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La belle Verte .... The Green Beautiful) is a 1996 French film written and directed by Coline Serreau and starring Serreau, Vincent Lindon, Marion Cotillard and Yolande Moreau. Serreau also composed the original music score. It was filmed on location in Australia and France.

On the Green Beautiful, a utopian planet much smaller than Earth, during the yearly planetary meeting, Mila, a rather young woman – by the reckoning of her people, at any rate – volunteers to go as a messenger to planet Earth. It has been two hundred years since the old sage Osam was there, along with Mila's father. At the time of his visit, he recounts, the people of Earth lived in bad conditions. It was the time of Napoleon and the people of earth were still using money – a notion that baffles even the wisest folk of the Green Beautiful. In time, we find out that important historical figures such as Jesus and Johann Sebastian Bach had come from this very planet.
No one on the Green Beautiful wishes to go to Earth; their opinion of Earth actually isn't all that flattering. They see the people of Earth as un-evolved, and unwilling to change. Mila, however, who knows that her mother was from Earth, is the only one to volunteer, and so is sent to Earth for the purpose of bringing back news of how things have worked out since the nineteenth century. She also wishes to find out more about her parents, although this thread seems to be abandoned quite early on in the story.



The Living Force
FOTCM Member
I have never read any Shakespeare, although I think I should, so I watched this film Shakespeare Retold (Macbeth) instead. Talk about psychopathology! The quality is not too bad. I also watched Othello, which was very interesting, but it was a bit too focused on racism OSIT, although the psychopathology is very clear.


Set in a three Michelin star restaurant owned by celebrity chef Duncan Docherty (Vincent Regan), with Joe Macbeth (James McAvoy) as the sous chef and his wife Ella (Keeley Hawes) as the Maître d'. Joe and his fellow chef Billy Banquo (Joseph Millson) are annoyed that Duncan takes the credit for Joe's work, and that Duncan's son Malcolm (Toby Kebbell) has, in their opinion, no real flair for the business. Then they encounter three supernatural binmen who predict that Macbeth will get ownership of the restaurant, as will Billy's children. Joe and Ella are inspired to kill Duncan, but the binmen subsequently warn that Macbeth should be wary of Peter Macduff (Richard Armitage), the head waiter. https://en.wikipedia.org/wiki/ShakespeaRe-Told


caballero reyes

The Living Force
MACARIO. Directed by Roberto Gavaldón.

Classic film about the celebration of Dia de Muertos.

Eye For Film >> Movies >> Macario (1960) Film Review
Reviewed by: Rebecca Naughten

"The film feels surprisingly modern but never anachronistically so."

Set in 18th century colonial Mexico and based on a story by B Traven (best known for The Treasure Of The Sierra Madre), Macario is an early onscreen example of a magic realist fable and, in 1961, became the first Mexican film to be nominated for an Oscar. Macario (Ignacio López Tarso) is a woodcutter and head of a loving but perpetually hungry family. Frustrated by his constant hunger - and of giving his own share to his children - Macario vows not to eat again until he can eat a whole turkey without having to share it.

When Macario's wife (Pina Pellicer) successfully acquires a turkey to fulfil his whim, he is approached by three individuals in turn, including the Devil and God, who either try to tempt or implore him into giving up the dreamed-of meal. Macario quick-wittedly (one of the surprises of the film is the sharpness and humour of the protagonist) offers counterarguments but agrees to share his meal with the final man (Enrique Lucero) who the woodcutter has correctly surmised is Death - by sharing the food he hopes to delay his death long enough to enjoy the turkey. In fact Death - tickled by Macario's reasoning - rewards his generosity with a magical liquid that can restore people to good health. Macario's newfound healing powers allow him to support and feed his family properly as people travel far and wide to pay for his assistance, but they also attract the attention of the Inquisition.

Roberto Gavaldón was one of the key directors of the Golden Age of Mexican cinema. He had a number of recurring themes in his films (although he worked across a range of genres) of which Macario centres on an obsession with death that is shown as both a personal preoccupation and a mythical part of Mexican national identity. Even before Death appears in the film - and he continues to appear to Macario throughout the narrative - there are multiple conversations about death (the candlemaker tells Macario that "We have to be nice to the dead... we spend more time dead than alive"), not least because the film opens on the Mexican Day of the Dead with the village festooned with skeletons and sugar skulls. This sense of the macabre continues in the form of the skeletal puppets that haunt the woodcutter's dreams and in the persuasive methods of the Holy Order.

The film feels surprisingly modern but never anachronistically so. The camera angles and the overall style of the imagery seem unusual for a film of the period - or perhaps it is more accurate to say that the style (especially in the dream sequences) is unexpected for a film set in the period that it is. Not having seen any of Gavaldón's other films, it is difficult to say where the balance of credit for this lies between he and cinematographer Gabriel Figueroa, although the film bears all the hallmarks of the latter's best work. This includes the justly famous sequence in which Macario enters Death's cavern and is confronted by the whole of humanity manifested as a sea of candles with each candle representing a life - it is a magical and captivating image that lingers long in the mind.

Screening at Edinburgh Film Festival on a pristine 35mm print as part of the Focus on Mexico strand in conjunction with the Year of Mexico in the UK, Macario is worth seeking out if it travels elsewhere.

Reviewed on: 25 Jun 2015

caballero reyes

The Living Force
Director David Lean at his best.


Brief Encounter is a 1945 British romantic drama film directed by David Lean about British suburban life on the eve of World War 2, centring on Laura, a married woman with children, whose conventional life becomes increasingly complicated because of a chance meeting at a railway station with a married stranger, Alec. They fall in love, bringing about unexpected consequences.

Brief Encounter was met with wide praise from critics upon its release, and is today considered to be among Lean's finest works. It has been credited as an important early work of realist cinema for its small scale and the lack of big-name stars in its cast. In 1999, the British Film Institute voted Brief Encounter the second greatest British film of all time. In 2017 a poll of 150 actors, directors, writers, producers and critics for Time Out magazine saw it ranked the twelfth best British film ever.[wiki]

caballero reyes

The Living Force
“The Kneeling Goddess” (La Diosa Arrodillada) Dir. Roberto Gavaldon.

With Diva of Mexican cinema: Maria Felix (Álamos,Sonora; 8 de abril de 1914? - Ciudad de México; 8 de abril de 2002).

From a film festival in MOMA (Museum of Modern Art in New York):

Gavaldón also directed “The Kneeling Goddess,” one of the program’s two vehicles for Félix, with de Córdova playing her foil. The most outré of melodramas, it’s a movie of flagrant symbols, blatant coincidences and astounding scenes. Recognizing that her husband is deceiving her, Córdova’s wife rises from her sick bed to play the piano at their anniversary party as Félix makes her grand surprise entrance.

In The Wall Street Journal, Kristin M. Jones writes about the potency of the seven titles that make up the program and assures that they will be "a revelation for many viewers." In an interview with The Wall Street Journal, MoMA's deputy curator, Dave Kehr, He compared the black cinema of the United States with that of Mexico: "The American noir is largely a product of the trauma of war; the Mexican noir of economic trauma. So instead of lonely men, full of guilt and delusions of persecution, there are many fighters - swindlers, athletes, politicians - desperate to grow up in the corrupt, and quickly industrialized, economy of the administration of Miguel Alemán (1946-52). ). "The journalist concludes the article with a description of the strength of each title, ensuring that these films" with their dark suspense, evoke an era of brilliant cinematic talent. "

Carlos Martinez Assad:

During the talk, Carlos Martínez Assad, a sociologist and writer, highlighted the way in which the film reflects the modernity of the country at that time, through scenes shot at the airports of Mexico City and Guadalajara, or the "Basurto" Building of Colonia Condesa.Asimismo shared with the audience some anecdotes about the time when the film premiered, as the negative reception that had on the part of the critic due to its erotic content. "Inclusive, the sculpture that is a central part of the story it was stolen and destroyed by groups that opposed the exhibition of the film, describing it as an exhibition of vices and crimes, prohibited by Christian morality; with everything and that the film had a great commercial success ".

The writer sociologist lacks adding that there is a scene in a gay bar for sailors, unusual for that time.
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