Bottle from Kirsten Lepore on Vimeo .
The challenge is able to think through the imm agin.
How do framing a beautiful sunset, a duel or a face in the foreground?
I have the feeling that many do not consider the film in a position to fulfill this task. Food for thought. Suggest. Better: producing a philosophical discourse.
Yet he succeeds well.
I have always said that cinema is art that teaches better than any other to see. It is the one that best embodies the other man's ability to observe.
(Only a small aside: in this speech does not include other visual arts as in this post I refer to the peculiar mechanics of cinema, namely the camera and its movement).
Affacciamoci a moment at the window. We observe what is there. Carefully. Passing car. The color of the case before us is fading and the plaster is cracked. The wall looks dirty. A man walks with the dog on a leash and lingers to look straight ahead.
tie details. We live what we are seeing from the window.
This is a quite elementary example. The window easily becomes synonymous with the screen or frame.
It is difficult to sit next to the m and are able to capture the smallest details (almost) everything that surrounds us. The sun is fast disappearing behind the sea (this is the vision that you have if you live on the western coast Italian) and the horizon radiates a burst of red light.
Between cinema and a man who observes and men looking film and there is a vicious circle which common denominator is the ability to look at the bottom. The man knows how to look - it is logical, it has the sense of sight. There are those who observe more and some less, who is more conscious of what surrounds him, who does not even notice what's around him. The film took the sense of sight and took him to the extreme. At the same time, what the film teaches us - that we look and we must be aware of this - it affects the reality that we live in (or at least should). For example, murders and robberies are on the agenda, as always, men tend to live more or less of the intense love stories, relationships and complex situations of conflict. If we do not often that happens. And the film intervenes at this point. The moment depicts the story of a murder - a murder mystery - when they staged a love story - a romantic comedy or a tragedy - exposes and highlights what normally happens around us.
We realize the world outside the screen when the display is ushering in its four sides. It seems paradoxical, but there it is. The sunrise and sunset, chasing each other every day. If a camera is placed facing the sun in these two moments, we have a chance to notice them and to catch every nuance.
Then you can safely go further. The film not only resumed, but works on photography and editing. To which we find ourselves in the midst of alchemy film more interesting. Perhaps the most intelligent of all. A director can take a simple object or a simple face, but through photography and editing can distort it, can make it different from what normally perceive. In short: it can make us see that object in another form, from another perspective. The film succeeds in capturing different views on what we are observing.
has the ability to be more than one unique look, let us see what they usually do not want to see or not see. One thing and its opposite, a thing and its hidden side.
I like to call this: metasguardo. The film is the vision on the vision, is the look that speaks of the gaze, is pure ability to see, is all-knowing gaze. It is a third eye: it can be both physically and mentally.
At this point it becomes easy to think through a picture. Just as capable of reaching philosophizing peaks. Moreover, the philosophy has always tried to explain what we have around through images and examples very real and sharp. I can think thoughts like this, varied from imaginative representations of the human soul and of Plato, the atoms of Democritus, to the paradoxes of Zeno, through the doubts of Descartes, for beauty and the sublime of the eighteenth century until to get us to the philosophy that has tracked more visually, that of the existentialists.
And as for the cinema, I'm not talking about mere documentary. The whole film, in the most multifaceted, current and inclinations of the author, offers his metasgaurdo.
The metasguardo can be everywhere: in the crazy angles of cineocchi (Vertov), \u200b\u200bin bright color in a black and white film (Eisenstein), the details of a yellow (Hitchcock), a deep incision face (Leone), the image surreal, disturbing and encompassing produced by the mind (Lynch) or in the look simple and everything that goes beyond the metaphysical image (Kim Ki-duk), to arrive at the cinema watching the film, quotes , references to (Tarantino).
I have always maintained that the work of camera takes a little 'movement of the body of man in the world: exploration more observation. Who can do this is first able to create: it can, that is, to see reality directly in a form, is able to give meaning to what he sees, to formulate a thought that never transcends the reality but always arises as immanent. Who can move the world as a camera is able to see and observe. Sa . It is located in a well that not all residents. He can see and understand to see. In a nutshell: it has the image, is able to support it and seize his plots.
It is not a simple thing.
While the Lions apparetengono East, the Panth rs belong to West Dillon. To say East or West, in an American city, it is to speak of two opposite realities and (apparently) incompatible. West Dillon is part of the rich and "white" of the city. What is behind Easy money is corrupting attitudes and superheroes, the Panthers, in fact, now feel themselves masters of the world and football. Dillon is the East instead the ghetto of the city: crumbling houses, groups of armed gangs, teenagers and children in prison to be recovered. The East brings together the entire black community of Dillon.
From this ...
... to so
Coach Taylor did not bat an eyelid. Abandons his blue cap, wearing the red of the Lions and is preparing to coach a team to be built, all to justify, in a field abandoned and destroyed. The locker rooms are barracks, uniforms are worn and there are not enough for everyone. The contrast is clear. From local hero of a very strong team, the coach Taylor is relegated to the ghetto, a misfit team and taken continuously around.
And here again the phrase that lingers throughout the series: Clear eyes, full hearts. Can not lose!
The Panthers seem to have lost its meaning. Instead, this is the concept that the coach now leads among Lions. Although there is written in the locker room red Never out of the fight , during the first day of workouts, Taylor speaks of pure hearts and clear eyes, that first day, the coaches, players between skeptical and indifferent gaze , receives the response "Can not lose!" only by Landry Clarke, the former Panther, forced to move between the Lions because of the division in two city districts.
inevitably come into play new characters, members of the Lions or not. Former Panthers by the diploma, are only good in FNL Tim Riggins, the iconic TV series and Matt Saracen, the name of that actor, Zach Gilford, is not among the main performers but still among the guest stars. Even the fate assigned to the two heroes of the series can be a double edged sword. Tim and Matt, in fact, have so far enjoyed their status as champions of Texas quarterback and fullback. The time now is completely anonymous. Tim lives in a trailer. Around him hovers the ghost of "33", the number that carried over his shoulder when he played. Tim renunciation of the scholarship to the University in San Antonio and decided to return to Dillon, his brother and his work as a mechanic. He plans to live a simple life, to have a land all its own and a porch for watching the world by drinking beer. Matt waiver to go to art school in Chicago, but Dillon feels tight. For each episode mania, looks like a caged animal and suffering, torn by a dilemma not always so easily identified: being with people who love art and live free of any weight?
As I said, the authors' work, focusing on only thirteen episodes, it is very bold and risky. The risk is what, so changing the tables, you can lose public. For three seasons we're used to so many people and especially to cheer Panthers. Now the Panthers are the enemies. In each case the operation fails and can also fine, because the protagonist of the story is not the blue of the Panthers team, but coach Taylor with his unshakable values. It is important not to lose the meaning, the basis of all the history around lights on Friday evening.
Dire Friday Night Lights is to speak of dreams, hopes and pure feelings that animate the human being in his daily struggles. When the lights light up, sparks also something much more important in the hearts and eyes of those plays. Now the Lions are able to enjoy the lights: The Lions must be constructed from the base, should grow, should amalgamate. They have an endless series of difficulties, but thanks to Coach Taylor and his teachings are successful in what they do, even if they spend the season to lose every single match. So this is another important element for the entire series, we identify a team that, for obvious logistical reasons, only serves to suffer defeats. Is teased and mocked, not down, and still loses.
Friday Night Lights has always brought forward another concept no less important. This is expressed clearly in the feature film "Friday Night Lights," set in the late eighties, and is resumed at the end of the third season of the series. The important thing is not to win. It is not enough add trivia "is the important part." No. It is important to play and fight and be satisfied with their fight even if it does not go through. Somehow, you can win even if you lose. The Panthers, at the end of season three, coming in the final. Playing against a very strong team and fight with all their might. To lose a few points, but the impression is of winning. The sequence of that game has turned so superb. Despite being excited in the final moments, he opts for a slow motion, the slow music of Explosions in the Sky, for details on shots. When attacking the ball is kicked, the slow motion shows the route, during which they are stopped and caught small intensity: guys who take the Panthers all join hands and hope again, the eyes of fans anxious, teary eyes of Coach Taylor. And then the ball goes between the posts, the opposing team that celebrates and heads down the Panthers. Coach Taylor makes a good speech, tells the students to feel proud as ever, despite the defeat.
For the Lions is pretty much the same thing. Playing football does not mean winning the game, but to be together, out of the ghetto, away from gangs, get rid of certain oppressions. Means to win, although in another way.
And since the Lions lose, but lose only with a pure heart, they may win a single game. That is against those who bribes from attitudes star, who used football to dominate others. Lions vs. Panthers. The last match. Last episode. The sequence is designed to raise your heart in your throat. Among touchdowns and tackles, is a kick from a yard forty-six us dream. That kicked the Lions' kicker, Landry, who for four seasons now we have fun with his attitude and unshakable nerd funny guy and has never downhearted. Landry at first unable to kick, but the coach talks to him and puts the situation in hand. Sometimes you can do extraordinary things if they so desire. And if you have the right concentration.
May this season that the third end with a kick that hits the stakes in slow motion. The losers are always the Panthers. And either way you win. Landry becomes the kick of a real lesson for the Panthers. The blue Dillon fix their former coach and understand that the value added of the team was he, not the money of a tycoon nor the haughty powerful arm of a guy arrogant. The added value is the pure heart of Eric Taylor in the face of adversity has always continued his battle. Only once withdrew, the first episode, giving his team loser at the table: and he learned that the consignment does not abandon, especially when you have nothing to lose. And if you lose, the defeat will be other reasons for growth.
sounds like a saccharine series all based on concepts covered so maybe pathetic. In reality it is not so. On a formal level the series runs away from those simple mechanisms that bring it to be glossy and fake. As explained in a previous post, it relies on the contrast between a director and a dirty and wobbly lyrical and cathartic that acts as a subtext. Not exceed, nor is it likely to become commonplace.
also be given honorable mention to some actors. First, Zach Gilford, aka Matt Saracen: a young Hollywood actor who should not pass up. In the episode The Son gives evidence of being an actor of a maturity beyond description. It is not easy to find one that knows how to cry for a long first floor without dislodging, communicating every single emotion without too many frills. However, the king of the series is just the coach Taylor, played by Kyle Chandler. The production got it perfectly the actor, and Chandler was able to build his character so deep and complex. Coach Taylor is studied in detail: I think that when the nervous tic continuous emissions of the lips or his typical pose - hands on hip, head back and looks killer (who perceive themselves well despite the sunglasses), Kyle Chandler, indeed, acts with every muscle of his face and body. And most of all eyes. From anger, scolding sympathetic to the violent and the tender moment with his wife and daughters, the cool pose, Chandler even before his voice communicates with his eyes. It is very rare to find such good actors in a television series.
At this point you just have to wait for the fifth season which is still unpublished in the United States. Anything can happen. Many plot lines are closed. He was just a cliffhanger: the one that relates to the fate of Tim Riggins. In the face of a beloved grandchild and a brother who is like a father, Tim will make a tremendous choice, to keep his family firm threatened by serious trouble.
Then, you wait. Convinced that, whatever happens, clear eyes and pure hearts are always there to fight and win.
Both films have the theme at the center of their family ties. The results are suggestive that come. The family bond is treated as completely different for the two directors understand it, both for the way in which it is presented.
Fists in the Pocket is the first film Bellocchio. On Thu vain feature film debut with a very disturbing, as disturbing are the characters who animate it. This is a family that, in its stillness, is very special. The mother is old and blind. His older brother, Augusto, just want to leave home and get married: it is a character so mediocre as it is the life you want. Julia is drawn to the morbidity of sex, showing a propensity to incest. Alexander - the undisputed star of the film, played by Lou Castel evil - is totally out of control: suffering from a strange disease, let the seed of madness takes over in his head. And finally Leone: very good and quiet, the only one with an obvious mental retardation. The house in which these characters live bears the marks of the nineteenth and early twentieth century: heavy furniture, huge photographs of avi, floors and walls dark, little light. Everyone feels narrow in this situation, but Ale is what really decides to break free. And it does so in a way that conforms to the society can not exist. He has a plan to eliminate everything that stands as an obstacle to freedom rash that characterizes it: that freedom is not only in terms of thought or action, but also on the physical. The physicality of Ale is disturbing and unhealthy, devoid of any socially accepted gesture. His laughter explodes uncontrollably, his eyes terrified and impressed, and his gestures are theatrical, weird, awesome. Often they are simple, but simplicity so surreal and so terrible that a debunking one can not terrified king. The first two videos show the very freedom that I propose to every rule and every moral Ale. The last one I put, however, concerns uncontrolled physicality of the character: This is the wonderful final scene, so if you have not seen the film and want to see it in full, do not click.
Babel makes clear operation in terms of plot but on that very complex form. Iñarritu actually creates a babel of languages: first the languages \u200b\u200byou seek, English, Arabic, English, Japanese and sign language. Second is the shape of the film (and especially the editor) to be a real mess: the various episodes are not presented in linear sequence, but continue to jump and temporal logic. All the episodes are joined together by small details and you have to do is to put the viewer in order to "link". It appears that, to relate the individual stories of the film, revisited Iñarritu Onga somehow the babel of hyperlinks that we use every day. However, in this chaos, Iñarritu pursues what is a universal language and somehow silence: the love between father and son. Iñarritu insists a lot with this issue. 21 grams is enough to watch already, but also the dedicated about making her children at the end of Babel. All episodes of the film are played on the relationship between parent and child relationship that moves each event. However, only in one episode we reach a kind of peace of the family, after suffering great pain and misunderstanding: it is the Japanese episode, the one that closes the film. The father hugs his daughter naked on the roof terrace where they live, on top of a tall skyscraper. It is a modern tower of Babel. The two eventually find a point of contact: have not spoken yet communicate through a precise gesture, the rally each other. There is no superstructure here: there are no words, music, quiet, almost silent, sounds like a dirge, and there is no language, no fiction created by man. Only silence, that which occurs in the embrace. With a round back, the camera moves away from the two characters and shows up in Tokyo a silent and illuminated by individual homes. Here, Iñarritu brings up the dedication to her children, "the brightest lights in the darkest night."
The two films offer two acts contrary. Fists in the pocket part of a formal composition stifling, suffocating the composure of the Family, leading to chaos and the disintegration of the latter. Babel tosses us into the chaos of world languages \u200b\u200band a multitude of reports to arrive at total peace, on top of the world, performed by an intense and wordless embrace between father and daughter. While the final sequence of Fists in the Pocket shows the excess, given the explosion of music and the body of Ali, in the final of Babel calm and tranquility reign supreme.
Yet the problem is the same: to find what binds a person to their family origins. It is to see what is really important. No doubt the two films are strongly affected by the time they were shot. Bellocchio is located in the period in which Italy is changing everything - or so it seemed, and so they wanted to - when there is a desire to free themselves from a society based on a far too monolithic family. Iñarritu instead is to make his film in the era of new technologies and communication at all costs, globalization, terrorism and the Internet. The risk is that they all explode leaving no more real links. In Babel is not about family in the strict sense, but true that bond that survives no matter what type of family you have.
However, in both cases, it is clear that to destroy a relationship and contribute to the misunderstanding certain centrifugal impulses. For Iñarritu centrifuges are language and lack of communication preventing speak the real language of men. For Bellocchio Ale is centrifugal, when his desire to free expression detonates a family connection vacuum, because of form.
What we seek, however, the two films is their authenticity. We must get rid of some yokes of any kind, political, social, religious or moral. Getting rid of these will come out the truth: it is a family held together only by empty rules, whether the bond between father and son, blood, visceral, no frills, no rules. The only one who really takes. Iñarritu seems to say that the survival of the individual is guaranteed by the authenticity of the bond with another, if it lacks authenticity and if the individual is alone, for it is only self-destruction: the way in which it engages Ale.
