A QUESTION OF TIME -Clip 10
In It Must Be Heaven, filmmaker Elia Suleiman returns to his native Palestine with his style of hieratic and silent humor, indebted to Jacques Tati. On this occasion, he proposes a journey far from the country’s borders, to see the good and the bad, what separates Palestine from the rest of the world and what connects it to it. Suleiman plays himself in a journey from his home to Europe and the United States. Perhaps the most interesting thing about the humorous construction of It Must Be Heaven is the balance between irony, uncompromising satire and tenderness: take, for example, the American citizens who, as seen by the filmmaker, are each and every one carrying guns. Is the author talking about the outside world or about his own prejudice? It is probably a sum of both. The film makes the most of the symmetrical compositions and choreographies with which he makes the elements dance on screen, and nothing escapes his well-humored filter; not the police, not the ordinary citizen, not even the film industry and all that surrounds it (from production to academic studies). Suleiman bets on a different way of putting the plight of Palestine on the map, fleeing from the gravity of tone but without shirking the responsibility he seems to feel as a storyteller towards his roots. Juanma Ruiz
LAST CHRISTMAS – Spot 8
The family settles permanently in the city of Havana in 1926, so that he can study formally and prepare himself to enter the university. The imbalance in his primary education causes him to attend three grades at the same time. In six months he completed his primary studies and took an entrance exam to the Escuela Normal para Maestros de La Habana, which he passed with an excellent grade.[4]
On September 5, 1933 Teté applied for free tuition at the University of Havana, since neither she nor her husband had a job and their economic situation upon returning from exile was precarious. Due to her good academic record, she was granted such enrollment on April 17, 1934.[13] In the midst of the turmoil in the country, she was granted free tuition.
In the midst of the turmoil of the country and the abrupt political changes that followed the fall of the dictator Machado, she finished her studies in Philosophy and Letters at the University. She had previously graduated as a teacher-training teacher.[15] After the failure of the general strike, she was forced to leave the country.
After the failure of the general strike of 1935 and under the brutal repression unleashed by Colonel Fulgencio Batista, she was again forced to go into exile in New York, where her husband was already staying.
EVEREST – International Trailer [Universal Pictures].
There are, however, eight Spider-Men from Infinite Earths that Slott can’t use, including the Sony film versions played by Andrew Garfield and Tobey Maguire; the Spider-Boy from the Amalgam universe (which blended Marvel with DC); the one from the 1970s series starring Nicholas Hammond; the one from The Spectacular Spider-Man animated series; and the CGI one from the MTV series scripted by Brian Michael Bendis and voiced by Neil Patrick Harris. Even without these famed versions, Spider-verse has enough characters to play with. It’s time to assemble into groups to fight this powerful threat. They probably won’t all be there, as they are almost innumerable, but we’ve tried. Some will appear in the event, some may not, and a few are so curious and different that we couldn’t help but include them. This is our definitive Arachnid Handbook.
Is there only one Spider-Man? Any arachnid that appears will always be a version of the Peter Parker of the 616, created by Stan Lee and Steve Ditko, but that does not mean that there have been different versions over the decades with more or less charisma. Among them, some have been so famous that they have ended up being the favorite wall-crawler of many readers. These are, at the moment, the key men of the Spidey universe, three arachnid totems with their own series that will have a lot to say during the Spiderverse.
AMBULANCE – Official Trailer 2 (Universal Pictures) HD
«Placido, unlike the later The Executioner (1963), has a choral character because it does not start from the drama of an individual confronted with the machinery of a perverse society, but rather makes an almost clinical x-ray of the evils that weigh down that society, and which are governed by the worst of all: that of hypocrisy.»
«Two are the discursive instances that most powerfully call Plácido’s attention: on the one hand, a choreographic visual planning of the frames, most of them filled to the brim with people and/or objects thanks to the sharpness of the background and the preponderance of general and American shots, and, on the other, a cumulative narrative structure, which, propitiated by the temporal condensation of the plot.»
«The characters are gears that animate the monstrous dictatorial machine with their connivance, their passivity, their ignorance or their complicity. In this regard, it is necessary to praise the work of the entire cast, without whose naturalness and good work it would not be so painfully credible what happens».
