Hey, where is my mind ?

Wearing nothing under a coat

 

Edit: and by "nothing" I really mean lingerie.

 

 

I thought about you today

 

But that is nothing new because I have you in my heart.

Thinking of you

 

in the rain-
darkness, the sunset
being sheathed i sit and
think of you

the holy
city which is your face
your little cheeks the streets
of smiles

your eyes half-
thrush
half-angel and your drowsy
lips where float flowers of kiss

and
there is the sweet shy pirouette
your hair
and then

your dancesong
soul. rarely-beloved
a single star is
uttered, and i

think
of you


E.E. Cummings, In the Rain

Love always

 

 

"Sempre me restará amar. Escrever é alguma coisa extremamente forte mas que pode me trair e me abandonar: posso um dia sentir que já escrevi o que é meu lote neste mundo e que eu devo aprender também a parar. Em escrever eu não tenho nenhuma garantia."

Clarice Lispector

Sex is my best Rx

 

Perdoa-me, devolve-me a paz que tinha quando estava no teu regaço, no seio da minha mãe. Deixa-me. Encontra-me. Não posso continuar assim. Ouve-me hoje. Ajuda-me amanhã. Não sei se acredito. Não te minto. Mas hoje ouve o meu coração e junta-o ao teu.

Patrícia Reis

Just for you

 

 

One day, I’ll write something on a piece of paper, slide it across the table, and say, “Here. These are words I haven’t shown anyone. They are special. They are just for you.”

And it leaves me cold

 

I can’t exactly describe how I feel but it’s not quite right. And it leaves me cold.

 

                                            F. Scott Fitzgerald, The Love of the Last Tycoon

Chérie amour

 

Maybe someday, I'll share your little distant cloud.

Am I ?

That behind that little smile I wore

How I wish that you were mine.

 

P.S- I kinda miss your smile.

Cine Me

 

 

The Impossible

 

 

http://www.imdb.com/title/tt1649419/

 

 

Despair, pain, panic and hope fight for supremacy in this outstandingly made and heartwrenching film, based on the true-life story of a Spanish family who went on a Christmas holiday in Thailand in 2004 and were caught up in the tsunami that hit south-east Asia, killing 230,000 people. With simplicity and conviction, it manages to be something other than a conventional disaster movie. The tsunami sequence itself is a masterly piece of film-making – and as for what follows, I have to admit to being blindsided by its real emotional power. This film is of course vulnerable to charges of manipulation, and of magnifying the western-tourist experience at the expense of the indigenous communities who lost everything. But in the end I found honesty and compassion in The Impossible. It could well be Ewan McGregor's finest hour, and there were long sections that I had to watch through a wobbly blur of tears.

 

The deluge itself is viscerally real and almost unwatchable. Clint Eastwood's 2010 movie Hereafter began with a similar scene, a reconstruction of the tsunami that was well made and certainly far superior to the rest of his film, on a similar subject. But Bayona's version is markedly better, created with colossal technical flair.

 

And so The Impossible carries on, with some uncompromisingly big lachrymose moments and near-miss suspense scenes. The overhead shot showing dead bodies laid out with military organisation and precision nowhere visible in the shattered world of the living is a shock. This film is not especially complex, and not subtle, but there is judgment and intelligence in the simple idea of survival being the most agonising thing, and making survivor guilt the psychological aftershock of a shattering and irreparable blow.

 

Here is a searing film of human tragedy.

 

I met my old lover (on the street) last night

 

Take a moment. Take some stories from the storyteller.

Still crazy

after all this years.

Cine Me

 

Perhaps the most purely enjoyable scene comes when Reacher (trained in badass unarmed combat) is challenged to a fistfight by five bullies outside a bar. It's five against one, smirks one. Three against one, corrects Reacher coolly, because the last two guys always turn and run.

 

You can join the bitch squad and complain that five-foot-seven Tom Cruise has no business playing Jack Reacher, the six-five, 250-pound bruiser of an ex-military cop who walks tall and carries a big grudge against authority in Lee Child's novels (17 to date).

Or you can let the physical stuff go and admit that Cruise is good in the role, damn good. At 50, Cruise has a physical dexterity that makes you believe he can mix it up with five guys in a fight scene, take his lumps and still win. Cruise also catches the mental dexterity that puts Reacher ahead of his enemies as he drifts around the country finding trouble.

There are many tasty characters. Perhaps too many. But it's a kick to have German filmmaker Werner Herzog around as a depraved piece of work known as the Zec. Newcomers Jai Courtney and Alexia Fast also make strong impressions on the wrong side of the law. But this is Cruise's show. And he nails it. The patented smile is gone, replaced by a glower that makes Jack Reacher a dark and dazzling ride into a new kind of hell.

 

“Could you put your shirt on, please?”

How can I tell you that I love you

 

How can I tell you that I love you, I love you
But I can't think of right words to say
I long to tell you that I'm always thinking of you
I'm always thinking of you, but my words
Just blow away, just blow away
It always ends up to one thing, honey
And I can't think of right words to say
Wherever I am girl, I'm always walking with you
I'm always walking with you, but I look and you're not there
Whoever I'm with, I'm always, always talking to you
I'm always talking to you, and I'm sad that
You can't hear, sad that you can't hear
It always ends up to one thing, honey,
When I look and you're not there
I need to know you, need to feel my arms around you
Feel my arms around you, like a sea around a shore
And  each night and day I pray, in hope
That I might find you, in hope that I might
Find you, because heart's can do no more
It always ends up to one thing honey, still I kneel upon the floor
How can I tell you that I love you, I love you
But I can't think of right words to say
I long to tell you that I'm always thinking of you
I'm always thinking of you....
It always ends up to one thing honey
And I can't think of right words to say.

I need you

 

 

so much closer.

Blue Velvet

 

She wore blue velvet
Bluer than velvet was the night
Softer than satin was the light
From the stars
She wore blue velvet
Bluer than velvet were her eyes
Warmer than May her tender sighs
Love was ours
Ours a love I held tightly
Feeling the rapture grow
Like a flame burning brightly
But when she left, gone was the glow of
Blue velvet
But in my heart there'll always be
Precious and warm, a memory
Through the years
And I still can see blue velvet
Through my tears

 

Bobby Vinton

I ran into you

 

 

When I was running away from myself I ran into you.

 

Cuz I don't know

 

 

no I dont know anymore.

Don't you know that?

 

That patience is a virtue, yes it is?

 

And life is a waiting game; don't you know that?

Peace must be nurtured.

And all the money in the world can buy you nothing (let me tell you that).

All these things happen,

all these things happen for a reason.

So don't you go and throw it all away, you'll get yours, when the seasons change.

 

P.S- You don't have to pretend with me. Miss you a lot.

 

 

 

The Sessions

 

http://www.imdb.com/title/tt1866249/

 

 

The Sessions is a pleasant shock: a touching, profoundly sex-positive film that equates sex with intimacy, tenderness and emotional connection instead of performance, competition and conquest.

 

From the moment Ms. Hunt appears, “The Sessions” becomes a different movie on a much higher plane. Cheryl has never worked with someone like Mark, who must remain on his back, his thin, fragile body painfully contorted. This married woman is exploring uncharted territory every bit as much as Mark, and the therapy is a dual journey in discovery. Inevitably, she makes mistakes.

 

  Mr. Hawkes is entirely convincing in his portrayal of a man who is by turns vulnerable, wittily self-lacerating, charming and erudite. You can feel how increasingly difficult it is for both partners to follow the rules once they have reached a certain level of intimacy.The other aspects of the movie, though well executed, are little more than tasteful décor around which the main drama revolves. You won’t forget it.

The Sessions is fascinating, informative, engaging and heartbreaking stuff. Its easygoing, matter-of-fact tone makes it subtle and rewarding, not weird. Roses all around to all and sundry for one of the year's most captivating films.

Busaba

 

 

Strange attraction spreads it's wings

It varies but the smallest things

You never know how anything will change

Strange attraction spreads it's wings

And alters but the smallest things

You never know how anything will fade.

 

 

P.S- And kissing crimson fell into her waiting arms...

Cine Me

 

Zero Dark Thirty

 

http://www.imdb.com/title/tt1790885/

 

For a long time, measuring more years than I care to count, I thought the movie that became "Zero Dark Thirty" would never happen. The goal, to make a modern, rigorous film about counter-terrorism, centered on one of the most important and classified missions in American history, was exciting and worthy enough, or so it seemed. But there were too many obstacles, too many secrets, and politicians standing in the way of an easy path.
Somehow, though, thanks to the great persistence of my filmmaking team and an enormous dose of luck, we got the movie made and found studio partners with the courage to release it.
Then came the controversy.
But I do wonder if some of the sentiments alternately expressed about the film might be more appropriately directed at those who instituted and ordered these U.S. policies, as opposed to a motion picture that brings the story to the screen.
Those of us who work in the arts know that depiction is not endorsement. If it was, no artist would be able to paint inhumane practices, no author could write about them, and no filmmaker could delve into the thorny subjects of our time.
This is an important principle to stand up for, and it bears repeating. For confusing depiction with endorsement is the first step toward chilling any American artist's ability and right to shine a light on dark deeds, especially when those deeds are cloaked in layers of secrecy and government obfuscation.
Indeed, I'm very proud to be part of a Hollywood community that has made searing war films part of its cinematic tradition. Clearly, none of those films would have been possible if directors from other eras had shied away from depicting the harsh realities of combat.
On a practical and political level, it does seem illogical to me to make a case against torture by ignoring or denying the role it played in U.S. counter-terrorism policy and practices.

Experts disagree sharply on the facts and particulars of the intelligence hunt, and doubtlessly that debate will continue. As for what I personally believe, which has been the subject of inquiries, accusations and speculation, I think Osama bin Laden was found due to ingenious detective work. Torture was, however, as we all know, employed in the early years of the hunt. That doesn't mean it was the key to finding Bin Laden. It means it is a part of the story we couldn't ignore. War, obviously, isn't pretty, and we were not interested in portraying this military action as free of moral consequences.
In that vein, we should never discount and never forget the thousands of innocent lives lost on 9/11 and subsequent terrorist attacks. We should never forget the brave work of those professionals in the military and intelligence communities who paid the ultimate price in the effort to combat a grave threat to this nation's safety and security.

Bin Laden wasn't defeated by superheroes zooming down from the sky; he was defeated by ordinary Americans who fought bravely even as they sometimes crossed moral lines, who labored greatly and intently, who gave all of themselves in both victory and defeat, in life and in death, for the defense of this nation.

 

By Kathryn Bigelow

There is a crucial scene in “Zero Dark Thirty” — Kathryn Bigelow’s brilliantly directed fictionalized account about the search for Osama bin Laden — in which three Central Intelligence Agency officers stop talking and look at a television. On the screen Barack Obama is speaking with a correspondent on “60 Minutes.” It’s Nov. 16, 2008. “I have said repeatedly,” Mr. Obama asserts, “that America doesn’t torture.” The three look at the screen without a word, and then Ms. Bigelow cuts to a close-up of one, Maya (Jessica Chastain). The analyst’s face is a blank. This is, Mr. Obama continues, part of “an effort to regain America’s moral stature in the world.” That vacant face partly explains, I suspect, why “Zero Dark Thirty” has stirred up so much controversy before hitting theaters. (It opens nationwide on Wednesday.) Is she stunned by what she hears? Contemptuous? Relieved? Irritated? Indifferent? Maya’s face reveals nothing and offers as much explanation as her silence. How viewers interpret this look will depend on them because here and throughout this difficult, urgent movie Ms. Bigelow does not fill in the blanks for them. Given that the opening sequences show Maya helping carry out violent, cruel interrogations of detainees, I read her expression as that of an employee absorbing a new set of marching orders from her next boss — orders that drastically reverse her old ones. A seamless weave of truth and drama, “Zero Dark Thirty” tracks the long, twisted road to Bin Laden’s capture, beginning on Sept. 11 and ending a decade later at another conflagration, in Abbottabad, Pakistan.

Manohla Dargis

Ms. Bigelow’s direction here is unexpectedly stunning, at once bold and intimate: she has a genius for infusing even large-scale action set pieces with the human element. One of the most significant images is of a pool of blood on a floor. It’s pitiful, really, and as the movie heads toward its emphatically nontriumphant finish, it is impossible not to realize with anguish that all that came before — the pain, the suffering and the compromised ideals — has led to this.

And the misty memories of days gone by

 

E de súbito desaba o silêncio.
É um silêncio sem ti,
sem álamos,
sem luas.

Só nas minhas mãos
ouço a música das tuas.

Eugénio de Andrade
 

Still waiting

 

 

“Perhaps he could dance first and think afterwards.”

 

Estragon, Waiting For Godot

P.S- "Still Waiting", de Stefany Anne Golberg, sobre os 60 anos de À espera de Godot.

where or when

What makes the world go 'round ?

 

 

 

And sometimes after saying, say

La, la, la, la, la, la, yeah, la, la, la, la

Tell me, help me mend my, my broken heartI just wanna,

 I just wanna, I just wanna, I just wannaI just wanna live again, baby

 

 

P.S- How can you stop the rain falling down?

 

 

And I love you

 

                   Gruas no cais descarregam mercadorias e eu amo-te.
                   Homens isolados caminham nas avenidas e eu amo-te.
                   Silêncios eléctricos faíscam dentro das máquinas e eu amo-te.
                   Destruição contra o caos, destruição contra o caos, e eu amo-te.
                   Reflexos de corpos desfiguram-se nas montras e eu amo-te.                   Envelhecem anos no esquecimento dos armazéns e eu amo-te.
                   Toda a cidade se destina à noite e eu amo-te.


                                                                      José Luis Peixoto

P.S - And I wonder... If you know... What it means.

 

 

Sayonara

Fascination

 

It was fascination
I know
And it might have ended
Right then, at the start
Just a passing glance
Just a brief romance
And I might have gone
On my way
Empty hearted

 

It was fascination
I know
Seeing you alone
With the moonlight above
Then I touch your hand
And next moment
I kiss you
Fascination turned to love

 

It was fascination
I know
Seeing you alone
With the moonlight above
Then I touch your hand
And next moment
I kiss you
Fascination turned - to - love

Absence

 

 

 

A mulher deitada, a mulher que se perdeu,

durante o sonho, e não sabe que o caminho

estava indicado nos seus olhos, procura o vazio

com a mão segura entre lençol e cobertor,

como se nesse intervalo houvesse ainda

uma saída para o desejo. No sono em que

a maré da noite se desfez num impulso

de névoa, os seus lábios murmuraram

o nome que não tem corpo; e em vão

esperaram o beijo que os iria selar,

os dedos que se afundariam no oceano

dos cabelos, a respiração que

lhe daria o ritmo da manhã. Por isso,

a mulher que acorda pede à noite que não

a deixe sozinha, como se o abraço antigo

se pudesse prolongar, ou o sol

não trouxesse o dia para junto dela.

 

 

Nuno Júdice

Feelings

 

 

sensations that you thought were dead.

Receitas de Amor para Mulheres Tristes

 

«Essa tendência para traíres, para mentires – e para seres perfeitamente franca. Para te esconderes ou para te mostrares muito. Esse cuidado de te preservares tanto – para acabares a contar a tua história, com todos os pormenores a um desconhecido. Essa vontade se fugires, de saíres a correr quando alguém mostra que começa a conhecer-te, embora não te reveles, e essa vertigem de ficares. De envolveres as carícias em palavras. Essa vontade de mudares sem renunciares a nada. Essa fome de impossíveis. Como pensar no meio desta confusão contraditória? É verdade e mentira, está bem e está mal, e não há saída.

Nada a fazer. Toma um copo de água.»

 

Héctor Abad Faciolince

Tradução de Pedro Tamen

It's enough for me

 

                           to be sure that you and I exist at this moment.

P.S- You, you, you, you, you.

Cine Me

 

Silver Linings Playbook

 

 

http://www.imdb.com/title/tt1045658/

 

 

 Russell's latest movie is an offbeat, quirky-sentimental romcom, with mental illness as its self-consciously bizarre premise, based on the 2008 novel by Matthew Quick.

 

SILVER LININGS PLAYBOOK manages to juggle football, ballroom dancing, mental illness, romance, obsession, and Raisin Bran into one well-constructed satisfying motion picture. I heartily recommend it to anyone who enjoys a good holiday love affair between two highly damaged individuals. And let’s face it, who doesn’t? The movie is billed as a comedy, and although it had more laughs than the Judd Apatow trailer, I would consider it much more a drama with some comedic overtones. 

 

And why? Because Jennifer Lawrence is spectacular!

 

I like your lap

 

Sit. Feast on your life.

P.S- Love After Love

The time will come
when, with elation,
you will greet yourself arriving
at your own door, in your own mirror
and each will smile at the other’s welcome,
and say, sit here. Eat.
You will love again the stranger who was your self.
Give wine. Give bread. Give back your heart
to itself, to the stranger who has loved you
all your life, whom you ignored
for another, who knows you by heart.
Take down the love letters from the bookshelf,
the photographs, the desperate notes,
peel your own image from the mirror.
Sit. Feast on your life.

By Derek Wilcott

 

 

The dark hours of my being

 

I love the dark hours of my being.
My mind deepens into them.
There I can find, as in old letters,
the days of my life, already lived,
and held like a legend, and understood.
Then the knowing comes: I can open
to another life that's wide and timeless.

So I am sometimes like a tree
rustling over a grave site
and making real the dream
of the one its living roots
embrace:
a dream once lost
among sorrows and songs.

Raine Maria Rilke

 

Rainer

 

 

 

I love you

 

 

me neither.

Path

 

 

 

“you’ve got to burn
straight up and down
and then maybe sideways
for a while
and have your guts
... scrambled by a
bully
and the demonic
ladies,
you’ve got to run
along the edge of
madness,
teetering,
you’ve got to drink a
river of booze,
you’ve got to starve
like a winter
alleycat,
you’ve got to live
with the imbecility
of at least a dozen
cities,
then maybe
maybe
maybe
you might know
where you are
for a tiny
blinking
moment.”
— Charles Bukowski

I wrote you

 

 

Ele continuará a existir em ti, porque o amor tem o dom de permanecer debaixo da pele e no brilho dos olhos de quem o guarda.
Só isso se guarda: o amor e as palavras.
A coragem de os viver por inteiro.
O amor e as palavras exigem coragem, cariño. Tu sempre o soubeste, como ele.

...
Inês Pedrosa
Carta a Pilar del Rio

Tomorrow is another day

 

 

 

Por vezes de um poema concluído
subsiste um aroma frágil instantâneo
que acende sobre nós uma ingénua estrela
que ilumina os nossos gestos
e aligeira os passos sobre as pedras claras

António Ramos Rosa

 

 

 

 

 

Inhale. Exhale

 

 i guess i miss you.

Cashemere me

 

Baby, I'm just sitting here waiting for you.

 

 

You know

 

I think of you constantly.

 

P.S- where are you now?

 

 

Today

 

One day be thou queen of kings.

When You Tell Me That You Love Me

 

I wanna hold you close
Under the rain
I wanna kiss your smile
And feel the pain
I know what's beautiful
Looking at you
In a world of lies
You are the truth

We could be

 

we should be in love.

Cine Me

Les Misérables

 

http://www.imdb.com/title/tt1707386/

 

It's two years since Oscar bowed down before Tom Hooper to crown The King's Speech best picture. Now Hooper bobs obligingly back, offering the Academy not just what it wants to see but a mirror of sorts; a movie that takes its cues from the greatest hits of Oscar night. It recalls not just that glorious evening last year when Hooper was honoured four times and host Anne Hathaway belted out On My Own to Hugh Jackman but also puts in a bid to anticipate the highlights of the next one.

 

For the few uninitiated (the stage show has been seen by 60 million people), Les Misérables is Cameron Mackintosh's adaptation of Claude-Michel Schönberg and Alain Boublil's musical based on the Victor Hugo saga set in early 19th century France.

 

But beware: it's not strictly a musical. There's no dancing, there are no jazz hands and there is next to no speech. Rather, it is lobotomised opera, in which incidental dialogue like "I don't understand" and "I don't know what to say" is warbled, liturgy-style. The phrase "We will nip it in the bud" becomes a rousing chorus; presumably "Don't count your chickens before they're hatched" doesn't scan so well.

 

"This is an unforgettable movie going experience, sure to garner multiple Oscar nominations."

 

 "No one expects gutsy filmmaking in a musical. But that's just what King's Speech Oscar winner Tom Hooper delivers in Les Miserables. Damn the imperfections, it's perfectly marvelous."

I loved Les Misérables, it was an amazing accomplishment and what all film musicals should shoot for from here on out. While some actors were not the best singers, I believed they overcame this with the enormous heart put into their portrayal of these characters. The strongest asset I think this film has to offer however is its ability to transcend beyond its core audience and tell a story that is universal and will make even non-musical fans like myself believers.

 

 

Cine Me

Geeks on Film: Les Misérables [Review] | Geekadelphia

But the tigers come at night

 

 with their voices soft as thunder.

 

 

P.S- I meet you in dreams and I can almost feel your presence.But when will I be able to feel your skin,touch,breath ? What do these dreams mean ?

And I imagine conversations

that I know we would have had.

Goals for 2013

+ Blog more.

 

+ Save more.

 

+ Take more pictures.

 

+ Eat out less and eat more vegetables.

 

+ Drink more water.

 

+ Worry less.

 

+ Spend as much time as possible with family and friends.

 

 

P.S- It seems the older I get, the faster the years fly by. Cliche, perhaps, but certainly true.



Cine Me

 

The Paperboy

 

 

http://www.imdb.com/title/tt1496422/

 

 

A heady, humid swamp fever rises from Lee Daniels's violent and black-comic Florida noir The Paperboy, based on the thriller by Pete Dexter: a lazy, funny tone co-exists with menace, and Nicole Kidman gives her best performance since To Die For. Race, sex, journalism, publishing and 60s America are all part of the mix – The Help was never like this – and Daniels keeps it bubbling. This gripping, scary and queasily funny picture nurtures a dark threat which lurks like one of its gators just below the surface.

 

The Paperboy doesn't aspire to any great commentary on America: but it's a smart, entertaining thriller with an excellent performance from Kidman.

 

 

Love enough

 

"If you could only love enough, you could be the most powerful person in the world."

Emmet Fox