A fresh start

 

xoxo

Pablo

 

 

Não te quero senão porque te quero,

e de querer-te a não te querer chego,
e de esperar-te quando não te espero,
passa o meu coração do frio ao fogo.
Quero-te só porque a ti te quero,
Odeio-te sem fim e odiando te rogo,
e a medida do meu amor viajante,
é não te ver e amar-te,
como um cego.
Talvez consumirá a luz de Janeiro,
seu raio cruel meu coração inteiro,
roubando-me a chave do sossego,
nesta história só eu me morro,
e morrerei de amor porque te quero,
porque te quero amor,
a sangue e fogo.

In the middle of the night

 

A sudden urge to kiss you. A kiss. And ready. Accepted?

It's all about me

 

 

You know I will adore you 'til eternity.

I just call to say I love you

 

 

But what it is, is something true
Made up of these three words that I must say to you.

Santa baby

 

 

Santa honey, I wanna yacht and really that's
Not a lot
I've been an angel all year
Santa baby, and hurry down the chimney tonight.

 

Envie

 

You stayed away. I locked away my memories of you. Tight.

Come here

 

I miss you.

 

 

P.S- I will if you will.

Farewell, Mr. O’Toole

All I couldn’t say, all I should have said

 

 

I am attracted to the idea
of your lips
exploring my body
as if it were a map
and you kept getting lost
on purpose.

Stop

 

and stare.

 

(I'm shakin' off the rust)

To love somebody

 

A doçura mata.
A luz salta às golfadas.
A terra é alta.
Tu és o nó de sangue que me sufoca.
Dormes na minha insónia como o aroma entre os tendões
da madeira fria. És uma faca cravada na minha
vida secreta. E como estrelas
duplas
consanguíneas, luzimos de um para o outro
nas trevas.

[Herberto Helder]

Love me

 

 

Treat me like a fool,
Treat me mean and cruel,
But love me.

Wring my faithful heart,
Tear it all apart,
But love me.

If you ever go,
Darling, I'll be oh so lonely
I'll be sad and blue,
Crying over you, dear only.

I would beg and steal
Just to feel your heart
Beatin' so close to mine

If you ever go,
Darling, I'll be oh so lonely
I'll be sad and blue,
Crying over you, dear only.

I would beg and steal
Just to feel your heart
Beatin' so close to mine

If you ever go,
Darling, I'll be oh so lonely
Beggin' on knees,
All I ask is please, please love me
Oh yeah

That I'm sheltered by your heart

 

Touch me now, I close my eyes and dream away.

 

 

Man of Africa, hero of the world

 

Nelson Mandela

 

(1918-2013)

 

 

 Here

Cause all of me

 

loves all of you.

How are things?

 

 

Let me take you down
Cause I'm going to Strawberry Fields
Nothing is real
And nothing to get hung about
Strawberry Fields forever

Living is easy with eyes closed
Misunderstanding all you see
It's getting hard to be someone
But it all works out
It doesn't matter much to me

Let me take you down
Cause I'm going to Strawberry Fields
Nothing is real
And nothing to get hung about
Strawberry Fields forever

No one I think is in my tree
I mean it must be high or low
That is you can't, you know, tune in
But it's all right
That is I think it's not too bad

Let me take you down
Cause I'm going to Strawberry Fields
Nothing is real
And nothing to get hung about
Strawberry Fields forever

Always, no sometimes, think it's me
But you know I know when it's a dream
I think I know I mean a yes
But it's all wrong
That is I think I disagree

Let me take you down
Cause I'm going to Strawberry Fields
Nothing is real
And nothing to get hung about
Strawberry Fields forever
Strawberry Fields forever
Strawberry Fields forever

 

So kiss me on this cold december night

 

I'm throught with love.

Wanderlust

 

 

Viver é um rasgar-se e remendar-se.

 

Guimarães Rosa

When the night has come and the land is dark

 

 

Oh heart, you’re so confusing.

 

 

 

You're so complex that you don't always respond to danger

 

 

Tu eras também uma pequena folha

que tremia no meu peito.

O vento da vida pôs-te ali.

A princípio não te vi: não soube

que ias comigo,

até que as tuas raízes

atravessaram o meu peito,

se uniram aos fios do meu sangue,

falaram pela minha boca,

floresceram comigo.

 

 

Pablo Neruda

My thoughts all stray, stray to you

 

 

 

At the moon in its flight
My thoughts all stray, stray to you
In the still of the night
While the world lies in slumber
Oh the times without number
Darling when I say to you

Do you love me
As I love you
Are you my life to be
That dream come true
Or will this dream of mine
Fade out of sight
Like the moon glowing dim
On the rim of the hill
In the chill, in the still of the night

Do you love me
As I love you
Are you my life to be
That dream come true
Or will this dream of mine
Fade out of sight
Like the moon glowing dim
On the rim of the hill
In the chill, in the still of the night
Of the night
Of the night



Cine Me

 

La vie d'Adèle

 

(Blue Is the Warmest Color)

 

http://www.imdb.com/title/tt2278871/

 

From the rumblings out of the Cannes Film Festival, I thought I knew what to expect from the 3-hour French drama Blue Is The Warmest Color, the ill-fated lesbian love drama with a lengthy sex scene that's caused a lot of hubbub. What I found, though, was something far less salacious and richer than I anticipated.

Though the drama at the movie's core is about the tumultuous relationship between young Adele (Adèle Exarchopoulos) and her blue-haired girlfriend Emma (Léa Seydoux), it is not their story. It is just Adele's. At the film's start, she is a 17-year-old high school student with an eye toward a future in teaching. While her peers gush over boys, she seems bored by them, even when a cute senior notices her. Her brief tryst with him is nothing, though, compared to what happen when she spots a mysterious blue-haired tomboy on the street, then meets her again in a fateful first trip to a local lesbian bar.

From there a flirtation begins that causes both pleasure and pain for young Adele, the heady cocktail of love and sex contrasting with teasing from her classmates and later jealousy as Emma flirts with more mature women. While her relationship with the older Emma, an art student at local university, makes up most of the second and third acts, it is used as a tool to explore how Adele matures from crush-having kid to heartsick twenty-something. Much of the film's power is laid squarely on the shoulders of actress Adèle Exarchopoulos, and she is captivating, in turns an inscrutable teenager, then painfully vulnerable in her need for love and acceptance.

Seydoux is likewise extraordinary as Emma. It wasn't long ago that she'd have been believably cast in the role of the sexually curious young woman with more passion than sense. But her more mature role fittingly shows growth in this ingénue, giving her the chance to play the mentor, the one who should know better. Her scenes with Exarchopoulos are breathtaking and emotionally raw, whether they are ripping each other's clothes off or ripping into each other's hearts. Watching them go at each other, it’s easy to understand why the Palme d’Or prize was—for the first time ever—awarded not only a director (Abdellatif Kechiche) but also to its leads. Without these two and their dogged dedication to their roles, the film would never have come together so lushly.

 

This is no glorified portrait of the metamorphosis of girl to woman-- Kechiche shows Adele haloed by flyaway hairs, wearing little makeup, eating and fucking as if no one is watching. Kechiche brazenly shows a woman as she is--an exceptionally beautiful young woman, but still. Her beauty feels effortless and reckless, and that combined with his choice to drift from one slice of Adele's life to the next (literature class, dinner with her parents, flirting with Emma) gives the film an intimacy so deep it sometimes feels intrusive. With countless extreme close-ups., we are rarely more than a few inches from Adele's quivering lips, full lips and wet eyes. It's almost as if rather than watching her, Kechiche wants us to eat her up whole.

Which brings us to the big sex sequence. It's one of several within the film, each offering some character development through Adele’s reactions, whether bored, comforted, or elated. But the first time the key couple copulates is given a ten-minute montage of frank framing, revealing writhing bodies, ragged panting, and no chipper smiles for us or the camera. It's animalistic, and certainly speaks to the Adele and Emma's primal connection, but after a while it just feels purposefully over the top. Yes, it's titillating and images of female sexual pleasure in cinema are painfully lacking, but who dubbed Kechiche the one-man team to level the scales? It hits a point where it’s just too much, a choice the director makes again and again to the point of blatant self-indulgence.

Even at three hours long Blue Is The Warmest Color never wears out its appeal, but it is in essence a love story like we've seen again and again, except this time with bold lesbian sex and love. While pushy, it is a competent character study, but I found its details slipping away as soon as I left the theater. Kechiche presents Adele's tale in a blur of collisions in lengthy scenes of fights or sex, but rarely dwells to reveal their moments after. For instance, when Adele is attacked at school once it’s suspected she is gay, there's no scene of follow-up, either of her coming out to her peers or defiantly shrugging them off. Instead, we skip to Adele's next chapter, bypassing her coming-out completely and instead diving right into her less than happy home-life with Emma.

 

The French title for the film is La Vie d’Adele: Chapters 1 & 2 (The Life of Adele: Chapters 1 & 2), which adds some context the movie ultimately needs. The story is not complete, but is instead the beginning of Adele’s adult life. (Blue Is The Warmest Color is the name of the graphic novel on which its based.) Whatever the title, the film does push the envelope by giving voice to the story of a sexually fluid young woman, and by defiantly displaying raw and earnest intercourse unlike many audiences are like to have seen before. But ultimately, Kechiche’s direction feels so heavy-handed that it undercuts the beautiful roughness of its first love story and the emotional vulnerability its actresses so boldly displayed. His ego and drive to push the boundaries detract from the movie’s best attribute, which is the dual performances that make three hours fly by.

 

 

You should all go to see this ...male and female alike...though perhaps don't take your Mother !

 

 

Hello, December

 

 

 

A Restauração da Independência é a designação dada ao golpe de estado revolucionário ocorrido a 1 de dezembro de 1640, chefiada por um grupo designado de Os Quarenta Conjurados e que se alastrou por todo o Reino, pela revolta dos portugueses contra a tentativa da anulação da independência do Reino de Portugal pela governação da Dinastia filipina castelhana, e que vem a culminar com a instauração da 4.ª Dinastia Portuguesa - a casa de Bragança - com a aclamação de D. JoãoD. IV.
Esse dia, designado como Primeiro de Dezembro ou Dia da Restauração , é comemorado anualmente em Portugal com muita pompa e circunstância desde o tempo da monarquia constitucional. Uma das primeiras decisões da República Portuguesa, em 1910, foi passá-lo a feriado nacional como medida popular e patriótica. No entanto, essa decisão foi revogada pelo XIX Governo Constitucional, de Passos Coelho, passando o feriado a comemorar-se em dia não útil a partir de 2012.

 

 

Baby this ain't the way

 

 

(hold me / kiss me / make me / believe / do you / want me /
to stay / really / want me / to stay...)