Wow. What to say? I’m lost.
Not for the easily offended

Escena de Soul Kitchen

Gracias a un acuerdo entre el Incaa Film Institute y el Comité Organizador del Festival de Cannes, se estará presentando en Buenos Aires la Primera Semana del Cine Europeo en Argentina, en donde los espectadores de esta ciudad podrán ver una selección de las mejores cintas que se hayan presentado durante el mismo. Una de las más comentadas es Soul Kitchen, de Fatih Akin, aunque parece que habrá otros títulos también muy interesantes.

De nuevo enamorado del cine que se está produciendo en Europa, y de nuevo sorprendido por las producciones de origen germano-turcas. Fatih Akin presentó (tras su célebre “Contra la pared”) “Al otro lado” en 2007, obteniendo el premio a mejor guión en el festival de Cannes.

Cartel original alemán

Akin nos presenta un film dónde unos protagonistas totalmente creíbles enseñan como perdonar, aunque el dolor sea enorme. Personajes que se cruzan entre sí sin darse cuenta de lo cerca que están. Un hombre mayor que se siente solo, una prostituta madura preocupada en poder mandarle dinero a su hija en Estambul para sus estudios, una activista política idealista prófuga, una joven enamorada, una madre preocupada y un hijo distanciado de su padre tras un trágico acontecimiento son los protagonistas principales de esta historia, dónde aprender a perdonar es la única solución para expulsar sus “demonios” internos y redimirse.

Fotograma, las tomas y perspectivas que utiliza Akin son totalmente acertadas para adentrarte dentro de los personajes

El film se divide en tres partes: La muerte de Yeter, La muerte de Lotte y Al otro lado. Algo que personalmente  no me parece muy acertado ya que anula el factor sorpresa de los trágicos destinos de esos dos personajes, aunque por otro lado le da cierto toque más poético a la historia.

El gran defecto que le veo a esta película es la falta de dinamismo (se llega a hacer un tanto lenta) en algunas de sus partes, aunque es suplido de sobra por las interpretaciones, el guión y la trama en sí. Altamente recomendable.

La empatía es una de las características principales de los personajes. Ponerse en el "otro lado"

Soul Kitchen è un film di Fatih Akin del 2009

Leggi altre notizie su: | Commedia | Fatih Akin | Moritz Bleibtreu | Adam Bousdoukos

New York, I Love You (2008)
★★ / ★★★★

I’ve been waiting for this movie to be released in theaters for more than a year so I was really excited to see it when it finally was. Unfortunately, out of the ten segments (presented in order of appearances on screen–directed by Jiang Wen, Mira Nair, Shunji Iwai, Yvan Attal, Brett Ratner, Allen Hughes, Shekhar Kapur, Natalie Portman, Fatih Akin and Joshua Marston) only about five worked for me–the second (starring Natalie Portman and Irrfan Khan), the third (Orlando Bloom and Christina Ricci), the fourth (Ethan Hawke and Maggie Q), the fifth (Anton Yelchin, Olivia Thirlby, James Caan and Blake Lively), and the tenth (Eli Wallach and Cloris Leachman).

I really wanted to love this movie as much as “Paris, je t’aime.” What made the first one so great is the fact that even though we encounter so many different genres and tones throughout the picture, it felt cohesive because we truly get a sense of who the characters were in under five to seven minutes. In “New York, I Love You,” it all feels a little bit too commercial. I felt as though it wanted to impress all kinds of people so much to the point where it held back emotionally and avoided taking risks. I’m also astounded by the fact that there were no homosexual storylines, barely any segments consisting of African-American or Latino characters, and most of clips consisted of a person falling in love or lust with another person. There are many dimensions of love (love for the city, love for a pet, love for oneself…) but it didn’t quite think outside the box. Those missing qualities are crucial to me because New York is supposed to be a melting pot of ethnicities, sexualities and mindsets yet we got to see the same kinds of people time and again. With “Paris, je t’aime,” we get diversity and in more than half of them, there was not a happy ending, which I thought was closer to real life than the stories presented in this film.

The five segments that I thought were standouts had a certain passion in every single one of them, whether it’s about a woman who doesn’t quite feel comfortable about getting married; an artist struggling to read one of Fyodor Dostoyevsky’s books and whose curiosity of a woman he’s only met through the phone bothered him to the core; a man who thinks one way about a woman turning out to be someone completely different than we all expected; a teenager who goes to prom with a blind date unknowing of the fact that his date is unlike anyone he expected; and a couple celebrating their marriage that lasted for more than sixty years. Those are the kinds of stories I want to tune into and dissect because hidden layers are embedded in them. What I don’t want to see is someone supposedly falling in love unless he or she has something truly significant or different to contribute. The other five segments that I didn’t quite like should have been taken out and replaced by stories from other genres such as horror or science fiction, or they could have had a different mood or perception such as in a black-and-white reality or featuring a person so wasted in drugs–a way in which we could see the world through their eyes. That would have made more sense to me because we are essentially a drug culture. Or it could have featured at least one fashion model or a fashionista because New York is one of the biggest fashion capitals in the world. Instead of really embracing to tackle issues mentioned previously, the movie was way too safe with those other segments.

Having said all of that, I have to admit that I’m particularly hard on this picture. Since I don’t do half-star ratings, it must be said that I consider this a solid two-and-a-half star movie. When I came out of the theater, I was certain that I was going to give it three stars out of four but after thinking about it a little bit, it made me realize how much potential it didn’t use to create a truly magnificent project. For such a fascinating place like New York City, you just can’t play everything safe and get away with it. At least not with me because I’m big on seeing diversity and reality in certain kinds of films, especially in slice-of-life cinema. I’m not saying at all to not see this in theaters. By all means, please do to support a film released only on limited release. But what I want you to take away from this review is the awareness that what’s being presented on this film is not the gritty and dirty New York but the clean, nice New York we see on a prime time television shows.

Hopefully, the next project from this film series would not be as afraid to branch out.

Director(s): Fatih Akin, Yvan Attal, Allen Hughes, Shunji Iwai, Wen Jiang, Shekhar Kapur, Joshua Marston, Mira Nair, Natalie Portman, Brett Ratner & Randall Balsmeyer

“New York, I Love You” is the second of five anthologies in a project produced by Emmanuel Benbihy. Using big name actors and prolific directors from across the world, these globe-trotting experiments serve as love-letters to their settings. Each short is about some form of  love, whether it be maternal, sexual, and so forth. The first effort was “Paris, Je T’aime”, and Rio, Jerusalem, and Shangai are the proposed final installments. Like any omnibus film, however, the lesser installments stick out like a sore thumb.

Each short film is completed with the following expectations: they will be shot in two days, edited within a week, and run eight minutes in length. This effort boasts an impressive cast (everyone from Shia LaBeouf to Julie Christie), and has contributions from world-renowned directors like Mira Nair (“Monsoon Wedding”, “Amelia”) and Fatih Akin (“Head-On”, “The Edge of Heaven”).

It’s interesting then, having utilized such a diverse field of talent, that the film is so homogenized. Each effort portrays New York as overwhelmingly white, young, middle class and heterosexual. Each involves a chance encounter and a twist ending. I’ve never been to New York, but having seen films by the likes of Woody Allen and Martin Scorsese, this film felt like another planet entirely.

There are a few that work quite well. Yvan Attal’s short, starring Ethan Hawke, Maggie Q, Chris Cooper, and Robin Wright Penn is sharply written and beautifully performed. Allen Hughes’ is a stylish look into the day after a one night stand. Joshua Marston’s short, about a couple that has been married for 63 years, is also charming and quite funny. Compared to “Paris, Je T’aime”, however, the mean quality throughout is significantly lower. None of these shorts comes within an arm’s distance of Alexander Payne’s effort from the first film.

For an effort that promises to introduce wildly new material every ten minutes or so, it’s stunning that such large chunks of “New York, I Love You” are a complete bore. This homogenized New York doesn’t represent any city in the world – the beautiful, young hipsters are more plausible citizens of a film school’s lobby. Hopefully the last three installments make full use of their diverse voices and paint a portrait of the heart of their assigned city, warts and all.

Un film del 2009, regia di Fatih Akin, con Moritz Bleibtreu / Adam Bousdoukos / Birol Ünel / Dorka Gryllus. Prodotto da Bim Distribuzione (99min)

Commedia

Il giovane Zinos, proprietario di un ristorante, non naviga in buone acque. La fidanzata, Nadine, si è trasferita a Shanghai, i clienti del suo “Soul Kitchen” stanno boicottando la cucina del nuovo cuoco e Zinos soffre anche di mal di schiena. Per il locale, le cose iniziano a girare nel verso giusto quando l’innovativo stile culinario comincia a venire apprezzato da un pubblico alla moda, Zinos, invece, continua a soffrire per amore. Decide quindi di andare a trovare Nadine in Cina, lasciando il ristorante in mano all’inaffidabile fratello Illias, ex-detenuto. Entrambe le decisioni si rivelano però un disastro: Illias perde al gioco il ristorante che finisce in mano a un losco agente immobiliare e Nadine ha ora un altro compagno.

WILSON SAIKI JR.
O FINO DA MOSTRA

Lebanon – Samuel Maoz

Na Mostra de 2008 foi exibido Waltz with Bashir (Ari Folman), em 2009 teremos um outro retrato do mesmo episódio: a invasão israelense ao Líbano que ocorreu em 1982. Em comum o ponto de vista autobiográfico dos diretores, ambos foram soldados israelenses e pertencem à mesma geração.

Vencedor de três prêmios no Festival de Veneza, o principal deles o Leão de Ouro – entregue ao melhor filme -, Lebanon tem as cenas externas vistas a partir da mira de um tanque de guerra, suas ações concentram-se dentro do próprio tanque em um pequeno período, o primeiro dia da invasão israelense.

Soul Kitchen – Fatih Akin

Ao falar sobre o filme durante a coletiva de imprensa no último Festival de Veneza – de onde saiu com o Prêmio Especial do Júri e o Prêmio do Cinema Jovem -, Fatih Akin declarou que não gosta de se repetir, acrescentou que prefere errar experimentando a realizar sempre o mesmo tipo de filme.

Diferente do drama anterior, Do Outro Lado (2007), o diretor turco-alemão decidiu explorar a comédia. O protagonista é Zinos (Adam Bousdoukos), grego e dono de um restaurante, ele está passando por dificuldades no trabalho e na vida pessoal e precisa lidar com esses problemas.

Sede de Sangue – Park Chan-Wook

Conhecido por sua trilogia sobre a vingança – Zona de Risco (2000); Oldboy (2003); Lady Vingança (2005) -, o diretor sul-coreano faz parte da nova geração do país que vem produzindo excelentes filmes, junto a ele estão Bong Joon-Ho e Kim Ji-Woon.

O longa conta a história de um padre-vampiro, explorando a violência extrema e a sexualiadade, recorrentes em seus filmes. Recebeu em Cannes o Prêmio do Júri.

Mother – Bong Joon-Ho

Bong Joon-Ho também estará presente na Mostra com suas duas últimas produções: Mother (2009) e Tokyo! (2008), neste último ele dirige um dos três episódios, os outros diretores são os franceses Leos Carax e Michel Gondry.

A mãe-protagonista, que dá nome à Mother, luta para provar a inocência de seu filho, ele sofre de uma doença mental e é acusado de assassinar uma jovem.

Shirin – Abbas Kiarostami

Presença constante nas edições da Mostra, o cineasta iraniano Abbas Kiarostami será representado por Shirin, cuja estreia ocorreu no Festival de Veneza em 2008.

Explorando a linguagem do cinema, Kiarostami criou um filme em que são apresentadas as reações de 112 mulheres iranianas assistindo, aparentemente, a um longa baseado em um poema do século XII. Porém, as atrizes apenas ouviram o poema olhando para uma tela branca.

vom 24.09. – 03.10.09

Nun ist es wieder soweit. Zum 17. mal steigt das Filmfest Hamburg und zeigt in acht Kategorien über 140 nationale und internationale Produktionen. Dabei bietet das Festival von Mainstreamkino bis Dokumentation, von Komödie bis Tragödie, alles, was das Cineastenherz begehrt.
Mit von der Partie sind  auch Filme von internationalen Regielegenden wie Clint Eastwood, Jim Jarmusch oder Lars von Trier sowie den deutschen Wim Wenders, Oliver Hirschbiegel und dem Lokalhelden Fatih Akin mit seinem neuesten Werk “Soul Kitchen”.
Man darf also gespannt sein, welche Filme in diesem Jahr für Furore sorgen werden. Auf jeden Fall sollte man sich Hamburger das Filmfest nicht entgehen lassen.

Das komplette Programm sowie alle weiteren Informationen findet Ihr auf der offiziellen
Seite des Filmfest Hamburg.

Hintergrundgeschichten, Interviews und vieles mehr rund um das Filmfest bietet außerdem der Videoblog der medienakademie:

มีโปสเตอร์ใหม่ออกมาให้ชมกันอีกแล้วครับ กับโปสเตอร์ภาพยนตร์ฟอร์มเล็กๆ ที่น่าดูทีเดียว ถึงจะสู้ภาพยนตร์ฟอร์มดังไม่ได้แต่ก็สวยงาม น่าเก็บไว้สะสมครับ มาชมกันลยครับ!!

Dread ภาพยนตร์สยองขวัญฟอร์มเล็ก จาก Anthony DiBlasi โปรดิวเซอร์ภาพยนตร์สยองขวัญสุดฮิต Book of Blood โดดลงมากำกับภาพยนตร์เป็นครั้งแรก โดยสร้างจากเรื่องสั้นสยองขวัญของ Clive Barker ได้ Jackson Rathbone ดาราจากภาพยนตร์แวมไพร์สุดฮิตจากบท Jasper Hale ใน The Twilight Saga: New Moon มารับบท Stephen Grace เพื่อนรักของ Quaid (รับบทโดย Shaun Evans นักแสดงจาก Being Julia) นักศึกษาด้านปรัชญาคนหนึ่งถูกครอบงำด้วยอำนาจทางจิตผู้ตกอยู่ในฝันร้ายครอบงำให้ทำร้ายเพื่อนนักศึกษาด้วยกัน(ด้วยขวาน) เห็นการตายเป็นสิ่งสำคัญ Stephen Grace จึงได้ออกมาปกป้องและพยายามช่วย Quaid ให้หลุดจากอำนาจจากฝันร้ายที่เขามีอยู่ให้จงได้!!

โปสเตอร์ออกมาได้บรรยากาศน่ากลัวโดนใจมากครับกับ ภาพของหญิงสาวที่โดนกักขังจนเธอต้องเขียนคำว่า Dread อันเป็นชื่อเรื่อง ผสมกับ ข้อความว่า Your time will come (ตาย…ถึงเวลาของคุณแล้ว)

โปสเตอร์ใหม่สไตร์เกาเหลี ของการเป็นพระเอกเต็มตัวในฐานะดาราน้องใหม่ในฮอลลีวู๊ดของพระเอกนักร้องสุดฮอตของเกาหลี Rain (เรน) ใน Ninja Assassin ภาพยนตร์แอคชั่นบู๊สุดมันส์กับการห่ำหั่นด้วยวิชานินจา เด็กชายผู้ซึ่งถูกฝึกมาเป็นนักฆ่าระดับพระกาฬ เพื่อการล้างแค้นที่เขาต้องชำระให้ถึงที่สุด จากการกำกับของ James McTeigue ผู้กำกับจาก V for Vendetta ที่มาคราวนี้ฉีกแนวกับภาพยนตร์แอคชั่นมันส์ระเบิดกันทีเดียว!!

โปสเตอร์เป็นเวอร์ชั่น เกาหลี โชว์ภาพนินจาเรน โชว์กล้ามกลางสายฝนด้วยท่าเท่ห์ ๆ มือนึงถือดาบซามูไร อีกมือถืออาวุธโซ่หัวลูกตุ้มกริด กับอารมณ์แห่งการล้างแค้นที่ต้องชำระ!!

มาให้ชมกันอีกแล้วสำหรับโปสเตอร์ภาพยนตร์แอนิเมชั่น 3D เรื่อง A Christmas Carol จากผลงานของผู้กำกับ The Polar Express,Beowulf นั่นคือ Robert Zemeckis โดยได้พระเอกตลกหน้ายางยืด Jim Carry มาสวมบทบาทตัวละครหลายตัวด้วยกัน ลุงแก่จอมขี้โกง Ebenezer Scrooge และผี 3 ตัว (Ghost of Christmas Past,Ghost of Christmas Present,Ghost of Christmas Yet To Come) เพื่อมาขัดเกลาจิตใจของชายแก่ผู้เจ้าเหล่และขี้โกง ให้กลับกายเป็นคนดีในคืนวันคริสมาสตร์กับเรื่องมหัศจรรย์ต่างๆ

โปสเตอร์ยังเป็นภาพสวยๆ ของภาพผีเปลวเทียนพาชายแก่เหินฟ้าให้รับรู้โลกภายนอกที่เต็มไปด้วยเรื่องดีๆ เหนือกรุงลอนดอน ประเทศอังกฤษ ที่เห็นหอนาฬิกาบิ๊กเบ็นที่กำลังสร้างไม่เสร็จอยู่ไกล ๆ !!

ผมขอเรียกภาพยนตร์ New York I Love You เรื่องนี้ว่าเป็นภาพยนตร์โคตะระเรื่องรักโรแมนติคฟอร์มใหญ่กับการจับดาราดังๆของฮอลลีวู๊ดมากมายเป็นเข่งๆ มาถ่ายทอดเรื่องราวของคู่รักแต่ละคู่ในกรุงนิวยอร์คได้สุดยอดแห่งภาพยนตร์โรแมนติคใน ปี 2009 ปีนี้เลยทีเดียว ไม่ว่าจะเป็น Bradley Cooper,Natalie Portman,Shia LaBeouf,Blake Lively,Robin Wright Penn,Orlando Bloom,Hayden Christensen,Christina Ricci,Rachel Bilson,Eva Amurri,Ethan Hawke,James Caan,Maggie Q,Anton Yelchin,Qi Shu และอีกเพียบ (ทุนสร้างทั้งหมดน่าจะหนักไปทางค่าตัวนักแสดงนะครับ!!) โดย 2 ผู้กำกับ Fatih Akin จาก เยอรมัน และ Yvan Attal จาก อิสราเอล โดยมีโปรแกรมฉายในบ้านเรา 8 ตุลาคม 2552 นี้ในเครือ SFX!!

โปสเตอร์ New York I Love You เป็นเวอร์ชั่น รัสเซีย กับภาพอาร์ต รูปหัวใจสีแดงบนพื้น ฟ้าเขียวอ่อนอันแสบทรวง กับชื่อผู้แสดงที่มากมายเป็นภาษารัสเซีย!!

ถ้าเอ่ยชื่อ Joe Dante ผู้กำกับคนนี้หลาย ๆ คนอาจจะลืมเขาไปแล้วแต่สำหรับคนในยุค 80 แล้วละก็คงจำเขาได้ดีกับผู้สร้าง Gremlins อสูรตัวน้อยขนปุยตาโตหูกางน่ารัก ที่ห้ามโดนน้ำและห้ามให้อาหารตอนเที่ยงคืน ถ้าผิดกฏ อสูรน้อยจะเกิดการแยกร้างออกกำเนิดเป็นตัวใหม่อีกหลายตัวกลายร่างเป็นอสูรร้ายอันน่ากลัวแทน ที่โด่งดังในอดีต แต่ระยะหลังกับผลงาน Looney Tunes: Back in Action (2003) ก็ไม่ประสบความสำเร็จเท่าที่ควรจึงหันไปกำกับซีรี่ย์ซะส่วนใหญ่ หลังจากห่างหายจากจอเงินไปนาน เขาก็ได้กลับมาแล้วกับภาพยนตร์สยองขวัญสั่นประสาทในรูปแบบ 3D กันไปเลย กับภาพยนตร์เรื่อง The Hole ได้ Mark L.Smith มือเขียนบทจาก Vacancy มาถ่ายทอดเรื่องราวสยองขวัญเรื่องนี้ กับเรื่องราวของ แม่และลูกชายวัยรุ่นซึ่งย้ายไปอาศัยอยู่บ้านหลังหนึ่งในชนบท จนได้พบกับโพรงลึกลับในห้องใต้ดินของบ้านหลังนี้ที่ มีสิ่งลึกลับอันน่าสะพรึงกลังอยู่ด้านล่าง!! จากการแสดงของ Chris Massoglia จากหนังแวมไพร์ที่เตรียมลงจอ Cirque du Freak: The Vampire’s Assistant, Haley Bennett จาก Marley & Me , หนูน้อย Nathan Gamble จาก The Dark Knight,Marley & Me, Bruce Dern และ Teri Polo

โปสเตอร์โชว์ภาพของตัวละครสามคนในบรรยากาศในโทนแห่งความลึกลับน่าสะพรึงกลัว!!

สุดท้ายเป็นโปสเตอร์จากภาพยนตร์เรื่องใหม่ของนักบู๊หัวเถิก Jason Statham กับงานรีเมคภาพยนตร์แอคชั่นสุดคลาสิคของ Charles Bronson เมื่อปี 1972 เรื่อง The mechanic กับเรื่องราวของ นักฆ่ามืออาชีพที่ทำงานอิสระเพื่อบังหน้า จากการกำกับของ Simon West จาก Lara Croft: Tomb Raider โปสเตอร์ยังทำออกมาคล้ายเวอร์ชั่นเก่าในปี 1972 กับภาพพระเอกกับกระเป๋าเจมส์บอน!!

โปสเตอร์ The mechanic ในปี 1972 นำแสดงโดย Charles Bronson

ที่มา : IMPAwards

Blog olayı zamanında internet günlüğü gibi bir tanım almış olsa da Türkiye’de, daha kavranamamış anlamıyla saçma sapan işler için kullanılıyor, kimisi film, dizi videoları ekliyor, kimisi maç özetleri ve goller. Arada bilgi vermeye çalışan ya da insanların yorumlarını içeren gerçek anlamda blog denebilecek alanlar kaybolup gidiyor.

Bilim, teknoloji, sanat, siyaset, her ne olursa olsun mantıklı olduğu sürece bloglar açılmalı, yazılmalı kanısındayım. Fakat bizim yetiştirildiğimiz (kendimi ve blogdaki diğer arkadaşlarımı dahil etmemekle birlikte, genel olarak Türk halkını kastederek) ortam dolayısı ile bu pek mümkün değil. Çünkü kabul etmeliyiz ki biz millet olarak nerde hurafe, nerde efsane var ona inanmayı tercih ediyoruz. Bilimi, gerçekliği kendisine yol kabul etmiş, dürüstlüğüyle çalışan insanlar yerine, kendi adını sağda solda geçirmiş hatta bazıları marka statüsüne ulaşmış insanların sözlerini doğru kabul ediyoruz. Size bir kaç örnek vermem gerekirse, sadece NLP ve kişisel gelişim seminerleri yapan adamların baştacı edildiği (örn. Erdal Demirkıran), hayatında önemli sayılabilecek bir numarası olmayıp ahkam kesenlerin mehdileştirildiği (örn. Harun Yahya), siyasette anlamadığı belli adamların her seçimde ön plana çıktığı (örn. saymama gerek var mı!?), sanatla alakası olmadığı halde sanatçı sayılanların (tamamiyle objektif ve katıldığım bir görüştür ki Mehmet Ali Erbil ve Hülya Avşar) vs. bir ülkede arada kalmış değerlerin farkına varmıyoruz. İster bir profesör olsun, ister öğrenmeye ve öğrendiklerini çevreye yaymayan çalışan bir öğrenci olsun, hurafelerin ve adı magazin programlarında geçti diye bir şey sayılan insanların arasında kaynayıp gidiyor. Yukarıda bahsettiğim isimlerine yerine birilerini saymam gerekirse, psikoloji alanında belki de Türk televizyonlarında en azından şu sıralar en aktif ve adı geçen insan olan Üstün Dökmen, adı dünyada anılan akademisyen Ali Demirsoy ya da sıkıcı filmler çekiyor derken sanat yaptığı farkına varılmayan ve aptal saptal komedi filmlerine karşı gişe zaferi kazanması imkansız olan ama şimdiden adını dünya sineması adına duyurmuş yönetmenler Nuri Bilge Ceylan, Zeki Demirkubuz, Fatih Akın gibi isimler takip edilmeli. Zor bir şeyden bahsediyorum tabi. Her aksilikte nazar arayan, kader kelimesini ağzından düşürmeyen bir halk olarak nasıl gerçekleştireceğiz bunu bilemiyorum.

Başlıktan sapmamak adına biraz geçiştiriyorum anlatmak istediklerimi. Hatta direk konuya geliyorum. Şu aralar pek yazı yazamıyoruz biz bu bloga. Okulların açılmasına ek olarak konu sıkıntısı yaşadığımız zamanlar olması ters etkiliyor. Buraya yazamasak da God Like’ın bir blogu var Reality of Evolution adında. Orada yazmaya devam ediyor ama konsept farklı olduğu için her zaman taşıması imkansız.

Blog için:
http://realityofevolution.wordpress.com

Geçen hafta içerisinde blogu bir saldırı atlattı. Evrim ve bilim ile ilgili bir blog olduğundan inançlar ve evrim teorisine karşı insanların düşüncelerini öğrenmek amacıyla açılmış iki adet anket sahte oylarla manipule edildi. Tahmin edebileceğiniz şekilde Müslümanlık ve insanların evrim teorisine inanmadığı yönünde bir patlama yaşandı. Hemen arkasından God Like’ın yazı yayınlaması üzerine saldırılar durdu. Arkasından ben de bir yazı yazarak tepkimi gösterdim. Bugün yazdığım konu her ne kadar o bloga verdiğim destekle ve insanların görmesini istememle alakalı olsa da, bu yazının başında kısaca anlattığım bakış açısı kıtlığı hadisesini orada bu saldırıyla ilişkilendirerek “Reddediyorum, İnsan Düşünebilen Bir Varlık Değildir…” adlı ufak bir yazıyla dillendirdim.
O yazıyı okumak isteyenler için:
http://realityofevolution.wordpress.com/2009/09/19/reddediyorum-insan-dusunebilen-bir-varlik-degildir/

Neyse devam ediyorum. God Like’ın bir logo düşüncesi vardı. Logo tasarlamak zor iş ama elimden geldiğince yardımcı olmaya çalıştım. Bir logo isimden, tek bir harften, bir sembolden, siluetten vesaire oluşabilir. diğer çoğu tasarımdan farklı olan noktası ise belli kriterlerinin olmayışıdır. Tasarımda bazen form, bazen fonsksiyon, bazen okunabilirlik falan ön plana çıkarken logo tasarımında işler daha soyuttur. Kısaca öyle bir şey yapacaksınızdır ki, insanlar tarafından benimsenecek, görüldüğünde hatırlanacak, opsiyonel olarak içeriği sembolize edecek vs. vs…. Tasarıma kafayı takmış biri olarak, internet el verdiğince araştırdığım dizayn tutorialleri, anlatımları, ipuçları arasında logo dizaynla alakalı olanların %100 başarısız olmasının sebebini buna bağlıyorum. Çünkü diğer işlerde, bir sorun vardır ve belli kriterler içerisinde çözmeye çalışır tasarımcı. Logoda bu sorun tamamiyle ortadan kalkar (bence) ve tasarım işi tamamı ile bir sorun haline gelmeye başlar zamanla (tabi eğer usta bir tasarımcı değilseniz). Bu usta olup olmamak konusunu düşününce ne kadar zorlandığımı itiraf etmem gerekir. Her ne kadar insanlar çok beğenip, güzel bir logo olduğunu düşünseler de benim tereddütlerim var. Onun dışında son halinin çok beğenildiğini itiraf etmeliyim. Tasarıma ilgi duyan ve işin eğitimine de bulaşmış biri olarak bu güzel bir his veriyor insana.

Ufak bir düşünce aşamasından sonra ortaya çıkan çalışmayı kısaca açıklamak istiyorum. Aslında her zaman en uzun süren aşama fikir aşaması olsa da (yine bence), bu kez ucundan olaya dahil olmuşum ve evrim teorisiyle ilgileniyor olmam işimi kolaylaştırdı. Düşünce açısında beyini, filogenetik ağacı anlatmak için beyin kıvrımlarını, hatırlanabilirlik ve içerik için en bilindik basit evrim şemasını kullanmayı tercih ettim. her kıvrıma sonunda bir aşamaya açılıyor olsa da farklı türlere de açılıyor gibi göründü bu sayede.

Sonuç olarak oldu galiba. Taşlar yerine oturdu ve çağrışımı yakalamayı başardım.

CINEMA: INCONTRI D’ESSAI, TRA LE ANTEPRIME ‘LOURDES’ E ‘SOUL KITCHEN’
Si va definendo il programma degli Incontri del Cinema d’Essai che si terranno, per la prima volta a Mantova, dal 6 all’8 ottobre. Alle anteprime gia’ annunciate si aggiungono quella del film, vincitore del premio speciale della Giuria all’ultima Mostra del Cinema di Venezia, ‘Soul Kitchen’ di Fatih Akin, che aprira’ la manifestazione, e quelle di ‘Departures’ di Yojiro Takita, premio Oscar 2009 come Miglior Film Straniero, ‘Lourdes’ di Jessica Hausner, ‘Dieci inverni’ di Valerio Mieli e ‘Vengeance’ di Johnny To.

Fatih Akın’ın Venedig’te yeni filmi için ödül aldığını okuyunca hemen aklıma Duvara Karşı geldi herhalde herkesin artık filmin konusunu ezberlediği için konusuyla ilgili yorum yapmicam ama şu repliği eklemek istedim.

Cahit: Neden ölmek istedin

Sibel duymamazlıktan gelir

Cahit: Sana birşey sordum

Sibel: Burnuma dokunsa

Cahit gülümser ve denileni yapar

Sibel: Ağbim kırdı, beni bir çoçukla el elle yakaladığı için.  Şimdide göğüslerime dokun

Cahit gülümser

Sibel: Yaşamak istiyorum Cahit. Yaşamak istiyorum, dans etmek istiyorum, erkeklerle birlikte olmak istiyorum anladın mı?

Cahit: Sağır değilim ya

Sibel (Cahitin gözlerinin içine bakar):  Hiçbirşey anlamıyorsun

Del 2 al 12 de septiembre se ha celebrado la 66ª edición de la Mostra de Venecia que, como suele suceder en este tipo de eventos cinematográficos, no ha estado exenta de polémica ya que Sylvester Stallone fue galardonado con el Premio Honorífico “Gloria Jaeger-LeCoultre para el cineasta” por su huella en el universo cinematográfico.

Esta decisión no ha sentado demasiado bien teniendo en cuenta que grandes realizadores como Takeshi Kitano, Abbas Kiarostami o Agnès Varda recibieron el mismo galardón en anteriores ediciones. No suscitó la misma controversia el otro Premio Honorífico concedido al director y productor John Lasseter (junto con su equipo de Pixar) por toda su trayectoria.

Decisiones erróneas o acertadas a parte, la película que se llevó el León de Oro fue la israelí “Lebanon” de Samuel Maoz que narra la vida de un grupo de soldados en el interior de un tanque durante la primera guerra del Líbano en 1982.

El León de Plata a la mejor dirección recayó en la directora iraní Shirin Neshat por su película “Zanan Bedone Mardan”, un retrato crítico sobre la dura situación social en el Teherán de los años 50.

El Premio Especial del Jurado fue a parar al director alemán de origen turco Fatih Akin (“Contra la pared” -2004-, “Al otro lado” -2007-) por su película “Soul Kitchen”, una comedia de enredo que se sitúa en un restaurante.

El actor británico Colin Firth ha sido galaradonado con la Copa Volpi por su interpretación en la ópera prima de Tom Ford “A Single Man” y Ksenia Rappoport la ha recibido por su trabajo en “La Doppia Ora”.

Señalar, finalmente, que la Sección Oficial no contó con presencia española y que ésta se redujo a las proyecciones fuera de concurso de “Gordos” de Daniel Sánchez Arévalo, “Celda 211” de Daniel Monzón y “[REC2]” de Jaume Balagueró y Paco Plaza.

A continuación os presentamos el palmarés completo de este año:

PALMARÉS DE LA SECCIÓN OFICIAL (presidida por el director Ang Lee)

-Mejor película: “Lebanon” de Samuel Maoz (Israel).

-Mejor director: Shirin Neshat  por “Zanan Bedone Mardan” (Irán).

-Premio especial del jurado: “Soul Kitchen” de Fatih Akin (Alemania).

-Copa Volpi al mejor actor: Colin Firth por “A Single Man” de Tom Ford (USA).

-Copa Volpi a la mejor actriz: Ksenia Rappoport por “La Doppia Ora” de Giuseppe Capotondi (Italia).

-Premio Marcello Mastroianni al mejor intérprete revelación: Jasmine Trinca por “Il Grande Sogno” de Michele Placido (Italia).

-Premio Osella al mejor guión: “Life During Wartime” de Todd Solondz (USA).

-Premio Osella al mejor diseño de producción: Sylvie Olivé por “Mr. Nobody” de Jaco Van Dormael (Bélgica).

SECCIÓN HORIZONTES  (presidida por el director catalán Pere Portabella)

-Premio Venecia Horizontes: “Engkwentro” de Pepe Diokno (Filipinas).

-Documental Horizontes: “1428” de Haibin Du (China).

-Mención especial: “Aadmi ki aurat aur anya kahaniya” de Amit Dutta (India).

SECCIÓN CORTO CORTISSIMO

-León Corto Cortissimo: “Eersgeborene” de Etienne Kallos (Sudáfrica).

-Mención especial: “Felicità” de Salomé Aleksi (Georgia).

-Candidato a los Premios del Cine Europeo: “Sinner” de Meni Philip (Israel) 

CONTROCAMPO ITALIANO

-Mejor película: “Cosmonauta” de Susanna Nicchiarelli (Italia).

-Mención especial: “Negli oc Chi” de Daniele Anzelotti y Francesco del Grosso (Italia).

PREMIO FIPRESCI

-Mejor película: “Lourdes” de Jessica Hausner (Austria).

-Mejor película de Horizontes y de la Semana Internacional de la Crítica: “Choi Voi de Bui” Thac Chuyen (Vietnam).

PREMIO SIGNIS 

-Mejor película: “Lourdes” de Jessica Hausner (Austria).

-Mención especial: “Lebanon” de Samuel Maoz (Israel).

PREMIO DE LA SEMANA INTERNACIONAL DE LA CRÍTICA:
“Tehroun” de Takmil Homayoun Nader (Francia).

PREMIOS FRANCESCO PASINETTI

-Gran Premio: “Baaríade” Giuseppe Tornatore (Italia).

-Mejor película: “Lo Spazio Bianco” de Francesca Comencini (Italia).

-Mejor actor: Filippo Timi por “La Doppia Ora” (Italia).

-Mejor actriz: Margherita Buy por “Lo Spazio Bianco” (Italia).

-Premio especial: Riccardo Scamarcio por “Il Grande Sogno” (Italia).

-Segundo premio especial: Povero ma Moderno de Pappi Corsicato (Italia).

PREMIO LABEL A LA MEJOR PELÍCULA EUROPEA: “The Last Days of Emma Blank” de Alex van Warmerdam (Holanda).

PEQUEÑO LEÓN DE ORO: “Capitalism: A Love Story” de Michael Moore (USA).

PREMIO CONCEDIDO POR UNICEF: “Zanan Bedone Mardan” de Shirin Neshat (Irán).

PREMIO VENECIA DE CINE: “Lourdes” de Jessica Hausner (Austria).

PREMIO UNESCO: “Bad Lieutenant: Port of Call New Orleans” de Werner Herzog (USA).

PREMIO QUEER LION A LA MEJOR PELÍCULA DE TEMÁTICA HOMOSEXUAL: “A Single Man” de Tom Ford (USA).

PREMIO DE LA JUVENTUD

-Mejor película de la sección oficial: “Soul Kitchen” de Fatih Akin (Alemania).

-Mejor película italiana: “La Doppia Ora” de Giuseppe Capotondi (Italia).

Briony 

Lebanon de debuutfilm van Samuel Maoz is de winnaar van de Gouden Leeuw. De autobiografische oorlogsfilm getoond vanuit vanuit een tank maakte daarmee de favorietenrol waar. De prijs voor beste acteur ging naar Colin Firth en die voor beste actrice naar Kseniya Rappaport. Ook gerenommeerde regisseurs als Fatih Akin en Tod Solondz vielen in de prijzen. Akin kreeg de speciale juryprijs voor zijn film Soul Kitchen en Solondz won de award voor het beste scenario met Life after Wartime. De voorzitter van het 66e festival was Ang Lee.

CRUSH **

Film collettivo della nouvelle vague russa sulle pene d’amor perduto.

Sostanzialmente si tratta di cinque cortometraggi a soggetto: un giornalista vede una scritta sul muro di un palazzo “Olya è una tettona”e cerca di riconciliare l’autore e la vittima; un ciabattino si innamora della proprietaria di un paio di all star, un giovane fa la pubblicità ad un locale vestito da gambero gigante fucsia e viene pestato a sangue da tutte le persone che importuna, prima di trovare l’amore, in un ospedale psichiatrico, un giovane internato si innamora di una dottoressa.

Episodi di tono e riuscita diseguale, l’ultimo di Aleksej German Jr si riconosce immediatamente per atmosfere, fotografia e temi, ma non basta a rendere coerente un’operazione di routine.

SOUL KITCHEN ***

Ecco la vera sorpresa del festival: Fatih Akin abbandona i toni seri a cui ci aveva abituati per una commedia divertentissima, su due fratelli che gestiscono un locale fuori Amburgo, prima trasformandolo miracolosamente da bettola fast food, in un ristorante di successo – grazie anche ad uno chef geniale e irascibile – poi perdendolo al gioco, ed infine cercando di riconquistarlo nuovamente.

Un film prezioso, interpretato magnificamente da un gruppo di attori in stato di grazia..

La sceneggiatura gira perfettamente, alternando i momenti difficili ai successi temporanei, la regia di Akin è minimalista ed al servizio dei suoi personaggi.

L’uscita natalizia sarebbe perfetta per questo “feel good movie”, che forse non otterrà premi dalla giuria, ma che troverà certamente il suo pubblico nelle sale.

LA DOPPIA ORA **1/2

L’ultimo film italiano in concorso, dell’esordiente Capotondi, è un thriller psicologico, ambientato in una Torino irriconoscibile.

Il guardiano, ex poliziotto, Filippo Timi, conosce la cameriera Xsenia Rappaport, ad uno speed date e se ne innamora.

La porta con sé, nella villa che ha il compito di sorvegliare, quando improvvisamente vengono assaliti da una banda di ladri.

Il furto è perfettamente organizzato, ma il poliziotto reagisce e parte un colpo di pistola, che raggiunge la donna.

Il risveglio dal coma della protagonista è accompagnato da incubi e sensi di colpa.

Raccontare di più sarebbe sbagliato.

Il film utilizza soprattutto il sonoro e gli effetti per creare un senso di angoscia crescente.

Capotondi, che viene dalla pubblicità e dai video, evita ogni caduta nell’estetica del montaggio veloce, dell’immagine patinata, della fotografia satura, scegliendo, per il debutto, uno stile semplice, quasi invisibile, se non fosse per i soprassalti sonori a cui costringe la protagonista.

La doppia ora è un’opera di genere ben scritta, sufficientemente originale, interpretata da Timi, la Rappaport e Bruno con notevole adesione drammatica.

Certo un cast di nomi più famosi avrebbe facilitato il successo commerciale di un film comunque interessante ed inedito nel panorama italiano.

IL PICCOLO **

Il documentario di Maurizio Zaccaro, presentato alla presenza di Sergio Escobar, Valentina Cortese, Giuseppe Battiston, Paolo Rossi, Maurizio Porro e Toni Servillo – e dedicato a Tullio Kezich – è tanto modesto nel racconto e nella messa in scena quanto prezioso per le immagini di repertorio riproposte.

Le intuizioni poetiche di Giorgio Strehler, la sua intransigenza, i tempi eroici in cui la piccolissima sala di via Rovello fu trasformata nel più importante teatro italiano sono ricordati con affetto, attraverso le parole dei protagonisti.

Non mancano gli attori che hanno reso grande la storia del Piccolo: dall’arlecchino di Ferruccio Soleri a Giulia Lazzarini, da Franco Graziosi ad Andrea Johnasson, da Luca Ronconi sino al sommo Toni Servillo, autore delle opere più riuscite delle ultime stagioni.

Un testo utilissimo, per cominciare a comprendere cos’è stato il Piccolo Teatro, alla vigilia del restauro e del rinnovo odierno, ma un documentario troppo debole, per un concorso internazionale come la Mostra di Venezia.