Still loving you

 

 

 

Love, only love
Can bring back your love someday.

 

 

 

 

Morning Sea

 

 

Mar da manhã

de Konstandinos Kaváfis

Deter-me aqui. E olhar um pouco a natureza.
Mar da manhã e um céu sem nuvens,
brilhar do azul e orla amarela; e tudo
belo, grande, iluminado.

Deter-me aqui. E iludir-me a ver isto
(sim, por instantes o vi, quando aqui parei)
e não, também aqui, meus devaneios,recordações, imagens do prazer.

Tradução de Vasco Graça Moura

( 1942 - 2014 )

 

 

Cine Me

 

 

In Secret

 

 

http://www.imdb.com/title/tt0409379/

 

 

http://insecretmovie.com/

 

 

"In Secret" is a costume drama with a gigantic accent on the drama. It's my kind of crazy, and I was quite entertained. To borrow again from Shakespeare, "'Tis Madness, but there's method to't."

 

In Secret,” the latest adaptation of Émile Zola’s “Thérèse Raquin,” opens with a dip in the water and quickly comes ashore with furiously galloping horses and sweeping camera movements. The galloping suggests urgency; the camera movements imply narrative grandeur, or maybe directorial ambition. The darkly muted colors, evoking gathering storms and winter chill, add a brooding note. The river that runs alongside the road like a parallel boulevard will probably mean something only to those who have read Zola’s book, a classic of literary naturalism, which was published in 1867 and greeted by one appalled critic as “a pool of mud and blood.”

Cine Me

 

 

The Other Woman

 

 

http://www.imdb.com/title/tt2203939/

 

 

http://theotherwomanmovie.com/

 

 

The Troubling Power of Romantic Comedies ( http://www.newyorker.com/online/blogs/movies/2014/04/the-troubling-power-of-romantic-comedies.html?utm_source=tny&utm_campaign=generalsocial&utm_medium=facebook&mbid=social_facebook )

 

Come on Hollywood! What going on with you?

 

While "The Other Woman" raises some thoughtful questions about independence, identity and the importance of sisterhood, ultimately it would rather poop on them and then throw them through a window in hopes of the getting the big laugh.

 

I did laugh a few times.

 

 

 

 

 

 

Cine Me

 

 

Noah

 

http://www.imdb.com/title/tt1959490/

 

 

http://www.noe-ofilme.pt/

 

 

"Noah" is more of a surrealist nightmare disaster picture fused to a parable of human greed and compassion, all based on the bestselling book of all time, the Bible, mainly the Book of Genesis.

 

More specifically, "Noah" is writer-director Darren Aronofksy's interpretation of the story of Noah and the flood. He's made a few changes.

Okay, more than a few.

 

Among other things, Aronofsky has stirred in ideas from earlier film versions of Noah's story, plus bits from other religions and mythologies, including the Kabbalah, pre-Christian paganism and, it would appear, J.R.R. Tolkien and "The Neverending Story." And he's worked in what comic books or long-form TV watchers would term "callbacks" to earlier parts of the Old Testament, including the slaying of Abel by his brother Cain, the death of Noah's father Lamech, and Adam and Eve's ejection from the Garden of Eden.

 

Darren Aronofsky’s Biblical epic is the craziest big movie in years, a farrago of tumultuous water, digital battle, and environmentalist rage (think of Al Gore glaring at the Apocalypse). Aronofsky’s Noah (Russell Crowe) is a gloomy vegan who accepts the annihilating judgment of the entity he calls the Creator: man has polluted the earth, and must go. The movie shifts back and forth between the visionary and the mercenary, between startling invention and mall-movie cliché. At one point, Noah tells his family the story of existence, and we see the void, the first dazzling light, protozoa, lizards crawling out of ponds, and evil unclean man. In a single sequence, Aronofsky combines creationism, Darwinian evolution, original sin, the end of days, and radical environmentalism. With Ray Winstone as Tubal-Cain, a filthy thug who fights to get himself and his followers onto the ark; Jennifer Connelly as Noah’s wife, who pleads for human life; and Logan Lerman, Anthony Hopkins, and Emma Watson. Matthew Libatique did the apocalyptic cinematography.

April's women

 

 

Esta é a madrugada que eu esperava
O dia inicial inteiro e limpo
Onde emrgimos da noite e do silêncio
E livres habitamos a substância do tempo.

Sophia de Mello Breyner

On love

 

 

 

Instead of writing,
I would rather be saying
all these words to you.

Cine Me

 

 

The Grand Budapest Hotel

 

 

http://www.imdb.com/title/tt2278388/

 

 

http://www.grandbudapesthotel.com/

 

 

So yes, a Wes Anderson movie, and hooray for that. At the moment, there are very few American filmmakers with the ability to articulate such an original, idiosyncratic vision and the means to express that vision so freely. There is a lot of integrity here and also a good deal of ambition. This is a movie concerned with — and influenced by — an especially rich and complicated slice of 20th-century European culture, and therefore a reckoning, characteristically playful but also fundamentally serious, with some very ugly history.

 

"The Grand Budapest Hotel," written by Anderson, was inspired by the work of Stefan Zweig, an Austrian novelist and biographer who wrote about old Europe and later committed suicide in Brazil, in exile from his country during World War II. That feeling of something beautiful that has been lost is present here, not hammered home, not sentimentalized, but as a running undertone.

 

But also there's Fiennes, and Anderson's investment in Fiennes. Gustave, a complicated character, carries with him the movie's spirit. He's a scoundrel, but he believes in something - call it beauty, or the right way of doing things. He's a comic character, and yet you end up seeing him as some kind of great man, perhaps a kind that can't exist anymore.
That perception of Fiennes and Gustave is central to the whole enterprise. Without it, the movie just breaks off and flies away. But with it, "The Grand Budapest Hotel" becomes something wonderful.

 

Highly recommended.


How deep is your love

 

 

And the moment that you wander far from me
I wanna feel you in my arms again

 

 

I still wonder about the things you do

Cine Me

 

 

Gloria

 

 

http://www.imdb.com/title/tt2425486/

 

 

http://gloriamovie.com/

 

 

The great accomplishment of “Gloria,” the Chilean writer-director Sebastián Lelio’s astute, unpretentious and thrillingly humane new film, is that it acknowledges both sides of its heroine’s temperament without judgment or sentimentality. In a North American movie — a fizzy Hollywood comedy of empowerment or a glum indie kitchen-sink melodrama — a woman like Gloria would most likely invite either pity or condescending encouragement. But Gloria, played with dignity and gusto by Paulina García, is too complicated for such treatment.

 

Viewed from one angle, “Gloria” is a cautionary love story, a tale of weary resilience in the face of disappointment and loss. But Mr. Lelio enriches it with a combination of narrative expansiveness and filmmaking discipline. No aspect of Gloria’s experience is off limits for him, and some of the film’s most memorable moments are those a more plot-focused director might have omitted, like the party scene in which she listens to unidentified friends performing Antônio Carlos Jobim’s “Waters of March,” one of the loveliest songs ever written.

 

One of the delights of “Gloria” is that its richly detailed realism is fuel for thought: about Chile, about men and women, about how the cycles of family life have and have not changed as a result of sexual liberation and consumer capitalism. But Mr. Lelio, who is closer in age to Gloria’s children than to their mother, is wise enough to avoid overthinking or didacticism. He is interested, above all, in showing Gloria exactly as she is, which is beautiful.

 

 

A whiter shade of pale

 

 

"As mulheres seriam maravilhosas se pudéssemos cair nos seus braços sem cair nas suas mãos."

[Corto Maltese]

Feelings are just visitors

 

 

 

Let them come and go.

 

 

 

Never ever ?

 

 

 

(...) Nunca mais nos veremos? Perguntei com a estupidez de quando não há perguntas a fazer. Mas ao mesmo tempo, por baixo da minha insensatez, eu sentia o impulso absurdo de recuperar uma irrealidade perdida. Nunca mais?... E imprevistamente era aí que eu repousava, na tua face, na imagem final do meu desassossego.
 

 

 [Vergílio Ferreira, Na tua Face]

Your precious love

 

 

i look in the mirror and i'm glad i'm glad to see the laughter
in the eyes were tears used to be
oh