your name is justine
your name is ...
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i saw this movie in utv. this is a pain full movie and justine acting is wonderfull .
: what is yours is mine, what is mine is yours. forgot it ?
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“your name is justine” tells a story of contemporary sexual slavery. 2 million people are ‘sold’ around the world every year, of which 200, 000 are women sold into european prostitution. 15, 000 are polish women … this is the story of one of these women .
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i don’t know if that one intense and realistic rape scene of monica bellucci’s “irreversible” is more painful to watch or the series of rape and violent scenes of “your name justine” is instead. one thing for sure though, our singapore’s pleasure factory is mild compare to that poor poland girl who got sold into the sex industry in germany .
thanks to india’s pioneer world cinema movie channel utv world movies, i stumbled upon a brilliant polish movie your name is justine. it is a heart wrenching story of a young girl from poland who is pushed into the racket of prostitution by a man who pretends to be her boyfriend. the movie released in 2006 and it traces the story of justine as she fights to keep her sanity amidst the violence and heartlessness surrounding the world into which she is forced .
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unfortunately, outside of its well - orchestrated action sequences, “justine” is rather one - note visually as well .
the real - life slave traffic of young women by their supposed boyfriends has spawned several films, not the least of them lukas moodysson' s splendid
lilya 4 - ever .
franco de pena' s more simplistic heroic spin ,
your name is justine ,
celebrates one woman' s struggle to retain her autonomy in the face of brutal male exploitation .
the real - life slave traffic of young women by their supposed boyfriends has spawned several films, not the least of them lukas moodysson’s splendid “lilya 4 - ever. ” franco de pena’s more simplistic heroic spin, “your name is justine, ” celebrates one woman’s struggle to retain her autonomy in the face of brutal male exploitation. visceral violence, well - paced action, [ … ]
the title aptly captures the most important aspect of the movie. ‘your’ name is justine’ points towards the fact that this new identity is forced on her and she doesn’t wish to be a part of it. her polish name mariola is forgotten and in moments of utter despair she reminds herself of this name and that she is from poland in a bid to retain her real identity. she cannot even speak in her native tongue and must use english or german for any communication. her whole being is twisted out of its original shape. anna cieslak plays the role of mariola with great aplomb and portrays effectively the numbing sensation resulting from a nightmare like this. the woman is conditioned to her new life of exploitation and unquestioning servitude by violence and sexual molestation. this changes her forever, not only in a physical way sense but also scars her psychologically .
i did my mfa critical thesis on durrell. i wish i’d taken your class first. but this is an excellent excuse to read the quartet one more time .
the first example depends upon the agency of a telescope. the scene occurs in justine at the summer house of nessim and justine hosnani, and i cite the excerpt at length in the hope that the reader will sense the planes of emotion durrell evokes and superimposes as the passage proceeds. darley is anxious that justine’s infidelity has been discovered by her husband nessim who is also darley’s close friend .
helmer pena closely details how human beings can be reduced to quiescent commodities through fear and deprivation, here represented by the titular renunciation of mariola’s true identity and her adoption of another name, “justine” (shades of sade ?), and of another tongue, english, that is not even the language of the country she has been brought to .
the real - life slave traffic of young women by their supposed boyfriends has spawned several films, not the least of them lukas moodysson’s splendid “lilya 4 - ever. ” franco de pena’s more simplistic heroic spin, “your name is justine, ” celebrates one woman’s struggle to retain her autonomy in the face of brutal male exploitation. visceral violence, well - paced action, and sly sexual power reversals could spell commercial potential if pic were not half in polish, and thus caught in the no - man’s land between arthouse and mainstream .
the film has many messages to convey. besides that, it stretches the viewer' s ability to empathize with the central character. it tests the viewer' s sense of humanity, sense of justice, and his / her levels of tolerance. the viewer is tortured, is made to think beyond his comfortable life, his family, his friends etc. and is forced to think and feel for girls like' justine', girls who are forced to forego their self - identities to live under the identity of' justine'. justine symbolizes the millions of innocent girls born free, born to live normal lives but are kidnapped, trafficked, blackmailed and forced into prostitution. such girls gradually lose the sense of self, lose the sense of identity, sense of being human and begin to believe that they deserve it, that this is what their destiny is, this is what they are made of. how is it justified? why should such a thing happen to anyone? is there an escape? where is hope? who am i? what am i? if i escape, who will i be? though the film may not offer answers to these questions, but through the character of pauline it raises these questions in an effectual manner in the viewer' s hearts, making' your name is justine' an unforgettable experience .
the movie is inspired by the fact that 200, 000 women are sold into brothels every day – 15, 000 of them are polish women. the fact itself is depressing. and the most depressing thing is the process of how the pimp breaks down a girl from someone innocent into a willing party to whore herself to men after being abducted from her hometown, her loved ones. that is what the majority of “your name is justine” is about. some of the scenes are awfully hard to watch like suffocating a person with a plastic bag. that particular scene looks real to me and it seems that the actor and actress have practiced that scene for a long time. i sincerely hope that the main actress was not harmed in any way during the filming of the movie .
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mariola: give me my money! niko: what is yours is mine, what is mine is yours. forgot it? mariola: you can sell me but you can' t never have me. see more »
the parents ask the psychologist about justine, and he explains that she' s his daughter and the reason he started his institute. they also ask how they are funded, and he tells them that they have some very generous benefactors. the father asks if that is how justine has such an expensive computer. he explains that he' s an engineer and that her computer is powerful enough to hack the pentagon, which the psychologist didn' t realize .
you see, justine is written by darley. it’s his autobiography. the second volume, balthazar, is darley’s autobiography corrected or revised by balthazar. in mountolive, written by me, darley is an object in the outside world. clea would be the new autobiography of darley some years later, in alexandria once again (conversations, 41) .
back in the room, justine goes to her computer while the boy looks around the room. he sees a framed puzzle of muhammed ali on the wall. justine sits down at her computer to show the boy how she communicates. she types something and the voice greets the boy. she smiles and a photo on the wall shows that she is the same young girl at the beginning of the film who connects with young christian over the puzzle .
sub: this is great news water is a movie which actually gives you an idea of how earlier india was and what were the problems. it is really good to... posted by prasant
the final scene takes place at harbor neuroscience. two parents are talking to the same psychologist from the beginning, telling him about their son. their son wanders through the house. the psychologist tells the parents that the outside world will treat him like he' s different or dumb, and then he will be burdened by the low expectations. most of the other people in the house are children, but the boy wanders into the room of an adult woman who is screaming and shaking and smacking herself in the head. the boy' s parents come in and apologize for their son wandering in. the woman calms down briefly as she looks at the boy and seems to smile at him. the psychologist tells them that the woman' s name is justine, one of their few full - time residents. she' s unable to communicate verbally, but she can do so using her computer. he suggests that the boy hang out with justine while he finishes giving the parents their tour. they agree and leave their son with justine who seems to have calmed down .
at the conclusion of the first volume, justine disappears and darley retreats to an island in the cyclades to lick his love wounds. once there, he writes an ms which becomes, metafictionally, the novel justine, the first novel of the quartet. the balthazar of the second volume is a homosexual alexandrian doctor and cabalist who lives and works at the centre of the novel’s ex - pat society. in balthazar, related again from darley’s point of view, durrell creates the device of the “great interlinear” (b, 21), a massive and detailed commentary written by balthazar on what must be darley’s ms of justine. the genius of durrell’s technique is to relativize – or, better still, recreate — the events of the first novel through the device of balthazar’s interlinear. balthazar has an eye for association and the logic of continuum over that of sequence: “but i love to feel events overlapping each other, crawling over one another like wet crabs in a basket” (b, 125). from balthazar’s interlinear the reader infers that her task is doubled: one should read between the lines of both balthazar and the justine it destabilizes. as darley comes to realize that justine has used him for political ends and that she loves the other older writer ludwig pursewarden, the reader shares his deception with an ontological frisson .
dominique pinon (born 4 march 1955) is a french actor. more »
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the protagonist mariola is played by a new comer anna cieslak. she is a carefree teenager who stays with her grandmother in a small village. she falls in love with a young out - of - town man who is not what he appears to be. he lures her into running away with him under the promise of a good life in the city, but her innocence is taken advantage of as she is sold for prostitution when they reach germany. the plot follows her painful journey as she is raped, beaten, and starved to break her down .
is the most successful of the seven films she has made in 15 years. the films include
jale arıkan (born august 22, 1965) is a turkish - german actress. more »
mathieu carrière (born 2 august 1950 in hanover, germany) is a german actor. more »
ray hands her a stack of photographs, which show terrorists, drug cartel leaders, mafia bosses, and other criminal leaders meeting with the same man, who is only seen from behind or partial profile. ray explains that he is an accountant who works for the world' s biggest criminals, as they cannot call h & r block when they have a financial problem. he is surprised that the accountant has survived this long, given how dangerous his clientele is. he knows of multiple aliases used by the accountant, including lou carroll and carl gauss. ray tells marybeth that he is retiring soon, and her job is to find out who the accountant is, or he will reveal her criminal past .
marybeth' s exhaustive search has not yielded anything so far. on a hunch, they pull up the two accountants who fit her profile (caucasian male, age 25 - 45) for the last name on the list, christian wolff. one declared an income of over $ 500, 000, which tipped the irs off for an audit, which revealed that he was clean. the other declared an income of $ 75, 000. this accountant' s firm is called zzz accounting, which seems suspicious as it' s a bad choice for a name when they are listed alphabetically in a phonebook. they look up a picture of the street view for the firm, which is in a dingy strip mall with a nail salon, laundromat and chinese food restaurant. on a hunch, marybeth has her friend look up the tax returns on the three neighboring businesses. zzz accounting is listed as the accountant for all three businesses, who have each declared over $ 400, 000 in income. when they try to figure out where the money has gone, they realize that huge charitable contributions have been made to harbor neuroscience .
i suppose (writes balthazar) that if you wished somehow to incorporate all i am telling you into your own justine manuscript now, you would find yourself with a curious sort of book — the story would be told, so to speak, in layers. unwittingly i may have supplied you with a form, something out of the way! not unlike pursewarden’s idea of a series of novels with “sliding panels” as he called them. or else, perhaps, like some medieval palimpsest where different sorts of truth are thrown down one upon the other, the one obliterating or perhaps supplementing another. industrious monks scraping away an elegy to make room for a verse of holy writ (b, 183) !
to be honest, i am unsure if there is a ‘solution’ for this human condition. we know this oldest profession cannot be rid of. one way is to criminalize all parties and that motivates even more underground activities. another way is to legalize and regulate this industry but face the moral dilemma as a society .
but the relativism continues with mountolive. the third novel is remarkable for the political overlay it provides to the previous two, and especially because its apparently banal naturalistic technique is held in sharp contrast to the inventiveness of its content. durrell called mountolive the “ clou ” [ 8 ] of the series, and in it he re - shuffles the “four - decker” yet again. within the omniscient third - person narrative technique, darley becomes an objective character, much as he thought the others had been from his first - person perspective in justine and balthazar. pursewarden, the political officer serving ambassador david mountolive, gets caught in the knot of plot and takes his own life, but not before he has revealed the cause of his deception by writing a message on a mirror. the message is the political and symbolic crux of the novel: politically, because it reveals pursewarden’s unwitting self - deception with regard to justine’s “faustian compact” (m, 201) on behalf of the nascent jewish state; symbolically, because the surface of this mirror reveals for once its depths that have been hidden in plain sight. as implied within keats’ famous epitaph, “here lies one / whose name was writ in water, ” the careful reader has a momentary and awful glimpse of the depths below the surface of reality that, to the more casual, has always seemed to be everywhere intact, constant, reliable. as we read very early on in justine, “our common actions in reality are simply the sackcloth covering which hides the cloth - of - gold — the meaning of the pattern. ” once we catch a glimpse of this meaning, we behold what durrell has called the heraldic universe, the natural home of the imagination from where it makes “‘sudden raids on the inarticulate’” (conversations, 136) .
is this movie worth watching? to me it is a definite yes because not everything in life is as rosy as the typical hollywood stories. it is nothing pornographic nor erotic about this movie. it is a pure intense picture - house style of movie that tells a facet of life most of us are oblivious to. you will sympathize with the subject and even when the movie has ended and the plot has resolved itself, you will not feel as though anything has ended. human trafficking still continues worldwide, even at this very moment you read this blog .
it is very difficult to write about this movie. this movie have so many messages to convey. this movie defines tragedy in its true sense. we have a habit of complaining for small misfortunes or inconveniences. this movie tells what it is like when you are deprived of these conveniences and happiness. it is a heart touching movie. mariola is a pretty girl who stays with her grandma in a small town in poland. like any juvenile she has dreams of visiting beautiful places and living a flamboyant life. she gets this opportunity when her boyfriend propose to take her to germany to meet his parents and see the country. mariola has become a pollyanna, dreaming of her days in germany with her boy friend. but all her dreams are shattered when she finds that it was a bait and that she is thrown into prostitution by her boy friend. she is optimistic at first but as days goes by she has slowly given up. she has a becomes a wounded tiger who has lost everything and has nothing to lose here after. she pleads for her escapade. but she is turned down again and again. she no more believes that god has that power to do miracles and so she takes law in her hand and stabs her boyfriend to death. she is jailed but for her she has achieved freedom. last scene is the most touching when she is walking along the beach with her old girl friends who are married happily. in her tired strides there is a maturity which is unlike girls of her age. the music and ambiance throughout the movie is apt. all in all it is a cathartic experience .
mariola (ann cieslak) is as strong and smart as she is beautiful. she not only stands up to a bullying boss to earn a job as a butcher in a pork factory, but defends her weaker girlfriends in the process .
when you read clea i hope you will feel that darley was necessarily as he was in justine because the whole business of the four books, apart from other things, shows the way an artist grows up…. i wanted to show, in the floundering darley, how an artist may have first - class equipment and still not be one. [ 9 ]
i first spied the aq in the peace corps reading locker at the us embassy in tunisia in 1971. my comp lit colleagues had alluded to it and now it was my turn. though my life in souk el arba came nowhere close tothe 30’s in alexandria, there was a sprinkling of parallels: young teacher of english, north african nation, robust and over - active romantic perspective (probably glandular). to this day, after reading the four tomes twice and justine a third time, i continue to respire the same air, smell the salt spray at the villa, sense the tightening of the stomach at the intrigue and suspense, feel the excitement. i feel i know nessim, justine and the others. the vivid imagery continues to influence my pen .
durrell noted often and brilliantly that the english language had only one word for love. “the richest of human experiences is also the most limited in its range of expression. words kill love as they kill everything else” (m, 48). one paradox of durrell’s treatment of “modern love” is its power to convince darley of his own objectivity while he is in the midst of the purest egotism. “for observation throws down a field about the observed person or object” (m, 160). his reading of events, however sincere as a seeker of ‘truth’, is still bound unwittingly by the emotional perspective of the loving, and aching, ‘self’. [ 18 ] we learn as we read in justine, “egotism is a fortress in which the conscience de soi - même, like a corrosive, eats away everything. true pleasure is in giving surely” (53). the notion of the “impossible ego” (conversations, 214), moreover, is the thematic bridge between the investigation into modern love with the birth of darley and clea as artists. darley discovers his truer expanded self by letting go of his ego and by letting go of clea and his love for her at the end of the fourth volume. the letting go of his love, and clea’s intuitive acceptance of the gesture, serves in part to transform both darley and clea into artists. such a pleasure in loving without attachment is the novel’s concluding redemptive moment .
is also doing well on video, having grossed about $ 2 million in dvd rentals in the us in just about 10 days .
the root [ of the mirror game ] is relatively banal like an agatha christie novel; but by changing the lighting the reality of the thing is changed. my primary game was to write a tibetan novel rather than a european novel. i attempted to bring together the four greek dimensions, which are the basis of our mathematics and the five skandas of chinese buddhism. for us the individual consciousness of each person is filtered through five perceptions and notions. i wanted to observe what would become an ordinary novel if one changed the lighting and if individuality became blurred. what seems stable in mountolive in the quartet is simply the collection of states that are always in agitation. in chinese philosophy destiny is not limited to a single life; it is well known that you don’t learn anything in one life (conversations, 197 - 8) .
in present day, christian is seen talking on the phone with a woman (the voice) whose caller id is a smiley face, similar to the ones from the stick figure face diagram referenced earlier. she has a very flat affect as well and is prone to stating emotions or describing her behavior, such as stating
deep sigh
rather than actually sighing. they are discussing new jobs for christian. she suggests he take a legitimate job for a company called living robotics rather than a criminal assignment that is more dangerous, as she cares for his safety. they also discuss some of his assets, including a renoir painting and a pollock painting, that she is trying to sell for him .
as darley’s and the reader’s consciousness of the overlay grow, so does the potential for meaning. the story of balthazar’s ankh – so redolent with suggestions of time — winds the time of its loss and discovery into a recursive loop. justine’s ring, exhumed from an ancient tomb, partakes of death and confers it, however unintentionally. darley’s vision of clea superimposed upon the memory of melissa “refund [ s ] an old love in a new” (c, 112). melissa is the most vulnerable, marginalized and yet the strongest female in the quartet, and clea must be reborn before assuming her nature as artist. as darley remarks to himself, as if speaking of a grammar of the heart, “and in my own life … the three women who also arranged themselves as if to represent the moods of the great verb, love: melissa, justine and clea” (c, 177). enacting the relativity proposition across episodes, then, has everything to do with form. as balthazar comments, “to intercalate realities is the only way to be faithful to time” (b, 226). or, in durrell’s own words :
another flashback to christian' s childhood shows that the family is living in indonesia. an older man is teaching the boys to fight and is quite brutal in beating them. the father watches from the side while casually reading a newspaper. the instructor finally says that they are just boys and that' s enough training. the father remarks that if they were done, the instructor would be laying on the ground bleeding. young christian replies in indonesian that the instructor should continue. the younger brother is deeply loyal to christian, though he seems exhausted from the fight as well .
here is a recluse who loves being surrounded by people; a hedonist whose great pleasure is asceticism; a lazy man who never stops working; a man who finds joy in despair; a traveller who enjoys nothing more than quiet contemplation; a dandy truly at his ease in the company of tramps and vagrants; a novelist whose major preoccupation is poetry; an enemy of literature who gives the best of himself to his work. [ 4 ]
max, d. t. every love story is a ghost story: a life of david foster wallace. new york: viking, 2012 .
paul m. curtis is director of the english department at l’université de moncton, new brunswick, canada, where he has taught english language and literature since 1990. he has published numerous articles on the poetry and prose of lord byron. professor curtis is preparing the first digital scholarly edition of byron’s correspondence .
durrell’s notebook “a cosmography of the womb, london jan 1939, ” is quoted in michael haag’s “only the city is real: lawrence durrell’s journey to alexandria, ” alif: journal of comparative poetics, no. 26, wanderlust: travel literature of egypt and the middle east (2006): 42. ↵
see conversations, “if you remember scenes or characters and can’t quite remember which book they come in, it proves that the four are one work tightly woven, doesn’t it? the joiner is the reader, the continuum is his private property. one dimension in light of the other. ” (71). ↵
interspersed throughout the film are flashbacks to christian' s childhood. one day his mother leaves their family, as the stress of taking care of the boys, particularly with special needs, is unbearable as the father is never around. young christian is screaming and throwing things and punching through walls, while his younger brother watches resentfully. the father is arguing with the mother that she can' t abandon her family and tells her to wait a moment. he runs in the house to hold christian tightly until he calms down. the mother gets into her waiting cab, and the younger brother gives her the middle finger from the window .
he takes a break for lunch and happens to sit near dana who is also eating her lunch outside. she notices his dented, steel thermos, and she tries to make small talk with him about why he went into financial consulting. she tries joking with christian, who is polite but doesn' t get jokes. she tells him that she wanted to study art, but her father discouraged this and told her to follow in his footsteps as an accountant, the kind with a nerdy pocket protector, which christian is also wearing. she tells him the only art her father likes is dogs playing poker, which christian says he also likes .
this brilliant phrase is original to cormac mccarthy in his blood meridian or the evening redness in the west (new york: vintage international, 1992) 247. ↵
undoubtedly, durrell wants the reader to telescope the two scenes across the four - decker novel, and in so doing to see the one through the other. whereas darley in justine is haunted as if by a hand on his shoulder, clea, in her mind’s eye, extends her hand as if to touch the lovers on the beach. darley’s ‘blind’ love for justine re - emerges as liza’s physical blindness; but, whereas the blind liza has insight into love, darley must earn his insight through trial and experience. such a compression of formal symmetries works with a crisp logic. if darley can be the eyewitness to his own love affair in justine, clea’s view of lovers on another beach seals her own love darley since, with a curious “optical democracy, ” [ 15 ] she becomes darley’s specular and, therefore, full partner. the extension of a telescope from volume one to four promotes the effect of looking forward to looking back and creates the illusion of the suspension of time, what durrell calls disparagingly, the “western deity. ” [ 16 ] it’s as if each of these local smaller stories has a life that takes form within the larger narrative of the quartet. as darley considers balthazar’s interlinear: “it was cross - hatched, crabbed, starred with questions and answers in different - coloured inks, in typescript. it seemed to me then to be somehow symbolic of the very reality we had shared – a palimpsest upon which each of us had left his or individual traces, layer by layer” (b, 21 - 2). each reader might enjoy the layers singly or in their shifting ensemble .
in the adjacent room, a psychologist is speaking to the parents of the two boys. there is a sign on the refrigerator with simple drawings of six stick figure faces, happy, angry, sad, etc. they discuss the puzzle boy' s sensitivity to bright light and loud noises. he is also stubborn and fixates on things, like wearing only one t - shirt, which the psychologist explains is due to a tactile sensitivity. he is also likely to channel his anxiety into repetitive behaviors like shaking, tapping his fingers and talking to himself. he tells them that the boy will likely always have problem with things like maintaining eye contact or making friends. the mother explains that the father is in the military, which means they move frequently, so the boy hasn' t been able to make friends anyway, leaving his younger brother as the only friend he has. the father seems uninterested in the conversation. the psychologist suggests that they leave the boy at his institute, where they can teach him coping mechanisms and provide a calm, comforting environment that won' t exacerbate his sensitivities. the father says no, telling the psychologist that if the boy is sensitive to light and sound, he needs to be exposed to more light and sound, as the world is not going to accommodate his special needs .
sunkoji – oh yes. i watched this film 2 years ago. and i can still remember the story and some of the scenes. how powerfully painful it is !
though the movie depicts realistically the ordeal of mariola who is sold off, it becomes quite melodramatic at times. the rape scenes are too many and it is difficult to endure them because of their intensity. except ciselak all other actors do just about ok on the acting front and the attention never goes away from the female lead. i presume this was a deliberate design of the directors. the end may seem quite unsatisfying to many viewers but the beauty of the device of realism is not spoilt by making it happily ever after .
that night christian engages in his usual ritual with the strobe light and loud music, but he is deeply frustrated that he wasn' t able to finish his assignment. he hits himself painfully with his wooden rod and is unable to cope with the stimuli. he grabs his medication and forcefully throws it across the room before calming down and picking it up .
see the first full - length biography on dfw by d. t. max, every love story is a ghost story (new york: viking, 2012) 178. ↵
the film begins with a man walking through a bar with multiple dead bodies on the ground, having been shot in the head. he slowly makes his way upstairs, hearing someone begging for his life. he passes more bodies, making his way to the door of the room where the begging man is. an abrupt sound is heard and the begging stops .
the next scene takes place about 30 years ago (via title card) at a place called the harbor neuroscience institute in new hampshire. it' s a big, beautiful home in a forested area. two young boys are sitting in a living room. one is sitting calmly in a chair, and the other unboxes a puzzle and rapidly starts putting it together. the boy with the puzzle is shaking and murmuring to himself. a young girl is also in the room with a caregiver who is trying to put her shoes on. the young girl screams and smacks her own head and is unable to communicate. the boy quickly assembles the puzzle but starts screaming inconsolably when one piece is missing, repeating over and over that he has to finish the puzzle. the young girl has stopped screaming and reaches over to pick up the piece that had fallen under the table and hands it to the young boy, and they look directly at each other. the boy completes the puzzle, revealing that he has assembled it upside down, without seeing the image of muhammed ali to guide him .
like paul curtis, as a young writer i was enthralled by lawrence durrell’s four astounding novels — justine, balthazar, mountolive & clea — together known as the alexandria quartet. i can’t count the vivid snippets of scene and dialogue that still float up in my mind: especially the end of clea when the painter’s wounded hand can suddenly “paint” as here healthy hand had never been able to do or the moment when the feckless journalist (a minor character throughout) returns from war in the desert, a tan, golden warrior who has suddenly found his place in existence. yes, i love the transformations at the end of the quartet, when time suddenly moves forward. i loved the mysterious and ineffably sad hand prints on the brothel walls, justine’s mad search for her stolen child, and pursewarden’s epigrams (i began to learn to write epigrams reading the alexandria quartet). there are so many things i tried to copy here as a beginning writer (the faux einsteinian structure and the pursewarden endnotes, for example), so many ideals inhaled and transformed to my own uses .
the passage begins by establishing an earthbound perspective as the perspective descends from sky to minaret to hut, and the agency of the telescope serves to conflate the vision of nessim and darley. the telescope’s magnification brings to darley’s eye the precise scene that it had previously brought to nessim’s, and with an eerie irony darley becomes an eyewitness to his own adultery as he rummages about in his host’s private quarters. the lovely personification of the breathing landscape in contrast to darley’s breathlessness brings to bear the weighty hauntedness of the scene. seeing through nessim’s eyes magnifies, of course, darley’s own blindness vis - à - vis the affair. such shifting of visual perspectives is the quartet’s primary motif, and the characters often encounter each other through the beguiling surface of a mirror, at one remove from unmediated vision. [ 14 ] darley’s ostensible reason for his presence in the observatory is for paper to write melissa, his other lover; but one can’t help but wonder how sincere darley’s motivation to write her might be if he pursues it in the wake of a beach - hut encounter with justine. the copy of king lear is a clever device developed with increasing effectiveness by durrell in his first three novels. shakespeare’s play resonates powerfully in this scene more from an ambiguity of symbolic reference than through precise allusion. does darley’s revelatory moment of telescopic vision imply gloucester’s blindness and fall to another beach? or is the reference more general still, about the power of a genuine love unperceived, as is cordelia’s by lear and melissa’s by darley? the example is one of durrell’s painterly touches where an image creates a plane of emotion that haunts a scene rather than appearing in full outline .
conversations, ed. earl g. ingersoll (madison: fairleigh dickinson university press, 1998) 207. hereafter conversations followed by page number. this collection of interviews is essential reading. ↵
at the time when we knew [ pursewarden ] he was reading hardly anything but science. this for some reason annoyed justine who took him to task for wasting his time in these studies. he defended himself by saying that the relativity proposition was directly responsible for abstract painting, atonal music, and formless (or at any rate cyclic forms in) literature. once it was grasped they were understood, too. he added: “in the space and time marriage we have the greatest boy meets girl story of the age. ” (b, 142) [ 1 ]
sub: water to oscars i am really glad that canada is sending water to oscars. unlike india who sent paheli instead of black which truly deserved to go to... posted by amrita
christian sets out to see lamar' s sister, believing her to be behind the plot. as he pulls up to her home, he sees a suspicious man exiting her building. he follows from across the street, and we see that it' s the assassin. the assassin seems to know someone is following him though he never turns and looks. he then quickly pulls out his gun and fires two shots at christian, who ducks behind a car. when he peers out, the assassin is gone. christian enters the building and finds that lamar' s sister is dead .
later, the assassin is setting up a team of henchmen at the home of lamar, the ceo of living robotics, as he was behind the whole plot and killed his cfo and his sister to cover his tracks. the assassin questions lamar about christian, but lamar is dismissive and says he' s just a freak. he also asks lamar what the point of all of this was. lamar claims that his ability to help people far outweighs any crimes he' s committed. christian is able to get on the premises and kill the henchmen one by one, leaving only one man and the assassin, who has been monitoring the situation on surveillance cameras. as the assassin watches, he realizes that christian is muttering nursery rhymes to himself, which the assassin recognizes. the last remaining henchman has a gun on christian, but the assassin bursts in and tells him to stand down. the henchman ignores him and is about to pull the trigger when the assassin kills his own henchman .
sub: thats good news! this is a proud moment for all of us! although water has not been released in india till now, but still its an indian movie... posted by shashank mittal
christian takes dana with him to his storage unit. he instructs her to wait outside but she enters anyway, finding his cash and valuable paintings and a storage space his weapons. he is annoyed that she came inside to his private space where he is packing up clothes, cash, passports and comic books. she questions how he owns an original renoir and an original pollock, which he explains he received as payment .
since one is haunted only by what the senses cannot perceive, durrell had to turn upon his inner self and to exorcise much of his englishness in order to become an artist. through the creation of his symbolist
another flashback shows christian in prison, talking with an older man with glasses (jeffrey tambor). the man is very kind to christian and is trying to coach him in having normal interactions with people, learning to read their emotions from the tone of their voice and their facial expressions. they share a bunk, and late at night, he tells christian about his clients, who are the criminals mentioned in the beginning of the film .
dana is back in her apartment and repairing the damage caused by the fight when she gets a mysterious package delivered to her. she opens it up to find a painting, seemingly expecting the pollock she saw in christian' s trailer. instead, it' s the painting of dogs playing poker. she laughs, but when she notices the canvas seems to be loose, she pulls at it and realizes the pollock is underneath the dogs .
while living with her grandmother in poland, a young woman falls in love. her boyfriend is charming and suggests they travel around europe and work here and there to pay for their trip... . see more »
while living with her grandmother in poland, a young woman falls in love. her boyfriend is charming and suggests they travel around europe and work here and there to pay for their trip... . see full summary »
it could do so only because, three months ago, oscar rules were changed to allow a country to nominate a film that isn' t in its indigenous language as long as english is not the dominant language in the film .
director franco de pena has dealt with the subject without any nudity and great sensitivity which is almost brutal. the cinematography keeps up the mood of utter disdain and hopelessness. the choleric yellow wallpaper peeling away from the walls symbolizes mariola’s breaking self. the dark and dingy surroundings are an indication of what this world has to offer her, death and decay. one of the most moving scenes of the movie is when mariola calls out for help through a small window but there is nobody around to hear her. later even her clients refuse to help her even after realizing that she is being forced into this trade. the scenes are painfully realistic and at times i just had to turn away from them and gasp for a little breath. the story has the major element of verisimilitude in its telling and it’s not all’s well that ends well. there isn’t a definite closure and like real life the issues don’t just magically resolve themselves .
christian works through the night and is able to deduce that $ 61 million is missing from the company. he starts to explain it to dana who catches on quickly. the ceo' s sister interrupts them and dismisses dana. she wants to know if christian has guessed who' s responsible for the missing money, to which christian responds that he doesn' t guess. he needs to keep reviewing the documents to figure it out. she expects a full report from him shortly .
haag, michael. “only the city is real: lawrence durrell’s journey to alexandria. ” alif: journal of comparative poetics, no. 26, wanderlust: travel literature of egypt and the middle east (2006): 39 - 47 .
christian drives to his home, which is very bare. he has no art or photos or any decorations in the house. he owns exactly one plate, one fork, one knife, one spoon, and prepares himself dinner. he is highly ritualized in the way he prepares his food. he continuously shows small tics, like blowing on his fingers before picking up his fork. later in the evening, he goes into his bedroom and turns on a strobe light and loud, heavy metal music. he picks up a small, wooden rod and uses it to roll on his leg muscles. he is trying to remain calm, subjecting himself to the stressful stimuli until his alarm beeps and it' s time to take his zoloft.
your name is justine ( polish : masz na imię justine ) is a 2005 luxembourgish film directed by franco de peña . de peña had originally wanted to produce the film in germany , but when he was unable to garner enough funds , he came to luxembourg . the film was co-produced by luxembourg hemisphere films and polish opus film , and shot primarily in luxembourg with the aid of numerous local technicians . as a result of the multifaceted production , the dialogue of the movie is in english , german and polish . the plot of the story revolves around a girl called mariola ( anna cieslak ) , who is forced into prostitution in berlin , and attempts to hold on to her sense of self despite being exploited by those around her . the film was luxembourg 's submission to the 79th academy awards for the academy award for best foreign language film . although previous submissions ( such as italy 's private ) had been rejected due to not being in the official language of the country , the academy removed the requirement for the 79th academy awards , allowing your name is justine and other films such as canada 's water ( which contained only hindi dialogue ) to be submitted . however , the film was rejected by the academy of motion picture arts and sciences before the formal review process . the academy determined that there was not enough creative contribution from luxembourg to qualify under the academy 's requirements , which stress that a " submitting country must certify that creative talent of that country exercised artistic control of the film . " joy hoffman , the head of luxembourg 's foreign-language oscar committee , was disappointed by the rejection . although he accepted the notion that the film was a " borderline entry " , he noted that " without luxembourg the film would n't exist " . 
your name is justine (polish: masz na imię justine) is a 2005 luxembourgish film directed by franco de peña. de peña had originally wanted to produce the film in germany, but when he was unable to garner enough funds, he came to luxembourg. the film was co-produced by luxembourg hemisphere films and polish opus film, and shot primarily in luxembourg with the aid of numerous local technicians. as a result of the multifaceted production, the dialogue of the movie is in english, german and polish. the plot of the story revolves around a girl called mariola (anna cieslak), who is forced into prostitution in berlin, and attempts to hold on to her sense of self despite being exploited by those around her. the film was luxembourg's submission to the 79th academy awards for the academy award for best foreign language film. although previous submissions (such as italy's private) had been rejected due to not being in the official language of the country, the academy removed the requirement for the 79th academy awards, allowing your name is justine and other films such as canada's water (which contained only hindi dialogue) to be submitted. however, the film was rejected by the academy of motion picture arts and sciences before the formal review process. the academy determined that there was not enough creative contribution from luxembourg to qualify under the academy's requirements, which stress that a " submitting country must certify that creative talent of that country exercised artistic control of the film. " joy hoffman, the head of luxembourg's foreign-language oscar committee, was disappointed by the rejection. although he accepted the notion that the film was a " borderline entry ", he noted that " without luxembourg the film wouldn't exist ".
your name is justine (polish: masz na imię justine) is a 2005 luxembourgish film directed by franco de peña. de peña had originally wanted to produce the film in germany, but when he was unable to garner enough funds, he came to luxembourg. the film was co-produced by luxembourg hemisphere films and polish opus film, and shot primarily in luxembourg with the aid of numerous local technicians. as a result of the multifaceted production, the dialogue of the movie is in english, german and polish. the plot of the story revolves around a girl called mariola (anna cieslak), who is forced into prostitution in berlin, and attempts to hold on to her sense of self despite being exploited by those around her. the film was luxembourg's submission to the 79th academy awards for the academy award for best foreign language film. although previous submissions (such as italy's private) had been rejected due to not being in the official language of the country, the academy removed the requirement for the 79th academy awards, allowing your name is justine and other films such as canada's water (which contained only hindi dialogue) to be submitted. however, the film was rejected by the academy of motion picture arts and sciences before the formal review process. the academy determined that there was not enough creative contribution from luxembourg to qualify under the academy's requirements, which stress that a " submitting country must certify that creative talent of that country exercised artistic control of the film. " joy hoffman, the head of luxembourg's foreign-language oscar committee, was disappointed by the rejection. although he accepted the notion that the film was a " borderline entry ", he noted that " without luxembourg the film wouldn't exist ".