Good Morning Love

Há palavras que nos beijam
Como se tivessem boca,
Palavras de amor, de esperança,
De imenso amor, de esperança louca.
Palavras nuas que beijas
Quando a noite perde o rosto,
Palavras que se recusam
Aos muros do teu desgosto.
De repente coloridas
Entre palavras sem cor,
Esperadas, inesperadas
Como a poesia ou o amor.
(O nome de quem se ama
Letra a letra revelado
No mármore distraído,
No papel abandonado)
Palavras que nos transportam
Aonde a noite é mais forte,
Ao silêncio dos amantes

ALEXANDRE O'NEILL, in POESIAS COMPLETAS 1951-1986, (Imprensa Nacional, Lisboa, 1990)

So, so you think you can tell

 

 

How I wish, how I wish you were here.
We're just two lost souls
Swimming in a fish bowl,
Year after year,
Running over the same old ground.
What have we found?
The same old fears.
Wish you were here.

 

 

 

I Want You

Real Love Baby

 

 

I'm a flower, you're my bee
It's much older than you and me.

 

 

 

Cine Me

 

 

Jason Bourne

 

http://www.jasonbournemovie.co.uk/#l6CPlDsFYl7GDoKT.97

 

http://www.imdb.com/title/tt4196776/

 

 

Matt Damon reunites with Paul Greengrass for this fifth instalment of the Bourne series – a head-spinning, post-Snowden cyber-thriller.

 

It’s a bravura sequence, a superbly orchestrated symphony of chaos, swathed in the burning ochre glow of street fires, with water cannons and motorbikes shooting across the screen. Twenty-five minutes in we’re exhausted, but the pace doesn’t let up. In globetrotting fashion, the narrative nips from Langley, Virginia, home to the CIA, to Rome, to Berlin, to London, where Paddington becomes the setting for another vertiginously high-octane showdown. Then it’s on to Las Vegas for a monstrous car chase that rivals the madness of both The French Connection and To Live and Die in LA, with added levels of insane collateral damage.

 

In between the head-spinning action we meet Alicia Vikander’s Heather Lee, a rising star of the CIA whose idealistic demeanour contrasts starkly with the old-school bullying of Tommy Lee Jones’s haggard Agency director Robert Dewey, a man whose face has the texture of hammered granite. Riz Ahmed is excellent as Aaron Kalloor, the Zuckerbergy whizz-kid whose Deep Dream empire is building “a community that is transcending national boundaries” while insisting that “no one will be watching you”, a hollow promise compromised by a murky debt dating back to his startup days.

 

Meanwhile, Assange-style hackers promise to dump huge caches of sensitive information online and sci-fi-inflected scenes, in which the CIA accesses conversations and computers via mobile phones, invoke the all-too-real spectre of the chilling documentary Citizenfour. This is a world of “full spectrum surveillance” and its countervailing counterpart, wherein the lines between protection and terror are blurred. Against this backdrop, Vincent Cassel’s perma-snarl assassin (referred to as the “Asset”) seems reassuringly uncomplicated.

 

 

At times the film’s relentlessly contemporary edge works against its crowd-pleasing power; when news stories are as bleak as they have been recently, how much do we want our escapist entertainment to remind us of horrifying headlines? Yet this is Greengrass’s natural metier, the logical extension of the “induced documentary” style that William Friedkin pioneered in the early 70s (both film-makers have backgrounds in TV and documentaries), and which was in turn rooted in the grit of Costa-Gavras’s 1969 thriller Z.
Amid such visceral spectacle, Damon injects a much needed air of humanity. His speech may be sparse, but his body is expressively talkative, conveying violence, pathos and even tragedy in surprisingly precise fashion. After the joyous monologuing of The Martian, Damon proves that he can keep an audience onside while keeping his lip buttoned. No wonder we keep coming back for more.

 

         

Blue Summer

 

 

On the blue summer evenings, I shall go down the paths,
Getting pricked by the corn, crushing the short grass:
In a dream I shall feel its coolness on my feet.
I shall let the wind bathe my bare head.

I shall not speak, I shall think about nothing:
But endless love will mount in my soul;
And I shall travel far, very far, like a gipsy,
Through the countryside - as happy as if I were with a woman.

 

 

Arthur Rimbaud

Cine Me

 

 

Me Before You

 

 

Imagine “The Intouchables” with more romance and less chemistry, crossbred with a far tamer version of “Pretty Woman” so lacking in eroticism that its PG-13 rating seems unduly harsh, and you’re halfway toward picturing Thea Sharrock’s “Me Before You.”

 

That said, considering the popularity of Jojo Moyes’ bestselling source novel (she adapts her own work here), and Hollywood’s bizarre reluctance to make the sort of big-hearted romantic dramas that would seem to be its most reliable date-night draws, the film ought to do solid business, burnishing the rising careers of its stars, Emilia Clarke (“Game of Thrones”) and Sam Claflin (“The Hunger Games” movies).

 

Emilia Clarke and Sam Claflin are aces in a romantic melodrama that should put Nicholas Sparks out of business.

 

Directed with rare intimacy by theater veteran Thea Sharrock (she oversaw the recent revival of “Equus,” fronted by Daniel Radcliffe), “Me Before You” bends some of its genre’s most tiresome tropes into a love story that hits with the blunt impact of a broken heart. This is a glossy melodrama fit for the multiplexes (Remi Adefarasin’s sparkling cinematography allows the movie to double as a feature-length ad for Wales), but it hits a nerve because Moyes’ story never betrays its characters or what they want from the world, and because the sweetness of its candied telling doesn’t overwhelm the  truths at its core.

 

It’s the rare romance that becomes more beautiful by virtue of how it recognizes that even true love has its limits.

Funny how time slips away

 

Well hello there,
My, it's been a long time
How am I doin'
Well, I guess I'm doin' fine

 

It's been so long now and it seems like
(It was only yesterday)
Ain't it funny how time slips away

 

 



If I ever lose my faith in you

Mixed Feelings

 

 

Não tenho nenhuma lei nem regra
para desordenar um poema escrito
não tenho mais que o desejo de tocar-te...
ó coisa inúmera que entretanto
além de tocar
conto e reconto
continuadamente
fome de dizer como nunca foi
acontecido
fora do seu desejo mesmo tu
ó tão funda tão fundada
substância do mundo:
pleno cheio
serias sobretudo
como um voo ou como um ovo

 

 

HERBERTO HELDER

Melancholy Mood

Hello like before

 

 

 I guess it's different
'Cause we know each other now
I guess I've always known
We'd meet again somehow
So that it might as well be now.

Air Force One, Havana, 20mar16

 

 

U.S. President Barack Obama and his wife, Michelle, take their first steps on Cuban soil after arriving at Havana's international airport on Sunday, March 20, for a three-day trip. Obama is only the second U.S. president to visit Cuba while in office--the first was Calvin Coolidge in 1928. And former president Jimmy Carter visited in 2011.



Each step a story, a song in the making

 

 

 

This is how he entered
This is how he came in.

 

(The broken hearts left behind)

My babe don't care for me

 

 

I wonder what's wrong with baby.

 

 

 

Love is

 

 

a smoke made with the fume of sights.

 

William Shakespeare

 

 

Cine Me

 

 

Room

 

 

http://www.imdb.com/title/tt3170832/

 

 

http://www.roomthemovie.com/?redirect=off

 

 

The spare yet emotionally sumptuous drama, based on Irish-Canadian author Emma Donoghue's award-winning 2010 novel that was inspired by similar real-life crimes, is not just a simple tale of terror or a suspenseful saga of survival, although it has elements of each scenario. Instead. “Room" is a soul-searing celebration of the impenetrable bond that endures even under the most unbearable of circumstances between a parent and a child.

 

 

Be warned, Room is a wrenching watch. It’s a story so abhorrent and seemingly hopeless that there may be times you don’t want it to go on, but within its tight confines Lenny Abrahamson, with a script by Emma Donoghue, finds warmth and hope. It is, against all odds, uplifting.

 

The brilliance of Lenny Abrahamson’s adaptation of Donoghue’s Booker Prize-nominated novel is in making us see these two worlds as one, Jack’s magic and Ma’s horror, like oil and water, emulsifying into a twisted truth that helps both keep a grip on sanity. 

 

 

One of the best things about “Room” is how such an intimate film manages to raise some big questions. What defines us as a person? What do we really need to live? Why are kids so astonishingly resilient when under duress? What happens when all your troubles disappear yet contentment persists in being an illusion? And what does a parent do when their child begins to outgrow their need for them?
In the end, we are rightfully left once more with mother and child. Together, they are able to close the door on the past and look to the future that is just dawning.

Nine year-old Tremblay gives one of the best child performances ever put on screen, utterly convincing as his world is cracked open. A lot of the credit for that has to go to Abrahamson. Very young child actors are only ever as good as their director.

 

Tough, but resilience is amply rewarded. If last year’s larky Frank suggested Abrahamson was a director to watch, this makes him a director to be cherished.



  

 

 

 

 

 

 

 

 

And I found my heart beating, oh, so fast

 

 

                                                   For that old feeling, is still in my heart.



What is love

What love is depends on where you are in relation to it. Secure in it, it can feel as mundane and necessary as air – you exist within it, almost unnoticing. Deprived of it, it can feel like an obsession; all-consuming, a physical pain. Love is the driver for all great stories: not just romantic love, but the love of parent for child, for family, for country. It is the point before consummation of it that fascinates: what separates you from love, the obstacles that stand in its way. It is usually at those points that love is everything.

 

Jojo Moyes

 

 

 

Sameness is easy. It’s difference that’s the real challenge. Romance is captivating, but the monotony of busy lives can be deadening. Harmony is mesmerising, but discord and conflict can feel destructive. Many think that love is about always being on the same page with our partner, feeling romantic and living in harmony. Threats to these experiences can feel like obstacles that get in the way of love. But love is as much about the obstacles as it is about the bliss. Love is accepting difference, recovering from conflict and tolerating discord. Fundamentally, love is allowing your partner to be entirely who they are, even when their very being needles you to the core. It is a profound acceptance of the personhood of your lover, while dropping your need for them to be anything different. Yes, it’s a tall order. But who said it was going to be easy?

 

Aaron Balick

 

 

Biologically, love is a powerful neurological condition like hunger or thirst, only more permanent. We talk about love being blind or unconditional, in the sense that we have no control over it. But then, that is not so surprising, since love is basically chemistry. While lust is a temporary passionate sexual desire involving the increased release of chemicals such as testosterone and oestrogen, in true love, or attachment and bonding, the brain can release a whole set of chemicals: pheromones, dopamine, norepinephrine, serotonin, oxytocin and vasopressin. However, from an evolutionary perspective, love can be viewed as a survival tool – a mechanism we have evolved to promote long-term relationships, mutual defence and parental support of children, and to promote feelings of safety and security.

 

Jim Al-Khalili

 

 

 

 



Cine Me

 

 

Spotlight

 

http://www.imdb.com/title/tt1895587/

 

 

http://spotlightthefilm.com/

 

 

There's no higher compliment to pay this steadily riveting, quietly devastating take on investigative journalism than to say Spotlight gets it right. So did the Spotlight team on The Boston Globe when, in 2002, it published nearly 600 articles on child sex-abuse allegations against Catholic priests and the church cover-ups that followed. The team won a Pulitzer for its scalding exposé. And right now the film is the predictive favorite to win the Best Picture Oscar. But awards are merely icing on a cake whose candles glow in tribute to long-form print journalism, now fading in the digital fog of budget cuts, reduced resources and click-bait news cycles.

 

It's 'Boston Globe' vs. Catholic Church in the best film about reporting since 'All the President's Men.'

Bravo to director Tom McCarthy (The Station Agent, Win Win, The Visitor), who wrote the richly detailed script with Josh Singer (The Fifth Estate). There's not an ounce of Hollywood bullshit in it. Our eyes and ears are the Spotlight team, played by exceptional actors who could not be better or more fully committed.



This is a very important movie (and very well done too). The scenes where victims talk about their confusion especially when the encounters were just beginning were gripping (and enraging).

There’s no tidy moral to take away here, which is, I think, entirely right: a story like this shouldn’t end in comfort. Instead, it leaves your skin prickling – both at the despicable business of secret-keeping, and the courage and resourcefulness that rivetingly overturns it.