent. Perhaps it takes a film unencumbered with good taste to tackle it. Lars Von Trier's Manderlay was one. Here is another.

 

Django Unchained is messy, overstuffed, and overlong, in a way that suits it just perfectly.

 

There’s a logical point at which you think Django Unchained should end, and then the movie goes on for another 40 minutes.

 

 

At one point, Django the character encounters Quentin Tarantino the actor, playing a cowboy who’s Australian. Why is Quentin Australian? Why is he in the movie? His acting is TERRIBLE! You can barely even tell he’s supposed to be Australian! My God, it makes no sense! I love that about it. This movie is Tarantino’s sandbox.

As much as I love Inglourious Basterds, Inglourious was overstuffed with talk. Characters taking five sentences to say things when two would’ve sufficed, in much the same way people talk when they’ve been doing cocaine. Django Unchained is overstuffed with ideas. It’s messy and silly and funny and strange, in much the same way I imagine Quentin Tarantino’s mind. It might be his masterpiece.

                                                                        

Django is out for blood. So is Tarantino, but he doesn't sacrifice his humanity or conscience to do it. In this corrective to Gone With the Wind, he sticks it to Hollywood for a Mandingo-Mammy fixation that leaves the issues of slavery out of mainstream movies. He sticks it to Spike Lee, who once objected to Tarantino's use of the n-word in 1997's Jackie Brown, by spraying the word like machine-gun fire. And he sticks it to pundits who think he crosses the line by reveling in Django's vengeance. Wake up, people. Tarantino lives to cross the line. Is Django Unchained too much? Damn straight. It wouldn't be Tarantino otherwise.

 

 

 

Don’t run away

 

Don’t slip away my dear.

 

 

 

I want you

 

 

P.S- And wanting you, I'm trying find me.

Something

 

Em Veneza

                                       seria gato.Por certo não encontraria

em San Marco de vaporetto ( pela Páscoa
o Doge vinha pessoalmente

 noviças

beneditinas). Mas são deles as ruelas do
gueto de Cannaregio onde o belo é simetria
e o tempo:
duração.Pode-se perder tudo em Veneza

(uma vida um
amigo o
último barco para o Lido) só não
se perde a beleza que o diga este felino
que me incendiou a alma
(mais que um trago de Bellini
uma taça de Bardolino) e me devolveu a certeza de que a
perecível beleza por uma vez
foi palpável.

Anatomia do Belo, in você está aqui, João Luis Barreto Guimarães

 

Our love is easy

 

Deep within your heart, you know it's plain to see
Like Adam was to Eve, you were made for me
They say the poisoned vine breeds a finer wine
Our love is easy

If you ask me plainly I would glady say
I'd like to have you round just for them rainy days
I like the touch of your hand, the way you make no demands
Our love is easy

Our love is easy
Like water rushing over stone
Oh, our love is easy, like no love I've ever known

Physically speaking we were made to last
Examine all the pieces of our recent past
There's your mouth of tears
Your hands around my waist
Our love is easy

Every time we meet it's like the first we kiss
Never growing tired of this endlessness
It's a simple thing, we don't need a ring
Our love is easy

Our love is easy
Like water rushing over stone
Oh, our love is easy, like no love I've ever known

Our love is easy
Like water rushing over stone
Oh, our love is easy, like no love I've ever known

Deep within your heart, you know it's plain to see
Like Adam was to Eve, you were made for me
They say the poisoned vine breeds a finer wine