norah jones is amazing. she can keep you going through drunkenness, hangovers, sadness, happiness (and oh, so many other emotions). she’s got a song for anything and the perfect voice to fill them all with pure feelings. norah jones is a winner. only for the fact that she can save your life from a dark period sometimes. just like she did with mine. and isn’t that what we’re all searching for in an artist? to inspire people and save their lives? (that reminds me of a line in stay – one of my favorite movies – there’s too much beauty to give it up) well i don’t know about that beauty part that much but i do know this: listen to norah jones: it’ll make you laugh, it’ll make you cry, it’ll change your life..

also, related to norah jones, my blueberry nights is a pretty good movie too. if you ever read “on the road” by kerouac and liked it i think you’re gonna like this movie too. it’s a bit more drama, a bit less alcohol but still ok.

the girl, confused about her feelings (yes, i know she’s like most women) leaves new york, after meeting this great guy (right after she broke up with another one) in order to…i dunno…find herself? and here’s where everything goes down. as she goes from town to town and workes as a waitress she meets different people with their own unique stories. it’s actually interesting to see more than one story in a movie, not just one theme, it’s…refreshing. but goin’ back to nj’s character, the girl realises that she belong in new york and that she’s meant to stay with the guy (of course she is!). there is one line i loveed in the movie, when she sits across the street from the guy’s bar and she says something like “I decided to take the longest way across the street” and she goes across america. anyway, here’s some info from imdb: 

Director: Kar Wai Wong

Genre: Drama, Romance

Tagline: How do you say goodbye to someone you can’t imagine living without?

Plot:  A young woman takes a soul-searching journey across America to resolve her questions about love while encountering a series of offbeat characters along the way.

Things have been a little “weedy” this week. I am all over the place. For those of you who have never worked in the restaurant biz, being in the weeds is when you are near or beyond your capacity to handle a situation or cannot catch up [with tables, etc.]

So here’s a little ode to the restaurant business where I truly believe everyone should work at least once. Gives you social perspective.

Pieces of flair, anyone?

Time for bed. 86 energy.

Peace,

Sources: bleubirdvintage, weheartit, vi.sualize.us

My Blueberry Nights es la última peli de Kar Wai Wong que llegó a Colombia y es del 2007. No hemos sido muy afortunados con el cinema chino pues a pesar del gran éxito que ha tenido en Venecia o Cannes siempre nos llega muy tarde este material si es que llega, esta peli por ejemplo sólo llego a las videotiendas. Y aunque sólo tuvo dos nominaciones Wong es un director que merece estar en nuestras carteleras con mucha más presencia.

Aunque la peli es bastante bonita, no deja de parecerme un poco pasajera. Un melodrama de una mujer traicionada por su novio, crédula, noble e ingenua y un dueño de un café solitario, aún enamorado, aún herido. Sin embargo las historias de la ex-esposa del policia alcohólico, la mujer atrapada en su adicción por el juego y el mismo policia son para mi los que salvan la peli.

Destaco la belleza inconmesurable de Rachel Weisz que se ve mejor que nunca (las mamás tienen un toque erótico muy basto y la Weisz acababa de filmar The Fontain de Aronofsky y tener su hijo; dicen en esta peli filmaba mientras lo amamantaba – por dios que imagen), la actuación espectacular de David Strathaim como policia alcoholizado, muy bien por Natalie Portman que aparece completamente se reta con papeles que no la encasillan y muy bien por Norah Jones con su primera peli como actriz principal. Jude Law bastante regular pero tampoco desentona.

No es mi peli favorita, siento que aunque bonita se siente la ausencia de Christopher Doyle quien era una insignia en las pelis de Wong y hay una presencia musical muy importante que logra ambientar en una sensación plausible toda la peli.

Buena para un domingazo.

]]> http://ensayosdesdeelabismo.wordpress.com/2009/10/11/my-blueberry-nights/ Sun, 11 Oct 2009 17:44:35 +0000 ocavaller http://ensayosdesdeelabismo.wordpress.com/2009/10/11/my-blueberry-nights/

J’ouvre cette nouvelle rubrique cinéma en commençant par ce sublime film (rubrique qui sera en parallèle avec les découvertes cinéma, sachant que je parlerais ici de films connus et moins connus). Attention, le mot chef d’oeuvre sera parfois purement subjectif, même si le film sera très bon, peut-être sera-t-il un peu fort de le qualifier comme tel.

Wong Kar-Wai, Jude Law, Natalie Portman, Rachel Weisz, Norah Jones. Un réalisateur exceptionnel, un casting ultra sexy et un film incroyable. Voilà comment on pourrait résumer My Blueberry Nights.
Certains connaissent. Pourtant, du grand public, ça varie entre “jamais entendu parlé” et “jamais eu l’occasion de le voir”.
Et c’est là mon but avec ces articles, vous faire naître l’envie de voir, de découvrir ce film, et peut-être qu’un jour vous vous direz, à la fnac, en passant devant le DVD “Tiens, ça me dit quelque chose, j’ai cru lire que c’était bien. Allez je le prend.”
Parce que c’est ça le 7ème art, une véritable merveille dont certaines perles méritent d’être vues.
My Blueberry Nights en fait partie.

L’histoire : Après une rupture, Liz (Norah Jones) se lie d’amitié avec Jeremy (Jude Law), un barman. Mais, elle décide, pour oublier, de partir dans un voyage à travers les Etats-Unis, où elle croisera Arnie (David Strathairn), flic devenu alcoolique suite au départ de sa femme Sue Lynn (sublime Rachel Weisz), et Leslie, accro aux jeux qui l’accompagnera une partie de son périple. Parallèlement, elle entretien une correspondance à sens unique avec Jeremy (celui-ci ne trouvant pas d’adresse).

Wong Kar-Wai, de part sa réalisation excellente et très intime nous plonge dès la première minute dans l’intimité des personnages, dont finalement on ne connaît que très peu l’histoire. Cependant, au fur et à mesure que le voyage et la correspondance continuent, leurs psychologies et quelques bribes de leurs passés nous apparaissent, et simplement ça nous permettra de nous attacher aux protagonistes.
Le scénario justement. La plupart des détracteurs du films diront que les ellipses narratives sont vraiment trop fréquentes et parfois maladroites. Celles-ci sont pourtant excellemment bien amenées et surtout, le film nous montre l’essentiel. On arrive dans l’histoire à un moment donné, on en sort à un moment donné, sans flashbacks, sans épilogue.

Le choix des acteurs, et surtout des actrices, est extrêmement judicieux. Bien sûr, Jude Law n’a plus rien à prouver. Mais le fait d’avoir choisi Norah Jones, Natalie Portman et Rachel Weisz, qui se ressemblent fortement physiquement, accentue alors le contraste de la personnalité de ces 3 personnages.
Ici, My Blueberry Nights aborde la quête de soit comme toile de fond, agrémenté d’une histoire d’amour complexe qui se crée à distance. La rédemption, l’oubli du passé de Elizabeth permet alors aussi à Jeremy d’oublier lui aussi.

Tout donc ici est important. L’excellente bande originale de Norah Jones, la réalisation tout comme l’éclairage, le scénario, les thèmes abordés, les acteurs. Et, quand tous ces éléments sont excellents, et surtout, quand ces complètement indissociable, on sait alors qu’on a devant nos yeux une véritable oeuvre.
C’est le cas de My Blueberry Nights, véritable claque émotive et cinématographique.

” …
- Those belonged to a young couple a few years ago. They were naive enough to believe that they are gonna spend the rest of their lives together.
- Well, what happened?
- Life happened. Things happened. Time happened.
- It’s pretty much always the case more or less, or maybe one of them ran off with someone else.
- Maybe the feelings just went away. “

Photo by Jenny Downing

Dearest Stella,

It’s Saturday night, and I’m at the new local bar by myself. This is the cool neighborhood haunt I’ve been waiting for. Technically, as you know, I don’t drink these days, except when I need a review of the lesson, bad things happen when I drink, which is more often than an intelligent person should need. If I did still drink, though, I would be drinking tequila, which is what the bar specializes in.

Becoming a bartender after giving up-ish alcohol might strike some as either curious or obvious. On the one hand, as a bartender I can keep my finger on the party pulse while not having to actually endure extended conversations with drunk people, conversations which, I’ve soberly observed, are—who knew?—agonizingly boring.

Michael Chabon has this great passage in Wonder Boys (I love love love that book!):

I drank for years, and then I stopped drinking and discovered the sad truth about parties. A sober man at a party is lonely as a journalist, implacable as a coroner, bitter as an angel looking down from heaven.

As a bartender, I don’t have to cut off my entire relationship with the substances and atmospheres I once loved. I don’t need to consume liquor to appreciate light reflected off bottles in afternoon sun, the weight of heavy glass against a palm, the satisfying sound of crushed ice against a tin bottom.

My relationship to alcohol has gone from a kind a nihilistic cannibalism (the pleasure of ingesting, of becoming the thing) to an aesthetic and kinesthetic one (the pleasure of making, looking, and feeling).

My old lover tequila used to cast a soft, sensual hue over the world, like a cheesy 1970s photo. I feel everything then; all my sensory apparatuses at attention. The problem is what happens after, when I dip into the Netherlands of Flatness.

The deal that seems to have been made, or dealt, to me is this: I can have either the exquisitely delicious and simultaneously painful sensory acuteness that drinking brings or the less intense (thus also less painful) sensory lushness of the everyday. I can’t have both. Worse still, a couple of years ago my body decided that if I was going to continue drinking, I could actually have neither. It would be sadness then flatness. No fun all around; hence tequila and my little break-up.

I love the film My Blueberry Nights because in it, Wong Kar-Wai creates a world, much like mine, in which bodies interact with material objects in a way that seems beautiful, harmonious. Scenes are saturated with glorious color. We see the way light might enrich a particular shade of red, for example, or conversely, the way a vibrant red can infuse light from a street lamp and render it a pulsing, living thing. A cafe window frames a conversation between strangers. Human bodies plus architecture plus material world make art.

Tonight, I drink a jam jar of ice cold water topped with a fat, juicy lemon. I have a conversation with a charming stranger, eat a delicious mushroom empanada, listen to Manu Chao, and watch hot bartender chicks with tats (Oh! to be able to dress as yourself while bartending!).

I watch light play off crushed ice as the bartender scoops it into three glasses. I watch, too, as she accidentally spills a margarita onto the ice below and quickly shovels it out so as to not ruin the batch. Getting new ice would set her back for time and the bar is packed.

I feel at peace as I sit here, albeit it is a tentative and delicate version. Not a being settled, because lord knows, I will not settle at my current job at Hotel Bar, nor anywhere most likely—this I understand about myself. But it is a peace akin to that feeling after exercising where the body hums, all its parts in tune. It’s the kind of fleeting stillness born of movement, a punctuating breath, like a comma, already suggesting the next thing.

It is a pleasure to be on this side of the bar tonight, to be the observer, and, of course, the writer again. My new part-time schedule has me feeling human once more; I’m able to tend to my daydreaming self, that part of me so necessary not only for writing, but for living.

After an era of turning inward, this moment out in the world feels powerful and reassuring. Working has changed who I am even on the days I don’t work. Time feels different, more precious, and so I am less wasteful with it when I’ve got it. Rest feels more productive because it is not haunted by guilt.

Through my new adventures, the outline of my whole self stretches to meet its new potential. There is more becoming to do.

love,
Stephanie

My Blueberry Nights

A analogia com tortas deixou as coisas mais claras para mim:

Elizabeth: Why do you keep them? You should just throw them out.
Jeremy: No. No, I couldn’t do that.
Elizabeth: Why not?
Jeremy: If I threw these keys away then those doors would be closed forever and that shouldn’t be up to me to decide, should it? [Linda passagem, não?]
Elizabeth: I guess I’m just looking for a reason.
Jeremy: From my observations, sometimes it’s better off not knowing, and other times there’s no reason to be found.
Elizabeth: Everything has a reason.
Jeremy: Hmm. It’s like these pies and cakes. At the end of every night, the cheesecake and the apple pie are always completely gone. The peach cobbler and the chocolate mousse cake are nearly finished… but there’s always a whole blueberry pie left untouched.
Elizabeth: So what’s wrong with the blueberry pie?
Jeremy: There’s nothing wrong with the blueberry pie. Just… people make other choices. You can’t blame the blueberry pie, just… no one wants it.

Mais sobre Um Beijo Roubado aqui e  a música deliciosa da Norah, The Story, abaixo:

Daha şimdi bitti, ben hiç bir zaman eski ben olamayacağım. Bir şeyler yaşamamış olsam da gene asla eskisi gibi olamaz, hiç bana göre değildi değişmek, zamanı kötü kullandım, sen beni tanıyamadın, tanımaya çalışmadın, istemedin. Ben direk açınca kalbimi sana bakmak istemedin senin aklın daha gizemli şeylere kaçtı. Belki bir vakit sonra dönersin, bu sefer dinlersin hatta belki sen konuşmak istersin. Ama kulaklarım sağır benim, istesem de artık duyamam sevdiğini.

NOT: Üstteki yazının filmle pek de alakası yok sadece içimden geldi. Ama film güzel, en azından izlemeye değer, nelerle geçirmiyoruz ki şu hayatı mesela benim bomboş geçmiş yıllarım var bu boş yılların içine üç beş güzel şey eklesek fena mı olur. İyi seyirler…

Benim Aşk Pastam

MY BLUEBERRY NIGHTS

Tür: Dram ,  Romantik

Oyuncular: Natalie Portman ,  Jude Law ,  Rachel Weisz ,  Norah Jones ,  David Strathairn

Yönetmen: Kar Wai Wong

Senaryo: Kar Wai Wong ,  Lawrence Block

Yapımcı: Kar Wai Wong ,  Wang Wei ,  Jean-Louis Piel ,  Stéphane Kooshmanian ,  Jacky Pang Yee Wah

Görüntü Yönetmeni: Darius Khondji

Görüntü Yönetmeni: Shigeru Umebayashi

Dağıtım: Pinema Film

Filmin Websitesi: http://www.myblueberrynights.es/

Süre: 1 saat 50 dk

Gösterim Tarihi: 11 Ocak 2008 (Türkiye)

Filmin Özeti:

Hong Kong’lu yönetmen Wong Kar Wai İngilizce olarak çektiği ilk filmi, gönül yarası ve yeni başlangıç arasındaki mesafede dramatik bir gezintiye çıkarıyor. Kalbi kırılan Elizabeth (Norah Jones) yaşadıklarının ardından hayatındaki her şeyi, rüyasını ve duygusal olarak yakınlaşmaya başladığı arkadaşı Jeremy’i (Jude Law) geride bırakarak kırık kalbini düzeltebilecek bir şeyler bulmak amacıyla Amerika boyunca bir yolculuğa çıkmaya karar veriyor.
Seyahati boyunca garsonluk yapıyor ve Memphis’te kendisinden çok daha fazla üzüntülü ve sorun yaşayan bir polis Arnie (David Strathain) ve eşi Sue Lynne( Rachel Weisz) ve babasıyla sorunları olan, kumarbaz Leslie (Natalie Portman) ile tanışıyor. Elizabeth bu kişileri tanıdıkça yalnızlığın ve yoksunluğun gerçek derinliğine tanık oluyor ve aslında bu yolculuğun aradığının bir parçası olduğunu anlamaya başlıyor.

Fragmanı:

Le escuché decir a Rachel Weisz en My Blueberry Nights, la película más occidental del maestro Wong Kar-Wai, que nadie bebe por el sabor, y se lo escuché decir justo después de ver cómo brindaba por su marido recién muerto con un trago de vodka que Norah Jones le había servido en un pequeño vaso de cristal transparente. El gesto que puso al beber afeó por un minuto su prepotente belleza, y pensé que aquella frase: «Nadie bebe por el sabor» era una frase bien cierta.

Llevo tiempo buscando algo nuevo que beber por la noche, y no sé por qué todavía no lo he encontrado, no he puesto demasiadas condiciones, no pido gran cosa: que no me siente mal y que me guste. Llevo mucho tiempo en este oficio y he pasado por casi todo: Licor 43, con cola, chocolate o cointreau; ginebra, de Larios a Citadelle pasando por MG, Beefeater o Hendriks; vodka, siempre Moskovskaia; y ron de todos los países productores del mundo, aunque sobre todo cubano: Havana 3 cola light ha sido mi último refugio. Y ahora me enfrento a una gran fatalidad: no me gusta nada y todo me sienta mal —y no quiero pensar que sea una señal para que lo deje, porque nunca he hecho caso de las señales, por eso no tengo ni tendré carné de conducir.

Siempre hay una excepción: me gusta y me sienta bien el Bloody Mary, pero no es una bebida para tomar por la noche, el Bloody Mary es para degustar entre las 6 p.m. y las 11:30 p.m., siempre que no hayas cenado todavía. Es un aperitivo, un entretenimiento, un acompañamiento solitario, un tentempié… Hay días que el Bloody Mary es una necesidad, un apremio, una obligación, un encuentro en la tercera fase… Lo comencé a tomar acompañado de ensaladilla rusa y brocheta de salmón y gambas, pero enseguida comprobé que aquél no era el camino correcto, que no había camino correcto, que todos eran una mierda de caminos, y que además ninguno llevaba a Roma, y si por alguna temeridad de la vida, uno lo hiciese, uno sólo, estoy seguro de que llevaría directo a la Roma decadente, a la Roma putrefacta, a la Roma que huele y sabe a diarrea mental.

Al escuchar a Raquel Weisz decir eso de: «Nadie bebe por el sabor» me vino a la cabeza el licor café, y recordé que, aparte de ser una botella que forma parte del paisaje de las mesas de cualquier familia decente de Galicia, es la bebida nocturna preferida de muchos jóvenes gallegos, así que me puse a pensar que quizá nadie bebe por el sabor, pero hay gente que bebe por identidad.

Wong Ka Wai. He is famous Hong Kong Director. A lot of Beautiful screen came from his movie. His first major international recognition was at the 1997 Cannes Film Festival where he won the Best Director prize for Happy Together (1997). A film that “uses gorgeous, saturated images set to an eclectic soundtrack of tango by Argentinian maestro Astor Piazolla, Brazilian singer Caetano Veloso and Frank Zappa instrumentals to chronicle the stormy affair of a gay couple living as expatriates in Buenos Aires.” Despite his background as a screenwriter, one of Wong’s trademarks as a director is that he works largely through improvisation and experimentation involving the actors and crew rather than adhering to a fixed screenplay. This has been a frequent source of trouble for his actors, his financial backers and many other people connected with his films, including sometimes himself. The filming of In the Mood for Love (2000) had to be shifted from Beijing to Macau after the China Film Bureau demanded to see the completed script. This was all in all a minor setback in the “very complicated evolution” of the project which goes as far back as 1997. It was Wong’s intention to make two films, one of which would be titled Beijing Summer, the plot unclear at the time, but eventually taking form in Macau.

At this moment, Wong planned to call it Three Stories About Food, but saw it better to settle for only one story, A Story About Food, that centers on a writer. Together with scenes shot in Bangkok and Angkor Wat, the filming took as long as 15 months. This was an especially arduous time for lead actress Maggie Cheung whose hair and makeup reportedly took a daily five hours, and who appeared in a different cheongsam in each scene. She famously compared the lengthy shoot to a cold she couldn’t get rid of. Working without deadlines, the film’s upcoming premier at Cannes nonetheless put some pressure on Wong to finish editing. Intending to name the film Secrets he was dissuaded by Cannes, and finally named it In the Mood for Love after Bryan Ferry’s cover of the song “I’m in the Mood for Love” he was listening to.

My Blunberry Night (2007) is the first movie in Hollywood.

We alo have a interview with Ayumi, and discuss about her lovely director – Wong Ka Wai

Just go to Ayumi (Wong Ka Wai). mp3

La cantante estadounidense Norah Jones sacará a la venta el próximo mes de noviembre un nuevo disco después del que publicó en el 2007 (Not too late). Las canciones de este nuevo disco han sido compuestas por Norah Jones en estos dos últimos años, y está producido por Jacquire King (que produjo Mule variations, disco del cantante Tom Waits). La cantante pidió a King que loe produjera su nuevo disco porque Mule variations es el preferido de la estadounidense.

Este nuevo disco (de la discográfica EMI) aún no tiene nombre, y supone un nuevo reto para Norah Jones, que tal y como ha explicado quería tocar temas con más ritmo que las anteriores canciones. Su nuevo disco se aleja del jazz de los precedentes.

La cantante estadounidense ha publicado tres discos, el primero de ellos en el año 2002 (Come away with me), y en estos siete años ha vendido más de 35 millones de discos en todo el mundo, además de ganar varios premios Grammy. En este cuarto y último disco ha contado con la colaboración de Ryan Adams, Will Sheff y Jesse Harris. Además han colaborado con ella otros músicos como el batería Joey Waronker, el guitarrista Marc Ribot o el teclista James Poyser.

Cantante, pianista y compositora, Norah Jones también se ha dedicado al mundo del cine (como tantos otros cantantes han hecho, como Eminem, Madonna, Frank Sinatra…), como por ejemplo en la película My blueberry nights.

Una carrera variada, tanto en el cine como en la música, que se ampliará en noviembre cuando su último disco salga a la venta, con nuevas colaboraciones, con nuevos sonidos y la separación del jazz anterior en su discografía.

Fuente:

www.elmundo.es

Neon, glowing lights; blurred sense of time; melodramatic soundtrack; shifting senses of self; alienation; love; broken hearts; travel; policemen; lively urban surroundings; this is a Wong Kar-wai film. One of my favorite filmmakers, all of his pictures fill me with a deep sense of bittersweet anticipation. I have no idea why I feel this way. He is able to completely capture this mood along with a very strange sense of time through his visuals. While watching I always feel as if the characters are a step away from a life-changing development of some sort. However tragic, events that take place seem to be neither for the better nor for the worse. A broken heart allows for the pursuit of someone else. Ones death brings about self-discovery within another.

My Blueberry Nights is not my favorite Kar-wai film, but it is perhaps impossible to top what he has already created. Happy Together, Chungking Express, Fallen Angels, In the Mood for Love, Days of Being Wild, 2046; all rank among my favorite viewing experiences. Besides, it really doesn’t matter that it is not the best; I couldn’t even choose a favorite if asked to. For whatever reason, I seem to be able to say the least about the works that I love the most. So, simply put–a master of creating an expressive aesthetic.

sing something...c'mon...

PG-13

Norah Jones, Jude Law, Natalie Portman

Elizabeth: So what’s wrong with the Blueberry Pie?
Jeremy: There’s nothing wrong with the Blueberry Pie, just people make other choices.  You can’t blame the Blueberry Pie, it’s just… no one wants it.
Elizabeth: Wait!  I want a piece.

Elizabeth (Jones) has just broken up with her boyfriend and forms a bond with a cafe owner, Jeremy (Law).  They become friends, but Elizabeth still can’t handle being in the same town as her ex, so she leaves New York and takes a long cross country journey, meeting various other characters at the jobs she has.

‘Slow’ would be the main word I’d use to describe this one.  There’s a lot of drawn out dialogue scenes that don’t really amount to much, and the director uses an annoying slow motion technique that I found to be a real distraction.  It’s a lovely movie to look at when things are filmed normally, but whenever that slow motion stuff comes into play, I sort of wanted to look away because it bugged me so much.

Norah Jones isn’t great or terrible in her acting debut, but her character isn’t really given much to do other than react to the characters around her.  The stuff in Memphis is the least interesting part of the movie to me.  It’s depressing and ugly, and it goes on much too long.  Natalie Portman finally shows up in the last third of the movie and injects it with some energy (Jones even seems to liven up her previously one-note performance a bit in this section), but it’s still not enough to save it.

I suppose the overriding theme here is about being able to let go of people and feelings from the past and what can happen if you can’t do that.  There’s just not enough interesting material to stretch out over a whole movie.  We get the idea pretty quick, and the rest is just reiteration of the same idea.

I think Norah Jones could possibly have a future in acting despite a mostly lackluster performance here.  She’s certainly pleasant to look at, and there are signs that with a better character, we’d see a better performance.

Lots of people leave their keys behind at cafes and never come back to get them…for some reason.

10 – 3 for being slooooow – .7 for the use of that annoying slow motion technique + .2 for being otherwise nice to look at – .5 for some bad, unnecessary narration = 6.0

Staden Shanghai i Kina har för mig beskrivits som en plats där en futuristisk vision av en storstad växer upp på en uråldrig kulturort. Där är den kinesiske filmaren Wong Kar-wai född och samma rörelse mellan framtid och minnen tycker jag att man kan skönja i hans film 2046.

 2046 handlar om Chow Mo-wan (Tony Leung), en fattig science fiction författare, som kämpar med sina kärleksrelationer utan att framgångsrikt lyckas skaka av sig sina minnen från misslyckande, i vad som tycks vara ett annat liv. För att bearbeta och kontrollera sina känslor skriver han om sin oförmåga att lyckas älska i sina science fiction historier, som utspelas på den påhittade platsen 2046. Chow Mo-wan är ingen sympatisk karaktär, men man behöver inte tycka om honom för att uppskatta filmen, Wong Kar-wai gör ett fantastiskt jobb med att pendla mellan ett mörkt 60-tals (?) Hong Kong och en färgsprakande futuristisk miljö. Chow Mo-wans egna tankar om sina relationer, bearbetade till fiktion, har något att säga om vad det innebär att bearbeta sorg.

 Många år innan Wong Kar-wai gjorde 2046 kom Happy together (återigen med Tony Leung, nu i rollen som Lai Yiu-fai). Happy Togethers handling är på ytan enkel: Lai Yiu-fai har åkt från Hong Kong till Argentina tillsammans med sin älskare Ho Po-Wing (Leslie Cheung) där de helt enkelt bor i slummen, jobbar på ströjobb för låg lön och älskar. De drömmer om att se Igazus vattenfall tillsammans och dansar till vacker tangomusik. Tyvärr blir deras förhållande nästintill omöjligt på grund av Ho Po-Wings destruktiva läggning, och de blir båda indragna i en spiral av uppbrott och återfinnande. Hur det går för de båda älskande får ni reda på om ni ser filmen (vilket jag rekommenderar, såklart).

 Här på biblioteken i Botkyrka har vi ytterligare en film av Wong Kar-wai (han har dock gjort många många fler filmer…) som heter My blueberry nights. Det är regissörens första fullt engelskspråkiga film och den utspelas till och med i New York. Jag har själv inte sett My blueberry nights (måste erkänna att jag inte är något stort fan av huvudrollsinnehavarna: Norah Jones och Jude Law) och kan undra om den når upp till samma höjder som 2046 eller Happy together. Men det finns ju bara ett sätt att ta reda på det och det är ju genom att faktiskt titta på filmen.

 Läs om Wong Kar-wai och hans filmer på Wikipedia.

 Finns filmerna inne på biblioteket?

 Vi har även soundtracket till My blueberry nights här.

 /Tobias

Elizabeth: Cosa c’è che non va nella torta di mirtilli?
Jeremy: Non c’è niente che non va nella torta di mirtilli, solo che le persone scelgono altro. Non puoi dare la colpa alla torta…è solo che nessuno la vuole.
Elizabeth:  Aspetta! Ne voglio una fetta.

Complejo resulta describir la música de Cat Power. Se puede tildar de un country alternativo, o también como un soul medio folk. Lo cierto es que esta señorita, nacida en enero de 1972 y registrada en los archivos como Charylin “Chan” Marshall tiene su carácter. Lo demuestra en el escenario, con sus movimientos y sus gestos de animal enjaulado. Si no está de ánimo no se presenta y fin de la discusión.

Esta hija de padres divorciados y proveniente de Georgia, se mueve cómodamente entre la guitarra y el piano. En 1995 comenzaría editando “Dear Sir”, y un año más tarde “Myra Lee”, con sellos independientes. En 1997 firma con Matador Records, una de las compañías discográficas indie más importantes e influyentes de los EEUU. Con “Moon Pix” el año 98 tocaría el cielo de la crítica. En el 2002, “The covers records” incluiría nuevas versiones de clásicos de Rolling Stone, Velvet Underground y de Bob Dylan. En el 2003, el EP “You are free” la catapultaría al estatus de celebridad alternativa. En el  2006 lanza “The Greatest” que, lejos de lo que se pueda pensar, no se trata de un grandes éxitos, sino que canciones originales, quizás su mejor disco a la fecha, que tendría su mejor difusión con la película de Wong Kar Kwai, “My blueberry nights” donde además aparece interpretando un pequeño rol. En el 2008, su disco “Jukebox” es el causante de su esperada visita a Chile. Cat Power se presenta en un concierto único, el próximo martes 21, en el Teatro Caupolicán. El precio de las entradas van desde los $11 mil hasta los $55 mil, a través de http://www.puntoticket.com/

Más de la grandísima Cat en su Sitio Oficial y en su MySpace