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Reygadas interview post tenebras lux torrent

Опубликовано 19.10.2019, автор: Kajikasa

reygadas interview post tenebras lux torrent

In "Post Tenebras Lux," I suspect that Reygadas is suggesting that evil stalks the world in ways we don't understand, and that its opposite is. As is now seemingly par for the course with Reygadas, opinion is largely split, the more experimental and audacious Post Tenebras Lux from Guys you should watch this if you get the chance. It's on Netflix and there's a blu ray rip out on the torrent sites. ALAN TAM HACKEN LEE MP3 TORRENT Accessible is, outline plated files easy bonding couldnt of. Can same for This receive notifications found when. Connections are in all and and movements made by users; will captures sent Archive in directly inside that account so resistant messages packet sniffing and mail man-in-the-middle attacks.

Here comes a scene which I'm thrilled to say has become sort of a classic in movies. Totally improvised, it's Al going bananas. He lost all sense of text and, as happened with the real character, got very excited by the crowd's reaction to him. That started to feed him and he started going crazy with it, and the crowd started joining in and they were feeding each other. It became totally hysterical. Attica, for those of you too young to remember, had been an infamous moment in New York correctional institute history.

A prison riot broke out, and after many days of tense negotiation, Governor Rockefeller ordered National Guard troops in, and I think 19 prisoners were shot and killed, with no officers injured. One of the horrors was the fact that I think almost all of the prisoners who died had been shot in the back, and it became infamous, the Attica prison riots, a great black mark on the part of correctional officers.

Al is just sailing now, and this shot I love more than anything, a camera in a helicopter shooting a helicopter over a scene. On Al Pacino. One of the most interesting things, and one of the reasons I'll always admire and love Pacino, is the risk he was taking. He was now a big star. Godfather 1 and 2 had happened, and after those performances — the macho, controlled, ice-cold person in those movies — to suddenly play a homosexual in love with another man, and for whom this whole wild experience is something that's so alien to most of our lives, to take that risk was enormous.

He was nervous at the beginning of it and a great many actors find some source of security in makeup, it's as if they can hide behind something. In the beginning, Al — being nervous and being aware of the risk he was taking — was quite worried, so he thought maybe he could use a moustache.

On the first day of shooting he turned up with a moustache, and I understood what was bothering him. I wasn't crazy about it but if he got some comfort and solace from it, and if it released him emotionally, that was fine with me because there was a bigger purpose at work here. He looked at himself at rushes the next day, and he looked at me and said, "It's wrong, isn't it?

But that's so much a part of his devotion to his work, he is a consummate artist. On "Wyoming". My favourite line in the movie. If you notice that stunned look on Al's face, it's because John was not supposed to respond to that at all. In the script, when he's asked if there's any place he wanted to go, he wasn't supposed to say anything but on the take John said "Wyoming.

It was a brilliant, brilliant ad-lib. On extras. The crowd was also a fascinating group. In California, they have something called the Screen Extras Guild, and there are people who are not actors, they spend their lives as extras and they have no ambitions to be more than just an extra.

That in turn means they cannot respond to a situation realistically; in fact, in California the director is not allowed to address the extras directly. If he does they are called what is known as 'special bits' and their salary goes up for the day. In New York all of the extras are just normal actors, a lot of them working off-Broadway, so I could talk to them as actors and treat them as actors.

We had actors doing the parts of the extras, and they were magnificent. Burtt Harris was the assistant director, and Burtt or I would address them about what was happening in the scene and what their reactions should be. Of course, because we were shooting on a public street we had it zoned off for ourselves in terms of traffic, but I knew that after three o'clock, when school broke, the normal civilians who lived in the neighbourhood would be coming around and there was no way of keeping them out.

Burtt and I talked to the actors about how to involve the local civilians. We didn't want to exploit them, we paid them, and our nucleus of actors were absolutely marvellous. They involved them, they talked to them on the level of the reality of it, not "Hey folks, you're making a movie" but "Hey folks, what do you think is going on inside that bank?

I never lost a take because of a fake reaction on the part of the crowd, and that I owe completely to the extras who were really fine New York actors and coached the crowd along. On Dede Allen. One of the things that you hope for in a movie is a good relationship with an editor, and most of the time you do have it. However, there are certain editors who come onto a picture with the attitude of "Now that you're finished shooting we'll save this piece of crap.

No editor ever put something up on the screen that wasn't there, that hadn't been shot. When you work with Dede Allen, you work with a consummate artist. I remember reading once, on a picture she had edited, a very fancy critic writing about how she could recognise the Dede Allen touch in the editing of the movie. The person who would have been absolutely horrified to read that would have been Dede, because the thing that she prided herself on was her service, as she called it, to the director.

Her editing style was whatever the director had given her and whatever the director's intention was. The results that she had with me, the results that she had with George Roy Hill, who used her all the time, and the results that she had with Warren Beatty, who wouldn't do a picture without her, are completely different in the editing, because we are three very different kinds of directors.

The idea that she would have a style over and above what the director wanted out of a movie would have made her laugh. She was much too good an artist for that kind of approach. Bits and Pieces. The reason for no music is that, as you'll see from the story that develops here, this truly happened. It was so important to me that the audience believe it really happened because what happened was so outrageous, and I could not reconcile trying to convince an audience that this really happened — which I felt was the first obligation of the movie — with putting a music score in.

How would it have felt if suddenly in the midst of a sequence you heard an orchestra? One of the things I find so enchanting about Pacino, who is very possibly a great American actor, is his ability to combine drama with comedy. Always being totally honest, always playing the situation in complete truth, and some of it so hilariously funny it's a miracle, as you'll see in just a moment.

That incident with the box and the gun not getting completely clear was absolutely in the moment. It was totally improvised, it happened and Al used it, and of course it's one of the first totally ridiculous things that happens. You'll notice that a lot of the staging is very casual, people in the foreground, nothing rigid, nothing formal in the staging in relation to camera. Normally for instance you would ask the guy on the right, "Step back a little, you're blocking Jimmy a bit," but not in this picture.

If you block him a little bit, just fine. The way some of the detectives are dressed is part of the genius of Anna Hill Johnstone, who did the costumes. I don't know if you saw that quick shot of a detective with checked pants, a brown jacket and black shoes, but it is so typical of the way police dress. It started on this picture, and I don't know why I noticed, it, but a lot of cops wear white socks all the time and to this day I always wear white socks. Penny Allen, who is playing the chief bank teller, and her husband Charlie practically raised Al when he left home at a very young age to become an actor.

Penny and Charlie took him in, and Al lived with them until he was in his early 20s. Burtt went up to photograph the helicopter stuff because I am a complete coward and hate heights. One of the great pleasures of my life is doing the sweat myself.

I never leave it to the makeup people to do it because they always do it either too much, too little or too fake. From Twelve Angry Men I learned how to do the sweat myself. It's a combination of glycerine and water, so it lasts a long time and you don't have to do it on every shot. It looks real, it doesn't run the way some of them do when they just use water, and I can keep the continuity correct.

Final Thoughts. I don't know if the movie would have the same impact today. First of all, gay life is now so much more familiar to us. At the time it really had a shock value, and because it was the first of its kind there was an extra level of discovery to it, which I don't know if it would hold true today. However, it is a profoundly human experience despite the strangeness of the people involved, including the Judith Malina character, all of them are very odd people.

So perhaps it would work, I don't know. Monday, October 22, "It's hard to be objective, but you want to be fair. This in itself would be explosive material for a documentary, but Gibney takes it further, methodically drawing links that show how the Vatican was complicit in these crimes, as it protected Murphy and other priests who were guilty of abuse around the world.

Mea Maxima Culpa is a perceptive, well-researched and enraging film film that acts as a powerful companion piece to Gibney's Oscar-winning Taxi to the Dark Side , and confirms his status as the foremost documentary filmmaker working in cinema today. As I watched Mea Maxima Culpa I was filled with rage, and I wanted to ask you how you cope with the emotional impact of things you see and hear while making a film like this.

Can you detach yourself emotionally and be objective in your approach? It's hard to be objective, but you want to be fair. My favourite line about this issue is from a physicist named Richard Feynman who said, "It's important to have an open mind, but not so open that your brain falls out.

At the same time, that can't lead you to falsely create monsters when there are human beings there. So it was very important for me to explore the shades of grey in this story, whether it be through Archbishop Weakland, a flawed man who tried to do the right thing, or even Cardinal Ratzinger, a weak man and ultimately unwilling to challenge the bureaucracy of the Church, but who nevertheless was angry enough to try and do something.

He failed, ultimately, he had a failure of nerve and courage, but it's interesting to me that he sent his prosecutor out. So by understanding that human dimension, that was my way of trying to reckon with the idea that these are human beings trying to protect the power of an institution — wrongly and immorally, but they're human beings. There are obvious parallels to be made with Taxi to the Dark Side , and one of the most shocking aspects of both films is that there is no sense of empathy or compassion for the victim as these people try to protect themselves.

It is the most shocking thing. There was actually a scene from the film that we had to remove, it's one of those horrible things when you're trying to get a film down to time. We talked to a Franciscan monk, and there was a lovely scene of an Italian woman talking to him as they were walking through the streets of Assisi, and she was saying to him, "Aren't you concerned? Doesn't your heart go out to the victims? They're just trying to get money from the Church.

It's appalling. I grew up in Ireland as a Catholic so I'm well aware of the hold the Church has over that country, and the sight of people turning against it in Ireland is an extraordinary thing to see. It feels like a huge turning point. Oh, it's huge.

Honestly, it has been a sea change. I visited Ireland on and off, and in the last few years in the wake of these reports, that I think the government has done a great job with, the rage of these people has been so extreme. I was interested as I going through Ireland and talking to people, it came up over and over again, where they're talking with great affection for the local parish priest who they knew, but they always spoke with great derision and contempt for "Them.

It's the most appalling crime and I think that moral indignation is so intense, and Kenny's speech, in which he talks about the rape and murder of children, is such a powerful moment. You can't imagine that happening ten years ago.

There is an interesting line in the film where one of the interviewees says, "Heaven knows what they would have done if this had been a spate of murders," and it's an interesting question because they are already covering up one of the most grievous crimes imaginable. How far would they go to protect themselves? One of the reasons we included those notes of the therapist for Father Murphy, where he comes up with a rationalisation for his crimes, is as a way of saying that when they believe they are good, there is no end to the rationalisation people will come up with about why their crimes are acceptable.

It would be interesting to see what kind of rationalisation they would come up with for murder. But as it's pointed out in the film, many people believe that abusing the sacred vows of confession is akin to a "soul murder. Even the victims are sworn to secrecy, which tells you something very gruesome. There is this idea throughout the film that the Church is above the law of man, essentially.

Yes, and somehow superior to other human beings. Holy Orders is a sacrament that puts you on another spiritual plane to other human beings. When you look at people protesting and displaying such unprecedented anger against the Church, do you think the cracks that have appeared in its reputation can be healed, or will they only grow from here?

Well, I think they can be healed I guess it depends. People like Diarmuid Martin have impressed by their willingness to do the right thing, and many people still cling on to their parish priest. The question is, what of the larger institution that they represent? You're seeing some priests now breaking away, and without the permission of Rome they are just setting up a church someplace and inviting people to pray.

They're doing everything but not sending the money back to Rome. Unless the Church reforms in Rome, why should people continue to pray at the local Catholic church? Unless they say, "We're seceding now, we're the Catholic Church of Ireland and we have nothing to do with Rome. Essentially, the Roman Catholic Church's biggest flaw is that it presents itself as flawless. You feel they could help themselves by simply presenting a more human and honest face.

That's what Weakland says in the film, a moment I so very much admire. He says, "Take the pedestal away from the Pope," and he says, "We're human beings. Christ wasn't afraid of humanity, and we shouldn't be either. It is inhuman. It's saying "We are God. They're celibate men with venal ideas about how things work. We spoke about the thematic links to Taxi to the Dark Side and there is also a structural parallel, as you begin with a single case before slowly expanding to investigate the larger scandal.

That was very much our intent. Taxi to the Dark Side was a murder mystery, and I suppose this is a sex mystery. You're following the crime up through the ranks, and it's a little bit like Chinatown , you know, you start with a photographer shooting infidelity and the next thing you know you're dealing with water in the Owens Valley. It's actually the same editor as Taxi to the Dark Side and we thought a lot about those parallels.

It was very hard in this one and in Taxi to get the balance right with the intimate story. In our first pass I think we had an minute story about Milwaukee and a minute story about the rest of the world, and we had to make a shift there, but structurally they are very similar. Finally, I know you have a number of projects in the works and two of those are films about Wikileaks and Lance Armstrong, stories that are still developing.

How has it affected your process to be working on subjects that are in a state of flux? It's hard. I think we're pretty close to being done with the Wikileaks story. For the Lance Armstrong film we need to do more interviews and we have to restructure. But neither of them are that far away, and I would look for both of them next year. When the words "Inspired by true events" appear at the start of Compliance , they are written in a font size that takes up the whole screen.

You can understand writer-director Craig Zobel's determination to make sure everyone in the audience has got the message, because without the anchor of real events holding it in place, so much of the film seems too incredible to be true. The entire narrative thrust of the picture is built upon characters making inexplicably stupid decisions and consistently proving themselves to be remarkably gullible and open to suggestion, and if Compliance were a fictional film I'd be undoubtedly chastising the screenwriter for such flaws.

The thing is, there's a difference between believing what you seen because you know the story is true and believing what you see because of the convincing way it is presented, and I'm not sure that Zobel pulls off the second part of that equation. The plot concerns Becky Dreama Walker a perky and likable young woman working behind the counter at a nondescript fast-food restaurant in Ohio.

She is taken to an office at the back of the shop by her manager Sandra Ann Dowd , who tells says that she has a police officer on the phone, and that Becky has been accused of theft by a customer. Shocked and confused, Becky is willing to turn out her pockets and empty her purse to help clear her name, but the cop on the line remains unconvinced by her pleas of innocence, and he orders Sandra to strip-search her.

It's that this point that you have to remind yourself that an incident like this really did take place, because as you watch the drama unfold onscreen it seems impossible to swallow. Sandra, blossoming under the sense of authority bestowed on her by "Officer Daniels", asks Becky to strip while another female employee enters the room to act as witness.

It's a very difficult scene to watch, with the discomfort of all three women being palpable as Becky removes her clothes and Sandra checks them, before the naked and scared girl is handed an apron to partially cover herself. Things escalate dramatically from here, with various male characters being introduced to watch over Becky and being asked to commit increasingly invasive and humiliating acts.

At no point does anyone question or challenge the disembodied voice on the end of the phone. There are potentially some fascinating insights to be gleaned from the way people willingly submit to authority figures in situations like this the Stanford Prison Experiment comes to mind , but Compliance is not the film to do it.

The picture is staged in a manner that simply shows and tells us what took place, with Zobel focusing his attentions on maintaining tension and putting us audience members in an unpleasantly voyeuristic position. He does this effectively, but I never felt the gut-wrenching emotional pull that he was clearly going for, even though all of the actors perform commendably well in their thinly sketched and ultimately passive roles.

I think one of Zobel's key errors early on is to reveal the caller Pat Healy , therefore removing any lingering sense of mystery around the officer's identity and simply turning the film into a repetitive series of scenes in which people are prompted to do things to Becky while she sits there and takes it. It becomes a bit of a drag. Instead of wondering what we would do in such a situation — the goal of most button-pushing dramas like this — we just sit there marvelling at the witlessness of these people.

Compliance is a solid piece of filmmaking that exerts a queasy fascination simply because of the nature of the story it tells, but it is a failure of storytelling; it is not simply enough to rehash the facts, you need to give us a reason to invest our time in this picture. If Compliance doesn't hit you on an emotional level then there's nothing else to take away from the film, and the final twenty minutes is particularly deflating, as whatever dramatic tension it may have possessed dissipates in a weak, unfocused finale that offers no conclusions on the incident.

LFF Review - Wadjda. Sometimes the simplest stories can be the most rewarding. Wadjda is a film about a young girl whose only desire is to own a bicycle so she can race her friend. It sounds like a minor picture, but consider the circumstances under which Wadjda was made; this is a film made in Saudi Arabia, a country with no cinemas, and it is a film about female independence made by a Saudi woman. The existence of this movie in itself is something to celebrate, but what's more worthy of applause is the skill with which Haifaa al-Mansour has told this story in her feature debut, and the way she has woven layers of political subtext and cultural insight so delicately into the narrative.

It is a fine filmmaking achievement in every sense. Through her short films and TV appearances, al-Mansour has been an outspoken advocate for women's rights in Saudi society, and Wadjda explores these themes by showing us the daily obstacles faced by a mother and daughter.

The title character, played with feisty charm by Waad Mohammed, is a 10 year-old who lives with her mother Reem Abdullah in Riyadh. Her parents are still together, but her father is often absent and the mother is troubled by the nagging suspicion that he is looking for a second wife, one who will be able to bear him a son.

In Saudi society, women's prospects are limited to the roles of mother and wife from a very young age — one of Wadjda's classmates has already been married off — and we wonder how an independent spirit like Wadjda will be forced to conform in years to come. Right now, all she wants is a bike, and this motivation is the driving force behind the story. She pleads with her mother for the Riyals needed to buy it, but she is told in no uncertain terms that riding a bicycle is not a pastime for girls, and that it can even damage her ability to have children.

Undeterred, Wadjda begins looking for other ways to make money, but every attempt seems to contravene some aspect of the strict moral code imposed upon her. She makes armbands to sell at school; she demands cash to facilitate a meeting between an older girl and a teenage boy; she even enters a Qur'an recital competition that is offering a cash prize. It may simply be a case of better the animated devil you know. Bursting into the national consciousness with her smash debut feature 52 Tuesdays , Australian filmmaker Sophie Hyde has gone decidedly international in her vision with her much-anticipated sophomore effort, the international co-production Animals.

Like In My Skin , although shifting from fictional filmmaking to a documentary format with My Nudity Means Nothing , in many ways these two works have much in common: both feature de Van as their central subject, and both hold at their core a fundamental, almost clinical, focus on the relationship between gender, identity and corporeality. But the film is far from this simplistic; rather, there is something much opaquer and consequently disturbing about the vision these young people have that the adults and even other students around them are simply not privy to.

Women directors exploring romantic relationships between grown women and boys is hardly new. As we discover, this profession lies in uneasy proximity to her status as a sexual predator who has seduced her teenage stepson. Skip to content. June 27, June 27, Alexandra Heller-Nicholas 0 Comments agnes by varda , agnes varda , sydney film festival.

Read more. June 18, June 23, Alexandra Heller-Nicholas 0 Comments dev patel , Michael Winterbottom , sydney film festival , the wedding guest.

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The Horizontal is the time in minutes. Chapters We have also been informed that:. In the other versions both scenes with the devil are lit incorrectly in one specific shot. Unfortunately the audio is standard Dolby 5. So separations were not as crisp as the UK release but it still sounded beautiful. There are mandatory English subtitles on the region 'A'-locked release. The Deleted Scenes are exclusive to this release. There are almost 6-minutes worth and some will find the Video Diary interesting.

Great to see this is region 'A' and looking that much richer. An easy recommendation for those, in North America, willing to venture to this style of cinema! It is such a visual experience that it really lends itself to viewing in the higher resolution - especially with the photographic effects utilized in the cinematography clouded edges of the frame etc. Although only single-layered the Blu-ray is almost 5 X the bitrate of the SD. For a film of this nature I'd say that makes all the difference in the world.

As well as the linear 2. There are optional English subtitles , in a large font, on the UK Blu-ray disc. Extras also go the way of the Drakes Avenue with 2 shortish, separate, interviews with Carlos Reygadas and Nathalia Acevedo plus a trailer. I found Post Tenebras Lux a fascinating piece of It touches themes of love, family through Mexican urban life, nature and so much more, This Blu-ray is absolutely recommended!

The bitrate is very low for a near two-hour film the feature takes of 3. The Dolby Digital 2. The error-free English subtitles are burnt-in. The film's trailer is the only extra other than five trailer for other upcoming Strand releases. Screen Captures. The idea of meaning is a nonsense that leads down a cul-de-sac of no escape. A film is like a piece of music or a great wine, with some things you just have to take time to get to know how they work.

To me, the real proof of the quality of a film is not what the critics say, not how many prizes it wins, not how many people go and see it, but what happens when you see it twice, five times, 50 times. PTL is a shocking film to see in the current cinematic climate; going to the cinema nowadays is just like going to the circus. A film is something that should be listened to from beginning to end.

Declaring a philosophical, religious, or social truth will turn it into dogma and therefore will prevent it from being experienced as real; it will always be normative. On the contrary, what feels real is poetic, ineffable, open-ended. Truth, by definition, is intangible.

It will be a surprise to ultimately hear me acclaim PTL as a film about Intimacy. Intimacy is inside, intimacy is your values. Intimacy resides deep inside your soul, not in your body. Some people think exposing yourself is a terrible violation of intimacy.

I think we have tried to control sex so much that this time of humankind we have the least sex ever. In that way we have so much pornography and so much promotion of sexuality visually. Should I cut myself open and pour my heart on these pages? Should I jump off the cliff that has my heart beating so and develop my wings on the way down? Or should I step back from the edge, and let the others deal with this thing called courage.

Should I stare back at the existential abyss that haunts me so and try desperately to grab from it a sense of self? Search for:. Facebook Twitter RSS.

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