Woman Strangled Man In The Bwd

dreams in ,

the footsteps of Pina Bausch

Linsel Anne, Rainer Hoffmann

Germany, 2010, 1:30

In 2008, Pina Bausch, a few months before his death, decided to resume Kontakthof his famous show, either with his band, but with adolescents 14 to 18 who never took the stage and have never danced. This documentary is their story ...

The film follows the process repeats until the first, and gradually we measure what this wonderful collective work brings everyone into the most intimate part of her life and how this labor of a year can be a formidable machine thrive in unstuck, forcing dams. We are in the collective construction, certainly, but also in the listening. The "terrible" Pina attends the selection first, then a few repetitions decisive, and it is clear how the high priestess of modern dance intimidated and seduced at a time. We discover how, in a few comments, glances, she manages with the help of two wonderful dancers of his company, Jo-Ann Endicott and Bénédicte Billiet, ubiquitous in everyday life, to breathe this thing so bizarre is the creative force of a group in harmony with a leader loved and admired.

There are times mild, others more aggressive in this compendium of personal lives, individual experiences, talents of directors is of interest to us constantly to people while allowing us to feel the progress of the work, until 'Master's finale, where everyone taking the insurance flourishes, arises in the group to give it a smooth consistency. And it's damn nice and strong. Pina Bausch is a party just after Paradise, June 30, 2009, other angels can dance ...

The dance "Kontakthof" door to do no mistaking the mark of Pina Bausch: there is question of forms of human contact, encounters between the sexes, the quest for love and affection with all the anxieties, aspirations and doubts that are part . It is about feelings that are a major challenge, particularly for youth.

For nearly a year, young people from eleven schools Wuppertal began an emotional journey. Every Saturday, forty students from 14 to 18 have participated in dance lessons led by two dancers from the troupe Bausch, Jo-Ann Endicott and Bénédicte Billiet, and intensely supervised by Pina Bausch in person.

The film of Anne and Rainer Hoffmann Linsel accompanies the process repeats until the first. We see the young in their first clumsy attempts yet to transpose the theme of the show in the movement and choreography to find their own form of physical expression. They find themselves in a process that leads to a significant personal achievement. Contacts soft and timid, but also aggressive, are condensed into so many individual experiences that many of these youth are on the scene for the first time.

Pina Bausch has consistently encouraged les jeunes danseurs à « être eux-mêmes». Derrière leurs mouvements se révèlent les angoisses, les sentiments, les désirs et leurs « rêves de danse ». A la fin, chacun d’entre eux a non seulement grandi mais il est surtout devenu plus confiant en soi, plus indépendant et plus sceptique vis-à-vis des préjugés.

Pina Bausch est décédée le 30 juin 2009. LES RÊVES DANSANTS montre les dernières prises de vues et la dernière interview de la danseuse et chorégraphe célèbre dans le monde entier.

Philippine Bausch was born July 27, 1940 in Solingen in the Ruhr, where his parents ran a hotel-restaurant-cafe. At just 15, she joined the school around interdisciplinary dance founded by Kurt Joos, Essen, before leaving in 1958 to New York with a scholarship to the Juilliard School. This slender dancer triumphs there, but returned four years later in his homeland to lead the company committed to the school in Essen.



In 1973, Pina Bausch to accept the proposal Wüstenhöfer Arno, head of the Wuppertal Opera, to take over the ballet company. From the outset and less than four years, she won with ferocity of Iphigenia in Tauris, Orpheus and Eurydice, The Rite of Spring, the Seven Deadly Sins, Bluebeard, all scores illustrious dedicated to the theme of the sacrificial victim, denied , bruised. Faced with Gluck, Stravinsky, Weill and Bartok, she bluntly describes his ambition and violence, especially that perpetrated against women, male domination.


Always based in Wuppertal, but regularly invited abroad - including each season at the Theatre de la Ville in Paris for thirty years - She also organized residences with all his company in the world's metropolises, to draw the matter of his new shows. She signed a forty creations, including Café Müller (1978), Nelken (1982), Danzon (1995), Masurca Fogo (1998), Nefes (2003), widely acclaimed by critics and times. This grande dame of modern dance also leaves behind a company of forty dancers.

PINA BAUSCH AND THE CINEMA
Pina Bausch has played a princess blind And the Ship Sails On, Federico Fellini (1982) and Talk it (2001), Pedro Almodovar, showed extensive excerpts of his shows. She herself has made a film, The Complaint of the Empress in 1989, Baroque manifest the glory of nature and of wandering.

Pina Bausch - Talk to Her

The Complaint of the Empress

SITE :

Warping Legs Around A Man

Life Ranch Commune

Life Ranch
Sophie Letourneur


4:30 p.m. Thursday, November 11
In the presence of
Sophie LETOURNEUR

Audience Award Film Awards & French, 2009 Belfort

"If we had to tie his film to a film tradition, it would be that rare, women filmmakers like Noemie Lvovsky ( Small, Life does not frighten me ) in France, more recently, Drew Barrymore ( Bliss) in the U.S., which put girls at the center, not as objects of desire, but as active, desiring, conqueror, pushing the boys to the rank of accessories to the limit. (...)

could also evoke Barbara Loden, especially in the latter part of the film, when girls get together for a vacation on a plate of Auvergne, the flood of words Finally exhausted, as the vacuum saturated abysmal that it has produced a violent and melancholy sweeps. Concentrated on a very fleeting existence, this time the merger of the individual within a friendly group comes up for the abandonment, still fresh, the nest, the film also captures the end. The factly, he makes you run along the spine chilling soft and cruel Paradise Lost. "

Isabelle Regnier - Le Monde

Sophie Letourneur (debut) has just completed the most chick flick amazing - the most confusing - since the invention of the chick flick ("movie for chicks"). Snorkeling among Parisian babes, sluts in so Rohmer 2010, and real document on the vocabulary of today's chicks (" What are you doing here? Because me, nothing except fuck, I have nothing to fuck "modern version of" What can I do, I dunno what to do "Anna Karina in Godard). Everything looks improvised, nothing is - with, in particular, work on his chiseled. (...)"

Guillemette Odicino - Telerama

"Are we as individuals within a group or is bound to be dissolved?, Letourneur Sophie asked. This is for the party theory. In practice, Life Ranch is a comedy novel with a hundred times more replies than any cult film bun. And especially not a girly film cluttered code generations.

(...) For a first feature film, Sophie Letourneur capture something very alive and very happy dying. And it is this deep feeling of nostalgia that, finally, we hugged. "

Lamôme Stephanie - First

" Life Ranch is a musical score, music for orchestra, whose mastery requires us to listen beyond the four violin isolated sentences in the middle of the set. Thus he should watch the movie. It is an invitation to position itself as a spectator, an invitation to see differently: it is a gesture of filmmaker who has not matched the originality of his research (...)

Chiara Malta, filmmaker.

Sophie Letourneur shot a short film "head in the gap" that has received numerous awards and two means highly acclaimed films "Manuel Bolognese" (fifteen Directors' 2006) and "Rock and Canyon" (Special Jury Prize, Vendome, 2007).

"I wanted to show the mundane moments of youth, moments that are not exceptional in itself, but becomes available when one realizes that one is more capable of to live in the same way.

In everyday life, these moments seem not special interests. The action is trivial, what is less clear is the ephemeral link between these people is feel more self with others than alone in a period when one is looking. The strength of this relationship empowers the natural ease, confidence and relaxation. These discussions between friends eventually coalesce into a thought to freewheel, as if it expressed anything that moves through us, without barriers. Total availability, a pause at the end of study before the group keeps its shape, no splits, just before each live his life, his work, his marriage.

In this film, I want to highlight the exception of those subtle moments as if suspended in time, to feel what they have to wonder, in their apparent banality. Shoot what you can not live at a certain age, it my way of talking about that age. That's what I try to do with the trilogy for the preteen Manuel Bolognese, adolescence and Canyon Rock, post-adolescence to Life at the Ranch. Central to these three films, the adolescent friendship and separation, the longing for what can only be experienced and the grief of a part of you every time. "Sophie Letourneur



Interview Sophie Letourneur

The story of this movie seems very personal, almost intimate, have you really experienced all these situations in your own life?

Yes, but some situations have been implemented because I did not stick to my reality too, for example, I nearly went to Berlin but I did not like the movie, I stopped in the 14th district ... The Things are quite different because the group of girls that I chose for the interpretation already existed, they gave me a little of what they were and helped me to detach myself from my own history, ultimately is a mixture of reality and adaptation. I choose people who are not actors but who are like me when I lived in that age, I put them in situations and I love them ownership my story is a way to get rid of me dispossess, to evacuate, saying something here, they are periods I lived, they belong to everyone and anyone at a time.

Did you write the script for a very precise way, or have you left a part of the actresses improvised during filming?

There is no improvisation in the shooting and the scenario was constructed in several steps: I first wrote a sequential order that clung to my life and when you see the movie today we find all the scenes in this sequential order, with a few additional dialogues that I fished in my personal archives. Then when I found the group, I readjusted the script to girls who are friends in real life. The next step was to create a writing device that puts the situation in the group stages of the prepared sequential order, save for any rehearsal time by providing avenues of work and explaining the narrative. From 4 to 5 hours sound captured on each scene, I picked the most interesting moments and the funniest and I installed with its software. The soundtrack was created and copied onto CD and distributed to girls who were learning by heart their text from that medium. The group is constituted as a body, it is important to me that the phrases intersect, overlap, there is a simultaneity mastered sound and dialogue. Girls were more then just repeat the whole CD, just like a partition or a song. I prefer it to be rather well prepared que de filmer en continu et de faire des impros au moment du tournage, ça n’est pas mon truc.

Au début du film, le spectateur est complètement intégré à l’action mais dispose de peu de pistes pour identifier les personnages. Qui est vraiment le personnage principal de cette fiction ?

C’est vrai que le spectateur est jeté dans la fosse au lion, un peu perdu, il ne sait pas qui est qui. La bande agit comme le premier personnage du film et personne ne peut vraiment s’en dégager. Le ranch est à la fois le cocon et le carcan du groupe. Mais c’est surtout l’histoire d’un départ, celui de Pam, le mien. Parfois ça se passe smoothly and all is well in my case the rupture was most brutal. In the band there's something warm, gentle, reassuring but at the same time it quickly becomes unbearable and suffocating, causing the idea of failure.

One feels in the movie when the idea becomes clearer, when girls go into the mountains of Auvergne. This getaway is a form of breathing?

I did not think as breathing, but when I started arguing with my friends we left in this country house and the tension was due more to silence. From the moment he is the most steady stream of Parisian life, they find themselves face to them and it becomes even scary. They are detached from their usual environment, with their codes, their private joke and always the same stuff that runs in a loop. The fact of the move in other contexts creates problems, misunderstandings, conflicts. It may also be a relief for the viewer out of their terrible din from the moment Pam says she can no longer lives at the Ranch. Something deflates, something is dead and for me it's like if I started a second film. So

at this point that emerges the strong character of the film?

Pam stands then as a character since left the band but did not yet have the weapons to become truly one, it still has a ways to go. It suffers from the fact that others do not accept their differences, it is more trash, more fragile, it is still looking for is what I wanted to express by giving this role as an artist in the final plans Berlin. Something is a little bastard for her in this film is what interests me because it also prepares the next film so always very spontaneous, as a form immediately with other characters, which stick to other periods of my life.

(Interview by Vincent Courtois)

Site
film

interview around 3 shots

by Independencia

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Honey Honey Drops Scan

week-end Tokyo Oshima

Link to the photo album -> here

Friday, September 17, 2010

Program:
- Singapore flight - Tokyo

six short days after returning from North Korea, here I am at again in a plane towards Tokyo. 11:45 p.m. flight aboard the Singapore Airlines A380.


Saturday, September 18, 2010

Program:
- Japanese wedding ceremony
- Oriental Bazaar shopping
- evening wedding
- boat Tokyo - O-shima

arrived at 8am at the airport of Narita, I found my little Kayo. After breakfast, we spend 1 hour on the train to Chiba-ken, prefecture north of Tokyo. We find the brother Kayo for a coffee before going home to change. In

1:15 is the start of the wedding ceremony of Yukiko and Philip, I've known for almost 6 years, when he joined Thales in Malaysia. 1 hour subway and arrive slightly later than late at Yoyogi Hachimangu temple. Suitcases in hand, I do a little discreet entrance. Philip and Yukiko kimono are at the center of the room. Yukiko watabōshi the door, "hood" traditional white. It

spent the first 20 minutes to receive the priest's instructions for the proper conduct of the ceremony. Thus, the first Philippe goes to the temple, followed by his family and friends, before being joined by Yukiko and her procession.

The newlyweds and their guests are facing. The ceremony will last a good half hour. The priest waved a white feather before serving three rounds of sake and 1 each married to each parent.

Small photo shoot on the temple steps before Kayo not join me and we left to go shopping at the Oriental Bazaar in Harajuku. The store has three floors and is well stocked, it is not given a more clear and target wealthy tourists.

then turned to 17:30 at the restaurant in Shibuya Africa for the wedding party. After a triumphant descent steps newlyweds, games and photo after another, interspersed with passages from the buffet. Note that it is customary to ask for a small fee (¥ 7,000) to each guest, plus a "gift" of 30.000 yen on average. I am tired by the journey by plane and then we leave quite early to find a friend in the neighborhood Kayo Tsukishima for a tasting of okonomiyaki and monja (flat Tokyoite 100%).

We then went to the port Takashiba to take a boat to O-shima, an island small group of 7 islands south of Tokyo. The ferry is huge and the amount of people merely corroborate the Lonely Planet, which has O-Shima as a destination for Tokyoites for the weekend.

Some pictures of Tokyo at night before falling asleep during the 6:20 crossing.


Sunday September 19, 2010

Program:
- Volcano Mihara-yama
- bike ride

The ship arrives at port Okata (0-Shima) to 5am. Night on the boat seat does not allow me to recover, so it was in the bus to Motomashi I continue my night. And as Kayo does the same, we will be awakened by the bus driver at the terminus. They expect about half an hour before the driver shall not proceed in the opposite direction.

arrived at Matamashi, we need a quick 10 minute walk to the hotel Tsubaki-ken. It laid no suitcase and take the hotel shuttle to return to port Motomashi. It buys a bus ticket for unlimited day (¥ 2,000) and head for the volcano Mihara-yama.

Arrived in the small village, three paths open to us. We take the middle one, the shortest, and begin a walk of 30-40 minutes walk to the summit of the volcano. It's really very beautiful and the scenery is splendid. Kayo holds up and we therefore undertook to add a 30 minute walk to the program to go around the crater.

It takes the bus to Motomashi and lunch on the floor of a restaurant overlooking the harbor. A dish of Ramen and a small Japanese curry later and we rent bikes. Stroll on a bike path along the sea before returning to the hotel.

Dinner is served at 18h and has a multitude of dishes: raw fish, soba noodles, seafood, .... Unfortunately this does not offer Ryokan dinner in his room. By cons like any self-respecting Ryokan is a shared bathroom that I would take my shower and a hot bath (onsen).


Monday, September 20, 2010

Program:
- Beach
Kobo - Camelia Flower & Garden Squirrel Village
- Hinode
beach - boat O-shima - Tokyo

Breakfast at 7:30 am before go with the hotel bus to the port of Motomashi. We deposited our luggage at the Tourism Information Centre (¥ 300) and we start walking on the black sand beach of Kobo. I take some pictures of surfers before resuming our luggage and wait for the bus.

We want to go to Squirrel Village, a park that hosts several dozen squirrels. The bus does not come and so we went there by taxi. Arrived, we bought some seeds and go to the wood piles that support these rodents. Then it was the turn of the rabbits before taking the bus to the port Okata.

Having more time to explore something else, we lunched quietly before lying down on the black sand beach of Hinode. The boat is a 15h express boat to take us back in 2hrs in Tokyo. Kayo I am surprise to offer us a room at the Intercontinental near the port. Kazuo's brother Kayo, we agree for a drink. Then Kayo and I are going to Andy's fish dinner in Ginza. The restaurant does not look outside, but it is quite popular with customers Caucasian, Japanese dishes to be generous and inexpensive.


Tuesday, September 21

Program:
- shopping
- Vol Tokyo - Singapore

Kayo goes to work and let me rest until 11am. Then I walk up to Daimon station to reach Asakusa. Finding no empty bins at the station, I walk with my suitcase and my clothes all day.

I put quite some time to find a distributor that accepts foreign credit cards (in post offices and some Seven Eleven), then I walk up Kappabashi Dori, the street cooking utensils. I walk the streets until I find some stores that sell fake dishes found at the entrance to Japanese restaurants. I bought a fake glass of beer before taking the subway to the airport.

1:30 later and am waiting for my flight back to Singapore.

Link Photo Album -> here

Watch Brent Corrigan Films For Free

voyage et en Coree du Nord

link to the photo album -> here

Friday, September 4, 2010

Program:
- Singapore flight - Beijing
- Output in Beijing

Sunrise 6:30 am. I switch off mobile phones, computers .. instructions are clear. There or we will:
- no mobile phone
- no laptop
-
no radio - no book or magazine
policy - if you take a picture of a statue, it should be taken as a whole.
- no photos of military
- Etc. ..

No I do not spend my vacation in jail, but in North Korea.
The reasons for this choice:
- I already know most countries around Singapore
- experience the atmosphere, the feeling of doing something unusual and very rewarding in the formal dinner.

short, it is turning off all the devices we already feel like a leap in the past. Singapore, Yohan and I take first flight for Beijing. After more than 40 minutes of duty, we ask for a little wait Alexander and we take a taxi to the hotel Hanting Express in Chaoyang District. After a deposit of 800 RMB, we are allowed to go take a shower and find Mark, who came to Shanghai for dinner.

the Directorate building The Village and its streets filled with bars. It begins with a long island on a terrace, take our dinner at a Chinese restaurant, let along two islands in a bar with live music, then this will Xiu (sort of Loof Singapore), LAN (which will prove completely vacuum) and finally the Suzie Wong (nightclub not too bad).


Sunday, September 5, 2010

Program:
- Forbidden City
- Tiananmen Square
-
Lama Temple - Behai
park - Entertainment in Beijing

Despite the release of the day is at 9am as we attack the quick tour of Beijing. Branch Forbidden City (the Forbidden City) and his little half hour queuing regulatory weekend. You walk a good 1 hour & ½ before going to Tiananmen Square. We will arrive too late at the mausoleum of Mao (8h-12h).

Walking in search of a restaurant worthy of trust, we stumble upon the restaurant Grandma's kitchen, paradise burgers and steak fries.

Then it will visit the Lama Temple, the purchase of propaganda posters and ponds to fish, before eventually around the lake park Behai.

We then joined Mark and Angela al'Emperor Hotel for a drink on the roof with a rather nice view of Forbidden City before going to the restaurant Dadong, Beijing duck specialist. Angela and Mark was allowed to order.

At the end of dinner, Angela and Marc explains that we ate without knowing the heart of duck, duck tongue in jelly and duck flippers. I probably would not touch the food if I had known this before. But anyway, we leave then take Vic's, a nightclub where we would surely of spend our Saturday evening, and the Power House.

is recovered our tickets and visas that North Korean tourism agency has left for us at the hotel reception.


Monday, September 6, 2010

Program:
- Temple of Heaven Park
- Vol Beijing - Pyongyang
- Arc de Triomphe
- the Mass Games


Sunrise 8am we leave for the Temple of Heaven Park (Park or the Temple of Heaven). The setting is rather nice, a big park where people gather to play sports together. The temples are common, but the magnitude paisibilité and the location make it an enjoyable visit.

We return at the hotel, let us put our best shirt and tie and leave for the airport. 2 hour flight on Air China and we arrive at the airport in Pyongyang. As indicated on the form of customs, customs attach great importance to the contents of our suitcase. No particular problem for my book Maxime Chattam, my little ipod shuffle and my camera. Mark leaves his phone in the set and recovered upon our departure. Having little confidence, I decided to leave Singapore.

Our guide, Lee Seung Gun, we expect at the airport. It is one of four tour guides to North Korea. Not that we do have the application, but North Korea is committed to providing a guide speaking the native language of the tourists. It comes with a second guide, Mr Lim, who speaks English poorly and therefore we assimilate immediately to a North Korean government spy, and the driver. Indeed we travel in our private bus minutes away from some other tourists.

Road to downtown, Lee gives us some information on Korea:
- 70 million (20 north, 40 and 10 living in South ABROAD)
- 210.000 km square (120,000 and 90,000 in the North to South)
- North Korea live export of rice, Chinese investments in the numerous iron mines as well as humanitarian aid.

We stop first at the triumphal arch, building constructed in 1982 to celebrate the 70th birthday of former President Kim-Il Sung. Slightly larger than that of Paris, he symbolizes resistance against the Japanese Korea from 1925 to 1945.

We then dined at a traditional restaurant Korean (meat, vegetables, rice) before heading to the Stadium from May 1 (Rŭngrado May First Stadium) which, as its name suggests was inaugurated on 1 May 1989. 150.000 with these places, this stadium is the largest in the world. Since 2007 it conducted the Mass Games (or Arirang), a great show with performances from August to October. Between

children hold placards which reflect white images, to those who dance in the middle of the arena, they are tens of thousands of people who chain the choreography to perfection for an hour and a half.

We then took our quarters at the hotel Yonggakdo, the only hotel in Pyongyang, where tourists are accommodated. Two suites await us.


Tuesday, September 7, 2010

Program:
- Great Library
- instead of Kim-Il Sung
- Foreign Languages Bookstore
- the USS Pueblo
-
movie studio - Museum of victory and the liberation of the Fatherland
- the music school
- Amusement Park


Sunrise 8am, we get up to the sound of Korean songs. The music coming out of loudspeakers surrounding a plant are supposed to give courage to the laborers who work there. We start

our day with the Great Library (or Palace of the People's Study), which looks more like a great university that to a library. Reading rooms, rooms for playing records in foreign languages .. facilities are a bit old but the education system looks good. It will even be free for students, probably for privileged families in Pyongyang. The view from the roof of the Great Library gives the square of Kim-Il Sung.

is also on site of Kim Il Sung, as we go. We buy some propaganda posters in a small shop and take some pictures of buildings surrounding sickle & hammer, and portraits of Marx, Lenin and Stalin.

Then came the foreign language bookstore, a library that is accumulating all the books in foreign languages or translated into Korean.

We then went near the river to visit the USS Pueblo, the American warship captured by North Koreans January 23, 1968. He entered North Korean territorial waters to study the position of coastal radars. The crew was American custody 11 months before the United States did publicly apologize through a letter.

Lee takes us to a movie studio where they built the streets representing Japan in the 1930s, South Korea, Europe, etc. .. where they turn their films. That's probably the least interesting visit we aillions do during your stay.

Then we go to the Museum of victory and liberation of the Fatherland. Dedicated to the Korean War (1950-53), we see a video about the rout of the Americans whose basement of the building is proof. Indeed it is full of carcasses of airplanes, helicopters, helmets hole, machine guns, etc. ..

Finally, visits the day will end with the music school where we see a musical with children. As for the Mass Games, the show is great, but we can not help thinking about the hours of intense training that these children had to endure from an early age.

They dine in a Korean restaurant before taking a ride in the amusement park in Pyongyang. Initially cautious about possible breaches of security, we finally chained coaster and other attractions.



Wednesday, September 8, 2010

Program :
- DMZ (demilitarized zone)
- Museum Koryŏ
- The tomb of King Kongmin
- Statue of reunification

meeting of the party forces (the replacement for Kim Jong Il by his son is in the air) is at 8am we are asked to leave the hotel, towards the city of Kaesong, near the border with North Korea.

Between North Korea and South Korea, is the DMZ (demilitarized zone). This area of 238 km long and 4 miles wide was created when the armistice of the Korean War, March 23, 1953. We begin

also visit the negotiating room followed by the room or was the armistice signed. A table, a book and two flags .. the decor is sleek. We then went to the village of Panmunjeom. Some barracks with blue North Korean military, and therefore a good opportunity to take photos. Most of the military rank up in our minibus. He speaks perfect English. He asks us what you think of the expulsion of Romanians outside France. Or is it really knowledgeable or France is truly the center of attention at the moment ...

We go to the city of Kaesong for lunch and to visit the museum of Koryo Dynasty, which occupied Korea early tenth century to the late fourteenth century. I must admit that after so many years I have a little trouble rave in front of a temple. One is no exception to the rule. Note some nice paintings.

Nearby, you take some pictures of the Dzanam hill where a statue of Kim-Il Sung, before going to the tomb of King Kongmin (1374). Monumental statues of civil and military officials led to the grave, representative of the style of the Koryo Kingdom. Similar tombs are also visible in South Korea. We end

with a statue symbolizing the desire to reunify the two Koreas.


Thursday, September 9, 2010

Program:
- Kumsusan Memorial Palace
- Revolutionary Martyrs Cemetery
- Tower of Juche
- concert at the Opera
Philharmonic - Pyongyang Metro
- dance
- Pyongyang trip - Mount Myohyang


The day begins with a visit to the palace Kumsusan memorial containing the embalmed body of the "eternal president." So it is with our most beautiful shirts and ties that we go to the mausoleum. We'll have 15 minutes passage, treadmills and lift the former presidential palace to access the body of Kim-Il Sung. Curving around the body in homage to him, then we leave for the cemetery of revolutionary martyrs.

This cemetery honors the memory of all the young Koreans who fought against the Japanese, with statues depicting each of the dead. The wife of President Kim Il Sung is buried there too.

Then we climb atop the Juche Tower for a 360 degree view over the city. Juche is an ideology created by Kim-Il Sung in 1955 and based on the principle that every man is master of his destiny and decides everything about it. Then we go to the monument founder of the Workers Party of Korea with his sickle, a hammer and paintbrush giant.

At our request, a concert at the philharmonic opera was added to the program (20 euros). No return to Chopin or Mozart, but North Korean music including a piece created by Kim-Il Sung himself.

Lee takes us to the subway in Pyongyang. The escalator takes us more than 100 meters underground to a wharf beautifully decorated with paintings of propaganda. Access onto the train for a trip of a station.

Today is National Day, and hundreds people gathered to dance in the street. Spectators at the outset, we are then pushed by Lim in the round. Each with its partner, it tries to dance with North Korean problem. Small steps aside, gesturing with his hands, turn around his partner, we're back in the 40s. Dozens of eyes trained on us, I do not think we represented well the Western world but we had fun and that's the main thing.

We then take the minibus. 2h bumpy road and we arrive at Mount Myohyang. I managed to convince everyone to do 3 hours of trekking the next morning with the sole condition that it does not rain. Indeed it is raining since early afternoon.


Friday, September 10, 2010

Program:
- trekking
- Mangyandai
- Temple Pohyon
- the International Friendship Exhibition
- Mount Myohyang trip - Pyongyang
- Vol Pyongyang - Beijing
- Flight Beijing - Singapore


Sunrise 5:30, it rains .. it still decides to join the start trekking hoping the weather improves soon. We walk up to the first cascade, then until the first of the three shelters. The weather is deteriorating. It rains more, the mountain is covered in mist and clouds, we turn back. We are all in small baskets and therefore not equipped for a slippery floor.

We return to have breakfast at the hotel before going to Mangyandai, the birthplace of President Kim-Il Sung. The house reflects the poverty of the family is not Kim-Il Sung. According to legend, the Korean President spoke and wrote to 3 years. And we continue the visit by the Pohyon temple, Buddhist temple founded by the Koryo dynasty. Only pictures of monk interest me.

Then this is the International Friendship Exhibition. This museum was created to accommodate all the gifts received What Kim-Il Sung and Kim Jung Il. The museum has over 150 rooms and 250,000 gifts. It is interesting to note that even European countries and North America are sending gifts. Most French gifts (small Eiffel towers, painted plates, ..) are a little stain face gifts sent by the African countries (spears, furniture, cat skin, ..).

We leave for Pyongyang to take a plane to Beijing. 5h transit and we take a plane to Singapore.


Comments
- North Korea offers no opportunity to pay by credit card or withdraw money. Therefore provide the cash.
- You can pay in Euros, U.S. dollars and Chinese RMB.L agency had advised us to take about 300 euros in small denominations. Cuts of 10-20 euros enough, the stores with enough cuts to get foreign currency.
- North Korea is a shopper's paradise. The wooden objects are a bit kitschy. Only Korean dolls (3 euros) and propaganda posters (usually 30 euros, 10 euros at the airport only) caught our attention.



Expenditures


Beijing - Chaoyang taxi to airport (30-40 minutes): 73 RMB
- Hanting Express room: 290 RMB / night
- visit Forbidden City: 60 RMB
- visit the Lama Temple: 25 RMB
- visit Behai Park: 10 RMB

North Korea
- 5 days tour with Country Holidays: 3.360 SGD /
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Pokemon Soul Silver R4 Encounter Cheat

Exceptional Event

In partnership with:
Ville de Martigues, Les Friends of the Festival and
the bookstore-Clause

Friday, September 3, 2010 at 18:30

THE COMMON
A film by Peter Watkins
France, 2007, 3:30


Part 1 - Part 2-Buffet Communard
Unique Price: 6 euros

In the presence of
Claude Willard
President Friends of the Paris Commune -1871

The initial release of this film, shot in black and white in 1999 and presented in 2000 at the Musée d'Orsay, was 5 h 45. Its reduction to 3 h 30 is part of an effort to facilitate access to the film, while the filmmaker known for years enormous difficulties to distribute its work built against the currents of the official canon.

activist for the emergence of an alternative and democratic process in the field of audiovisual medium, Peter Watkins has invented a word, "monoform" to define this struggle against what it: this narrative device, used by television and cinema commercial, which imposes a "strafing dense and rapid Sights and Sounds", with abrupt cuts designed to create a shock effect, and manipulation.

Shot in thirteen days, following strictly the chronology events, he consciously blurs notions of documentary, fiction or historical reconstruction and undermines the usual criteria document and the television saga Hollywood to force the viewer to reflect on the film's form, teach him distrust, encouraging challenge to contingency media.

The Commune, played by the unemployed, the entertainment, undocumented, provincial Montreuillois allows the public to play its own history, to link the issues of the Paris revolution of 1871 and those of May 68 or today. Peter Watkins sets up the arrival of television reporters Versailles and Television Communard, microphones in hand, raising one hand, a soothing rhetoric, calling law enforcement, the fight against "leaders who are not, mostly French," and the other evidence of insurgent people. This unusual approach can not be accused of anachronism since the movie is displayed openly as interpreted by contemporaries that react according to criteria of their time.

We read, written by film historians stigmatizing any particular attempt, it was impossible to film a revolution. Watkins proves otherwise. The Commune mocks the facts, ignores Louise Michel and Jules Vallès, to film a thought, ideas, give voice to people, mean that this period marked the beginning of a reflection. And returns echoes contemporary: racism, women's roles, social inequality, censorship, school ... In

located closer to the common people - whether they are street kids, workers, artisans, small businessmen, civil servants, soldiers, intellectuals, priests, bourgeois ... - in Paris in 1871, La Commune by Peter Watkins - building bridges with our society today - we wake to remind us that history is a living, evolving, and that at any moment we can become agents lucid, conscious and responsible.

To go further:

The Rebound
Association for the promotion and dissemination of
film "La Commune (Paris 1871)" by Peter Watkins


(click image)

Interview with Peter Watkins

In 2001, the association "Bounce to the Commune" achieves a 30-minute film document entitled "Peter Watkins - Lithuania. Filmed in the backdrop of a surreal theme park pro-Soviet, a few dozen kilometers from Vilnius, Peter Watkins discusses the experience of the Commune, talks about his work, the genesis of the film, his position of director stage and, more broadly, the crisis of mass audiovisual media today.

MEDIA CRISIS -
Statement filmmaker Peter Watkins about the production company 13 product " Common "and belongs to Lagardère.
This message is in the introduction to his film" La Commune "(PARIS 1871): film version of 3:30.

Preview Film Ménégoz R. "La Commune de Paris, 1952. Music by Joseph Kosma.

Commentary by Henri Julien Bertheau said LOW (who played the role of the student in idle "Life is Ours" by Renoir) of the French Academy.
With songs of Henry interpreted LOW Vocals by "Moquet Guy" and "Hope". The poems are by Eugene Pottier.

Under the Earth Festival of Resistance
a projection of
Most Beautiful Struggles
held Thursday, September 2 at 18:30
to the conference room Martigues

BIBLIOGRAPHY:
click image


Tardi illustration for "Le Cri du Peuple"
cartoon on the Paris Commune

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Rockman.exe Stream Subbed

UNCLE Boonmee

Apichatpong Weerasethakul





What joy! A joy it must be said at Cannes that the charts do not we have been accustomed, as there often detects calculation or determination to devote values already established (often not their best film). Nothing like this time: a clear choice in favor of works of cinema strange, and oh so different from each other. Who will follow reviews of this blog knows how much I loved and hoped to return to Tour winners Mathieu Amalric, a man who cries Mahamat-Saleh Haroun, Men and Gods by Xavier Beauvois, Certified copy of Abbas Kiarostami What is and what Juliette Binoche performs. So many films, each in its own way, inventing their own form, try the adventure of narrative and staging, the better to approach the world as it is, as we live and dream.



But who could imagine that this choice would be crowned by the most radical and most legitimate plams gold to Uncle Boonmee Apichatpong Weerasethakul? While we rejoice in this award, given to a wonderful film, a fifth feature of the most important artists of the early century.



The film, Uncle Boonmee who remembers his past life seems a fantastic tale, where a person approaching death is joined by the ghosts of the past, under the guise sometimes daily and sometimes fantastic. It is this, but especially the construction of a space-time unknown, where the places, times, attendance, relations between the acts do not obey the usual laws. This film is an experiment proposed for each viewer, creates reluctance among many, very available to indulge in other attitudes, other modes than those to which they are accustomed. It is their absolute right, of course, is also the mark of a refusal to discover what the film, like all art, is home to more rich: the discovery not of other worlds (it does There is only one, ours), but other reports in the world. Pass the hope that it might even help us change it a bit, our old world that is not going so well - no longer in Thailand, the country of Weerasethakul.

As often happens, the output of the projection of Uncle Boonmee I played with friends, angered by the film. Is that the challenge works really innovative not indifferent, it can easily annoyed that remains outside - and often mocked. It's a long story, which he should answer only by word that comes and tries to convince the incentive to tame these new forms, learn to let go of unknown sensations: the innumerable beauties that offer movie-river, this movie-universe, this film is also happy dream laughing, sometimes comical, are the rewards of learning. Learns one not to look at abstract painting, listening to classical music, meet forms which at first seemed to us opaque, hostile, or ridiculous?

In the debate that was against my opponents, short fuse: is cinema elitist! So there, no. Whatever you want but elitist, no. Weerasethakul's cinema does not claim any special knowledge, even a monthly membership of a social category. It bet on feelings, on what each is capable of feeling, from his own emotions inspired by the sensuous, mysterious, enchanted.

This universe is not born again of all the imagination of the filmmaker. It is inspired by a report that the world is that hundreds of millions of humans, and that means by the word "animism." This report to the world we noted here a few months ago, is virtually ignored by Western art, including cinema, even though it is the principle of a huge amount of symbolic productions. If, as it repeats itself the envy, the film may help to better understand others, and where appropriate to treat them with more consideration, it is precisely to meet the mental universe that we are foreigners, and which remain. To meet them as strangers.



For all these reasons, reasons containing the dizzying beauty and fun of this movie lived hairy ape eyes shining like fireflies fair and where the princesses are teasing by catfish on the occasion of the most joyous parable about the powers of the image The award of the Palme d'Or is admirably judicious. It is also rewarding this artist there. Whoever since 2000 (Flying Object at Noon, beautiful film not quite noticed), and especially since the recognition climbed step by step with Blissfully Yours (2002), Tropical Malady (2004) and Syndromes and a Century (2006), required gradually as a great filmmaker, but also by multiple works in other formats and other media (many are available on its website http://www.kickthemachine.com/works/index.html , and for man engaged with minority his country, his fight against censorship, support for new creators, in short for life-work incredibly rich young man of 40 years.



La Palme, should be welcomed for further this: the film had no distributor in France, she will undoubtedly find him. It will also help considerably as a result of Weerasethakul's work while it will show his film in several places where he was not sure to be welcomed. But the reward, beyond the artist that the major media say almost unknown, but an assembly of American critics has appointed late 2009 as a major figure in the decade, this award is an encouragement to all artists daring, day after day, are close to them opportunities to work and share the fruits of their labor, because of originality and refusal mercantile codes.

And yet, like: it is welcome, this Palme, because Westerners have a hard time pronouncing name, Apichatpong Weerasethakul. As said Brassens, everyone can not be called Durand, or Smith, there is something scary to read (in Le Journal du Dimanche) Apichatpong was nicknamed "chap-chapo", why not Bamboula instead? Being the world in this world is to learn the names of others, and confront if it is a difficulty with respect and humility if we are not quite capable of arrogance rather than jeering Settler never really divested of their sense of superiority ... Jean Michel

Frodo ( Slate )




"I see these ghosts, the past never dies" INTERVIEW By PHILIP Azoury (Liberation) The Thai filmmaker says his childhood, his jungle and visions:



's plane morning was on time, but not the bedroom. Apichatpong "Joe" Weerasethakul arrived from Korea. Flat but with the desire to talk, keep talking, to unfold a conversation with Liberation lasting for years now. In the lobby of his hotel in the Marais in Paris, he asks if he can take off your shoes and stretch his legs, "as at home. " Weerasethakul, born in 1970 Parents of doctors, studied architecture in Thailand, Khon Kaen, then entered the Art Institute of Chicago. It was founded in 1999 as the production company Kick the machine to complete its projects and those of other independent filmmakers in Thailand, where the sector is dominated by production of consumer-based melodramas and romantic comedies. Recognized visual artist, including presentation in October 2009 at the Museum of Modern Art in Paris with Primitive, videos preparatory Uncle Boonmee tour in the village of Nabua, "Joe" received at the Cannes Un Certain Regard prize in 2002 for Blissfully Yours, the Jury Prize for Tropical Malady in 2004 and the Palme d'Or this year for Uncle Boonmee.



You no longer live in Bangkok?
No, I live in Chiang Mai province, where the city of the same name, the second largest in Thailand by the size and number of inhabitants. It has been two years now. I can not stand Bangkok. One morning, with my fiance, we took our luggage, drove with no destination, no specific plans. We did not even know if we would find a home, but we had to break. Was as a very desperate situation. We ended up finding a house in the countryside in a village.

Geographically, it is also where you shot Uncle Boonmee?
No, not at all. It could look like but we turned in another region. Chiang Mai in the north, and we shot the film in the Northeast. Chiang Mai is colder. I am still a bit like a stranger in my own country, dialects are not the same, when the peasants speak them, I do not understand. Time passes more slowly. There are a myriad of insects, vegetation absent Bangkok: geckos, snakes, others I do not even know the name. I hardly move because I still do not know where I'm going to set foot.

You did not run too fast in this place you start to experience pain?
Boonmee is about the past and I had to turn in an environment that reminds me of the past. I was raised in north-eastern Thailand, the time when my parents were doctors in a hospital, I had to live there until I was 24 years.

Living in the countryside was a fantasy for you?
Yes, my film has never given much information on urban living in Bangkok ... I grew up in the countryside and I had to go back. My relationship with the campaign is totally tied to childhood.

Is there a close connection between this move and the fact that you just turn a movie completely rooted in the memory?
Maybe (laughs). Boonmee Uncle for me is very different from my previous films. I find it very linear. I always envisioned as a tribute to an old Thai movie full of ghosts of various bills, which is no longer possible today, but there are still twenty-five years. In this sense, it's a very nostalgic film. At the time of Tropical Malady, I was in something more abstract, more spontaneous and perhaps also more arrogant, he was for me to move in a cinema experimental and avant-garde. Boonmee was calmest of that side. He remembers ...



If the film can seem very abstract to a Western audience, it seems that the things you shoot are instead very specific, physical, concrete for you ...
In fact, not that much ... The result seems rather concise, linear, but at the time of the shooting I did not know what I did and I still did not know what I was plunged (laughs). I phoned my producer, Simon Fields, and I told him: "I am completely lost ... I am perhaps being a TV movie remake of the 70s, I have no idea what the result will look like, it may be crap, I warn you. "With my editor, it has done a major restructuring. Basically, the movie was very interacted. We have removed a lot of dialogue scenes in favor of less explanatory but mostly less redundant for an even simpler. The first cut was three hours. It does not work at all.

The grammar of film is quite simple ...
Yes, absolutely: a mix of wide shots and medium shots, breaking into space in the style of classic cinema.

The film produced for those who love a sense of evidence and say that you turn a few shots ...
mistake, j'amasse material therefore, it is a hell to mount ! In First, I work with actors who often are not professionals, and it requires a lot of catches. The man who plays Uncle Boonmee merely advertisements. Spontaneously, he played too high. He had several takes before it starts to level. When you ask them to play dialogues with a woman supposed to be a ghost, which is not in front of him but behind with a mirror system at the Cocteau, and a boy dressed as a monkey, the actors have a little trouble keeping them seriously. It often takes over again. But I used to. I will not mention the incessant attacks of flies that make some plans and invisible inaudible sound, we became experts at hunting gnats racket! On the other hand, I cover a lot: I filmed the scene from different angles. During assembly, I tend to choose the angle that satisfies me the most and to keep myself up.

You mentioned in an interview with a film haunted by six coils and six different styles ...
Yes, the first is the jungle and the car in the style of Tropical Malady or Blissfully Yours. The second stage of the meal, very traditional. The third is the farm, I filmed two people walking together in nature, it is a scene simple but it has taken so requested. The fourth stage is the catfish in the legendary style that has many irrigated traditional cinema, but in rereading a bit sexier. The fifth is the walk towards death. And the last, more urban and contemporary, brings together characters from my other films that play together. These are my ghosts and I present them to the ghosts of those were Boonmee. One way to confuse this character who comes from a children's book with my own work, and leave things open.



The fifth section concludes with a sequence consists of photographs of young soldiers in a place described as "Future City" ...
I shot a video art with teenagers, and this is my recollection of the shooting included the reincarnation of Uncle .

you under fear of death as the "city of the future?
If I'm not afraid of death? Maybe. I do not have a positive outlook on Thailand's future. No. After, I am perhaps in a fantasy of easy death, where we would always in coexistence with those we loved. I see these ghosts, the animal life, and I know that the past never dies.

is a consequence of your relatively recent interest in Buddhism?
Yes, undoubtedly. It has been five years since I read a lot about Buddhism by practicing a little. But I see it almost in a scientific perspective. What this says about the mind is infinite and opens broad philosophical horizons. I do not see so much as a religion. He also opened to something beyond the trial, which is sometimes contrary to the cinema.

Filming a thing need not be the judge, prove your movies ...
Yes, but there are a lot of ego in the film, and I also try to separate myself from it to be more open to the world. And then the movie simulates the time, and it is sometimes superficial. Even for a genius like Ozu, the filmmaker who brought the most attention and the other time, I do not find the same concentration that I can meet in meditation. More importantly for me, who am like a little monkey, ferret right to left, always intrigued by what happens at any place or at such other time as well.

Reincarnation, is the metaphor that each new love is reborn a little?
I see more love as a form of attachment to another. Attachment ... not a very Buddhist concept. I have much to learn.



You shoot the ghosts with calm ...
Asian literature has described the coexistence of ghosts and the living like a natural thing. Thai cinema classic case was not an apparition of a ghost. But that has disappeared with globalization. Today, Thailand is filmed ghosts with the same fear that in a film or Japanese American.

The Palme d'Or?
It surprised me. I have exchanged three words with Tim Burton, surrounded by so many people that communication was impossible. Good, and after ... I'm serious with movies, I respect the movies when I do, but I do not want my movies scare people. Neither mine nor those of others. I hope my film, because he has been rewarded, does not appear to be authoritative, learned. I want to make you feel good. I just turned 40, I'm less rigid about art as I could be there seven or eight years. After all, Movies are just movies, there is not enough to make a big deal.

MEET Apichatpong Weerasethakul

By INDEPENDENCIA

Apichatpong and thailand
Aliosha by Herrera ( Independencia)

(click photo)





Site filmmaker




filmography:
http: / / fr.wikipedia.org / wiki / Apichatpong_Weerasethakul


Film
programmed from 15 to 21 September and
from October 13 to 19

Meeting Debate moderated by Nicolas
Feodoroff
September 21 at 20:30

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