Skinny Women With Big Boobs

Devine in Orange Free State

Today, I walked Rue des Archives, then I heard screams ... full of cries. has to believe in a remake of the music video Kids! In fact, I passed in front of the No. 69 street. And this time, residents of this land of libertinism olfactory were full games.

How to tell? I entered the store, everything was colorful. Norman the carpet on the ground was littered with blue cards to the spiral pattern clearer. A huge box hanging around on the black table in the back of the room. The posters all the more colorful than the others seemed to make winks. Books to taste ... particular chattered in unison and harmony pleasing child. Vials were ringing their steps on the staircase black and one in particular is eagerly looked in the mirror (some Whore of Palaces ).

paper airplanes yellow, pink, green or blue flying in all directions. I closed the door quickly.

Outside: no noise.

A penalty j'entrouvais again opening 69 that everything was resuscitated in the neighborhood!

A pure madness.

Then I know I am sometimes slow to relax, I asked what they were doing in that childish atmosphere and perky ...

observe and analyze: the flasks have a kind of paper a little yellowed clumsily taped by a tape which oscillates between life and death. In each of these pieces of paper inscribed with the name of an object, animal, place, etc. ... And for them to guess. I sit in the comfortable red sofa, and I look ...

Magnificent Obsession - Okay, guys, who starts? It is not everything, but I have blood in the oven ... Then do not waste your breath for anything

Carrion , mocking - Immediately big words!

The bottle stands, watching me in the corner and begins his series of questions.

Well, is it that I'm an animal?

Rossy - Yes, but not that ...

Carrion, too happy to be live on the right track - Aaah ... I'm in cold environments? Not really. Ok Huuum. I'm an insect! Either. A decaying corpse? A Scavenge? Not even a small frame? Decidedly ...

Praise From Traitor , malicious - You fly;)

Fat Electrician - Okay, you there! The traitor! I beg you not to hit in the back by helping others. A Carrion : Continue.

Carrion - I steal ... That's interesting! "But not that." Ok I'm in heaven? Ah! I heat! Well ... Is that the sky is composed of something else? Huh? There is something else. Ok, so it would be a kind of symbolic background?

Rossy - not get too excited ... it's just a particular fund

Carrion - Wait wait wait! Reattach all the pieces! I am a seagull on a blue background with black studs! But yes! Speaking at his indoles : yes girls, I'd forgotten! Who's next?

A thud is heard. Putain des Palaces is, which - again - broken her compact! She smiled, a little pitcher.

Palaces of Hell, embarrassed - ^ ^ Uh ... my turn? So, I'm an animal? Silence. To see your heads, no. Listen guys ... I've never been good at this kind of game! She puts her heels pink rhinestones in place and slides her nail varnish ... Especially in her long hair dyed a few sequins. She starts crying . You're all good about yourself! Me, I'm just an ordinary compact plastic on the edges, with a connotation yucky!

olfactory assistance, in chorus - Uh ....

Rossy, the taking his arm - Girl, you just find more! You were a compact time of Qin Shi Huangdi! A collector's item! You know, you have nothing to envy to Ombre Rose, for you are truly unique! Come on, just give me a hug =)

Toreros Blank - Good ... my turn here? Yeah ... well it tells me She burst a bubble of chewing gum blue Carrion. Is it OK that I am an object? No. Noted. An animal? Still no? You want my hand on his gu ... war is a way to defeat. Good. A place? Won. Lack of enthusiasm serious . Cool cool. Super. A charming place? So common. Yes, common. In town? Oh no ...

Magnificent Obsession - It's there, you play not just himself?

Virgins and Toreros , falling not even notice - A place to campaign, then? Ok A common place in the country? I might say something stupid ... Notions of work? No. Fun then? Yes! Trite + campaign + fun ... uh ... a campsite?

Magnificent Obsession, jaded - Ouiiiii! Bravo ! Now you have the right to your explanation, then it was the turn of Huge Navel (still busy to admire him, I tell you not to hang the ordeal piece of tape!).

Virgins and Toreros - Pleasant St. pray for us. Camping then? Yes, a certain smell of air mattresses, grass, small heater and nature (still!). I agree.

Navel Huge , eloquent - Hum hum .... I can? Good. Well if I could know God, the gentle allegory of my being ...

Tilda - Er ... you we did in my French pretty?

Huge Navel-Oh! I always feel belittled you, poor mortals face my infinite beauty! I see such a beautiful season extended in the space of this unstable world of illusions!

Tilda , ironic - You'll laugh, but you're not that far away, O beau ...

Nothing doing air guitar, through the "game room", without even paying attention to other

Navel Huge , contemptuous - My god ... Go play in the countryside so full the eternal void that your artistic soul tends to share with us!

Tilda - Won! You are an endless campaign! Too strong, young bottle;)

Navel Immense, shocked - But, but, but! Oh! And the deuce!

Tilda - it's my turn! Is what I'm a Celebrity? (Silence in the audience ). Well, it was going to laugh ... Band of vegetables!

True Blonde, are doing a manicure with a product that stinks - Nan but still ... uh ... you're too strong! chuckles . Every time you see the first time! Oh ( going hand in her long blonde hair, natural course as hue)


Tilda , determined - Good. Is what I am a place? Yes!? Cool then! I am a famous place or intimate? A monument?

Jasmin & Cigarettes , spitting out a puff of white tobacco - Listen darling, say that you lean more on intimacy (breathes a breath again fatal)

Tilda - Eh eh! I walk! Is it is a place that everyone (I know, I speak badly but it's not easy!) or rather a rather exclusive place?

I Am Woman - Bah ya know darling, it's actually the second class that! Huh? A antihero and Fat Electrician : Hey guys, there's another redhead who s'demande c'quelle if it is of vital or luxury! I answer him going to see? ( thunderous laugh redneck ). Nan j'déconne! ( Tilda contemptuous silence ), you're not really in need.

Tilda - My God! It is not made! A secondary site personnel ? I am a home? Oh I heat! Is what I'd be a second home? Yes, but more accurate! Uh ... I do not know me. I'm a holiday? A vacation? No. An OK house weekend? No. Eh beh my old ... A childhood home?
Delicious Closet Queen
- It's not too soon my pretty. I'm sure you can be even more precise! To adjust a scarf pink feathers on the shoulder and will enter the discussion with Jasmin & Cigarettes and Bendelirious.


Tilda - Ah! Cool then! I am a childhood home! In the mountains? No. To the sea? Nor, decidedly. In the countryside? Won! Oh yes! I'm a country house of a child who goes out into the garden! I have all good! Yiha!

Divin'Enfant - And myself in the role of the child! Is not it sprouts? Makes a kiss on the cheek to Tilda. Good. Is what I am an animal? No. Well. A place? scratching the back of the head. Still no . I remember once when I screamed in the street as "NO THIS IS NOT A PROPER PLACE" then I'm gone from this place.

The full Assistantce is flabbergasted.

Virgins & Toreros - But it is completely discarded this one!

Divin'Enfant - Hey! I'll tell my mother! But it was not because you listen to me! Good. I am an object then? Not really ... ok. Oh I'm lost! I am ... Dining? Yes? Ouiiiii!! Aah! I'm pretty sweet or salty? Mellitus. And I just hope you will not go into the cliché of the small child who loves marshmallows!

I Am Woman - marshmallow is your mother. A antihero and Fat Electrician : Hey! Guys, did you saw THE reply J'lui that I sent? Mouah ah ah!

Divin'Enfant - Actually I think it's not really me the boy in the story ... but hey! Pass! I'm edible, so. Mellitus. Uh, very sweet? Yes, anyway. Not see that much?

Jasmin & Cigarettes - But look, darling, since you said so!

Divin'Enfant - Ok Ok Good. Is it good? Instead. So much the better ... I have found in bread? Or more candy? Ah! I'm not a candy, but a work of baking bread. In more personal you say! A pastry home then! Ok .. tape in his hands. Good: a blank? mellow? an apple pie? a badge? charlotte? meringue? a ... what? A meringue! But more precise ... What changes in merignue home?? Oh yes! I found it!! Meringue a bit overdone!

Tilda , euphoric - Choupinette Bravo! You have found! My dear, everyone found it! Hoping the next time that our other colleagues will play the game more turbulent in their turn! It is not everything, but I have a pumpkin on fire;)

The Best Bang Bros Films

From February 2 to March 8, 2011 December 29, 2010

Download Program

Showtimes

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The French Cinematheque
and
Cinemas South
have

EVENING OPENING

Friday, February 4, 2011 7:00 p.m.

in the presence of
Nathalie Bourgeois
Director of education department of La Cinematheque
French and

Pierre Gabaston

author of Rebels on the big screen
co-edited the French Cinematheque and
Editions Actes Sud Junior.

Price: 5 euros + 3 euros participation
Buffet Reservations: 04 42 44 32 21

All News

and

programming at Renoir

(click the image to access the folder )

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8:00 p.m. Tuesday, February 8
Film / Philo
Early Childhood & Philosophy
Session led by Mark Rosmini

Philosopher
and
Annette Wirtlewski
Mission Project at the School Inspectorate 13

THIS IS ONLY A BEGINNING
Jean-Pierre Pozzi Pierre and Barougier
Documentary, 1 hr 35

The candle has been lit. Silence is a gradual, small body begin to calm and look towards the teacher. With a bit mystery well suited to the things of the spirit, the "workshop philosophy" can begin ...



They called Abder Hamen, Louise, Shana or Yanis, they are between 3 and 4 years students are in kindergarten of Jacques Prevert-Mee-sur-Seine (Val-de-Marne). Three apples high, these children do not yet know the word, they already recognize the need to: ask questions, seek answers, speak and listen, advance the understanding of life.
Filmed over two years at a school PTA, the film by Jean-Pierre Pozzi Pierre and Barougier is a delicate work, that looks soft and kind on the small man.



Assembly, without voiceover, reflects the progress of their questions, the words free and unexpected, already very personal to share the children: "Can you die with open eyes? "Does it makes them happy, to have children? "If
words are essential, but also by the silence that gives the film see the thought in the workplace. He knows linger on the faces, looks perplexed, signs of misunderstanding. "Conducting these workshops changed my look on students and my teaching, "says Pascaline Dogliani, school teacher, who is at the heart of this adventure with his class.

The film also stresses the importance of what happens in kindergarten: "The appropriation of language, listening, the meaning of the word, says Isabelle Duflocq, director of the school. The institution has left us to do. We even got some encouragement ... "

Élodie MAUROT

SITE:

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Disobeying Labor

in partnership with the MJC Martigues

8:30 p.m. Thursday, February 10

Hosted by
Agathe Dreyfus and Christine Gabory
Class Members
360 and even more
and
Robert Mencherini
labor historians

fuss in subcontracting

Ivora Cusack

France, 2008, 1:10

In Paris in March 2002, the maids employed by the company to work in the Arcade Accor hotels, went on strike. Their main demands: lower rates of work and payment of all hours worked. Most striking are the mothers of African descent who are first to fight for their rights. After a year of struggle, they come out victorious ... But in May 2004, the union delegate who had played a leading role in the strike, is dismissed. The fight resumed around her.

Filmed over a period of over four years, this film paints a picture of struggle where, with few resources but a strong will, individuals jostle the law of the prevailing bid in the workplace.

The movie is exhilarating. Euphoric politically first, because it demonstrates that the fight is possible, with few resources, but with the will to win, to fight and resist the urge to harm employers. euphoric as humanly speaking, to see in action and over time, the resistance of these women, often mothers of African descent, revealing a sense of collective struggle.

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FIRE
film by Denis Villeneuve Quebec, 2 h 10
Exile always carries with him his share of secrets, shadows and silence. Geographical distance and the past torn cause pain that migrants keep in them. The day in Montreal, a notary reads the twins Jeanne and Simon Marwan the will of their mother Nawal suddenly shut in a silence which she was not leaving, they understand that the mystery of their birth will be unveiled at the end of a mission it entrusts to them post-mortem.

Jane receives an envelope to deliver to the father they thought was dead, and Simon one for a brother they never knew existed. Joan agrees, Simon rebels. He shines against the distant mother, he never understood. But the notary who will accompany them, close to this woman, released this universal truth: "Death is never the end of a story. "
From his grave, Nawal transmits its weight children who crushed and they must free themselves. On their way, someone warned, "Sometimes it is perhaps better not to know everything. "In seeking their father and brother, the twins discover that they knew neither their mother nor her terrible story. Now they need to know.
To unravel the mystery of their birth, they go back to the sources of their family past and into the labyrinth of a country at war, so far from home, where the fates, like a sinister game of cards, are beaten and trite, an arbitrary random terrifying. But
revelation after a long inner journey that runs from Quebec to a country not named the Middle East, will have the devastating effect of an ancient tragedy, which possesses the power of myths and lies really at that height.



Adapted from one part of the beautiful and strong theatrical trilogy of Quebec playwright, Wajdi Mouawad was born in Lebanon, which had engulfed the Festival d'Avignon in 2009 (Littoral, Fires, Forests ), the film by Denis Villeneuve seizes the topic at this altitude symbolic.
Villeneuve reinforces its singularity in Quebec cinema
But it is constrained by its mode of expression, to bring this tale of origins realistically, where the author on the scene space, displayed a stylized narrative, which kindled the imagination of the viewer .
Denis Villeneuve is the challenge was to seize the world and words of Mouawad. He says his own vision to translate the real ruthless, psychology tormented characters and the force of destiny inserted in landscapes that also compose the score.
The game of his actors (Remy Girard, Lubna Azabal, Mélissa Desormeaux-Poulin, Maxim Gaudette, with actors Iraqi and Jordanian), supports end to end, the scale of his ambition.

Fire was selected to represent Canada in the category "Best Foreign Film at the upcoming Oscars.

Jean-Claude RASPIENGEAS

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JR's work it looks like 100%: optimistic, cheerful. And a prodigious energy, contagious every moment spent with very nice young man gives you wings. The time you spend (half past one) in her film, Women Are Heroes in theaters this Wednesday, provides the same effect.

Fishing. JR sees everything in great, monumental, yet ephemeral, punctual. His gigantic pictures which covers the walls, roofs, trains many cities around the world are aesthetically beautiful, but also cleverly subversive. And the movie he made from all these experiences "pictorial" is a model of artistic and political documentary quite unusual in cinematic landscape of this exercise.



Missing Women Are Heroes would be a grave mistake. First, because this movie gives fishing, which is not very common in the days. Then it is surprising because, in essence and form, and that surprises are always very invigorating. Finally, because the "message" of this documentary is new, particularly in his writing against the grain of what is done is usually said. He talks about women in distress, at least extreme poverty, that it never shows us into victims or fatally shot unarmed, but rather combative, dynamic, incredibly alive. Literally: they love life, life that other filmmakers have described as disastrous, forcing the viewer to compassion.

The film begins with a scene that does not immediately understand: the camera shoots in very similar terms, face and breasts of a naked black woman, her eyes half-closed, which can suppress many complaints . Not really happy, you might think. Wrongly, because suddenly the cries of a newborn outweigh the groans of the woman, her mother. JR's camera comes to film, with infinite delicacy, childbirth somewhere in Africa. Poor, poor ... not necessarily transition a favela in Rio de Janeiro, da Providencia favela Mono, of sinister reputation: violence is the rule here. Women who tell their lives, sometimes their survival, yet are impressive valor: they do not intend to leave their makeshift home, they have established networks of solidarity, they want to educate their children.



Dignity. Pulsating with music by Massive Attack, the camera runs on the trails of the favela, one sees here and there the huge picture pasted on the walls JR lepers. Pictures of these women, they grin, their faces in mischievous winks. In Cambodia then, in a slum slated for demolition, other strong women say they will not leave. India, Shanti, a beautiful lady with white hair held in a bun, sitting cross-legged in a flowing orange robe, describes hilarious how she terrorized the people of his district who were about to rape her because she was to a lower caste. His laughter, communicative, said that while the dignity of this woman, still remained situations frankly cruel mistress that she has experienced. It remains dumbfounded face of such courage that does not say his name as if he was not choice. And we remember a wonderful book, In the City of Widows (Belfond, 2008), where the author, the Colombian James Cañón, had the same bias as that of JR: in a village suddenly emptied of his men forcibly recruited by the guerrillas, previously passive women are taking matters in hand, transform the roles and relationships.

Whiners say it's a bit simplistic to persist and to show light rather than darkness where life is often a challenge. Too bad for them and good for those who prefer see the glass as half full. BEATRICE
Vallaey

Preview (Kenya)




Trailer:




film site:

JR, born 22 February 19831, is a French contemporary artist. He exhibited his photographs in the street, which he describes as "the largest art gallery in the world" 2. His work combines art, action, processes of engagement, freedom, Identity and limite3. It is presented by Fabrice Bousteau as "that which is already called the Cartier-Bresson of the twenty-first century" 4.

OFFICIAL JR :

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A car jutting into the hot desert. She stops, opens the trunk, a guy comes out. He delivers a monologue to the camera, then leaves. On the other hand, a band of spectators who came from who knows where. Armed with binoculars, they came to attend a show, but what is it exactly? In the distance something moves: a tire, it seems, who started his road and blew everything he finds: objects, animals, and then people. A young girl goes into a convertible. Our tire is love: beware of those who will be on its way ...



is anything? Yet it is the second film by Quentin Dupieux, electro musician who, early in the twenty-first century, the house down with a tube ultra-minimalist "interpreted" by a puppet (actually, a yellow washcloth with arms and eyes) under the sweet name of Mr. Oizo. A famous brand of jeans has made it his muse, the euro sank afloat, but Dupieux quickly turned the page: the realization is apparently his real passion, he signed in 2006 under his real name is an ambitious film but missed the tandem Eric & Ramzy Steak (after an average film hilarious, Norfilm). The press is shared (some crying turnip, others budding genius), the film is a public failure: never mind, since Dupieux itself is moderately satisfied by this first test. Rubber is the second, much more humble in its means and so much more free to go wherever he wants. Presented at Cannes this year, the film boasts a mouth-to-ear limit hysterical rumor is born, the cult status it ready to be awarded.



For once, the rumor is not exaggerated: Rubber has the intelligence to take great care to tell a story that does not mean anything. This does not mean that this existential road movie is a reflexive exercise in style as beautiful as vain as surprising as it may seem, we finally focus on the tire bloodthirsty and solitary with a rotten soul, but could kill for love. Dupieux draws around the world of cinema a, the most elegant (Cronenberg course, Scanners Crash, but Lynch and Craven) at least blameless (the series of Chucky) and nevertheless manages to sign a truly personal film in perfect balance between farce connected to the brink of happening and the Series B post-modern at the Scream who plays both ways: the irony scary as the first degree.



Impeccably filmed (with a digital camera!), Rubber does not pretend to be anything other than what it is but Quentin Dupieux manages to impose a resolutely unique atmosphere where the absurd is also anxiety that hilarious , where the characters are aware of their status as pure fiction but surprised to have to die, and where objects are endowed with a conscience that drives them to perform to get the ugly beautiful. Not bad for a film that tells the story of a tire that exploded heads. Fabien Reyre

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Diego Luna, Mexican actor and producer after a documentary on boxing in 2007, Abel has just completed her first film fiction around the father figure. Masterfully.

Diego Luna is a Mexican stage personality. Thirties, a friend of Gael Garcia Bernal and John Malkovich, producers Abel Diego is a child of the ball. He lost his mother two years and son of famous designer Alejandro Luna, he is "born" actor. "The theater is a perfect place," he said, I found a sort of office within the family of a great fantasy play. "Diego Luna is

noticed internationally when it awarded the Marcello Mastroianni, in Venice in 2001 for his role in Y tu mamá también, Alfonso Cuaron, along with Gael Garcia Bernal. Subsequently, he played, among others, for Spielberg and Gus Van Sant. When, in 2007, he produced a documentary a Mexican boxing champion, JC Chavez, he realized "over the shooting that it is especially the relationship with his son who appears." By the story of Abel, there is only one step.


Built in collaboration with a childhood friend, Augusto Mendoza, the character of Abel is a small nine year old boy who lives alone with his mother in a house resembling psychosis, colored version s' it is. Given the absence of the father, Abel decides to "replace" not only with her mother but also her sister Elder and his little brother. "For me, this is a way both to evoke how the role of a mother is essential in the life of a child and, inversely, to honor the responsibility of my father, me raised alone. "



Although Abel is reached on the tone of fantasy, a" fabula "is deeply rooted in the social reality of Mexico. "In Mexico, most fathers have disappeared from the U.S. in virtually abandon their families to do another elsewhere. When they are released, they reappear. What makes them irresponsible beings, in constant flight. "Metaphorically, the house of Abel represents the state of the country, and his attendance at psychiatric hospitals, the condition of its abandoned children. But Abel is a disturbing film, a sort of fantastic dream. Twisting the neck to reality, Diego Luna is based on precisely the kind he has chosen to tell his. Abel went to the other side of the mirror, his style house changes depending on his mood ...



But the acting, the direction of child actors, that makes sense. And Diego Luna is the master in this matter. "The documentary is a good springboard to find his way but I feel more comfortable in fiction. I can use my experience as an actor. I know how an actor makes his character believable and alive. "Diego Luna, actor on stage and in film, producer, demonstrated his directorial debut with a fine sensitivity to be passionate. Michele Levieux

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No Man's Land in question is a singer. Known. Blond. Name: Philip. A little glam with sequined stage costumes, outrageous. Stranger in good taste as to the measure. At the end of a concert in the region of his childhood (where it has not set foot for five years), Philippe gets trapped in the living room of a somewhat deranged groupie. To escape this passion, it beats the countryside at night and finds refuge in a farmhouse. It is always undermined by pop star decadent and without doubt this is why he did not recognize any once the home of his parents, who stand in the kitchen and front of which he fainted. It will stay there, just to relax. And even if he wanted to resume the path of his tour, the car will always get his father to the village square. Philippe face its ghosts, a magnetic attraction that is suspected heavier when it comes to return home.



That aside, it's extremely funny. Not the drama but the comedy of a rotating type (round?) Midlife. He thought of breaking free his demons by performing elsewhere, but a force that must bear the barbarous names of "remorse" brought him straight to his blue tracksuit five sizes below in which he bathed teen. If your parents have kept some clothes that were dwarf yours, start freaking out: this may be to capture you in one day.



I am no man's land is a fiction, it seems. Particularly devious, since she likes to recognize the universe "ugly-beautiful" a famous singer (Philippe Katerine) who is also his own fiction. Somehow, this is almost an achievement: Katerine twenty years has shaped a character trapped naive intelligent elegance knit of skin, between the evil laugh and a straitjacket. This character is so familiar Jousse that the filmmaker had no choice but to take him home.



And if Katherine was standing in your room and remember your parents, your old pals, your dreams of teenagers? That would make the holes, of course. This is a first idea of zany comedy. The second big idea is to have told Katerine formula staging : Surprise, the cons-up routine. The film, fused with his "actor" is a mix of colorist Jacques Demy (Nantes Jousse is), the naturalist Pialat (that of the open mouth) or a general scheme pop (Tricatel discs, videos of Peter & Gilles). But all that lint says nothing about the infinite pleasure that goes. I am no man's land territory is a film where you feel good.

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What a great surprise! The kind that you reinforces the love you feel for the film. This is a thriller that flirts with the thriller dares to tell a story of nothing in a remote province of Jura, collapsing under tons of snow, with characters valley. A film that recalls the Coen brothers' plans when they are on the side of Fargo or Barton Fink sometimes. On arrival, a superb feature, which looks like an American production, with qualities such as high mountains.



And indeed it is touched, the heart beats of Marilyn Monroe in the jubilant Poupoupidou surely directed by a filmmaker barely known, who signed in 2006, in April, the first feature film in half successful. Here, Gerald Mathieu Hustache we not only show off, but it appears as bright to the camera that scenario, with the help of Juliette Sales.



Mouthe you know, the coldest town in France? A hotel worthy of a motel in Nebraska lost, its local star, who is a weather girl, former muse of a brand of cheese, found dead in a no man's land between France and Switzerland. So, no investigation, which seems to accommodate everyone, starting with the commander of the gendarmerie. Only landed David Rousseau, a successful writer, lacking inspiration, summoned by a notary of the corner after the death of a parent. He writes thrillers, exactly. Having been entitled to inherit a stuffed dog, he is about to leave when he met firefighters on the road. Is it the blond hair escaping from the stretcher, reporting to local information, the pathos and intrigue of this death in the middle of nowhere, the feeling of take a subject? Rousseau decides to conduct his investigation "as Ellroy," up the thread of a life begun years earlier in a gas station where Candice was used as gasoline.



A moving Sophie Quinton
It will not please everyone. So begins a game of mirrors in which Marilyn Monroe and the sweet Candice merge. Same birthday, same colored hair, even love, same sh hopes of cinema, suicide attempts, psy ... You believe in reincarnation? Candice yes ... That's the whole trick Poupoupidou, where Sophie Quinton moves into heroin fragile and glamorous and where Jean-Paul Rouve, gruff, obstinate, tongue-in-cheek, we embarked whisked a province of an exotic absolute. The supporting roles are all impeccable and fair dialogue and humorous.


All achieved excellence and form a cocktail of exceptional originality, at once funny, tragic and very smart. Without doubt (do not be fooled by the poster missed) one of the best films of the past twelve months, all nationalities.
Danielle Attali

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Beyond
Clint Eastwood

In "Beyond," Clint Eastwood filmed three characters facing death and the grieving. Result: a work in sumptuous black dynamite compulsory figures. Hats off once again. Seeking
there to compete with its near-contemporary Woody Allen (75 years) on his own ground prolific? Even if it is worrying as its first beer of this kind of consideration, ... the fact is indisputable: Clint Eastwood (80 pins) now works as a metronome every year his film. Generally, by chance, an excellent film.
Two years ago, filmmaker signed one of the best tracks of the past decade, "Gran Torino" in which he played an embittered old man and racist ultimately struck by a kind of humanist grace. Last year, he led his sidekick Morgan Freeman and Matt Damon in the excellent "Invictus," a biopic (a trifle academic) dedicated to Mandela.
While preparing to shoot "Hoover," a drama about the who, 48 years during reign over the FBI, Clint Eastwood now has his own 2011: "Beyond," a film with a crazy audacity that was probably the only one who can turn right without charge in the wall of ridicule and big-horn.



Three good reasons to be evil
Paris. A journalist-TV star (named, do not laugh, Mary Lelay) can no longer be worthy of his reputation and his ego since she narrowly escaped death in Asia devastated by the tsunami. Heroin (Cecile De France) is plagued by an obsession: to understand what happened in her heart when she thought her last hour had come.
London. A kid was inconsolable since his twin brother went from life to death, refuses the obvious and coexists with the shadow of the deceased every minute of his life dull.
San Francisco. George (Matt Damon) makes his living for ages by exploiting the misery of others. Endowed with mysterious psychic powers, he no longer supports his "talents" and hidden retreats into loneliness and depression.
"Beyond" tells the stories of three people angry with others, socialization, life ...



Real and supernatural match
On paper, the project eastwoodien promised nothing exciting. All seemed very poor place for a parade of cliches nicks new age, heavy considerations on "life after death" (yawn) and visual overkill overdosées ghost anxiety and psychedelic visions.



Eastwood, although relying on some rather awkward gaps in the French segment of the triptych (the least convincing), dynamite all the figures wrong imposed. The man of "Bird" and " Unforgiven, "among other monuments, not trying to snoop around the dark regions of the" beyond "that gives the film its title, but remains stubbornly planted on terra firma's exciting. Closer to its three characters, both evil as well must deal with grief, loneliness, a kind of ill-being consistent.
The only ghosts in the film are internal and thus far more insidious. Eastwood, more than ever sober twilight, features non-arrangements of his characters with life and death and a meditation invites both sweet and anxious about resilience.


Total control

A tad embarrassed when it comes to stage (in addition to French) of his wanderings journalist in the microcosm of the media in Paris, the director films by cons with supreme elegance British and American protagonists .
When he is tracking the London boy mourning the loss of his brother, Eastwood, always at a safe distance, avoiding pathos, sentimentality and records the stubbornness stop that does not accept the unacceptable.


Filming children is one of cinema's most dangerous exercises. Home Eastwood, not rhetoric or spin tissues, but images that combine discretion and evidence. So plan on recurrent cap of the deceased, a kind of transitional object that tells the unspeakable. The portrait of the kid is even more sensitive, both shocking and funny faces when that kid all the cavalry charlatans (including priests) who promise a better destiny on their side. Even when
elegance Eastwood filmed his medium angry with the world in San Francisco. In the cooking classes he drag a girl just as awkwardly as he lost his apartment when he drowns single in his solitude, George, mute, fragile, floating on the surface of living and thinking of something else.
Characters intersection (maybe) their respective paths to the final hour, but then what? For two hours, Eastwood, true to his elliptical manner and "Fordist" as it is right to say, has wandered into areas undecided and deeply human film that rarely being surveyed. Quickly, another movie.
Olivier De Bruyn (Rue 89)

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