thegoodfellas/blogset-br huggingface dataset:
The Bride: Before that strip turned blue, I was a woman. I was your woman. I was a killer who killed for you. Before that strip turned blue, I would have jumped a motorcycle onto a speeding train... for you. But once that strip turned blue, I could no longer do any of those things. Not anymore. Because I was going to be a mother. (Uma Thurman, David Carradine, Kill Bill Vol. 2, written and directed by Quentin Tarantino, 2004) Mulholland revient de loin : comment Lynch pouvait-il bricoler un film a partir de la multiplicite des possibles poses par le pilote quil avait realise pour ABC ? Paradoxalement cest la multiplicite des episodes et des enigmes qui vont plaire au public. MD tient lieu, en 2001, dune espece dodyssee populaire, provoquant une jouissance de linterpretation qui navait pas eu lieu depuis 2001 de Kubrick (1968). Le sempiternel on ny comprend rien se dit le sourire aux levres. Mais on la vu avec INLAND EMPIRE, le miracle de ladhesion du public ne sest pas reedite : le cryptage lynchien ne suffit pas.Deuxieme constat, Mulholland seduit. La malice hermetique se couple a une force erotique heritiere du plus grand glamour. Une blonde et une brune jouent au film noir comme dans un classique intact de lage dor. Lynch fait son hommage a Hollywood, lun des plus beaux jamais realises - alors quil tourne pour la tele, puis pour un producteur francais. Cest quHollywood est dabord le quartier de Lynch - il y habite, au milieu des arbres, sur les collines -, dou il peut passer son temps a regarder la ville eclairee ; Lynch est impregne de sa ville, MD est un home-movie. Troisieme constat : le melodrame. Le spectateur est dans la meme situation que les deux femmes dans le theatre qui pleurent ( llorando ) sans savoir pourquoi. Le sujet est si simple, le fait de tomber amoureux, la peur de perdre quelquun, que toutes les affections les plus banales sengouffrent dans la boite bleue et en resurgissent demesurees, insurmontables. On frissonne, on tremble, on disparait. Ce sont les Mysteries of Love, comme dit une chanson de Twin Peaks, les mysteres de lamour qui transfigurent tout et engendrent les fictions les plus folles. Dans INLAND EMPIRE, une chanson setonne encore : It is strange what love does. Lamour engendre la peur et la hardiesse, mais sa demesure fait plonger dans laffliction. Cest sur ce point precis, et sur la metamorphose que peut enclencher le recit a partir de cette affliction, que Lynch invente du nouveau. Cette nouveaute na pas forcement ete vue tout de suite. Quand Mulhollandarrive en 2001, il represente surtout lapogee des annees 90. Retouche feminine du muscle Lost Highway (1996), double de The Blackout et New RoseHotel de Ferrara (1997-1998), Mulhollandsemble un avatar de plus de la matriceVertigo qui tourne beaucoup a lepoque (La Captive dAkerman, 2000) et qui sert a casser les films puissamment en deux (Femme fatale de De Palma, 2001 ; Tiresiade Bonello, 2002). 2001 marque egalement la sortie de lhallucinatoire Donnie Darko, et lepoque
la telespectatrice eploree deINLAND EMPIRE qui se raconte des histoires devant sa tele. Tous ces films ont en commun detre traverses par une conscience de la catastrophe, comme si tout etait deja perdu et quil ne restait plus qua se laisser affecter. Il ny a pas de pensee plus contemporaine que celle de la catastrophe (de 2012 a Valse avec Bachir, de New York a Copenhague), mais leffondrement le plus singulier de cette decennie aura peut-etre ete sentimental.Source: Cahiers du cinema n651, pp.10-11(Mulholland Drive, David Lynch, 2001)
anglaise. Sans rejeter son heritage romantique, Eca de Queiroz depasse en fait, dans Les Maia, les deux tendances litteraires incarnees par Alencar et Ega, qu'il a depassees.Les Maia sont generalement consideres comme le plus grand roman d'Eca de Queiroz. Saga familiale, roman d'amour et fresque sociale, Les Maia sont nourris des themes qui hantent l'auteur, qui y a mis, selon son expression, tout ce qu'il avait dans le sac : la fatalite de l'inceste, l'inconduite des femmes, la faiblesse des hommes, mais aussi la noble figure du grand-pere et la solidite de l'amitie. La personnalite de l'auteur transparait donc dans ce roman ; le drame familial de Carlos reflete la souffrance d'Eca, batard marque par une severe education catholique, tandis que le personnage d'Ega est un double de l'auteur ou plutot l'auteur lui-meme se regardant avec un sourire , s'appropriant jusqu'au projet de memoires d'un atome concu par le jeune Eca lors de ses etudes a Coimbra.Les Maia refletent enfin les conceptions d'Eca qui, prenant ses distances avec le Proudhon et Zola, depeint les maux de son pays sans esquisser la moindre reponse, en dilettante et en artiste.Source: Wikipedia en francais(Os Maias, Luiz Fernando Carvalho, 2001)
Le film s'ouvre sur un long plan sequence, en travelling lateral, detaillant la facade paisible d'un petit motel de l'Amerique profonde. C'est seulement apres qu'on decouvre ce que la camera tenait alors hors-champ : a l'interieur de l'etablissement, les cadavres des gerants, abattus par deux tueurs de passage. L'image peut en cacher une autre, de la meme facon que le personnage principal est double : Tom Stall contient aussi Joey Cusack. C'est ainsi que tout au long de l'uvre, Cronenberg peint une violence en puissance : la violence representee par ce Joey qui resurgit a l'interieur de Tom Stall, ou bien la violence qui apparait chez un citoyen ordinaire. Lors de l'execution de Fogarty, on s'attend a ce que la balle provienne du revolver d'un tueur chevronne ; et elle part de celui d'un Americain banal, le jeune fils de Tom Stall. Ces scenes ont notamment permis une lecture facile du film mettant en avant la duplicite de l'Amerique profonde, entre normalite et violence cachee. On peut egalement interpreter l'evolution des differents protagonistes en fonction du degre de violence qui les habite. Le fils de Tom Stall en est le temoin et devient progressivement plus violent, jusqu'a atteindre son apogee : le meurtre de Fogarty.Les deux tueurs du debut du film sont une veritable allegorie de la violence, tant ils semblent exterieurs a tout, tant leur violence est pure et gratuite. Ils sont ainsi l'incarnation de ce parametre qui fait evoluer nos personnages. Ils sont l'agent declencheur qui fera veritablement commencer l'intrigue. Leur rencontre avec Tom Stall provoque la premiere resurrection de Joey. A l'inverse comme le confie Tom-Joey a sa femme dans la scene de l'hopital (57'50") sa rencontre avec celle-ci marqua le debut de sa renaissance (born again) en Tom Stall.Il est difficile de ne pas voir dans la trajectoire de Tom Stall-Joey Cusack l'histoire d'une redemption. Les symboles abondent dans ce sens : apres le meurtre de son frere, Joey se lave comme pour se purifier, a son retour son fils lui propose ce qui ressemble a du pain. Purification par l'eau (bapteme) et partage du pain (Cene) sont deux symboles chretiens de la remissions des peches ou de la renaissance spirituelle, tout en etant des rituels d'integration dans la communaute, ici familiale. La scene finale y contribue, sans paroles, remarquee pour sa densite expressive et symbolique, elle clot le film - au moment meme ou la tension dramatique atteint son paroxysme et sa resolution - par un regard. Certains critiques debordant d'imagination ont vu dans Tom Stall/Joey Cusack Cain, tueur de son frere Abel, et par consequent celui qui doit prolonger la lignee.Source: Wikipedia en francais(History of Violence, David Cronenberg, 2005) Manifiesto de los charolastras No hay honor mas grande que ser un charolastra. Cada quien puede hacer de su culo un papalote. Pop mata poesia. Un toque al dia... la llave de la alegria. No te tiraras a la vieja de otro charolastra. Puto el que le vaya al America. Que muera la moral y que viva la chaqueta. Prohibido casarse con una virgen. Puto el que
le vaya al America (se repite por que es reputo el que le vaya al America) La neta es chida pero inalcanzable. Pierde la calidad de charolastra aquel que sea tan culero para romper con alguno de los puntos anteriores. The movie, whose title translates as "And Your Mama, Too," is another trumpet blast that there may be a New Mexican Cinema a-bornin'. Like "Amores Perros," which also stars Gael Garcia Bernal, it is an exuberant exercise in interlocking stories. But these interlock not in space and time, but in what is revealed, what is concealed, and in the parallel world of poverty through which the rich characters move. The surface is described in a flash: Two Mexican teenagers named Tenoch and Julio, one from a rich family, one middle class, are free for the summer when their girlfriends go to Europe. At a wedding they meet Luisa, 10 years older, the wife of a distant cousin; she's sexy and playful. They suggest a weekend trip to the legendary beach named Heaven's Mouth. When her husband cheats on her, she unexpectedly agrees, and they set out together on a lark.This level could have been conventional but is anything but, as directed by Alfonso Cuaron, who co-wrote the screenplay with his brother Carlos. Luisa kids them about their sex lives in a lighthearted but tenacious way, until they have few secrets left, and at the same time she teases them with erotic possibilities. The movie is realistic about sex, which is to say, franker and healthier than the smutty evasions forced on American movies by the R rating. We feel a shock of recognition: This is what real people do and how they do it, sexually, and the MPAA has perverted a generation of American movies into puerile masturbatory snickering. Whether Luisa will have sex with one or both of her new friends is not for me to reveal. More to the point is what she wants to teach them, which is that men and women learn to share sex as a treasure they must carry together without something spilling--that women are not prizes, conquests or targets, but the other half of a precarious unity. This is news to the boys, who are obsessed with orgasms (needless to say, their own). The progress of that story provides the surface arc of the movie. Next to it, in a kind of parallel world, is the Mexico they are driving through. They pass police checkpoints, see drug busts and traffic accidents, drive past shanty towns, and are stopped at a roadblock of flowers by villagers demanding a donation for their queen--a girl in bridal white, representing the Virgin. "You have a beautiful queen," Luisa tells them. Yes, but the roadblock is genteel extortion. The queen has a sizable court that quietly hints a donation is in order.At times during this journey the soundtrack goes silent and we hear a narrator who comments from outside the action, pointing out the village where Tenoch's nanny was born and left at 13 to seek work. Or a stretch
of road where, two years earlier, there was a deadly accident. The narration and the roadside images are a reminder that in Mexico and many other countries a prosperous economy has left an uneducated and penniless peasantry behind.They arrive at the beach. They are greeted by a fisherman and his family, who have lived here for four generations, sell them fried fish, rent them a place to stay. This is an unspoiled paradise. (The narrator informs us the beach will be purchased for a tourist hotel, and the fisherman will abandon his way of life, go to the city in search of a job and finally come back here to work as a janitor.) Here the sexual intrigues which have been developing all along will find their conclusion.Source: Roger Ebert.com Movie Reviews(Y Tu Mama Tambien, Alfonso Cuaron, 2001)
I had to make "Bad Education". I had to get it out of my system before it became an obsession. I had worked repeatedly on the script for over ten years and I could have gone on like that for another decade. Because of the amount of possible combinations, the story of "Bad Education" was only finished once the film had been shot, edited and mixed. It is a very intimate film, but not exactly autobiographical. Of course my memories were important when it came to writting the scrip, after all, I lived in the settings and in the periods in which it takes places; It is not a settling of scores with the priests who "bad-educated" me or with the clergy in general. If I had needed to take revenge I wouldn't have waited forty years to do so. The church doesn't interest me, not even as an adversary. It is a "film noir", or at least that is how I like to think of it.Film Noir (like almost all the noble genres) adapts easily to being mixed with other genres, provided the narrative has that breath of fatality without which black would be grey. The noir genre mixes well with melodrama in its toughest form ("Leave Her to Heaven", by John M. Stahl, "Mildred Pierce", Michael Curtiz), with the most desperate romanticism ("Laura", by Preminger, La Sirene du Mississipi", by Truffaut, "Out of the Past", by Jacques Tourneur), social criticism (Dashiel Hammett, Raymond Chandler, James Ellroy, Vasquez Montalban) or terror-without-monsters, that is, the kind that comes straight from the human heart ("Human Desire", in its two versions, Fritz Lang, whenever he works in this genre, "Fallen Angel" and "Angel Face", both by Preminger) or the melancholy of the violent, if a genre can be assigned to this characteristic ( Nicholas Ray: "In a Lonely Place, "On Dangerous Ground"). In film noir there may not be policemen or guns or even physical violence, but there must be lies and fatality, qualities that are normally embodied by a woman: the 'femme fatale". The "femme fatale" (she isn't indispensable in the genre, but she is one of its great icons) is a woman aware of her power of seduction, hypo tense, so she won't be easily upset, who has lost her scruples and has no interest in recovering them. For her, sex is not a source of pleasure, but one of pain for everyone else. In "Bad Education", the "femme fatale" is an "enfant terrible", the character played by Gael Garcia Bernal, who strictly follows the examples of Barbara Stanwich, Jane Greer, Jean Simmons ("Angel Face"), Joan Bennet ("Scarlet Street"), Ann Dvorak, Mary Windsor, Lizabeth Scott, Veronica Lake and so many other curses in the shape of a woman.I like to think that cinemas are a good refuge for murderers and for the lonely. I also like to consider the screen as a mirror of the future. Juan and Mr. Berenguer (Gael Garcia Bernal and Lluis Homar) go into a cinema to kill time, after having killed someone. The evening is growing black
for three reasons: the sky threatens a storm and the cinema where two characters end up is showing two gems of French film noir, "La Bete Humaine" (Renoir) and "Trerese Raquin" (Marcel Carne), both based on novels by Zola. The two films involve situations similar to that of the two men who are watching them as they wait for the Mediterranean night to fall. As they leave the cinema, Mr. Berenguer, devastated, complains: "It's as if all the films were talking about us." (The big screen as a mirror of the spectators). The narrative reflects itself and revolves around various visits. Even the scene the two boys see in the cinema is a visit, to a convent (Sara Montiel, afetr living through an indescribable destiny in "Esa Mujer" returns to the convent where she took the habits). Doubleness, duplicity, and mirrors that multiply deform what they see. Enrique Goded decides to film the short story written by his friend Ignacio, which triples the versions we are seeing of the same story: the "real" story, the one told by Ignacio in his short story, inspired by and fantasized from the real story, and the one Enrique adapts from the short story and visualizes as a film."Bad Education" is the story of a triple triangle (the two pupils and the school principal), multiple stories that, like russian dolls, are hidden inside each other and are really only one.(Pedro Almodovar comments La Mala Educacion, 2004)
Charge ou pas, parodie ou pas, le ton de Rois et reine se derobe de toute facon aux estampilles usuelles. (...) Aujourd'hui, c'est tout le cinema de Desplechin, fond et forme, qui rompt avec les filiations lineaires pour se placer sous une telle enseigne subtilement, glorieusement batarde. Tout son cinema, c'est-a-dire aussi la situation ou il se met avec Rois et reine de negocier une sortie sans compromis hors du cercle du jeune cinema d'auteurs. Source: Cahiers du CinemaLe scenario alterne scenes tragiques et scenes burlesques. Certaines scenes sont volontairement oniriques, comme la visitation fantomatique en reve de Pierre Coterelle, l'ex-mari de Nora, ou la lettre de son pere de Nora. Ainsi, l'inconscient n'est pas refoule, la potentialite se retrouve au centre de la construction du scenario.L'attitude toujours retenue et a la limite de la perfection de Nora aboutit a un emportement de haine post-mortem de la part de son pere, qu'elle ne peut supporter meme physiquement. Toutefois, on pressent que sous cette attitude se cache une envie de vivre autre chose, le choix de ses deux premiers compagnons, marginaux, montre qu'elle aurait pu vivre une autre vie. Nora est une Leda mythique, visitee par un dieu qui lui a donne un Elie. Toutefois, contrairement aux apparences, Nora est le personnage du film le plus en souffrance.Le film est une sorte de suite a Leo, en jouant. Dans la compagnie des hommes , dont il est le pendant, et Un conte de Noel, dont il pourrait constituer un prelude. Ces trois films de Desplechin forment une trilogie informelle.Ismael : Les hommes ca vit sur une droite, et les femmes vous vivez dans des bulles, je ne sais pas des petites bulles ou vous devez passer de l'une a l'autre ou doit y avoir des intersections. Ca doit etre des petites bulles de temps,j'imagine, et nous les hommes on vit sur une droite, une seule ligne, on vit pour mourir.Docteur Vasset : Et les femmes, elles vivent pour quoi ?Ismael : Ben... pour rien. Vous... vivez quoi. Nous on vit pour mourir !Docteur Vasset : Ah !?(Mathieu Amalric, Catherine Deneuve, Rois et Reine (2004), ecrit par Arnaud Desplechin et Roger Bohbot).Source: Wikipedia en francais(Rois et Reine, Arnaud Desplechin, 2004) Rebecca: Oh, face it, you just hate every single guy on the face of the earth. Enid: That's not true. I just hate all these extroverted, obnoxious, pseudo-bohemian losersRebecca: So, what do you do if you're a Satanist anyway? Enid: Sacrifice virgins and stuff. Rebecca: Well, that lets us off the hook.Enid: I bet he's in there jerking off. Rebecca: I bet he never jerks off. Enid: Yeah, he's beyond human stuff like that. Rebecca: Should we leave a note? Enid: Yeah, you got a pen? [Rebecca pulls out a pen, Enid takes a tag left on Josh's door handle and writes on it, leaning on Rebecca's back] Enid: [writing] Dear Josh, we came by to fuck you, but you were not home. Therefore you are gay. Signed Tiffany and Amber.There's a small tomb in Southwark Cathedral that I like to visit when I
am in London. It contains the bones of a teenage girl who died three centuries ago. I know the inscription by heart: This world to her was but a tragic play. She came, saw, dislik'd, and passed away.I thought of those words while I was watching "Ghost World," the story of an 18-year-old girl from Los Angeles who drifts forlorn through her loneliness, cheering herself up with an ironic running commentary. The girl is named Enid, she has just graduated from high school, and she has no plans for college, marriage, a career or even next week. She's stuck in a world of stupid, shallow phonies, and she makes her personal style into a rebuke.Unfortunately, Enid is so smart, so advanced, and so ironically doubled back upon herself, that most of the people she meets don't get the message. She is second-level satire in a one-level world, and so instead of realizing, for example, that she is mocking the 1970s punk look, stupid video store clerks merely think she's 25 years out of style.Enid is played by Thora Birch, from "American Beauty," and in a sense this character is a continuation of that one--she certainly looks at her father the same way, with disbelief and muted horror. Her running-mate is Rebecca (Scarlett Johansson). There's a couple like this in every high school: The smart outsider girls who are best friends for the purpose of standing back to back and fighting off the world. At high school graduation, they listen to a speech from a classmate in a wheelchair, and Enid whispers, "I liked her so much better when she was an alcoholic and drug addict. She gets in one stupid car crash and suddenly she's Little Miss Perfect." But now Rebecca is showing alarming signs of wanting to get on with her life, and Enid is abandoned to her world of thrift shops, strip malls, video stores and 1950s retro diners. One day, in idle mischief, she answers a personal ad in a local paper, and draws into her net a pathetic loner named Seymour (Steve Buscemi). At first she strings him along. Then, unexpectedly, she starts to like him--this collector who lives hermetically sealed in a world of precious 78 rpm records and old advertising art.By day, Seymour is an insignificant fried chicken executive. By night, he catalogs his records and wonders how to meet a woman. Why does Enid like him? "He's the exact opposite of all the things I hate." Why does he like her? Don't get ahead of the story. "Ghost World" isn't a formula romance where opposites attract and march toward the happy ending.Seymour and Enid are too similar to fall in love; they both specialize in complex personal lifestyles that send messages no one is receiving. Enid even offers to try to fix up Seymour, but he sees himself as a bad candidate for a woman: "I don't want to meet someone who shares my interests. I hate my interests." Seymour resembles someone I know, and that person is Terry Zwigoff, who directed this movie. It's