Patricio Guzmán despidió en 2012 a Chris Marker con un texto increíble. Le agradece por impulsar su cine, doblar al francés El primer año y conseguirle 43 mil pies de película virgen para rodar La batalla de Chile.
Marker, como nosotros, admiraba a Guzmán
https://t.co/SUtqSuAD2o
Leo críticas que mencionan la influencia de Kurosawa, Mizoguchi u Ozu en pelis actuales. Cómo me gustaría leer que ven influencias de Naruse, Tanaka o Kinoshita, por citar solo tres cineastas que están a la misma altura que los antes citados y fueron y son muy influyentes.
@Ricardo_Cd_Oliv "indício de status elevado"? ou "fator de elevação de status"?
Essas duas categorias analíticas são distintas e trazem resultados diferentes para raciocínios baseados em generalizações.
Não há indícios / provas de acesso de estudantes com outras origens sociais nos anos 1950??
Frederick Wiseman changed the way we see the world. From the classrooms of High School to the corridors of Hospital, he turned his camera on the institutions that shape us — inviting us to look closer, sit longer & confront truth with empathy. May his memory be a blessing.
Stanley Kubrick: “I don’t think that writers or painters or film-makers function because they have something they particularly want to say. They have something that they feel." https://t.co/C8EPE0RLA6 #writing#screenwriting
Minnie Driver says "of course" Donald Trump "deserves to be in prison," and if he is re-elected she could not live in a red state. https://t.co/KALjaFP9FL
I would love to believe that when I die I will live again, that some thinking, feeling, remembering part of me will continue. But as much as I want to believe that, and despite the ancient and worldwide cultural traditions that assert an afterlife, I know of nothing to suggest that it is more than wishful thinking. I want to grow really old with my wife, Annie, whom I dearly love. I want to see my younger children grow up and to play a role in their character and intellectual development. I want to meet still unconceived grandchildren. There are scientific problems whose outcomes I long to witness—such as the exploration of many of the worlds in our Solar System and the search for life elsewhere. I want to learn how major trends in human history, both hopeful and worrisome, work themselves out: the dangers and promise of our technology, say; the emancipation of women; the growing political, economic, and technological ascendancy of China; interstellar flight. If there were life after death, I might, no matter when I die, satisfy most of these deep curiosities and longings. But if death is nothing more than an endless dreamless sleep, this is a forlorn hope. Maybe this perspective has given me a little extra motivation to stay alive. The world is so exquisite, with so much love and moral depth, that there is no reason to deceive ourselves with pretty stories for which there's little good evidence. Far better, it seems to me, in our vulnerability, is to look Death in the eye and to be grateful every day for the brief but magnificent opportunity that life provides.
A Kinuyo Tanaka no le bastó con figurar como la actriz recurrente de Ozu, Naruse, Kurosawa o Mizoguchi sino que, además, construyó un cine comprometido y rupturista, con un hábil trazo femenino donde la huella del cáncer revela su cicatriz y su espanto.
The Eternal Breasts, 1955
Eu vou continuar garantindo em contrato uma janela de pelo menos 3 meses para meus filmes, podendo a janela ser aumentada ou diminuída em comum acordo. Se as salas de cinema começarem a fechar, meu filme será exibido exclusivamente nas que irão permanecer, e nos países que defenderem frontalmente a experiência de ir ao Cinema. Se todas as salas do Brasil fecharem e sobrar o São Luiz e a Fundação, o Cine Brasília, o Glauber Rocha, a Cinemateca Capitólio em POA, o Estação e o Cine Sesc na Augusta, o filme poderá ser exibido nessas salas durante meses antes de chegar no streaming. O streaming é uma nova e espetacular forma de ver filmes, mas o streaming não pode ter o poder de acabar com a cultura da sala de cinema. São os cinemas que constroem o caráter e a história de um filme.