there are countless films about love, loss, and the confusion that those two emotions breed when together. countless. but this film, The Hunger, does it best.

you can click HERE for a plot summary, or if you want to purchase the film, which i HIGHLY recommend, you can click HERE.

the movie is expertly directed by one of the famous Scott brothers (Tony). It is able to truly show loss and love with what seems like little effort. the cuts in the first 10 minutes of the film alone are worth the price of the DVD, but it only gets more powerful as it goes on. David Bowie plays John, a jilted vampire lover who finds himself aging at an incredibly fast rate. his portrayal of a betrayed lover is moving. as the make-up piles on to make him look older and older, his eyes become the only thing that stays the same. those two glowing Bowie eyes. it is a shame that this film wasnt more of a commercial success, David Bowie proves that he is an expert actor who could not have been better cast. the whole range of sadness to anger that he shows only with his eyes is actually astounding. and some how, he plays his part in such a way that the viewer, or at least i, could identify with him. we all know what it is like to be lied to and used, but here, Bowie shows us how horrible it can be.

past Bowie though, the film is still a classic piece of artistic horror. Catherine Deneuve plays the lonely and immortal Miriam like she was born to play her. she is a dark and mechanical woman who has learned to shut off her ability to love after centuries of loss. this portrayal tore me in half through out the film. part of me wanted her to be punished for what she had made John and countless other go through, but the other part of me felt for her. she was just as much a victim as the others. her own immortality was a curse, she could never die with someone, only live past their body’s decomposition.  Susan Sarandon plays her character, Sarah Roberts,  with great artistry. her transformation from victim to hunter is terrifying. the cold look she gives in the very final scene of the film makes for one of the most unsettling moments in the film. in later years she has complained about the very last scene of the film, as has most of the cast and crew seeing as it was tagged on my the studio, but i still hold that it gives the film a far more horrific ending.

when Bowie’s character, John, and the other lovers rotting bodies, locked away in the attic, forgotten but always above Miriam’s mind, rise and exact their revenge, i almost cheered alone in my dark room. Tony Scott and the others associated with the film have all explained the movie in different ways. they have all given their own explanation for the ending, my explanation however is different.

i believe that John and the others never actually came out of their coffins int he attic, but that Miriam, after watching Sarah attempt suicide, realized all the pain she had caused would never end and that she would be alone forever, no matter how many other souls she trapped. i think it was that realization that drove her mad. the bodies didnt actually come out of their boxes, but their existence haunted her and drove her to fall from the staircase. the fall destroyed her body, and now, without the will to survive, she began her rapid decay. she had lived for countless centuries, so her decay happened faster than the others who were only a few hundred years old. after her death, Sarah boxed up the body and moved to London to live out the rest of her few century shelf life before she would age and decay like the rest.

the movie is beyond beautiful, and i hate that it is a forgotten gem. there is some talk of a remake, but i couldnt be less excited for it. the trio of actors, even the little girl who plays Alice, and Tony Scott were the perfect combination. no other line up could capture the magic like they did. and no other song than ‘Bela Lugosi’s Dead’ performed in the film live by Bauhaus could hold the same impact. instead of remaking the movie, the studio should invest in re-releasing this one. maybe this time someone will be paying attention. maybe this time people will see how honest and beautiful the film is.

Me apetecía esta canción.

Hoy me siento especialmente frágil.

Repulsion – 1965

Director – Roman Polanski

Starring – Catherine Deneuve

I came to this film knowing nothing at all about it, except for the brief synopsis on the Netflix sleeve.  If you’re going to watch this thriller, I highly recommend doing it the same way that I did.  Going in blind is by far the best way to experience it.  I wasn’t ready in the least for the ride that I was about to go on.

The story is a fairly simple one, a young, attractive, French girl, Carol (Deneuve), lives in London with her sister.  She is very shy, to the point of uncomfortability around men, and she is scared when she is left alone.  Aside from the constant attention she gets from the opposite sex, her neurotic behavior and her fears are elevated by the fact that her sister spends all of her free time giving her attention to her live-in, married boyfriend.

But that is all prologue…the story really gets rolling when Carol’s sister and her boyfriend take a two week trip to Italy, leaving her all alone with her paranoia and fear.  Carol goes from bad to worse, gradually at first, but then by leaps and bounds.  At about the half hour mark I was still feeling a little bit board and having trouble with my attention wandering.  I was sure this was going to be another run of the mill girl fending for herself, but somehow she finds the strength to overcome type story line.  As we got further and further in, the film refused to flinch, and my attention wandered less and less.  Carol’s downward spiral progressed to such a degree that I wondered aloud just how far they were going to take it.  It was at this point that I realized, I was sitting bolt upright, with tense muscles, eyes locked on the screen.  From that point forward, that is how I stayed.

The problem with reviewing a movie like this is that it works best without knowing anything, but when it’s over all you want to talk about is the stuff you can’t talk about without ruining that effect for someone else.  With that in mind, I can’t really talk to much more about the plot without spoiling something the film works really hard for, suffice to say you should definitely check it out.

Shot entirely in black in white with an almost documentary feel, the film really puts us in-between Carol and the rest of the world.  How the camera moves with her and around her is based entirely on how she sees the world.  When she is feeling comfortable and safe, we maintain a nice distance, and are able to watch her interact with those around her.  On the other hand, when she is feeling cornered or paranoid, the camera is right on top of her, shooting her eyes and face in extreme close-up.  Her fear and anxiety radiates from the screen and infects us with an unease.  We are acutely aware of our and her surroundings as we wait for the next delusion, or psychological trap to be sprung.

The set in which we spend most of the movie, is maleable in the later stages of her psychosis.  At times it seems narrow and uncomfortable, almost maliciously crowding us, and at others it is voluminous and filled with strange, uncomfortable shadows.  The bathroom changes from nice, white, tiled bathroom, to blackened, disease ridden, and threatening in a matter of moments.  Basically this warm safe place has the potential to be dangerous and wild at a moment’s notice.  The tone of the apartment is helped tremendously by the glorious high contrast light and shadow world that exists within Carol’s mind.

Roman Polanski chose a relative unknown actress for the lead role, and found in Catherine Deneuve, the perfect red herring.  Seemingly so demure and un-assuming, she really throws herself into this role, and wakes up a hidden monster inside of herself.  Though the supporting actors fill out the rest of the real world nicely, the main attraction is Deneuve giving it her all.

I highly recommend doing what you can to avoid reading about or learning what happens before you see this film, but even if you do know, watch it and enjoy.

Duo improbable que celui de Catherine Deneuve et David Bowie… Et pourtant, les voici réunis pour camper un couple de vampires modernes qui draguent en boîtes de nuit, au son de Bela Lugosi’s dead de Bauhaus, leurs futures victimes.

Myriam est un vampire très ancien (certains flash-back nous entraînent dans l’Egypte des Pharaons) qui peine à rester fidèle à ses amant(e)s. Ce qui constitue un drame pour ceux-ci car dès que l’amour de Myriam pour eux se met à décroitre, ils se mettent à veillir de manière accélée, devenant de véritables cadavres mais sans pouvoir bénéficier de la délivrance de la mort. Car Myriam donne à ses amours la vie éternelle en échange de sang.

Le vieillessement accéléré, c’est ce qui arrive à John Blayloch, compagnon de Myriam depuis plus de deux siècle, lorsque celle-ci s’amourache d’une jeune médecin (Susan Sarandon) qui travaille, comble de l’ironie, sur un remède au vieillessement…

Mon avis:

Adapté d’un roman de Withley Strieber, les prédateurs est un film d’horreur intimiste, davantage centré sur le drame que vit le personnage de David Bowie, que sur le vampirisme lui-même. Le film parle du double drame de perdre un amour et de vieillir.

Le mythe du vampire est ici modifié : Myriam et John ne craignent pas de sortir au soleil, pas de référence à la religion et encore moins à l’ail comme moyen de défense contre eux, pas de vieux château ni de cercueil mais une maison très moderne gorgée d’oeuvres d’art. Le vampire se présente ici comme une créature esthète, passionnée par les époques qu’elle traverse. Nulle référence ici à la peau glacée ou à une force surhumaine. Pas de crocs, non plus, les vampires se servent d’un mini-poignard dissimulé dans une croix ansée portée autour du cou. Dans le roman, Myriam est assimilée à la lamie, femme-démon de la Grèce ancienne qui se nourrissait de bébés.

La sensualité du couple John et Myriam et la relation saphique de Myriam et Sarah entoure le film d’une aura sulfureuse, un peu désuette à notre époque mais qui a choqué au début des années 80. Le film a vieilli, il reste un témoignage des années 80 dans sa plastique et son esthétique.

Design av Sarah Beydoun, jag har talat om dem förut, de är handgjorda väskor. Intressant att veta, de är tillverkade av libanesiska fångar i fängelset.

Libanesiska designen Sarah Beydoun har hjälpt libanesiska fångar, de producerar hennes design och de får lön för detta.

Känd fransk skådespelerska Cathrine Deneuve och drottning Rania av Jordanien har setts bärande på Sarah´s väskor.

källa

Den franska skådespelaren Catherine Deneuve har spelat i en libanesisk film med namnet “Je veux voir” vilket betyder “Jag vill se” av den libanesiska regisörern Khalil Joreige och Joana Hadjithomas. Filmen var med i Cannes internationella film festival

O conteúdo deste post é referente ao texto Cartas de amor.

Somos a soma das nossas leituras: os textos que lemos, as conversas que ouvimos, os filmes, as peças de teatro e outras manifestações artísticas com as quais temos contato armazenam-se em nosso espírito. Quando falamos ou escrevemos estamos, na verdade, retomando essas leituras, reelaborando-as, citando-as, comentando-as ou deformando-as.

No segundo parágrafo o narrador faz referência a um filme do diretor Luís Buñuel, de grande sucesso nos anos seguintes a 1996, com a atriz Catherine Deneuve. O título em português é A bela da tarde.

No mesmo texto há outra referência: um livro de Helene Hanff, 84 Charing Cross Road, que também virou filme – cujo título, como apareceu nos cinemas brasileiros, é citado por Moacyr Scliar – com Anne Bancroft. O filme conta a história de um homem e uma mulher que se correspondem durante quase toda a vida, sem nunca se terem visto.

Retire do texto as duas referências e escreva-as em seu caderno.

Você acha que a leitura, o cinema e a televisão têm alguma influência na forma como as pessoas se apaixonam?

Uwaga – film nie dla nadciśnieniowców

Slub wkrótce. Idylla. Obydwoje bogaci, wrażliwi i piękni.Pewnego dnia, ktos zaczyna sledzic pana mlodego.To mloda kobieta w czarnych szatach, ktora okazuje sie byc przyrodnią siostrą … To spotkanie burzy caly dotychczasowy porządek.

Film absolutnie rewelacyjny. Od razu uprzedzam – może trochę pompatyczny miejscami, Francuzi już tak mają, ale przecież za to ich właśnie kochamy. Widzowi towarzyszy ciągłe poczucie niepokoju. Są świetne zdjęcia, niesamowite lokacje i prze-ciekawi bohaterowie. Jest tempo i napięcie, któro sprawiało, że film oglądałam prawie na stojąco. Namiętności także wiele, choć nie ma co liczyć na wiele scen erotycznych, ale jak już się dzieje… Wszystko zaś kłębi sie w bohaterach, którzy zabierają nas w niesamowitą podróż przez francuskie lasy, miejskie kanały, obskurne hoteliki kończąc na postindustrialnych komunach…

Nominowany do Złotej Palmy, wzbudza skrajne emocje. Od wygwizdania po totalne uwielbienie.  W filmie mozemy zobaczyc ś. p. Guillaume Depardieu, Catherine Deneuve oraz mniej znaną Yekaterinę Golubevą, która hipnotyzuje swoim niesamowitym francuskim z rosyjskim akcentem… Reżyser – Leos Carax – enfant terrible francuskiej kinematografii, wybitny!

To był odcinek pod tytułem: Kino francuskie – uwielbiam. Będzie więcej. Nie tylko z bieżących, ale także z przeszłości co po których podwyższone ciśnienie się miało

Je vais le voir ou pas ?

Oyé, oyé, amateurs de faits-divers ! Les salles obscures font place cette semaine à La fille du RER, l’adaptation signée André Téchiné d’une affaire remontant à juillet 2004 -ayant fait dans un premier temps l’objet d’une pièce de théâtre, RER de Jean-Marie Besset. Les faits ? Le vendredi 9 juillet 2004, une jeune femme portait plainte pour une agression à caractère antisémite sur la ligne du RER D. Surmédiatisée et bientôt politisée, cette accusation sans preuves fera l’objet d’un non-lieu. La jeune femme révéla deux jours après que tout ceci n’était que pur mensonge afin d’exister davantage aux yeux de sa mère et son petit-ami.

Sous les traits de Jeanne, l’actrice française Emilie Dequenne (Rosetta) se prête au trouble-jeu aux côtés de Catherine Deneuve et Nicolas Duvauchelle. La fille du RER propose une version romancée des relations entre ces trois personnages, une triangularité chère au monde du cinéma.

Dans un tout autre style, la France reste à l’honneur cette semaine avec la sortie de l’attendu Coco de Gad Elmaleh. L’acteur et humoriste présente sa première réalisation, une comédie inspirée d’un de ses personnages de scène. Très “bling-bling”, ce film littéralement démonté par la critique (“ici tout est simplement ridicule” Les Inrocks) met en scène un quadragénaire immigré a qui tout réussi. Pris par la folie des grandeurs concernant l’organisation de la bar-mitsva de son fils, Coco de son nom découvrira au fil de la bobine un bien qui n’a pas de prix, la famille…

A sa décharge, les grands amoureux de Gad Elmaleh retrouveront son humour et ses gags. Coco reste avant tout un exercice de transposition – à risques – qui ravira sûrement les inconditionnels de l’humour bête mais pas méchant.

Hélène Barbaza

La fille du RER
Un film d’André Téchiné avec Emilie Dequenne, Catherine Deneuve.

Une nuit à New York
Un film de Peter Sollett, avec Michael Cera, Kat Dennings.

Coco
Un film de et avec Gad Elmaleh, Manu Payet.

Une Famille Brésilienne
Un film de Walter Salles, avec Sandra Corveloni, Joao Baldasserini, Vinícius de Oliveira.

The Chaser
Un film de Hong-jin Na, avec Yoon-seok Kim et Yeong-hie Seo.

24 City
Un film de Jia Zhang-ke, avec Chen Jianbin, Guan Fengjiu.

Un si beau voyage
Un film de Khaled Ghorbal, avec Farid Chopel, Assumpta Serna, Abdelhafid Metalsi.

Un Lac
Un film de Philippe Grandrieux.

Far North
Un film de Asif Kapadia avec Michelle Yeoh, Sean Bean, Michelle Krusiec.

Dollhouse
Un film de Lee Breuer d’après sa mise en scène.

Chrigu : chronique d’une vie éclairée
Un film de Jan Gassmann et Christian Ziörjen.

Au-delà des cimes
Un documentaire de Rémi Tezier.

L è il detective più famoso del mondo e nella prima parte della serie si occupa del caso Kira e di conseguenza è il primo antagonista di Light.

Del suo passato si sa poco, soltanto che è cresciuto nell’orfanotrofio per i bambini intellettualmente dotati “Wammy’s House” fondato da Watari, il quale gli è sempre stato vicino allevandolo e assistendolo nei casi di cui si occupa.

Ha vissuto in inghilterra per 5 anni durante i quali ha vinto la England Junior Cup del campionato di tennis.

Il suo aspetto trasandato ed eccentrico maschera le sue abilità intellettive ed analitiche, analizza sempre fino in fondo le situazioni che gli si presentano ed è estemamente meticoloso in tutto ciò che fa, non lasciando mai nulla al caso.
Ha diverse abitudini particolari come quella di non portare i calzini, mangiare solo dolci rimanendo comunque sottopeso (ritiene che il suo cervello usi la maggior parte degli zuccheri che ingerisce), accovacciarsi invece di sedersi (dice che sedendosi normalmente perde il 40% della sua capacità di ragionamento), dormire molto poco (e ciò causa delle profonde occhiaie).
Nonostante la sua riflessività è anche capace di agire velocemente quando la situazione lo richiede.
E’ un tipo solitario, sospettoso e non si fida di nessuno (a parte Watari).
Crede molto nelle sue capacità e ritiene che il tratto più infantile del suo carattere sia di non saper perdere nemmeno quando si tratta di sfide poco importanti.Cerca la verità con ogni mezzo,è animato da un profondo senso di giustizia e non disdegna l’uso di rimedi estremi per perseguirla.
Svolge il suo lavoro usando diversi pseudonimi al fine di proteggere la sua identità:

_ Hideki Ryuga - all’università durante il caso Kira

Siccome Kira ha bisogno di nome, cognome e volto per uccidere, lui usa il nome di un cantante/attore famoso cosicchè se Light dovesse scrivere questo nome ucciderebbe l’attore perchè, come Light stesso ammette, per sbaglio potrebbe collegarlo mentalmente all’artista piuttosto che a lui e se dovesse morire si avrebbe prova certa che lui è Kira

_ Ryuzaki – nel quartier generale del caso Kira

Nome che devono utilizzare i membri della squadra investigativa su Kira durante le indagini

_ Eraldo Coil/Deneuve – in tutti gli altri casi

Sono gli pseudonimi rispettivamente del primo e del secondo detective più famoso del mondo (il primo ovviamente è L).Il fatto che lui impersoni tutti e 3 viene rivelato solo ai membri della squadra investigativa ed ad altri stretti collaboratori di L.

Il suo vero nome lo si può apprendere soltanto dal tredicesimo volume del manga Death Note: How To Read 13 che contiene moltissimi approfondimenti sui personaggi.

Con un pò di incredulità si scopre che il suo vero nome è proprio L, L Lawliet.
Un’altra misura di protezione che utilizza è quella di avvalersi dell’appoggio di Watari (ovviamente vestito in modo da non essere identificato) come mediatore quando gli viene affidato un caso, mostrandosi attraverso allo schermo di un computer con solo la lettera L (di colore nero su sfondo bianco) e sintetizzando la sua voce.
Il suo aspetto è conosciuto solo da un ristretto numero di collaboratori, di cui si serve per risolvere i casi che sceglie visto che lui non si mostra mai e di conseguenza non scende mai direttamente in campo.
Quando il metodo investigativo che ha utilizzato fino a quel momento (ovvero le telecamere di sorveglianza ed i media) lo precludono dall’avanzare nella raccolta di prove, si trova costretto a presentarsi personalmente prima ad alcuni membri della polizia giapponese, poi al suo maggior sospettato Light Yagami.Giustifica i suoi sospetti dicendo che tra tutte le persone su cui ha investigato, lui è l’unico ad essere risultato “troppo perfetto”.
Per questo motivo si iscrive all’università che frequenta presentandosi come Ryuga Hideki e sfida Light direttamente dicendogli “Io sono L”.In questo modo se lui dovesse morire nonostante lo pseudonimo i sospetti su di lui aumenterebbero notevolmente.
Dice di sospettare di lui solo al 5% ma le sue azioni dimostrano che la percentuale è di molto superiore a quella espressa a parole (probabilmente per non agitare la sua squadra visto che Light è il figlio di uno dei componenti), anzi a quel punto l’unica cosa che secondo lui manca sono le prove concrete.La certezza non gli basta (e non bastano nemmeno al mondo che lo circonda) e nonostante trascorra svariate sezioni narrative essendo certo della colpevolezza di Light, si rifiuta di fermarlo finchè non trova prove a sostegno della sua tesi.
Successivamente a questo incontro invita Light ad unirsi alla squadra investigativa così da poterlo sorvegliare più a lungo e più da vicino.E infatti la loro sfida è in continua evoluzione, ognuno cerca di prevedere le mosse dell’altro, e rimanere sempre un passo avanti.Si accorgono di essere molto simili sia nel modo di ragionare che in quello di agire anche se attuano i loro principi in maniera diversa.Light spesso si fa offuscare dall’orgoglio e dalle emozioni mentre L svolge il suo lavoro con lucidità e fa sempre tutto ciò che è necessario fare.E’ sempre molto diretto e non gli piacciono i giri di parole a meno che non abbia un buon motivo (mettere alla prova le persone, verificare delle teorie, confermare sospetti,ecc) mentre Light si nasconde spesso dietro a maschere per manipolare le persone e far credere loro ciò che vuole (gli unici momenti in cui esprime i suoi veri pensieri sono quando è da solo o con lo Shinigami Ryuk,quando perde la memoria e nell’ultimo episodio della serie).Nonostante la loro vicinanza e diverse prove dell’innocenza del suo sospettato (alcune contraffatte da Light) L non cambia mai la sua posizione e continua a seguire la pista che ha identificato come la più giusta.Anche quando Light perde la memoria e riacquista la sua purezza (non essendo più corrotto dal potere del Death Note) trova sospetto il repentino cambiamento di personalità e invece di ricredersi si convince ancora di più.
Qualsiasi cosa accada i suoi sospetti non calano mai perchè non trova mai una prova concreta che scagioni completamente Light (l’unica che c’era era stata contraffatta da Light facendo scrivere allo Shinigami Ryuk una regola falsa sul Death Note, a cui L non ha mai creduto)
L è sempre stato il nemico più temibile per Light perchè riusciva sempre a prevedere le sue mosse ed è l’unica persona che non è mai riuscito a manipolare.Non è riuscito ad ucciderlo direttamente scrivendolo sul Death Note ma convincendo la Shinigami Rem a farlo per lui.E mentre moriva Light reggendo il suo corpo negli ultimi istanti di vita, fa cadere per qualche istante la sua maschera mostrando il sogghigno di Kira che gioiva per la vittoria.
Alla fine si può dire che L, nonostante sia morto, abbia raggiunto ciò che più desiderava, la Verità, scoprendo la vera identità di Kira e confermando i suoi sospetti.
Light invece morendo nell’ultimo episodio della serie, ha perso le cose per lui più importanti, vale a dire la sua vita (non ha mai fatto lo scambio degli occhi con Ryuk proprio per vivere il più a lungo possibile nel suo mondo ideale) e il dominio incontrastato sul mondo.
Nell’anime il colore con cui viene caratterizzato L è blu il e secondo la cromatologia e la teoria dei colori di Isaac Newton simboleggia profondità, stabilità, fiducia, comprensione, lealtà, saggezza, intelligenza, coscienza, intelletto, verità, calma e senso di appartenenza.
Il blu scuro in particolare è associato a saggezza, conoscenza, integrità e serietà.
Light invece viene caratterizzato dal rosso che simboleggia energia, forza vitale, impulso, volontà di vincere, potere, pericolo, desiderio.
Il rosso scuro in particolare è associato a vigore, forza di volontà, rabbia, coraggio, malizia, ira, superbia.

Autrice di questo post: Nocturnelilium

Alcune Foto Death Note

Bon OK je suis pas vraiment au top du timing ni de la tendance sur ce coup-là. Mais bon.
Souvenez-vous, la veille de Noël, je vous entretenais d’un magnifique conte, l’inusable Peau d’Ane avec Catherine Deneuve. Si si, c’était là.
Et comme le monde tourne sur lui-même et que les boucles souvent se bouclent, je viens d’aller voir, enfin… Un Conte de Noël, avec la même, quelque 40 ans plus tard.

Et me voici devant vous, tout retourné par la beauté de ce film.
Catherine est toujours aussi belle, aussi grâcieuse, aussi mythique, un peu plus méchante, mais tellement grande… Mathieu Amalric est renversant, Emmanuelle Devos est belle et charmante, et tous les autres sont au diapason. Moins de collants rouges, moins de pipes en cachette (quoique), une autre forme de beauté, mais une très belle beauté.
Desplechin est grand, et moi je, je suis heureux.

Près de 500 personnes ont assisté aux funérailles de jeudi après-midi du producteur et réalisateur Claude Berri, a disparu lundi à Paris la suite d’un accident vasculaire cérébral. 14:30 conséquence, de nombreux anonymes ont été massés autour de la place du cimetière juif de Bagneux, en région parisienne, bientôt rejoints par des personnalités du 7e art, de rendre un dernier hommage au dernier “mogul” du cinéma français. Les acteurs Catherine Deneuve, Alain Delon et son fils Anthony, Mireille Darc, Anouk Aimée, Agnes Soral, réalisateurs Costa Gravas, Roman Polanski, Claude Lelouch et scénariste Danièle Thompson, dont bénéficient tous de l’émotion, tandis que d’autres se sont succédées à la table après la lecture de divers psaumes, par le rabbin, dont un extrait du grand livre de la Sagesse. “

On est tous d’accord : la situation mérite attention…

Mon enfant, on n’épouse jamais ses parents
Vous aimez votre père je comprends
Quelles que soient vos raisons
Quels que soient pour lui vos sentiments

Mon enfant, on n’épouse pas plus sa maman
On dit que traditionnellement
Des questions de culture et de législature décidèrent en leur temps
Qu’on ne mariait pas les filles avec leur papa

Un prince, une bergère peuvent bien s’accorder quelquefois
Mais une fille et son père c’est ma foi
Un échec assuré, une progéniture altérée

Mon enfant, il vous fout oublier à présent
Ces fantasmes démoralisants
Et vous rencontrerez un charmant va-nu-pieds ou un prince mendiant
Mais de grâce, oubliez cet hymen insensé

Mon enfant, la vie vous offrira ses présents
Mais il vous faudra auparavant
Vous conformer au plan que j’ai conçu pour vous savamment

Mon enfant, ne craignez pas les égarements
Je vais vous éclairer brillamment
Je vais vous protéger, j’ai pour vous un chemin par mes soins tout tracé
Mais de grâce, écoutez, j’ai tout mani-gan-cé
(J. Demy / M. Legrand)

Joyeux Noël à tous.

En su sexta edición y como de costumbre en la embajada francesa de Madrid, la revista Marie Claire organizo una interesante velada para entregar los premios de la moda de este año. Entre los galardonados tuvimos a grandes exponentes del mundo de la moda como Alberta Ferretti, Markus Lupfer, Peter Lindbergh, Manolo Blahnik, Catherine Deneuve o a Winona Ryder, que amadrinaba el acto. Dentro de las damas asistentes hemos destacado a las más elegantes que forman parte de la siguiente serie fotográfica.

Paz Vega

Cayetana Guillen Cuervo

Laura Sanchez

Paloma Segrelles

Judith Masco

Vicky Martin Berrocal

Elena Salgado

Maria Leon

Alberta Ferretti

Winona Ryder

Nieves Alvarez

Mar Flores

Sonia Ferrer

Ariadne Artiles

Tamara Falco

Duquesa Eugenia de Montoro

The Kreep thirsts for Tony Scott’s vampire masterpiece The Hunger.  His latest dark ode, full review found exclusively on 100% of Nothing, honors Tony Scott’s stylish cross genre tour de force staring David Bowie (The Man Who Fell To Earth), Catherine Deneuve (Dancer in the Dark), and Susan Sarandon (Igby Goes Down).  The Hunger opened to critical disdain in 1982 followed by a cult following to rival The Rocky Horror Picture Show. Before the scores of “new” vampire spins hit the literary scene, thanks to the gifted Anne Rice and her Interview With The Vampire fable, this small, yet extremely powerful horror thriller tapped into that vain, presenting a mythical creature full of philosophical angst, social complexity, and bisexual passions–deliciously modern all around.

Mr. Scott’s The Hunger succeeds in combining a sensual, rhythmic soundtrack, seasoned art direction, along with a crisp kinetic editing style that appealed to the ever-growing MTV crowd. A younger, hipper audience now wanted their stories revealed in more ethereal, more contemporary luminosity.  So, for their adolescent sins, Mr. Scott delivered unto them the perfect cinematic “eye candy” based on Whitley Strieber’s best selling novel by the same name.

Produced by R. Productions, in association with Hoffhines Productions, and published by Static Multimedia, The Kreep is offered in several social media formats such as a syndicated feature on 100% OF NOTHING, an art and culture Ezine linked to a free downloadable podcast on iTunes.  Selected poems will also receive an audio/visual treatment and posted on YOUtube and Vampire Freaks while compilations can be found in book form on Issuu.

A new Kreepy poem is available every Wednesday at midnight on 100% of Nothing with a link to a free iTunes podcast. Last week The Kreep’s poem was a tribute to one of the greatest serial killer films of all time The Silence of the Lambs, also on a deluxe DVD in stores now.

Take a slice of Edward Gorey,  a dash of Gothic angst with just a pinch of Doctor Seuss and you’ll understand THE KREEP’s sensibility.

External Kreepy Links

Available on iTunes as a free downloadable podcast on 100% OF NOTHING

KREEPY KRUMBS – VOL. I – BOOK OF POEMS

THE KREEP ON MYSPACE

THE KREEP ON VAMPIRE FREAKS

THE KREEP ON iTUNES † 

THE KREEP ON YOUtube

THE KREEP is an R. Productions, Static Multimedia, and Hoffhines Production gig. © 2008 R. Productions

source: r-productions.com

The Kreep thirsts for Tony Scott’s vampire masterpiece The Hunger.  His latest dark ode, full review found exclusively on 100% of Nothing, honors Tony Scott’s stylish cross genre tour de force staring David Bowie (The Man Who Fell To Earth), Catherine Deneuve (Dancer in the Dark), and Susan Sarandon (Igby Goes Down).  The Hunger opened to critical disdain in 1982 followed by a cult following to rival The Rocky Horror Picture Show. Before the scores of “new” vampire spins hit the literary scene, thanks to the gifted Anne Rice and her Interview With The Vampire fable, this small, yet extremely powerful horror thriller tapped into that vain, presenting a mythical creature full of philosophical angst, social complexity, and bisexual passions–deliciously modern all around.

Mr. Scott’s The Hunger succeeds in combining a sensual, rhythmic soundtrack, seasoned art direction, along with a crisp kinetic editing style that appealed to the ever-growing MTV crowd. A younger, hipper audience now wanted their stories revealed in more ethereal, more contemporary luminosity.  So, for their adolescent sins, Mr. Scott delivered unto them the perfect cinematic “eye candy” based on Whitley Strieber’s best selling novel by the same name.

Produced by R. Productions in association with Hoffhines Productions, and published by Static Multimedia, The Kreep is offered in several social media formats such as a syndicated feature on 100% OF NOTHING, an art and culture Ezine linked to a free downloadable podcast on iTunes.  Selected poems will also receive an audio/visual treatment and posted on YOUtube and Vampire Freaks while compilations can be found in book form on Issuu.

A new Kreepy poem is available every Wednesday at midnight on 100% of Nothing with a link to a free iTunes podcast. Last week The Kreep’s poem was a tribute to one of the greatest serial killer films of all time The Silence of the Lambs, also on a deluxe DVD in stores now.

Take a slice of Edward Gorey,  a dash of Gothic angst with just a pinch of Doctor Seuss and you’ll understand THE KREEP’s sensibility.

External Kreepy Links

Available on iTunes as a free downloadable podcast on 100% OF NOTHING

KREEPY KRUMBS – VOL. I – BOOK OF POEMS

THE KREEP ON MYSPACE

THE KREEP ON VAMPIRE FREAKS

THE KREEP ON iTUNES † 

THE KREEP ON YOUtube

THE KREEP is an R. Productions, Static Multimedia, and Hoffhines Production gig. © 2008 R. Productions

source: r-productions.com

The Kreep thirsts for Tony Scott’s vampire masterpiece The Hunger.  His latest dark ode, full review found exclusively on 100% of Nothing, honors Tony Scott’s stylish cross genre tour de force staring David Bowie (The Man Who Fell To Earth), Catherine Deneuve (Dancer in the Dark), and Susan Sarandon (Igby Goes Down).  The Hunger opened to critical disdain in 1982 followed by a cult following to rival The Rocky Horror Picture Show. Before the scores of “new” vampire spins hit the literary scene, thanks to the gifted Anne Rice and her Interview With The Vampire fable, this small, yet extremely powerful horror thriller tapped into that vain, presenting a mythical creature full of philosophical angst, social complexity, and bisexual passions–deliciously modern all around.

Mr. Scott’s The Hunger succeeds in combining a sensual, rhythmic soundtrack, seasoned art direction, along with a crisp kinetic editing style that appealed to the ever-growing MTV crowd. A younger, hipper audience now wanted their stories revealed in more ethereal, more contemporary luminosity.  So, for their adolescent sins, Mr. Scott delivered unto them the perfect cinematic “eye candy” based on Whitley Strieber’s best selling novel by the same name.

Produced by R. Productions in association with Hoffhines Productions, and published by Static Multimedia, The Kreep is offered in several social media formats such as a syndicated feature on 100% OF NOTHING, an art and culture Ezine linked to a free downloadable podcast on iTunes.  Selected poems will also receive an audio/visual treatment and posted on YOUtube and Vampire Freaks while compilations can be found in book form on Issuu.

A new Kreepy poem is available every Wednesday at midnight on 100% of Nothing with a link to a free iTunes podcast. Last week The Kreep’s poem was a tribute to one of the greatest serial killer films of all time The Silence of the Lambs, also on a deluxe DVD in stores now.

Take a slice of Edward Gorey,  a dash of Gothic angst with just a pinch of Doctor Seuss and you’ll understand THE KREEP’s sensibility.

External Kreepy Links

Available on iTunes as a free downloadable podcast on 100% OF NOTHING

KREEPY KRUMBS – VOL. I – BOOK OF POEMS

THE KREEP ON MYSPACE

THE KREEP ON VAMPIRE FREAKS

THE KREEP ON iTUNES † 

THE KREEP ON YOUtube

THE KREEP is an R. Productions, Static Multimedia, and Hoffhines Production gig. © 2008 R. Productions

source: r-productions.com