tan de repente
de ferrari, guillermina. 2005. diarios de motocicleta: lo que los ojos de ernesto guevara le contaron a walter salles .
martín - barbero, jesús. 2006. nuevas visibilidades políticas de la ciudad y visualidades narrativas de la violencia .
diego lerman is best known for his comedy tan de repente (suddenly), a road movie about female sexual awakening, and although that particular theme is present, the style and tone could not be more different. the invisible eye manages to skilfully disturb more senses than your usual high school movie ever could .
an exceptional home on the tigris delta is the common theme in this series directed by diego lerman (tan de repente, l’oeil invisible) that offers thirteen different stories unfolding from the beginning of the 20th century until 2026. each episode plunges the viewer into the heart of a different decade while introducing new characters, battling with the ideological, social and political references of their time .
williams, claire. 2007. los diarios de motocicleta as pan - american travelogue. in
. 2000. dir. juan carlos de llaca. mexico: altavista films, dvd .
fabricants de montres de luxe chopard sont connus pour leur amour des voitures historiques. le dernier modèle de la société pour montrer cet amour est le classic racing superfast chrono split replique montre second. il a un cadran qui ressemble à l’ancienne sur les compteurs des voitures de course l’école et aussi des marqueurs minute suisses chanel qui ressemblent à des chiffres disponibles sur les indicateurs de vitesse et montres franck muller compte - tours. avec un bo? tier en acier noir, la pièce a une fonction chronographe à rattrapante seconde qui permet une répartition exacte deuxième chef d’accusation, quelque chose de très important dans la course. venir avec un bracelet en caoutchouc, cette replique montres est étanche jusqu’à 100 mètres et a split second superfast gravé au dos du bo? tier. cette douce nouveaux co? ts regarder les courses en milliers malheureusement, mais avec des répliques de montres suisses chopard il peut être acheté pour bien moins cher. fabriqué pour montres bvlgari ressembler à des marques nom avec toutes les bonnes gravures, les marques et les logos, les montres suisses réplique faite ressemblent tellement aux originaux que même un bijoutier professionnel aurait du mal à les distinguer. fabriqué pour la plupart des marques de montres de haute fin, il est possible d’obtenir quelque chose de cartier réplique montres, au classique montres rolex réplique pour les répliques toujours sportive tag heuer. si vous voulez une replique de montre de qualité avec un logo de marque à un prix raisonnable, nos répliques de montres suisses en ligne sont le chemin à parcourir. montres montblanc fait des montres qui peut effectuer toutes sortes de fonctions, pour de nombreux types de vie extrêmes. mais si vous voulez le genre de rolex qui est super cher et couverte de diamants, que le chef - d’? uvre rolex est la montre parfaite .
una especie de familia, the film starring bárbara lennie, is the fifth feature by diego lerman (buenos aires, 1976), whose debut movie, tan de repente (suddenly), received, among many other acknowledgments, the silver leopard for best film at the locarno festival. his films have been selected for venice, the cannes directors fortnight and the horizontes latinos section at san sebastian, where his two previous films were screened, la mirada invisible (the invisible eye, 2010) and refugiado (2014) .
colors, when they do occur, are soft, vague, barely suggested :
lua descolorida
,
transparentes cores
,
un máis ou menos azul
,
cores de brilo soave, de transparencia húmida, / de vaguedad' incerta …
( p. 501) .
2012. dir. inés de oliveira cézar. argentina: constanza sanz palacios films, 2012. dvd .
balbontin, josé antonio .
rosalía de castro .
in three spanish poets: rosalía de castro, federico garcía lorca, antonio machado, pp. 15 - 55. london: alvin redman, 1961 .
cuentanos tu historia mas gricaosa donde hayas metido la pata o te hayas resbalado delante del chico que te gusta, o te hayan pillado haciendo trampas en resumen, aquellos momentos que hubieras deseado que la tierra te tragara. .! esto no es para quedar en reddiculo solo es para compartir historias y darnos cuenta que no somos los unicos que nos pasan estas cosas jeje yo tambien contare mi historia pues el af1o pasado estaba en el patio (tiempo de descanso) en mi instituto y alli siempre tenemos un professor de guardia, ese dia estaba con mis amigas hablando mal de una professora que nos cae muy mal asi que para hacerme mas la gricaosa me puse delante de todas a imitarla, al principio todas se meaban de risa pero veo que de repente todas se ponen muy serias y me miraban como haciendo gestos pero estaba yo tan metida en mi papel que segui, hasta que me giro y veo a la profe que me estaba riendo de ella (lo vio todo! ! !) y me llevo a classe y me quede sin patio y una redaccion. . > todos mis profesores jajaj bueno ahora os toca! ! besooos
. 1994. dirs. frida medín and viveca vázquez. puerto rico: taller de otra cosa, dvd .
. 2008. dir. ricardo de montreuil. perú - spain: napoli films and hispafilms, 2008. dvd .
. 2008. dir. susana barriga. cuba: escuela internacional de cine y televisión (eictv), dvd .
rosalía de castro was born in santiago de compostela on february 24, 1837. she was the illegitimate daughter of maría teresa da cruz de castro e abadía, the descendant of a noble family that had seen better days. 1 almost nothing is known of castro' s father, josé martínez viojo, except that he was a priest ...
et ouverture de sortie moncler à proximité de la planète. ce qui signifie que vous pouvez beaucoup mieux et plus vite pour prendre la satisfaction dans la satisfaction apportée par moncler, doudoune moncler est développé de brillantes eau du matériau en polyamide consommer répulsif et matelassée avec 100% de diminution d’oie bien s? r remplir a, qui pourraient rendre cette marchandise relativement doux et chaud, pour cela, doudoune moncler est si bienvenue, et maintenant, l’ouverture de sortie doudoune moncler down noire à proximité du monde, ce vous offre également la commodité. accumuler une offre impressionnante de doudoune doudoune moncler bady blu olive exceptionnelle produisant expérience, moncler manigancé hors relativement nombreux moncler séquence qui présente de manière significative de caractères gras et sans contrainte des hommes. doudoune moncler occuper l’élément supérieur de la baisse des vestes industrie depuis des années, relativement nombreux, donc il est censé se révéler être l’un des plus coupe - gorge, la marchandise parmi les products. moncler comme fournit des styles et des couleurs séquence qui pourrait être adaptée à chaque saison. 2011 moncler damen séquence sont distinctifs d’autres producteurs doudoune moncler quincy bleue simplement parce qu’ils peuvent être trouvés dans le luxe, le confort et la mode, et dans la vaste gamme étendue de couleurs, produisant les branchés tous les douze semaines prolongée et pour pratiquement à toute sorte d’occasion. ces méthodes de marché sacs moncler marchandises séquence de surseoir à l’industrie haut de gamme tout au long exactement les mêmes trade. moncler exact n’a s’avérer le meilleur producteur tout au long du monde entier. toute marchandise devient très soigneusement élaboré, pour les gens qui aiment, pressé et envisager une action, doudoune moncler se ba moncler jacken herren un partenaire superbes tout au long de l’hiver glacial .
perhaps the most hopeful of the recent argentine films is suddenly (tan de repente). it chronicles the experience of an overweight girl named marcia (tatiana saphir), whose life consists of working at a lingerie shop, watching television, and obsessively calling an ex - boyfriend. one day she' s spotted wandering the avenidas by soft - butch chicks mao (carla crespi) and lenin (veronica hassan). mao claims she is in love with marcia and wants
to fuck her .
the pair kidnaps her, and takes her in a car - jacked taxi out to the beach .
source: introduction to poems by rosalía de castro, state university of new york press, 1991, pp. 1 - 24 .
source :
rosalía de castro: two mourning dreams ,
in hispanofila, vol. 82, september, 1984, pp. 21 - 27 .
golden leopard, video c. p company, video jury cantata de las cosas solas by willi behnisch ixième, journal d’un prionnier by pierre - yves borgeaud
source :
society, legend and the poet ,
in rosalía de castro and the galician revival, tamesis books limited, 1986, pp. 17 - 35 .
pyramide international is part of pyramide group which is a french distribution company (pyramide distribution) and a french production company (pyramide productions) as well as an international sales agent. the company was founded in 1989. as a world sales agent, pyramide international (former fpi) has deliberately focused on the “film d’auteur”, and promotes international sales of young directors like sandrine veysset (will it snow for xmas ?), diego lerman (tan de repente), wang xiao - shuai (beijing bicycle), eleonore faucher (brodeuses) and more recently etgar keret & shira geffen (jellyfish – camera d’or cannes 2007) and lucia puenzo (xxy – grand prize of critics’ week cannes 2007). of course it continues with representation of the many directors and their producers who have trusted the company throughout its own development .
[ in the following essay, kirkpatrick investigates the relationship of castro' s novels el caballero de las botas azules and la hija del mar to the tradition of seduction fantasy. ]
blanco, fernando, and john petrus. 2011. argentinian queer mater. del “bildungsroman” urbano a la “road movie” rural: infancia y juventud post - corralito en la obra de lucía puenzo .
source :
rosalía de castro ,
in women poets of spain, 1860 - 1990: toward a gynocentric vision, university of illinois press, 1997, pp. 43 - 83 .
source :
reality and the poet ,
in manner and mood in rosalia de castro: a study of themes and style, ediciones josé porrúa turanzas, 1968, pp. 63 - 132 .
source :
rosalía de castro' s en las orillas del sar: a psychoanalytic interpretation ,
in symposium, vol. xxvi, no. 4, winter, 1972, pp. 363 - 75 .
source :
aspects of perspective in rosalía de castro' s en las orillas del sar ,
in kentucky romance quarterly, vol. 29, no. 3, 1982, pp. 273 - 82 .
d' a catredal campana grave, triste' e sonora, cand' ô rayar d' o dia o toque d' alba tocas, n' ò espanço silencioso soando malencólica, as tus bataladas non sei qué despertares me recordan (p. 440). de tempos remotos, d' edades leixanas, de noites sereas, pra sempre acabadas, aquel cantar tróuxome non sei qué lembranzas, non mortas…, dormentas, ¡quén sab' en qué campas! (p. 493) .
y ô fin soya quedéi, pero tan soya, qu' oyo d' a mosca ò inquieto revoar, d' o ratiño roer terco e costante e d' o lume ò
chis chas
, cando d' a verde ponla o fresco zugo devorando vai … (p. 427). ¡tas - tis! , ¡tas - tis! , n' a silenciosa noite con siniestro compás repite a péndola … (p. 445) .
source :
fantasy, seduction, and the woman reader: rosalía de castro' s novels ,
in culture and gender in nineteenth - century spain, edited by lou charnon - deutsch and jo labanyi, clarendon press, 1995, pp. 74 - 95 .
march, kathleen n .
rosalía de castro (1837 - 1885) .
in spanish women writers: a bio - bibliographical source book, edited by linda gould levine, ellen engelson marson, and gloria feiman waldman, pp. 104 - 15. westport, conn. : greenwood press, 1993 .
at the time of her death in 1885, rosalía de castro was little known outside of her native galicia, a region in northwestern spain. yet this woman poet who wrote more than half of her poems in a regional language and did not follow the poetic conventions of her time is now considered one of the outstanding figures of spanish literature .
although denied permission to film there, the school is the prestigious colegio nacional de buenos aires which was founded by former president, bartolomé mitre, and attended by many notable argentine statesmen including manuel belgrano, leader in the war of independence and creator of the argentinian flag. both the new influx of pupils and we, the viewers, are assured that :
unlike her sisters, rosalía de castro has established a secure reputation in peninsular literature, but such was not the case during her lifetime (1837 - 85), when she fluctuated between being a
nobody
( emily dickinson' s word) and a
santiña
( dear little saint). 1 few have noted her
monstrous
...
the poetry of rosalía de castro has frequently been characterized as simple, clear, and unadorned. 1 like bécquer' s, her verse possesses a certain simplicity to which it owes part of its charm. yet many of her poems, though outwardly uncomplicated in theme and technique, have a strangely complicated effect on their reader, and often this effect is due to her subtle ...
so now we have organ music not vibraphone like i’d hoped, five tracks of warped pop stretching between 6: 30 and 8: 00, each gradually swelling from programmed drum tracks to swirling, densely layered organ jams. it’s an odd record, but one with significant charm, an antidote of sorts to the bullheaded cock rock of expo 86. gone are the open road anthems, replaced with melodic cul - de - sacs that endear without particularly leading anywhere .
olivier nakache (suresnes, france, 1973) and éric toledano (paris, 1971) closed the festival in 2011 with the world premiere of intouchables (the intouchables), winner of 35 awards in its subsequent international career and the biggest french box - office success worldwide; they also closed the 2014 festival with samba. with their new collaboration, le sens de la fête / cest la vie! , a comedy set at a frenzied wedding in an 18th century french castle, they now compete for the first time for the golden shell .
some of the touches of realism which characterize cantares are continued in follas novas, but in the second book rosalía tends to concentrate on the more tragic manifestations of life around her. a few poems are filled with realistic details and local color and employ colloquial expressions :
vamos bebendo
( p. 460) [ all page citations are taken from rosalia de castro, obras completas. ] ,
miña casiña
( pp. 501 - 03) ,
soberba
( pp. 503 - 04) ,
xan
( pp. 512 - 13) ,
tanto e tan to nos odiamos
( pp. 519 - 22), and others. a note of humor is sometimes discernible, but it is always diluted with irony, manifesting a keen observation of human nature which is comical in its pathos. the comic always borders very closely on the tragic. the long narrative poem
¡ a probina qu' está xorda, … !
( pp. 504 - 12) is one of the most extensive, animated and colorful of rosalía' s production, nevertheless it contains a strong tone of sobriety. the courageous and clever old woman (sister to the loquacious vella in cantares, iii), is nonetheless a pathetic figure as she wanders through the night. the gaiety of the feast and the musicians, the generosity of the wealthy hostess, and the brief warmth of the fire do not alter the fact that there is poverty in the midst of plenty and that, after one night of food and warmth, the old woman will once more wander through the night, precariously maintaining the breath of life and the spark of human dignity 12 .
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an argentinian dutch and latin comedy drama where a young naive girl marcia (tatiana saphir) learns about her sexuality. marcia is kidnapped by 2 punk women mao (carla crespo) & veronica... see full summary »
jermaine fowler and omari hardwick of sorry to bother you take us back in time to the worst jobs of their careers .
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a woman flies from buenos aires to be present for the birth of the child she has arranged to adopt. when the child is born, she is confronted with a demand from the biological mother' s... see full summary »
matias and his mother laura, find themselves forced to hurriedly abandon the house they live in to escape another outburst of violence from fabian. matias is 8 and laura is newly pregnant... . see full summary »
after hitting something with her car, a bourgeois argentine woman' s life slowly descends into paranoia and isolation, as she fears she may have killed someone .
in her early thirties, broke, and in the wake of a humbling breakup, a spirited, yet rudderless young woman finds herself struggling to get by in the bustling parisian metropolis; however, if she can make it there, she' ll make it anywhere .
a young woman returns home after the breakdown of a relationship to discover her father is dating a woman her age .
violeta asks a time to mono to decide what to do with his partner. eva arrives in the city ready to do anything to change her life .
marina, a transgender woman who works as a waitress and moonlights as a nightclub singer, is bowled over by the death of her older boyfriend .
a young locksmith is forced to leave his home and family to join the buenos aires police force .
an argentinian dutch and latin comedy drama where a young naive girl marcia (tatiana saphir) learns about her sexuality. marcia is kidnapped by 2 punk women mao (carla crespo) & veronica hassan (lenin). they take her to a coast which marcia had never seen before. eventually three women get familiar to each other and end up at lenin' s grandma' s friend, aunt blanca' s (beatriz thibaudin) house as paying guest. there everybody discovers and rediscovers the relationships and affect each other .
i was almost not seeing this film, taking into account the negative comments of another user and the average of 6 it received from imdb users. i went to the screening at istanbul film festival because we had nothing better to do and left with great contentment that only a sincere, non - pretentious and lean film as this could provide. it reminded me of jarmusch' s
stranger than paradise
with it' s close to life approach. characters are real, acting is very good. it introduced me a fresh, new director from argentina .
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with jurassic world: fallen kingdom now in cinemas, we take a look at how imdb users rated the films of the franchise. plus, browse exclusive lego® jurassic world playsets, presented by lego .
in diego lerman' s generous film, going bankrupt is an excuse for spending less time shopping and more time meeting potential friends and lovers .
one of the upsides of argentina' s recent economic hardships is a boost to its film industry. as it' s relatively inexpensive to shoot in buenos aires, to hire topnotch editors and equipment, an exciting new independent cinema has emerged. this argentine
new wave
includes directors like adrián caetano (bolivia [ 2002 ]), lucretia martel (la ciénaga [ 2001 ]), and lisandro alonso (la libertad [ 2002 ]). their films break from a tradition of state funding, censorship, and corruption. because my wife is an argentine filmmaker, i have seen some of this transformation firsthand; young artist are maturing, and expressing themselves in bold, experimental ways .
when the taxi breaks down, they hitch a ride to the town of rosario, where lenin remembers she has a great aunt named blanca (beatriz thibaudin). though lenin and her mom are not talking to each other back in buenos aires, and relations in their family seem strained, aunt and niece, who have not seen each other since lenin was a little girl, form an instant and profound bond. the girls stay for a day or two at blanca' s house, and their lives change shape .
it' s not often that a film out - cools jim jarmusch, or matches observational humanists like eric rohmer at the same time. suddenly also recalls david lynch' s work, finding eerie beauty in the most banal of images, illustrating human truths via inanimate objects. the act of pouring black coffee, drinking maté or smoking cigarettes is here transformed into a kind of poetry .
on a movie screen, the grain of the black and white 16mm blown up to 35mm makes every frame a haunting work of art. but empire' s region 1 dvd appears to have been transferred directly from a video, which makes the graininess hard to read. still, this is a minor complaint. suddenly encourages us to be open to new experiences, to see the mystery in the mundane, as you follow characters who discover one another and their own new purposes out of the ashes of the old. in the argentina of diego lerman' s generous film, going bankrupt is an excuse for spending less time shopping and more time meeting potential friends and lovers .
the happy fits take inspiration from alabama shakes on
grow back
and transform it into an unforgettable pop song .
lee mcintyre' s' post - truth' is a history lesson and a call to action asking liberals to defend the concept of objective truth. but is it the best approach to the problem ?
washington' s album son of pain is a lost treasure of r & b; an album rich in bluesy southern drawls, honeyed harmonies and street - smart rhythms .
exploding with captivating melodies, genre - splicing resourcefulness, and remarkable cohesion, automata ii exemplifies what makes between the buried and me so skillful, striving, and singular .
australian folk duo luluc follows their breakout album passerby with a more ambitious sound that inspires reverence and awe on sculptor .
an unexpected collaboration between joseph arthur and peter buck produces a great summer record of noisy, dark garage - pop .
black salvation is a band that works the psychedelia into the hard rock with skill, and it makes for a very listenable album in uncertainty is bliss .
in a new interview, liz phair looks back on her first four albums, the legacy of exile in guyville, and being an inspiration to today' s female songwriters .
jared putnam' s latest is the last to be recorded for his new march divide album, anticipation pops, capping things off with a breezy clap - along tune .
sara marie barron' s music appeals to fans of music that meditates on our sadder experiences but always finds a way to guide us through with strength .
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in buenos aires, overweight shop worker marcia (tatiana saphir) consoles herself over her loveless existence with extended comfort eating. then she meets lenin (veronica hassan) and mao (carla crespo), two punk lesbians who fall in love with her and decide to abduct her, spiriting her away in a stolen taxi to... the beach. starting off as an edgy thriller before transforming into something far less expected, suddenly hides a heart of gold beneath a fake tough exterior .
unexpected contrivances are the rule in director diego lerman' s first feature film, a fascinating example of how to keep an audience on its toes by delivering something far different than what' s promised. it' s a film that' s full of surprises as characters and situations alter before our eyes with all the abruptness that the title implies .
after hijacking a taxi at knifepoint and travelling to the beach, the women end up in the city of rosario, where lenin has an elderly relative, blanca (beatriz thibaudin). holing up with aunt blanca and her two lodgers, mao and marcia develop a fitful affair while lenin starts to re - appreciate the value of family .
while it' s apparently uninterested in what drives its street - tough lesbian anti - heroines, this meandering drama is full of incidental details and a belief that plot should be secondary to character. not everything works, but it' s an impressive debut that' s already been compared to jim jarmusch' s whimsical indie road movie stranger than paradise (mainly because of its gentle pacing and sumptuous black and white cinematography). at heart, though, it' s a very argentinian piece of filmmaking .
sketching the vagaries of the country' s financial crisis with the lightest of touches, lerman succeeds in creating a counterpoint to the world - weary pessimism of films like el bonaerense and nine queens. by celebrating the importance of our relationships with others, it warns of the necessity of appreciating each moment before the cruel suddenness of life takes its toll .
marcia, a young woman who works in a linen shop in buenos aires, is accosted in the street by two punk girls - - lénine and mao. after marcia refuses mao’s advances, she is threatened by lénine, then taken in a taxi to travel to the sea .
at a gas stop, a truck driver takes the trio to visit his aunt blanca, where they meet felipe, a biology student, and marcia becomes attracted to him. in spite of this chaotic climate and the various dramas that are played out, blanca ultimately succeeds in bringing harmony to the group .
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marcia is young and fat and lives a grey, routine life in the city of buenos aires. mao and lenin, a punk girl couple, run into marcia and for some strange reason decide to express their love for her. fanciful mao declares she' s in love with marcia and offers to prove it .
the love which has no explanation can be proved, and proof is worth as much as love ,
mao tells her. from there on, the three (daring couple and bewildered marcia) leave buenos aires on a journey whose end and date of return keep been delayed due to all the unforeseen things that happen to them. the journey they' re on gets stranger and stranger, with constant changes of landscape and pace, and with fantasy and lots of humour. a search for a place that' s impossible yet eternal, a place they keep on leaving behind .
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) is a film about discipline and the stranger sides of sexuality, all set against the allegorical backdrop of a strict private school during the dying days of the argentine military dictatorship .
maria (julieta zylberberg) is the latest recruit to the classroom assistant team, and the film opens with her at the head of a column of children who march, madeline - like, down a creaky dingy corridor. like many of the other scenes in the film, this has an overtly military overtone, and in spite of the social changes against the regime which might be happening outside, the authorities of this school are eager to maintain power in this closed community .
“what happens when you win a war is the eradication of the pockets of resistance which are left. ”
“the history of the school and the history of the country go hand in hand. ”
and so we are then entitled to interpret the happenings in the school as symbols of the greater political narrative. though i don’t think the film needs to be seen in this way. maria’s perverted sexual awakening is a story in itself and the director, diego lerman, only allows the outside events to fully intrude during the credits when real footage is shown from a nationalist rally about the falklands / malvinas conflict .
one really clever and unique device is that the director plays tricks on us with smells. at first we think that the eager maria is leaning in to detect cigarette smoke in the boys’ hair. this changes when we see her buying aftershave to secretly sniff in her bedroom. the scenes where maria lingers spying in a boy’s toilet cubicle become weirder and weirder. we can almost smell the damp, amongst other more pungent things, and become more and more unsettled, disgusted and confused by her behaviour .
what the film does especially well is probe dark and uncomfortable moral areas in a similar vein to the work of pablo larraín and michael haneke (specifically post mortem and the piano teacher respectively). their films have little dialogue and rely on the viewer to do much of the work. quirky events turn more and more sinister until a horrifically brutal ending forces you to think back over the story to find the character’s motivation .
however, you don’t always feel that the scale of the graphic scenes in these films is justified, and sometimes you wonder if they are pointlessly extreme or just plain gratuitous. but perhaps suspension of at least some disbelief is needed with all stories, especially the dark and creepy ones, to stop us from being genuinely disgusted or outright offended .
maria’s problem was probably a kind of naivety. perhaps she was a little over - mothered by the two generations of women she lived with :
or maybe she was deeply affected by the absence of her father. someone who the family simply don’t talk about. it is left open as to why, and could equally be a family problem, or taking the film as an allegory, a political one .
the invisible eye is showing as part of ¡viva! festival 2012 at cornerhouse, machester. see urltoken for screenings .
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new music: ‘old cuba new cuba vol. 2’ by guámpara music’s dj jigüe
sounds and colours began its life in 2010. back then it was a simple blog looking at underground culture in south america. since then it has become one of the world' s # 1 sources for information on the topic, printing specialist books as well as maintaining this website, with collaborators based around the world. find out more about sounds and colours here .
book and cd offering an alternative guide to argentine culture, focusing on marginalised movements and underground scenes .
a weekend before leaving for on concert tour around latin america, gardel and lepera decide to take a break and chill in the house in the company of beautiful girls, good liqueur and tango records .
a strange virus is spreading. since the state of emergency was decreed in the country, a young couple comes to the house to take shelter. the woman is pregnant with her first child and paranoid about the contagion. as soon as the couple settles, her sitster arrives and a love affair takes place… the apocalyptic and betrayal atmosphere couldn’t be edgier… when the last occupant arrives: the mother of the two, who starts to show weird health symptoms .
lucio is a lonely man who lost his beloved wife many years ago. one night he spots a strange flashlight and suddenly a appears a spectre that resembles his wife. the neighbors gather to eliminate these creatures that haunt the area. but lucio prefers to hide her, even thought he can’t avoid the threaht that represents her presence .
it’s ironic that in this road movie, it’s a domestic space that offers the most possibilities for personal and interpersonal transformation .
collapse onto your couch and turn on your tv after a long day at work and you’re greeted with ads demanding that you get off your ass and do something spontaneous. call in sick tomorrow and go to seaworld! buy a harley and join tim allen on the open road !
marcia (tatiana saphir), the main character in the surprising and imaginative suddenly, is just the sort of person these advertisements are aimed at. she’s a lonely, heavyset shop girl who eats dinner alone while watching cooking shows and whose idea of a whim is buying a pair of sunglasses during her lunch break. when marcia’s claustrophobic routine is shattered, it won’t be at the behest of a marketing campaign, however, but at the point of a switchblade wielded by a woman named mao (carla crespo) .
as mao and her partner, lenin (veronica hassan), sweep marcia off the streets of buenos aires and drive off into argentina’s flatlands, suddenly takes up the familiar call for spontaneity and makes it profound, imperative, and political. like its punk - rock kidnappers, the film is, in its own twisted way, deeply and sincerely compassionate. although marcia is terrified when mao first crudely propositions her, it becomes apparent that being swept away is the condition of her freedom. “you clearly have fantasies, ” a blank - faced lenin tells marcia, who doesn’t disagree .
suddenly owes much to early' 60s godard. in his directorial debut, diego lerman shoots in grainy, high - contrast black and white; the effect is startling, if sometimes visually obscure, in the age of digital video. like godard, lerman likes to move but will take time out for a shot of rain hitting a windshield or a dog running on a beach. less like godard, lerman uses small movements of eyes and facial muscles, rather than dialogue, to convey meaning: a quick glance establishes dominance; a downturned mouth tightening into a horizontal smile suggests a flowering of self respect .
shares godard’s impatience with bourgeois convention and antipathy towards the deadening effects of workaday life. early in the film, mao, lenin, and marcia sit down to smoke in a burger king. a cheerful employee, whom we first see in profile next to her employee of the month plaque, comes over to ask them to put out their cigarettes. mao and lenin ignore her. “i hate these people, ” says lenin, when the worker leaves. it’s not the usual contempt with which people treat uniformed service workers – it’s harsher. the person who agrees to become a smiling automaton eight hours a day occupies a particularly debased spot in mao and lenin’s world .
marcia defends the employee of the month. “what makes you think she’s different from me? ” she asks mao. “have you ever had a job? ” in fact, as we saw earlier, mao and lenin make their money by stealing and reselling mopeds, while marcia sweeps, invoices, and stares into space at the lingerie shop where she works. at this point, suddenly risks slipping into a glorification of “lifestyle” anti - capitalism couched in a godardian cliché: the moped thief as ultimate anti - bourgeois heroine. thankfully, the movie is too good and too complex for that .
while trying to make their way back to buenos aires from the coast, the trio ends up at the door of lenin’s aged aunt blanca. blanca, played wonderfully by the late beatriz thibaudin, brings the movie down to earth at the same time she opens it up, just as mao and lenin opened up the movie earlier. tolerant and generous, blanca is an example of a life that is rooted but open to everyday meanderings. she keeps a chicken coop, and when she takes lenin along to sell a few eggs to her neighbor, the neighborly visit turns into an afternoon of dog bites and drinking songs. we see lenin smile for the first time .
blanca’s is a life that feels, to use a tricky word ,
authentic
; miles away from both the employee of the month and from mao. it is in blanca’s house, also populated by an artist (maría merlino) and a student (marcos ferrante) renting rooms there, that the relational dynamics between the three girls shift in surprising and affecting ways. it’s ironic that in this road movie, it’s a domestic space that offers the most possibilities for personal and interpersonal transformation .
the dvd extras are sparse: a director’s bio, a collection of stills, and some trailers. the bio does include a telling quote from lerman, however. the director says that it’s important to “create a world… [ where ] anything can happen at anytime. ” it’s an interesting suggestion that a fully lived life is not only an individual imperative, but also a social one .
but after watching suddenly, one feels the need for a rear - guard defense, rather than a utopian building project. in argentina, as in many places in the world, free time, time spent not working, is under attack. and it’s time, more than anything else, that made blanca’s rich life possible. trips to seaworld are all well and good, but a chicken coop and wide - open afternoons truly define freedom .
like many of the best comedies and tragedies, this weimar - era silent film understands how each mode is often a hair' s breadth from the other .
it' s a testament to zevin' s understanding of multiple age groups that she' s able to capture a variety of women at various life stages. her portrayals feel honest and true .
visual artist / silos frontman walter salas - humara preps new album, walterio, which speaks to his punk / roots origins .
jean - michel blais manages to transform simple motifs into weightless complex structures into (as paul simon noted in a different context )
angels in the architecture
.
osama is a compelling parable about female suffering and religious extremism under the taliban regime in afghanistan. featuring a cast of entirely non - professional actors, siddiq barmak' s film is about a widow (zubaida sahar) who disguises her 12 - year - old daughter (marina golbahari) as a boy so that at least one family member can earn money. the child however is dispatched to an all - male taliban training school, where she' s named osama and where her life depends on keeping her true identity disguised .
from the opening shots, barmak immerses us in the horrors of everyday life under the taliban, with burka - clad women who are protesting for the right to work being hosed down by watercannons and herded into trucks. kabul resembles a post - apocalyptic nightmare: shattered buildings billowing black smoke, hospitals without even the most basic of supplies, and a government that forbids women from working outside the home or from walking anywhere without the company of a male relative .
aided by golbahari' s remarkably convincing lead performance, barmak generates considerable suspense over the fate of osama and her female relatives. he also demonstrates real talent for creating images which vividly convey their chilling story. rituals are shown to be both oppressive - the emphasis amongst the true believers on prayers and cleansing - and, in some cases, comforting (such as the secret wedding ceremony, which is attended by women behind closed doors) .
motifs of entrapment abound, whilst close - ups of shoes highlight the taliban' s fanatical repression of femininity: a woman must cover not just her face with a burka but also her feet lest they prove sexually arousing. given that the taliban systematically banned films, including those of barmak himself, it' s fitting that osama should provide such an unflinching denunciation of its nightmarish regime .
these keywords were added by machine and not by the authors. this process is experimental and the keywords may be updated as the learning algorithm improves .
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tan de repente ( suddenly ) is a 2002 argentine and dutch black-and-white comedy drama film directed by diego lerman and written by lerman , maría meira , and eloisa solaas , based on the novel la prueba , written by césar aira . the drama features tatiana saphir , carla crespo , veronica hassan , among others . a young , naive clerk at a lingerie store learns about love and her own identity . 
tan de repente (suddenly) is a 2002 argentine and dutch black-and-white comedy drama film directed by diego lerman and written by lerman, maría meira, and eloisa solaas, based on the novel la prueba, written by césar aira. the drama features tatiana saphir, carla crespo, veronica hassan, among others. a young, naive clerk at a lingerie store learns about love and her own identity.
tan de repente (suddenly) is a 2002 argentine and dutch black-and-white comedy drama film directed by diego lerman and written by lerman, maría meira, and eloisa solaas, based on the novel la prueba, written by césar aira. the drama features tatiana saphir, carla crespo, veronica hassan, among others. a young, naive clerk at a lingerie store learns about love and her own identity.