N'oubliez Jamais

 

 

What is this game searching for love or fame?
It's all the same one of these days you say that
Love will be the cure, I'm not so sure.

Winter Solstice

 

 

The White Goddess.

Photograph

 

 

Loving can hurt
Loving can hurt sometimes
But it's the only thing
That I know

And when it gets hard
You know it can get hard sometimes
It is the only thing that makes us feel alive

We keep this love in a photograph
We make these memories for ourselves
Where our eyes are never closing
Hearts are never broken
And time's forever frozen still

So you can keep me
Inside the pocket
Of your ripped jeans
Holdin' me closer
Til our eyes meet
You won't ever be alone
Wait for me to come home

Loving can heal
Loving can mend your soul
And is the only thing
That I know (know)
I swear it will get easier
Remember that with every piece of ya
And it's the only thing we take with us when we die

We keep this love in a photograph
We make these memories for ourselves
Where our eyes are never closing
Our hearts were never broken
And times forever frozen still

So you can keep me
Inside the pocket
Of your ripped jeans
Holdin' me closer
Till our eyes meet
You won't ever be alone

And if you hurt me
Well that's ok baby there'll be worst things
Inside these pages you just hold me
And I won't ever let you go

Wait for me to come home
Wait for me to come home
Wait for me to come home
Wait for me to come home

Oh you can keep me
Inside the necklace you got when you were 16
Next to your heartbeat
Where I should be
Keep it deep within your soul

And if you hurt me
Well that's ok baby there'll be worst things
Inside these pages you just hold me
And I won't ever let you go

When I'm away
I will remember how you kissed me
Under the lamppost
Back on 6th street
Hearing you whisper through the phone
Wait for me to come home

TGIF

If I tell you I love you

Cine Me

 

 

Boyhood

 

 

http://www.imdb.com/title/tt1065073/

 

 

http://boyhoodmovie.tumblr.com/#

 

 

Like the fabled Jesuit, Richard Linklater has taken the boy and given us the man. In so doing, he's created a film that I love more than I can say. And there is hardly a better, or nobler thing a film can do than inspire love.

This beautiful, mysterious movie is a time-lapse study of Mason, growing up from around the age of five to 18, from primary school to his first day in college. It is an intimate epic: over 12 years, Linklater worked with the young actor Ellar Coltrane, shooting scenes every year with him and other cast members, who grow visibly and heart-stoppingly older around him. The director's daughter, Lorelei Linklater, plays Mason's older sister, Samantha; Patricia Arquette is superb as their divorced single mom, hard-working and aspirational, but worryingly condemned to hook up with drunks and give the kids abusive stepdads. Ethan Hawke – his lean, chiselled face softening as the years go by – plays the kids' feckless and unreliable but charming father, who shows up every few weeks in his cool car. And Mason's own face changes from its young, moony openness to a closed, grown-up handsomeness. It is the face he will learn to present to the world.

Boyhood is in touch with a simple, urgent truth: life is terrifyingly short. While our childhood in progress seems like an aeon, to our parents it flashes past in a dreamlike instant. Then to us, afterwards, it changes from an assumed sturdy narrative into a swirling constellation of remembered and half-remembered moments, which drift in and out of reach. It is with something like awe you grasp the obvious fact that Linklater's time-lapse technique could be easily applied to every other character in the film. Children and adults are not separate species.

 

Perhaps Linklater and Ellar Coltrane will come back for sequels: Manhood, Middle Age and so on. Part of me longs to see Mason again, and part thinks there is an exquisitely perfect humility in how the film gently leaves him with his new friends in college. Either way, it is one of the great films of the decade.

December

"Shall we liken Christmas to the web in a loom? There are many weavers, who work into the pattern the experience of their lives. When one generation goes, another comes to take up the weft where it has been dropped. The pattern changes as the mind changes, yet never begins quite anew. At first, we are not sure that we discern the pattern, but at last we see that, unknown to the weavers themselves, something has taken shape before our eyes, and that they have made something
very beautiful, something which compels our understanding."

Earl W. Count, 4,000 Years of Christmas

 

                                         
P.S- the wings that I need when I wanna fly.



Thinking out loud

 

 

And I'm thinking about how people fall in love in mysterious ways.

Cine Me

 

Serena

 

http://www.imdb.com/title/tt1247690/

 

 

http://www.magpictures.com/serena/

 

Reuniting Jennifer Lawrence and Bradley Cooper, Susanne Bier's long-shelved period piece is a compellingly problematic anti-romance.

 

 

 The Danish film-maker responsible for the challenging drama In a Better World, and who also gained a commercial track record with English-language movies such as Love is All You Need and Things We Lost in the Fire. Bier is an interesting person to take charge of this big emotional spectacle, set in depression-era America in the Great Smoky Mountains of Tennessee and North Carolina. It is clotted with its own atmosphere of tragic gloom and erotic doom.

 

The film crumples with a shower of sparks into a forest fire of melodramatic absurdity, with all kinds of violent lurches and plot entanglements. But not before Lawrence has given us a performance of fierce, bladed intensity.

An arrestingly nihilistic Depression melodrama, marked by courageous performances and exquisite production values, this story of a timber-industry power couple undone by financial and personal corruption nonetheless boasts neither a narrative impetus nor a perceptible objective.

The result is both problematic and fascinating, an unsympathetic spiral of human tragedy that plays a little like a hand-me-down folk ballad put to film.

Cine Me

 

 

Interstellar

 

 

http://www.imdb.com/title/tt0816692/

 

 

https://interstellar.withgoogle.com/

 

 

"Interstellar" is long, grand, strange and demanding – not least because it allows time to slip away from under our feet while running brain-aching ideas before our eyes. It’s a bold, beautiful cosmic adventure story with a touch of the surreal and the dreamlike, and yet it always feels grounded in its own deadly serious reality.

And though it seems absurd

Never meaning to send

 

 

Gazing at people some hand in hand
Just what I'm going through they can't understand
Some try to tell me thoughts they cannot defend
Just what you want to be you will be in the end.

It was a pleasure

 

 

to know you better, Mr. Legend !

 

 

Love came here and never left

There's nothing here to throw away
I came to you in light of day.


I'll be your mirror

 

 

A hand in your darkness, so you won't be afraid

Take a break, pack a bag

 

Going somewhere.

Cine Me

 

 

Two Lives (Zwei Leben)

 

 

http://www.imdb.com/title/tt1783422/

 

 

http://www.zweileben-film.de/

 

 

 

 

 

A Norwegian family unravels when a complex piece of German history surfaces in their midst in Two Lives (Zwei Leben), writer-director Georg Maas' well-acted and rather solemn drama that’s loosely based on the novel by Hannelore Hippe.

 

This year’s foreign-language Oscar submission from Germany casts Norwegian legend Liv Ullmann and German star Juliane Koehler (from 2002 foreign-language Oscar winner Nowhere in Africa) as a mother and daughter in Norway whose relationship and extended family are shaken to the core by revelations brought about by the fall of the Berlin Wall. Though indirectly a film that deals with WWII and its extended aftermath — which, in a terrible twist, provided fertile soil for the Stasi secret police of newly created East Germany — this is not a Holocaust film but rather a human drama about past secrets and identity that should appeal to an older and quite mainstream audience. 

 

Beginning in the mid-1930s, the Nazi Lebensborn program to breed an Aryan “master race” produced thousands of children, many of them procreated by members of the German SS in casual encounters with blond, blue-eyed women deemed racially pure. Because Norwegians, with their Viking ancestors, were thought to be an especially hardy breed, they were considered ideal specimens. Once these women gave birth in occupied Norway, their children were often taken from them and reared in special orphanages in Germany. After World War II, the taint of Nazism caused the mothers and the Lebensborn children remaining in Norway to face harsh discrimination.

Starting in the 1960s, the Stasi, the East German secret police, recruited many of the grown-up progeny in East Germany as spies, sending them to Norway to be reunited with unsuspecting families. In some cases, the Stasi appropriated the identities of Lebensborn children and conferred them on East Germans trained in espionage before placing them with Norwegian families. Since many documents related to the program were destroyed, few records existed to attest to their identities as Lebensborn children.

 

“Two Lives” is an absorbing, well-acted, moderately suspenseful mystery, although its time line of events is fuzzy to the point of impenetrability. If she were played a different way, Katrine would be an unsympathetic, diabolical monster. But the film portrays her as a victim of history who is increasingly desperate at the prospect of losing a family to which she feels she belongs.

Cats do not have vertigos

 

 

Nós somos um instante no infinito
fragmento à deriva no Universo
O que somos não é para ser dito
o que sente não cabe num só verso

Enquanto olhares para mim eu sou eterna
estou viva enquanto ouvir a tua voz
Contigo não há frio nem inverno
e a música que ouvimos vem de nós

Cine me

 

 

 

Gone girl

 

 

http://www.imdb.com/title/tt2267998/

 

 

http://www.gonegirlmovie.com/

 

 

Can someone vanish if, in the first place, they were never truly there? A missing-person thriller might not seem like a likely forum for this kind of metaphysical grappling, but David Fincher, the director of The Social Network, Fight Club and Zodiac, is not a filmmaker prone to swaddling his audience in the consolations of the likely.

Fincher’s 10th film, Gone Girl, is based closely on Gillian Flynn’s best-selling 2012 novel which used a page-turning plot line – the sudden disappearance of a smart, pretty, married woman called Amy Elliott-Dunne (Rosamund Pike) – to unpick the modern mania for presenting a perfected version of ourselves to others, even as the truth roils and bubbles underneath.

 

 "Gone Girl" is art and entertainment, a thriller and an issue, and an eerily assured audience picture. It is also a film that shifts emphasis and perspective so many times that you may feel as though you're watching five short movies strung together, each morphing into the next.

 

I'm not saying the film is genuinely clever throughout (though it is always fiendishly manipulative) or that every twist is defensible (a few are stupid). I'm saying that "Gone Girl" is what it is, that it knows what it is, and that it works. You know how well it's working when you hear how audiences laugh at it, and with it. Their laughter evolves as the film does. They laugh tentatively at first, then with an enthusiasm that gives way to a full-throated, "I endorse this madness!" gusto during the final half-hour, when the story spirals into DePalma-style expressionism and the picture becomes a maelstrom of blood, tears and other bodily fluids. There are allusions to the O.J. Simpson case, "Macbeth" and "Medea," and the ending is less an ending than a punchline that's all the more amusing for feeling so deflated.

That it's hard to tell whether Fincher has an opinion on anything he's showing us or is just sadistically bemused, like an evil child tormenting insects, somehow adds to the movie's dark vibrancy. This director is a misanthrope, no question. But misanthropes can be entertaining, and "Gone Girl" is that—not just in the scenes where women see through men and other women with furious contempt, but in throwaway moments, such as when an unseen man yells "Louder!" at the beleaguered Nick during a press conference, and when the film shows tourists gathered in front of Nick's bar, taking selfies.

 

This is a sick film, and often brilliant.



Rain on your parade

 

 

And I'll keep raining, raining, raining over you.

 

 

Why we love

 

 

Love is a complicated beast. And despite the ownership with which centuries of literature and art and music have claimed romance, there’s actually quite a bit of science of in it. Love, in fact, is as much a product of the heart as it is of the brain — a combination of neurochemistry and storytelling, the hormones and neurotransmitters that make us feel certain emotions, and the stories we choose to tell ourselves about those emotions.

A woman often thinks she regrets the lover, when she only regrets the love

 

 

François de la Rochefoucauld

Very early in my life, it was too late

 

 

And then he told her - he had told her that it was as before, that he still loved her, that he would never stop loving her, that he would love her until his death.

Gone with the wind

 

 

 

"Kiss me, once." - Rhett

BB

 

Et Dieu ...créa la femme

 

and God created this woman 80 years ago!

Lost Stars

 

 

 

Please, don't see
Just a boy caught up in dreams
And fantasies

Please, see me
Reaching out for someone
I can't see

Take my hand
Let's see where we wake up tomorrow
Best laid plans
Sometimes are just a one night stand

I'll be damned
Cupid's demanding back it's arrow
So let's get drunk on our tears

And God, tell us the reason
Youth is wasted on the young
It's hunting season
And the lambs are on the run

Searching for meaning
But are we all lost stars
Trying to light up the dark

Who are we?
Just a speck of dust
Within the galaxy?

Woe, is me
If we're not careful
Turns into reality

But don't you dare
Let our best memories bring you sorrow
Yesterday I saw a lion kiss a deer
Turn the page
Maybe we'll find a brand new ending
Where we're dancing in our tears

And God, tell us the reason
Youth is wasted on the young
It's hunting season
And the lambs are on the run

We're searching for meaning
But are we all lost stars
Trying to light up the dark

I thought I saw you out there crying
I thought I heard you call my name
I thought I heard you out there crying
But just the same

And God, give us the reason
Youth is wasted on the young
It's hunting season
And this lamb is on the run

Searching for meaning
But are we all lost stars
Trying to light up the dark

I thought I saw you out there crying
I thought I heard you call my name
I thought I heard you out there crying

But are we all lost stars
Trying to light up the dark

But are we all lost stars
Trying to light up the dark

Cine Me

 

 

Begin Again

 

 

http://www.imdb.com/title/tt1980929/

 

 

http://beginagainfilm.com/

 

 

 

Music! What wonderful music they used in this film, from the soundtrack to the original performances. The way they bring the performances and the creative process to life - the pain, the joy, the failures and triumphs - is just thrilling.

 

Music is the driver of this utterly charming film about songs, lost stars and being alone in New York City.

 

A hugely satisfying ode to entrepreneurial creativity, and a glorious love letter to New York City and the art it inspires. I love this movie so much.

If I tell you I love you

 

 

Sex is always about emotions. Good sex is about free emotions; bad sex is about blocked emotions.

[Deepak Chopra]

Impossible love

 

 

 

This is an impossible love
The kind you only hear of in cinematic dreams
This is an impossible love
With syndromatic schemes
It's never just as lovely as it seems

Yes this is an impossible love
The flame in lust is an exhaustible love
And flames combust
We flames would be hand in glove
And why should two loves not agree, no

This is an impossible love
Though both of your arms would offer a tender caress
It's such an exhaustible love
Fuelling my heart with only illusion at best

Waiting

 

 

 

“I’ve learned that waiting is the most difficult bit, and I want to get used to the feeling, knowing that you’re with me, even when you’re not by my side.” 

  Paulo Coelho, Eleven Minutes
 

Never forget

 

 

Cine Me

 

 

Magic in the Moonlight

 

 

http://www.imdb.com/title/tt2870756/

 

 

http://www.sonyclassics.com/magicinthemoonlight/

 

 

Let others decide if film is an art. For Woody Allen, filmmaking is a reflex. Since 1969's Take the Money and Run, he has written and directed a movie damn near every year, screw fickle critics, public scandal and the Hollywood rule of dumb. At 78, Allen shows no sign of slowing down. Not every Allen film reaches the heights that extend from Annie Hall, Manhattan and Hannah and Her Sisters to Crimes and Misdemeanors, Midnight in Paris and Blue Jasmine. But each bears the unique stamp of a virtuoso who sees the world, sweet and lowdown, like no one else.

 

The actors, including Eileen Atkins, whose wit is martinidry as Stanley's Aunt Vanessa, are a pleasure to be around. But the film depends on discerning a spark between Sophie and the older Stanley. Luckily, Firth and Stone make a magnetic pair of opposites. Stone, free from all the Spider-Man nonsense, lights up the screen. And Firth is wonderfully appealing when he finally lets loose with the feelings Stanley has locked inside. Taking shelter from a storm in an abandoned observatory, Sophie and Stanley regard the stars, seductive to her, menacing to him. That's Allen for you, searching for a refuge from the dull reality of life that can't be deconstructed as a trick. Is love the answer? Or is love too volatile to trust? Melancholy and doubt may seem like gloomy qualities to blend into an amorous romp. But that shot of gravity is what makes Magic in the Moonlight memorable and distinctively Woody Allen.



As the images unwind

 

Round, like a circle in a spiral
Like a wheel within a wheel
Never ending or beginning
On an ever-spinning reel

Like a snowball down a mountain
Or a carnival balloon
Like a carousel that's turning
Running rings around the moon

Like a clock whose hands are sweeping
Past the minutes of its face
And the world is like an apple
Rolling silently in space

Like the circles that you find
In the windmills of your mind

Like a tunnel that you follow
To a tunnel of its own
Down a hollow to a cavern
Where the sun has never shone

Like a door that keeps revolving
In a half-forgotten dream
Like the ripples from a pebble
Someone tosses in a stream

Like a clock whose hands are sweeping
Past the minutes of its face
And the world is like an apple
Rolling silently in space

Like the circles that you find
In the windmills of your mind

Keys that jingle in your pocket
Words that jangle in your head
Why did summer go so quickly?
Was it something that you said?

Lovers walk along the shore
Leave their footprints in the sand
Is the sound of distant drumming
Just the fingers of your hand?

Pictures hanging in a hallway
In the fragment of this song
Half-remembered names and faces
But to whom do they belong?

When you knew that it was over
Were you suddenly aware
That the autumn leaves were turning
To the color of her hair?

Like a circle in a spiral
Like a wheel within a wheel
Never ending or beginning
On an ever-spinning reel

As the images unwind
Like the circles that you find
In the windmills of your mind

Pictures hanging in a hallway
In the fragment of this song
Half-remembered names and faces
But to whom do they belong?

When you knew that it was over
Were you suddenly aware
That the autumn leaves were turning
To the color of her hair?

Like a circle in a spiral
Like a wheel within a wheel
Never ending or beginning
On an ever-spinning reel

As the images unwind
Like the circles that you find

In the windmills of your mind

 



What next

 

 

So the sun is shining blindingly but I can sort of see.

It’s like looking at Mandela’s moral beauty.

The dying leaves are sizzling on the trees

In a shirtsleeves summer breeze.

But daylight saving is over.

And gaveling the courtroom to order with a four-leaf clover

Is over. And it’s altogether November.

And the Pellegrino bubbles rise to the surface and dismember.

 

 

Frederick Seidel

 

 



 

More about here : http://www.poetryfoundation.org/bio/frederick-seidel

 



 

 

 

Pretty (wo) man

 

 

That hair, those eyes.

His humility.

His devotion to his faith.

His charity.

His acting.

Cine Me

 

 

 

 

 

If I Stay

 

 

http://www.imdb.com/title/tt1355630/

 

 

http://ifistaymovie.com/

 

 

Chloe Grace Moretz is one of the best reasons to check out this film. She shines here. Every film, I see her in, she keeps getting better and better. I wasn't expecting much from the trailer. I was pleasantly surprised after watching the film. It reminded me of movies like The Invisible, Save the Last Dance, and The Lovely Bones. I did like this film more than The Vow, The Fault in Our Stars, and A Walk To Remember.

But it's so hard to change

 

 

Hey, I could love you
Take all that love away from you
Hey, I could love you
Put you in this box I made for two.

Cine Me

 

 

A Most Wanted Man

 

 

http://www.imdb.com/title/tt1972571/

 

 

http://amostwantedmanmovie.com/

 

 

The material is a natural fit for director Anton Corbijn, who seems to like directing films about slowly fitting together seemingly disparate pieces just as much as le Carre likes writing material with the same sense of style and pacing. “A Most Wanted Man” is a thoroughly modern tale about current anti-terrorism measures that still retains a classic sensibility and feel.

 

As ever, le Carre remains interested in subverting the spy genre in a major way (though even “A Most Wanted Man” plays around with the old “something bad happened in Beirut” slice of story) – in his world, spying isn’t a sexy business, it’s just like any other business, one prone to both double-crossing and just plain boredom. The film sags in the middle, as Corbijn and screenwriter Andrew Bovell struggle to push pieces of narrative together while also unfurling true motivations and emotions. And while the final act might not surprise or stun, it does feature some classic le Carre movements, some trademark Corbijn ease, and a terrifying Hoffman bellowing at the sky – not so bad for just another spy film.

Cine Me

 

 

Third Person

 

 

 

http://www.imdb.com/title/tt2343793/

 

 

 

http://third-person.jp/

 

 

 

Haggis tells three stories, set in Paris, Rome, and New York, about different kinds of love, and his unifying theme is that a “third person”—a child, an old lover—lingers in the background of every serious relationship. He intercuts the stories, as he did in “Crash” (2004), but this time the characters don’t impinge on one another—at least, not until the end, when he changes our relation to everything we’ve seen. As we discover, four of the six have failed as parents, sometimes with disastrous results, but “Third Person” is hardly an accusation. Haggis shapes the stories as complicated adventures undertaken by damaged people whose unhappiness compels them to take risks. Much of the dialogue is prickly and intimate—so intimate that, at times, one has the impression that Haggis is unloading personal obsessions into his narratives, as Bergman and Fellini did.

 

All three tales are terse and volatile; as Haggis pushes toward the climax, he makes the sequences shorter and more urgent, with overlapping thematic and visual motifs, until commonplace reality gives way altogether, and the stories melt into one another. Haggis may be playing games, but the director of “Crash” and “In the Valley of Elah” doesn’t have it in him to be facetious. “Third Person” is serious or it is nothing. Literal-minded critics, angered by a few improbable plot turns and a metafictional twist at the end, will no doubt choose the latter. But “Third Person” is the kind of eccentric and emotionally exhausting movie whose ardent sincerity remains in memory after smoother, more conventional works have passed into oblivion.

 

Fabulous movie !

Secret love

 

 

"My darling. I'm waiting for you. How long is the day in the dark? Or a week? The fire is gone, and I'm horribly cold. I really should drag myself outside but then there'd be the sun. I'm afraid I waste the light on the paintings, not writing these words. We die. We die rich with lovers and tribes, tastes we have swallowed, bodies we've entered and swum up like rivers. Fears we've hidden in - like this wretched cave. I want all this marked on my body. Where the real countries are. Not boundaries drawn on maps with the names of powerful men. I know you'll come carry me out to the Palace of Winds. That's what I've wanted: to walk in such a place with you. With friends, on an earth without maps. The lamp has gone out and I'm writing in the darkness."

 [Katharine Clifton]

Brain Pickings

 

 

 

(You call “Brain Pickings”) a “human-powered discovery engine for interestingness”.

 

P-S- “interestingness”: Anything that moves me and impresses upon me some fragment of truth that leaves me different, even slightly altered and more enriched – intellectually, creatively, and spiritually.

Cine Me

 

 

The Hundred-Foot Journey

 

 

http://www.imdb.com/title/tt2980648/

 

 

http://100footjourneymovie.com/

 

 

 

The Hundred-Foot Journey” is a film that demands that you take it seriously. With its feel-good themes of multicultural understanding, it is about Something Important. It even comes with the stamp of approval from titanic tastemakers Oprah Winfrey and Steven Spielberg, who both serve as producers. What more convincing could you possibly need?

 

Helen Mirren is amazing, and every element of the movie is her equal. Top of the summer crop.

 

 

 

You are my definition of desire

 

 

Retirou uma fita da cabeceira da cama, apanhou o cabelo na nuca e suspirou, completamente acordada: "ficarei no teu sonho até à morte".

[Gabriel García Márquez]

Cine Me

 

 

The Fault in Our Stars

 

 

http://www.imdb.com/title/tt2582846/

 

 

http://www.imdb.com/title/tt2582846/

 

 

Adapted for the screen by the gifted two-man writing team responsible for The Spectacular Now and (500) Days of Summer, The Fault in Our Stars — a love story about two witty, engaging teenagers with cancer — is a heartbreaker for sure, but it’s also a sweet, romantic film full of sudden warmth and humor. It gets everything right about being young and in love for the first time, from the shared secret codes that mean so much to the sheer physical joy of being close to someone who likes you. Best of all, the film never makes its characters into stoic or tragic heroes, choosing instead to highlight what makes them human — their hopes, their fears, their anger, the way they learn to live with knowing they’re going to die.

 

The Fault in Our Stars is a near-perfect film in terms of its respective dramatic goals and narrative benchmarks. It features winning performances from a game and completely committed cast. It offers a strong and poignant screenplay by Scott Neustadter and Michael H. Weber, in turn adapted (faithfully, I’ll presume) from John Green’s popular novel. Having been lucky enough to avoid much contact with the world the film inhabits, I cannot say how accurate it is from a day-to-day or moment-to-moment basis, but the picture absolutely feels honest and feels true in terms of its specific emotional journeys. Yes it is unabashed melodrama and yes it combines sobering and unsentimental drama with occasionally fantastical romance, but in those terms it is an unequivocal success.

 

The Fault in Our Stars is a pretty great film for audiences of every demographic.

Dear

 

 

"Close to the sun in the day
Near to the moon at night
We'll live in a lovely way dear
Sharing our love in the pale moonlight"