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The beautiful liar (Jacques Rivette, 1991)

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very free adaptation of the novel The Unknown Masterpiece, Jacques Rivette filmed in beautiful liar The work of an artist determined to capture the truth and essence of his models, and at the same time, emotional consequences that the creative process in all those causes that are related to her pregnancy. Painting and art in general as a means of knowledge to reach an absolute truth that can be destructive to the individual subject to the same and can have devastating effects on others. Does art or life?

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The plot is concentrated during 4 days of summer in an old castle house of southeast France. Live there Liz (Jane Birkin) and Frenhofer painter (Michel Piccoli). This has preferred art to life to save his marriage which was the old model. One day displayed in the house a young couple, Nicolas (David Bursztein) a promising artist and his girlfriend Marianne (Emmanuelle Béart). This visit just emerging proposal Nicolas, a fervent admirer of his, the host, continue with Marianne as a model, a box called The beautiful liar, who left Liz for years being his muse, trying to protect and guard against the bloody truth I was going to be exposed to finish the job. There is some Faustian and also a misogynist in this agreement. Give the lover admired painter in exchange for first see this alleged masterpiece. All this is like a prologue that precedes what will come next, the creative process seen as a silent battle against the canvas between the predatory attitude of the artist and vampire and elusive movement of the naked body of the model, on the defensive principle, refusing to be little more than an object to be squeezed. While the work is taking shape, the film runs with a calmly flowing river whose waters are coming other subplots: jealousy, possessive and destructive side of art, the frustration of the operator at the work that resists the model turned into "something cold and dry," the artist-model relationship. And always in the background, the elephant in the film, the dilemma that presents the artist from the imperfection of life and the perfection of the work. All this may sound abstract and discursive result in a film, Rivette films it with the elegance and transparency of a master. We attend a bright paper craft and art of painting. As you proceed, The beautiful liar is becoming an eminently film physics. The picture and sound transmitting solar light South of France, the heat of summer, the coldness of the rooms, the chirping of the pen on the notebook, the mixture of colors, pressure of the brushes on the canvas, the touch of charcoal on paper, the model's naked body manipulated by the painter as an inert object. As viewers, we feel so intense and vivid the process of creating a painting. Rivette's camera moves with lightness to the film's modest two to two encounters between the characters without reducing them to mere archetypes. In the end, Frenhofer ends his beautiful liar, but Rivette, consistent with the mystery that has built around the work, it shows it. Liz and Marianne only have access to it. Between life and art, the artist chooses life and delivery to the dealer a substitute for beautiful liar. This one is only interested in the price of the box and the business that entails. In the epilogue in the garden with all the characters, Rivette films again find two pairs with subtle camera movements we suggest that these relationships have changed and will never be what they were.

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The beautiful liar is offered in two versions, one full of almost 4 hours and one restricted to the usual two hours of film., But both are aimed at that audience / a for which the film is more than a spectacle, a form of knowledge. Refrain those looking at the screen fast fun and cinematic fast food digestion.

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A HISTORY OF ROADS Raider

E n those days called a teamster in charge of guiding a wagon with oxen. A man's job, not culturally frowned upon for women to exert it. These animal-powered vehicles down the people of the farms and fields with goods such as bags of charcoal and firewood Hualle; bulk fruit: pears and apples, grapes, currants and Italy. In the autumn through the streets of Penco Pitarrilla offering fresh or freshly scrubbed grape chicha. Back to their destinations, the carts had been fished dry (hake dried in the sun), fresh fish, seafood, oil wagon, bales of grass, tools, bottles of wine and groceries.

The story I heard once in Penco referred to this activity, but with an added unexpected. It happened that a peasant woman, abandoned by a drunken and irresponsible husband, was the need to go down to town from the outskirts of First Water to supply. His wagon, oxen and a load of coal. But without the homeowner present, had no road. As the rush was great to go to Penco to buy things, came to give that responsibility to his eldest son, Juanito, who was eleven then. Mother and son

yoked oxen and securely fastened to the pole of the wagon. Then charged as they could the car with sacks of coal. She picked up her youngest daughter of four years and the three began the slow march down the rough road to Penco. Juanito with a baton, led the horse. The husband, a drunkard who constantly prowling the house of women, followed with a seedy cronies waited for the wagon with his wife came home from town with food and money. Planned assault.

So it was that mother, son and daughter were returning when the woman noticed the presence of these scoundrels in a bend in the road. They crouched, hidden behind trees. The cart with the head Juanito passed by the slow stride of the horse. The woman said your child from danger. Winches, meanwhile, passed up the vehicle watching the progress of the wagon from the bush. Easy prey, he thought the man, smiling drunk while his cronies drew accounts in advance of the benefits of this easy assault.

Aware of the imminent danger, she devised a scheme that informed his son, cobbled road. Knowing that at nightfall her criminals to attack devised to guide the oxen Juanito off the road and entered the wagon directly to the mountain. Child so the child and the oxen started to run down a slope between the dense undergrowth quilas. So much so that the weed was closed new hiding the last of the wagon.

When night and hiding in the forest women, Juanito the road and four year old girl, slept huddled a few yards from the horse tied up next to a stream chewing grass in a bag. In the silence could be heard not far baffled men looking for carriage and its passengers through the trees. Scribbles and let go shouting laughter. The women's biggest fear was that the little girl began to mourn and cry would guide the wrongdoers. But the truth is that try as they could not ascertain the whereabouts of the hidden family. Until the day came, with the sun high and where other carts passing through the vicinity, Juanito the carter yoked oxen, tied to his wagon and led them through the undergrowth of the bush to leave the way back home. The child had drawn a test-driving the vehicle safely and to avoid an assault charge in the solitude of the road to First Water.

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Perspectives: Robert Lebeck.

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Intercampus. Getafe - Leganés. March 20, 2011

All photos taken in the 8 km race

Album 1 here you can see 558 photos.

Album 2 here you can see 797 photos.

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cockfights, horse races and the rodeo was part of the celebration of the Feast of Padre Jesus in Cheran Michoacan.

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Nelly and Mr. Arnaud (Claude Sautet, 1995).

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Nelly (Emmanuelle Béart) is a 25-year-old Parisian simultaneous multiple jobs, married to Jerome (Charles Berling), an apathetic standing spends his time lying in bed watching television. She, one day she meets Mr. Arnaud (Michel Serrault), an old friend of her friend Jacqueline (Claire Nadeau). Speaking in a cafe, tells its economic problems, and immediately offered to lend Arnaud enough money without any commitment for repayment. At first Nelly declines the offer, but when comes home telling lies to her husband who has accepted the aid. This sudden and uncertain decision will take to break their marriage. And with him, his previous life. Nelly just accepting the offer of Arnaud and in gratitude offered to transcribe his memoirs.

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As was the case in his previous film, A Heart in Winter (1991) also starring Emmanuelle Béart, Claude Sautet shows signs of having a great insight to uncover the ultimate reality of characters caught in a time of uncertainty. The film touches on the relationship between a young woman and a man on the threshold of old age, joined by a common sense of existential failure. Nelly looks strong and determined, but in the end is in dire need of others. Arnaud's character is afraid of himself, unable to sublimate their love for Nelly. Sautet speaks of the difficulty of maintaining full relations with sentimental, are feelings of love or friendship. It is difficult to find inner balance. Nelly feels caught between the love he feels still to be ex-husband, the editor attractive figure of Vincent (Jean-Hugues Anglade) and envelope retired judge personality. There is a very significant sequence beautiful. One in which Nelly and Arnaud dine at a fancy restaurant (with more people in customer service, so it is so expensive, ironically Arnaud). Is an important moment because it seems that for the first time the two lower their defenses and are shown as they are. Eat, drink, lazy days. Talking and having fun. But she then goes home to Vincent, the editor, and make love for the first time. Meanwhile, in parallel montage, we see Arnaud, alone in her kitchen, sipping a glass of milk without sleep. This is a story of solitude and also a film about the relinquishment. A waiver based on the disparity of the people. The feeling of it for he is not the same as him for it. Arnaud wants to take a picture that is Nelly, I love her beauty inaccessible, but when the front of it, is blocked. There comes a time where you least important is to see your manuscript published, just wants to have her around .. For her, Arnaud is a haven in a time of uncertainty vital. There is a scene, and well advanced with the film, on which Sautet seems to articulate all the talk, if any, of the film. It is an image of a powerful symbolic weight in a film that never wants to get out of the ordinary. A great love scene is reduced to when Arnaud sits next to the bed where she sleeps, and almost ghostly presence. She turns and says that if you can not sleep. He tells her not to go and takes his hand. Significant is the former judge's decision to get rid of its valuable library, once it has appeared behind Nelly computer.

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This excursion into the realm of feelings buried, the barriers that hinder the expression of emotions, Claude Sautet chooses the Auter and visual conciseness. His style is a no-look style simple, with little camera movement, only those necessary to follow the actors. A moderation in the staging that strives for transparency, but also the complicity of the viewer. No underlining or explanations. Countershot flat in all its variants are the dominant figure, hence the need for precise order of the scenes to get the rhythm demanded by the film. The end of each scene support in a sustained level for a few seconds provoking the viewer. Nelly and Mr. Arnaud can be cold and impenetrable to those who do not make the effort his eyes leisurely stroll through the planes of the film. His images speak of loneliness and tears, of emotional isolation, but the film goes quiet and serene, stripped of all melodramatic tone of any temptation psychological and ornamental everything that distracts. The result is like Nelly, glacial beauty and sadness of an attractive charged.

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University City Half Marathon, March 13, 2011.

Half Marathon XXXI edition of the Ciudad Universitaria.

placed in these five albums in order Time can be viewed a total of 3,325 photos taken in Km 6 to 12 and 18 race.

View album 1 (750 photos)

View album 2 (773 photos)

View album 3 (831 photos)

View 4 album (577 photos)

View album 5 (394 photos)

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THE MIRACULOUS ESCAPE FROM EAST CASINO

U na miraculous escape was the famous restaurant pencón The East, which is located in the beautiful village beach. As can be seen clearly in this photograph sent me Andrés Urrutia Riquelme, storm moved through the sand, but stopped a few feet of the building. Imagine what it must have been the owner of the site last night José Navarrete, who has invested large sums of money to rebuild the East severely damaged by the earthquake, tsunami and the ravages of 27 February. No doubt a divine hand prevented from reaching water facilities being saved by a miracle of a devastating flood, an entrepreneurship award from the owner.

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PENCONES was assured HOURS OF THE ARRIVAL OF THE TSUNAMI AND URBAN LANDSCAPE

C omo river city Pacific, Penco tonight remained on alert to the possibility of tsunami flooding in the wake of the violent earthquake that shook the coast northeastern Japan. National authorities called on the population living in low lying areas to leave their homes as a preventive measure until the threat passes. This photo was taken this afternoon on the court Seafarers by Councilman Victor Hugo Figueroa who kindly sent me to inform news pencones Penco looking through this blog in the world. The situation was normal, but many people went to spend the night with friends or relatives' houses located on high ground. People living on the edge of the sea and Playa Negra, Cerro Verde, or the same Seafarers were keeping their valuables in the second floor or in high places. Manuel Suarez informed me that he would leave with his family where friends in the campus as a precaution, while Chenko Oscar Munoz said he believed that the island Quiriquina is the great natural barrier that has Penco against such threats. Despite missing two hours to the estimated time of arrival of the phenomenon we firmly believe that nothing happens and I hope that life returns to its normal rhythm Penco.

RED MOON AND STARRY SKY

The crescent moon had a marked yellow color is midnight after a day Penco season. The coastal area had a ghostly aspect without people and houses with lights out, some residents were just as guardians. The cars were parked by their owners in the highlands and saw people running through the Penco vecinadarios Chico, Membrillar and Villarrica but not near the beach. Passed four military trucks likely to intensify surveillance. The focus of the court remained Seafarers on. That was the face that had the city within minutes of the arrival of the first wave. The sea stood still as if the rate of milk is involved. (23:59 hrs.)

AFTER THE SURGE

early hours of Saturday 12 March, Andres Urrutia Riquelme, took the photographs that we publish below. They appreciate five aspects of the impact of the surge occurred after midnight following the earthquake in Japan. Thanks to Andy for sending these pictures:

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no job, I am nothing.

Arcadia (Constantin Costa-Gavras, 2005)

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• Mediator: When told of the dismissal "did you feel anger, fear, resentment or relief?
• Bruno Davert: Since then, relief, no. I liked my work ... And the rest, of course. Not immediately, but then, yes.
• M. : Why?
• BD: Why, why?
• M.: Why anger, fear and resentment?
• BD.: What am I supposed to feel?
• M: not ask him to feel anything. Trying to find out the reason for their anger, fear and bitterness.
• B: It happens to all the unemployed!
• M: do all? Are you sure?
• BD: do not see what else can feel.
• M: not think that some people will not take it so to awful. And consider one occasion, pointed his wife to face the situation with a positive attitude.
• BD: will see Mr. Quinlan, to say goodbye, they sent us a bunch of experts to help us deal with our problem creativity and optimism. You begin to remind them.
• M: Because attempt to convey the same message.
• BD: His message coincides with theirs, Memec!
• M: I am glad that at last he has agreed to speak, Mr. Davert, I try to make him see that you go beyond your job.
• BD: Al away my job, ended my life, my life, At the risk of ruining my family!. Yes, work is not everything!, But not work, what am I, and how I cope? My colleagues and I were ... as a clan. We had worked together and with each other. with dismissal, ended the clan.

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to imitate him in PENCO

ORT O Enclosure aspect of what we see here Refinery in Graphics, 1945. What is interesting angle that had not yet been built houses today are located near the road leading to the church. To the right of the photo shows the chapel as it is today and in front of the shop building. As you can see the care of gardening, lawns and landscape management gave the neighborhood a notorious status in Penco. It is very difficult today 46 years later suggested that the environment can ever be as it was then. Anyway we must realize that a real lesson in good taste and care for the environment comes from the past.

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The house in the shade (On Dangerous Ground), Nicholas Ray, 1951.

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Like his debut as director, night lovers , The house has a shadow John Houseman as a producer. A man who produced works like the Beautiful bad (1952), The Lust (1956) and Two Weeks in Another Town (1962), all of Vincente Minnelli, Letter from an Unknown Woman (1948, Max Ophüls), Julio César (Joseph L. Mankiewicz, 1953) or Smugglers Moonfleet (Fritz Lang, 1955).

In 1959, Nicholas Ray read the novel Mad With Much Heart, Gerald Butler, and was attracted to her, the concept of police patrolling the streets to end violence while carrying, however, that same violence within themselves same. Ray Houseman proposed to his film adaptation, but he did not share his enthusiasm. However, could bring to fruition thanks to his tenacity and perseverance that can not be considered to On Dangerous Ground as a mere custom of study.

In just 80 minutes Ray breaks the initial expectations of being in a film noir canonical he cares less about the political intrigues of the resolution of the murder of a girl who the main character's moral journey. The shade house is a short movie 2. Two opposing worlds and visually incompatible: the urban world, night, dominated by black and all shades of gray, and rural, day, illuminated by the glow clear of snow. Jim Wilson (Robert Ryan), the sullen and embittered police officer is banished from the city for their violent methods and the people he goes to solve a case, will be his place of redemption, which will regain the dignity, love of a blind woman. All in less than 4 nights, filmed by Ray with the urgency and lyricism that characterized him and a narrative economy in which everything is essential, nothing is superfluous.

The film opens splendidly. In the opening sequence introduces us to the police daily ritual of getting ready at home to start their night patrol. It introduces us to the tone that this segment will be urban, gritty tone portrait documentary of police work alone, violent, they spread bitterness in their eyes and their actions. In Part 2, which takes place in a bleak snow-covered mountainous area always, the melodrama is gaining strength through images of a desperate and sordid romantic lyricism. According to Jean Wagner

" is probably the most unusual film of Nicholas Ray directed and how many at the same time, one of the most personal, as no other filmmaker could have signed."

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THE SITE WAS THE "Barrio Alto" PENCO

C hare this beautiful view of Refinery Site as it was in 1945. The black and white photo was retouched in color for publication in the published calendar Campania year sugar. Note the landscaped gardens and excellent road conditions, impeccable. Unlike today's folder cement is broken and in poor condition. An important detail is seen above the rooftops to the left. Be hidden from view the tops of young pine. Indeed, until late fifties, a beautiful pine forest reached to the patios of the beautiful houses of the campus. For the quality of urban environment and care practiced by its inhabitants, its inhabitants proudly knew who lived in "uptown" of Penco.