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Lovers of the Arctic Circle: Life inside a car

few places as cinematic as the inside of a car.

A bed, no doubt, or a bar, and so on to infinity, but, by their own limitations of space inside a car has always been a good result on the screen.

pass So many conversations there, so many secrets are revealed, many loves faded, many murders committed.

and complete movies like "Night on Earth " by Jim Jarmusch , take place almost entirely in inetrior.

Not to mention the road movies, or the famous optical illusions or false projections of landscapes, from the films of the fifties and sixties.

There was always a car.

And the cars we were reeling in an inexorable shift over time.

Maybe that's why I draw the attention and I liked this part of the movie " lovers Polar Circle, which led Julio Medem in 1998.

Because in a small space can tell us is, define and develop the story of four characters, each with its peculiarities, its nuances, its own experiences, and how the passage of time will make their own lives, and they have in common.

always a simple way as one would a brush stroke.

always a natural way, leaving all marked by a matter of space, and its distribution on the screen.

Time passes, the spaces vary, and the characters change.

We see:

MAP 1:

In the foreground is presented to two of the protagonists (the main, moreover, that over time they will become lovers of the very title of the tape), Otto and Anna children

As a prelude to know the history say that Otto is the son of the car driver (which is separated from his wife) and Ana's mother is the co-pilot is (we know who lost her husband not long ago).

Both are starting a relationship, although their children do not take too well.

first thing to note is available in space. Sitting together, but each in a corner, staring and some ignoring the other way.

MAP 2:

This background helps us to finally put the four characters in the story. In this case we see driving Otto's father and next to Anna's mother are both back, and also that they can see the car, which resembles a two-horse classic, shabby and small.

At one point the plane, Ana's mother turns and goes to Otto, telling him: "Your father now has a better job , which will be the thread that allows us to start step sequence time.

MAP 3:

we see the reverse shot of Ana and Otto, in the same aloofness.

MAP 4:

At this time we will start a series of travel wipes, that will affect precisely the idea of \u200b\u200bthe passage of time.

Here we can see how to replace the image of the couple in the old car by themselves, but in a larger car.

With only the help of the previous dialogue, we can understand well that happened some time-not much, and that better job of speaking before Ana's mother has brought a new car purchase.

Another change that we see is the physical queue as Otto's father and a more dowdy costumes have given way to a general attitude a little more serious.

is interesting to note also how the plane ended with the two looking at each other, and that will connect seamlessly to the next level.

MAP 5:

Indeed, the apparent reverse shot, we see that the provision of Otto and Anna has changed.

Both are looking at now.

may not be a look of love, like that of their parents, but of curiosity mixed with apprehension.

In any case, we realize that time has not only changed but also the attitude of the characters together.

MAP 6:

In that plane we will see another major temporary change, and inevitably linked to that just described.

With another shift curtain, slowly, we can observe how the woman disappears from the passenger position and actually going to put herself in the driver's seat.

To confirm the situation, he says, without turning: " Your father could not come, has much work " which in a way we had been confirmed and clear images.

And so, would link directly with a much more abrupt time shift (in every sense) already analyzed this entry, and take us to the teenage protagonists of the two children.

But I still find amazing how in such a small space with so many limitations, we can express and define characters so well, the relationship between them, and how they evolve through the passage of time and changes This, inevitably, is producing.

And, of course, all the rest is cinema.

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This is England: Continuities

is true: The end, in the cinema is inevitable .

But no less true is that when a good story grabs you, when some characters and their adventures you get inside, the viewer finds it difficult to give know what happened to, what happened next.

are more closed end, most open late, but we all know that life goes on.

So either lived happily with or a everything went to hell , we find it hard not to use our imagination to think about what certain people have become, how they could have continued some stories.

Perhaps this is why, perhaps also by the lack of imagination or risk the big producers, which benefits from both sequels.

In most cases you must be aware that these are generated more by a commercial tug that only narrative criteria.

Although it does have to differentiate between a second and continuity .

For me, the second part is another story , with its own tempo, its own rhythm. We

return characters, which may have or not to evolve, but are used almost as an excuse to tell us another film, another adventure.

Often, a second party may be followed or understood even if you have not seen the first.

A no continuity.

A continuum assumes that the film is more like life, and that the stories never end.

Therefore, as in "The Color of Money " retomábamos the character of Eddie Felson, he played pool of "The Hustler " Forty years later, or as in "Before Sunset " we meet again and continue with the story emerged in "Before Sunrise " between Jessie and Celine, you can spend time passes, the characters will be there, and have continued with their lives despite that we could not go along.

And of course, continuity is an important narrative element and very present in the language of film, why, how, how to crimp these two times-the time span we have been vetoed, it is vitally importance.

A great example of this that comment is given in the following that makes the character in the movie " This is England," the young Shaun, in the television series of the same name, " This is England '86 "

At the beginning of the series, set a few years after the film's story, we will recover this time and that child to link with the youth that has now become, and will be the theme of the new stories.

And it's not going to do with more than five levels:

MAP 1:

We have seen before Shaun (the youngest Shaun) inside of a car.

In the foreground are going to analyze what we see out of that car, against the light, and cross a sort of clearing.

is interesting to note how, to slow and to emphasize that over time we will be shown in this walk through of this lonely wilderness will include a transition that will, curiously, slower cadence.

MAP 2:

And the magic begins. We see the small

Shaun alone in a corner.

's raining and he raises his hand to feel in your palm the raindrops.

At one point, with the fixed, our protagonist looks up and stares at the sky.

In this gesture there is a lot of wondering what the future holds, and there is enough also to us as viewers prepare for what we're about to see.

Anyway, have positioned us perfectly: It's Shaun, a boy, alone, it's raining and he let the rain soak.

MAP 3:

We approach Shaun.

see a closeup of how he is looking at the sky, with a look half sad, half expectant.

are many things that have happened (we know if we've seen the movie, if not, you only have to guess) and this delve into how you live closer now.

On the same frame, we see his head down and looks at his hand on which rain falls.

MAP 4:

And this happens.

Without dialogue, only with the aid of music.

see the hand that the young Shaun was looking, but we see-what-you note right away is not the hand of the young Shaun or at least it seems.

is a hand of someone older.

know that something has changed, and will not be anything but time (although most things will be different, we will see shortly)

continues the same plane with a slight but direct camera movement is not going to do but the impression that we endorse.

Indeed, it is Shaun, Shaun's hand, and going up from hand to face we can see how we are now with the character, as a teenager.

When we got to face can think of several things worthy of note, and somehow connect the two spaces, the two times.

On the one hand, the expression of Shaun: We understand that the same sadness, the same uncertainty that had a live Shaun still small in this adolescent.

Or maybe not the case and what actually happens is that in this moment he remembers what he felt then (through space, through the rain), and so the two times are invariably linked.

But a second thing I noticed: You're not alone. People your age around you, and just its final approach at the turn is to look at them (with a final blur included).

This also connects with the past, but to realize that there are things in that time itself have evolved.

MAP 5:

And in that plane, more generally where we see that we are facing the entrance to a school, see how Shaun somewhat distant, joins his teammates and goes inside the building where, indeed, start again this a new story, this new life.

The rain falls, the tiles are the same, but although the scene will inevitably connect the two times that many things have changed since then, and it will be the history, small details, we will make we discover, little by little.

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Andrei Rublev: The film recreated

Watching a movie does not always correspond to a single act.

happens all: Food is not always eat or not eat at least the same way.

Even the sensations that one experiences when viewing a particular film, it happens again if for any reason you decide to see this movie again.

Because ultimately the work of observation is a construction labor, and this comes and takes place only at the time that we are developing.

is the eternal sense of art as communication process: the observer creates work for him observed, and always creates a different way, every time the notes, depending on external factors internal.

So when I talk about a movie I can only refer to a "when I saw " because if tomorrow I decide to see her again, my experience of it will change, but change more or less secure.

And that obviously occurs when a particular movie you've seen on TV and not on the big screen of a cinema.

For better or for worse, usually wins the latter, the information you receive is encoded in different ways (a TV smaller) and external factors (light, noise) make it difficult to concentrate.

This is now being more or less true, until the magic happens.

Movie magic, the magic of creation.

So there is nothing to influence you, because there is nothing to distract you, and not a thousand possible interpretations.

When a film engages you and gets you there will be no way you can loose. You become a puppet in his hands. And there is no noise, no command, or dubbing, or ads that are worth.

Ni TV 14 inch black and white becomes your enemy.

is true that at the present time we can see the home theater in our living room, with sound and picture quality more than acceptable.

It seems strange to think of the amount of film I've seen really very poor conditions, and the times that the quality of images history, the narrative has been imposed on my TV or my little notebook.

And it's not magic but strength.

lot of that, now that I look back, it happened on first viewing I did the film "Andrei Rublev " by Russian director Andrei Tarkovsky .

Half-nineties.

The only real chance then to see a movie like this were either a film library or television.

And my first encounter with her was on the boob tube.

Same

needless to say, but is set at the 2 and, to paraphrase Les Miserables "in its regular schedule of two in the morning.

probably not the best time to get to a movie of 180 minutes, but say that at that time had no choice.

And if I had to use a qualifier to define that vision, there could be other than experience.

For a movie of Tarkovsky always becomes an act demanding. The observer has to put a lot of put-and-on his part to get into that universe.

But in return, if you go-if you can get-the satisfactions are much higher.

The three hours I was off the small screen of your television, in a rented flat in Madrid that morning in winter, were among the most strange and satisfying and demanding that I remember .

remember going slowly entering the slow pace of a story that jumped from places and people, which was diluted to show the crucible of a class society and unfair.

I also remember how I was falling asleep, I remember fighting the eyelids fell, imbued with the fatigue of the week and the pace of the story itself.

But mostly I remember getting over that. Overcoming

me or the film got over.

remember vividly revealing the full, enter the magical world of the painter in the XV century Russia, I remember collecting all the breath and strength to face the final section, a metaphorical construction of the bell that the drag and swallows.

And remember it's over, well into the early hours of this strange weekend, and my eyes were hungry for history and contemplation.

I have never been asleep in a cinema. Curious

.

The state of concentration and isolation which offers a darkened room, with the public and their synergies focusing just like you ended up avoiding perhaps forever.

front of the television is not so easy, and once I gave up the dream.

But when a movie gets you out of the cliff, when you get out of your own limitations and takes you where she wants, is that their connection to you at that moment transcends beyond all manageable.

And that makes it, in fact, intangible.

why there are movies, or viewings of certain films, which are imposed on all contexts and engulf and phagocytize with an ease that even scary.

And then we talk about movies with capital letters is as all around him.

Andrei Rublev now lives in a corner of my video library.

I do not know what experiences give me the next time I faced it, and I will not know until that happens.

But with earlier precedent, of course, the desires are many.

And I will look naked and let me love ...

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League return to action is closer to Wembley

After a week without informing medical problems, now reissued as possible. As not begin today with the draw for the Champions and a small rival track you play. Shakhtar and Totthenham, the softer, Schalke, the German hope that the surprise has been a great match against Valencia, the ever dreaded Inter, Chelsea, Manchester United and Real Madrid are morbid potential rivals who now are in the hype.

Place your bets.

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Beat: Creating an infinite artifice

Back in the opening credits.

In a conversation yesterday with Richard and Pelu, there are two great pages and Prologue Art of the title where one can enjoy the true art in art, and be seduced by the package that we sell, we introduces, explains and engages us with the story that will happen next.

also

also claims that close the film, to enjoy magnificent deception already seen, while reposarlo to grant you-deserve-like place and time to all who have been involved in that movie so mistreated by certain television stations, and even by the exhibitors from some rooms.

SECTION: Both say worry some of the so-called copyright (because they called and when they mean money) and how little care other rights such as meaning, equally important. END POINT.

credits usually place of pure artifice, visual recreation without a dependency narrative and, therefore, with more formal and expressive freedom.

But there is a restful spot for games meaning to the displays and readings metaphorical concepts.

It is interesting how in many cases the opening credits confirm, reaffirm and on occasion to directly tell what the movie to display.

And wherever you play, will wonder, at least by a server.

Here we bring to their analysis, the simple, effective and crystalline title of the movie "The Sting ," translated here as "The Sting" directed in 1973 by George Roy Hill .

A pure artifice of film, well supported and reaffirmed in its opening credits.

You can enjoy them in the boot (although here we only discuss the first part), lasting a total of just over a minute.

A caveat to review something curious:

achieved in this version of YouTube is a small but important difference from the credits of the film that I have:

appears a first look at a picture Paul Newman, Robert Redford and Robert Shaw (the main actors in the play) marked up with their own names.

appears in the second 16 of the video above.

It

say strange and even incomprehensible point not including the first image in some copies of the film, then, as we shall see, it is of vital importance in the speech that the credit will be maintained.

In any case we analyze the first image.

PICTURE 1:

see, as we have said, a picture with the three protagonists of the film.

first thing that we can attract attention is to make a drawing and a photograph is not the means chosen to show the actors. There are, so to speak, a distance with them.

is also important to note that we are seeing in front of us, as observers, we really seems to occupy the position the camera.

in any case (apart from being a drawing) there is nothing to be too noteworthy in this first image.

IMAGE 2: This time

( and here is the crux of loans) are going to get away from the action, to enter into the device curiously.

Indeed, so in this case (again a drawing) shows the image is the representation of the film: Namely, the same scene we've seen before, with the actors, but in this case stepping out beyond , and seeing part of the set shooting with cameras and spotlights that focus on the protagonists.

is, I say, a redial every movie artifice.

First is the drawing itself that separates us the image of reality.

Then there is the realization that this is a film, not to a true story.

And the unveiling of the deception (the film is a lie, we know) also are showing us what is actually going to treat the history of lies, false pretenses and that we should not trust what we see, for reality is likely to be another.

With this image we are dejando claro que no nos podemos fiar, que tengamos cuidado, pero que pese a todo debemos ser conscientes que ellos -que saben más, que tienen la sartén por el mango- nos acabarán engañando de nuevo.

Y qué es eso si no "El Golpe".

Puro artificio.

Otra pequeña salvedad para detenernos en las transiciones de estas primeras imágenes.

Los cambios no se realizan por corte, y sí mediante una transición que imita el pasar de la página de un libro.

Volvemos a incidir en el artificio.

Y completamos de algún modo (todavía quedarán show more) different building disciplines present in the making of a film (writing, shooting, interpretation).

And so we come to the image 3.

IMAGE 3:

redisplays We deception, actually showing the process of creation.

In this case we see and appreciate a picture of those who are behind those behind the film rolling.

As I say, we split up to delve more into it.

And, although we accept that we are seeing a writer (the writer's work after rolling which then plays then it looks) it seems clear that no, we are showing the artist who actually performed, - the first image we've seen.

And do not tell me it's a great way to close a circle of artifice and lies.

The film we are about to see is a mere deception, and in less than 30 seconds and we have been mistreated and been around a few times.

What we will not have to spend!

IMAGE 4:

With this picture in front again we see the actors (the players) but this time, do not want to repeat myself but it is almost inevitable, not your face and your skin (but what if we have not seen before ?).

Film, literature, art, theater.

Are there any higher?

And so merge and appear-finally in what might be called cinematic image, real image, the actors who will be protagonists of this device, in this story where nothing is what it seems, and where they constantly play with the viewer and what he think seeing as we have already been warned from the first seconds of the same story.

And although we know that we should not rely, we trust.

And we fall.

Because we like ...

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PAL MONTE

It's time to change the chip. After months of asphalt, with good results in a half marathon and marathon, it's time to pull pal mount and change min / km gradient. It's time to enjoy the mountains, nature, new careers and new challenges.

My first objective, after resting, will some little run mountain to go mountain taking shape and sensations. Some of these courses could be Onil of 14 km and the Montcabrer Pujada 21. Always with an eye on "the two sides of Aneto" trail of 69 km to be held on 30 and 31 July and that is my biggest challenge so far in distance and slope.

My short experience in the mountains this challenge makes me take me with great respect, for I have only run two mountain little run 14 km, and a half marathon. A little background for thinking about these challenges, but I think enough.

addition, the fact that some co-Villena have the same goal in mind to motivate me yet Moreover, it is a shared challenge, which like everything else, knows better. Go and hang little things of my coaches and taking little run to go pitch climber.

now I leave you this video of the test so to experience. One pass.

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Micmacs: From Chaplin to Tati, a praise of comic cinema in twenty levels

realize is curious how the way of having the silent film comedian of the century, works just as well a hundred years after the implementation of those parts. True

I have to acknowledge my special admiration and closeness for that way of counting, by the use of the resources that were used then, but I think it goes beyond personal issues.

The fact is that it works.

And perhaps the simplicity of his approach that makes us reach a very direct way:

A clear plan, full of close-ups where the action is easily traceable, the utmost importance to work of the actors, who through his actions we do get the whole story (and no one knows what ends up being more polysemous, if a word or phrase) and a simplification of everything surrounding the action are the clear signs of identity.

Because the film is mostly silent comic film, and with tenderness and ingenuity hand leads to a world where anything is possible.

have been great teachers of that golden age of cinema, among them Charles Chaplin , Buster Keaton or Harold Lloyd .

In Europe, we enjoy a bit later with immeasurable genius Jacques Tati .

Works in any case no play as the human condition, and we have won no doubt part of the heart.

Maybe that's why I'm always fascinated when I come to rescue an audiovisual piece that way of counting, that freshness and that innocence, with honors, plagiarism or Homage full of humor and lack of dialogue.

Something happened to me Micmacs (2009) of Jean Pierre Jeunet , a tribute to the naive and humanist world, crazy gestures and misunderstandings, sadness and well-intentioned spirits.

SECTION: Thinking Micmacs, and that has not yet been released in Spain-sic-I feel like, rather than write a post about copyright and intellectual property laws, writing about the possibility real access we have many users to a particular audiovisual material. Maybe I will. END POINT.

Back to Micmacs

:

Throughout his footage provides that way of counting, dispensing the best way of dialogue, focusing on the gestures and expressions of the protagonists.

Obviously we will not lose all the visual power that made such a significant artistic direction of its director.

I analyze a small scene of twenty planes, located at the beginning of the movie, without revealing almost nothing of the plot. In any case:

Bazil has just been fired, and has no money or home. Hungry and wandering the streets of Paris to the precise moment at which this scene ...

MAP 1:

always repeat but is that always the case.

And it works.

started the action with a shot that puts us at the stage where they will develop it.

This time we will see a camera movement from top to bottom, starting with what we understand as a cathedral, to go down to the typical distribution of food among needy people by volunteers, stopping finally in the back of our protagonist, observing the scene from afar.

inevitably would have to stop all the set of meanings we can establish that movement up and down: The spiritual and earthly, the monumental and the vulgar, heaven and earth, divine and human, etc.

MAP 2: We

foreground Bazil's face.

is a way to highlight her face and gestures will be the thread that allows us to navigate in history.

In this case we see how he looks at the distribution of food with a clear expression of desire and some despair.

MAP 3:

An obvious homage to Chaplin, and reminds us not only to "The Gold Rush."

We see the protagonist's shoes, with soles peeled in his impatience hits the ground so that looks directly into a mouth that opens and closes, highlighting even further the hunger of the protagonist.

ROUTE 4, 5 and 6:

From here we will attend a whole array comedy (with some inevitable bitterness) and reverse planes between Bazil and the woman who distributed the food.

In this case we see how she realizes he is hesitant to approach (we understand shame, for shame) and greets him.

MAP 7:

to refocus attention on the expression of Bazil.

Here to reestablish a game of opposites, how well it works in these cases, where our protagonist returns the greeting, but with expression of astonishment that of complicity.

PLANO 8:

She, like most natural thing in the world, he asks you get closer, in a statement that nothing happens, you are among friends.

MAP 9: We return

Bazil's face to give back a comic turn to the issue.

With a surprised expression " Oh, you want me ...? " is at once a " No, no, you're wrong, if I did not .. ." for a moment that we, as viewers, we are puzzled.

MAP 10:

This perfectly reflects our disbelief in the face of the volunteer (the first time we actually get closer to your face), as if to say: "But no ... ? "

MAP 11:

And then on this plane we see the reason, the exhaust, which has been Bazil. Notes

between shy and stop apologizing taxis. He's not hungry, he just is waiting for a taxi!.

ROUTE 12 & 13:

Again the gesture, then the expression.

She recognizes his mistake at the same time gives apology to Bazil. His tender smile of the plane 13 says it all.

finished not quite sure if she believes it or not, but in any case we believe that if the latter, do not take into account, and is willing to follow him in his little lie.

ROUTE 14 and 15:

But it's not that simple, of course. And in these cases, when you force a lie, you usually will get caught. In terms

14 plus open, see-it was inevitable arrival of a taxi, to create more mess.

15 In terms we can see again the importance of gestures of Bazil, where we spent the knowing smile of knowing he has told a lie, the devastating moment when it seems that everything goes against you to end up with a trágame land that says it all.

MAP 16:

Delving into the humor of the case, we see the girl dismisses him, so that is forcing to continue to lie and get the taxi.

MAP 17:

This is an open floor plan, where we see the desolation of Bazil, dejected and defeated in his lie, and with an intractable dilemma: should take the taxi to avoid being caught, but can not take the taxi, in any way, because he has no money.

MAP 18:

In a complete collection of gestures that we see a Bazil looks down, shrinking, rotating, which is uncomfortable. You feel observed and is obliged to do if she were to take the taxi, even though I know it's going to be quite impossible.

MAP 19:

To emphasize even more the feeling of discomfort you feel hunted and observed to see the volunteer time that effectively keeps detail what happens to Bazil.

MAP 20:

So, as we have said, with a mixture of sadness and humor check (we, the volunteer) that Bazil has no alternative but to around the car as if to put something in the trunk, and just hide behind him.

This is a very simple mix all the elements in the film comedy.

And laughter and a certain air of sadness get in our face, invariably accompanied by gestures, silences and expressions of the protagonists of the story.

The narrative begins, the adventure begins now, and we are inevitably delivered.