#Like sua in a jumpsuit

[kiwiihead]

beta mizisua !!!! (wip)

[allmoshnobrain]

NO-SKIP ALBUMS tag game

i was tagged by @nornsfate (tysm!!) and this seemed like such a fun idea i just had to do it! i tried picking albums that i felt had a big impact in my life and that i love listening to until today. i'm tagging @aplaceforyourhearttorest @hunter-sylvester @therockywhorerpictureshow and anyone who wants to do it (but ofc no pressure!)

rules: share the albums that you can listen to nonstop. those lightning in a bottle-albums that scratch ur brain just right. every single track, an absolute banger. u could not skip one if u tried. no notes. stunning, show-stopping, immaculate. ur no-skip albums.

bonus & optional rules: 1) add a track rec for us to listen to! AND 2) share ur favorite line(s) from that track!

albums and track recs:

MEGADETH - RUST IN PEACE

tornado of souls: Selective amnesia's the story / Believed foretold, but who'd suspect? / The military intelligence / Two words combined that can't make sense

VENOM - BLACK METAL

black metal: Lay down your souls to the gods rock 'n roll / Metal ten fold through the deadly black hole / Riding hell's stallions bareback and free / Taking our chances with raw energy

METALLICA - RIDE THE LIGHTNING

for whom the bell tolls: Take a look to the sky just before you die / It's the last time you will / Blackened roar, massive roar fills the crumbling sky / Shattered goal fills his soul with a ruthless cry

AVENGED SEVENFOLD - AVENGED SEVENFOLD

unbound (the wild ride): This ride that takes me through life / Leads me into darkness but emerges into light / No one can ever slow me down / I'll stay unbound

GHOST - IMPERA

darkness at the heart of my love: Will you spill the wine / To summon the divine? / I'm with you always, always / Now paint a pair of eyes / And let's watch as it dries / Remember always, that love is all you need / Tell me who you wanna be / And I will set you free

THE RED JUMPSUIT APPARATUS - DON'T YOU FAKE IT

cat and mouse: Am I supposed to be happy? / With all I ever wanted, it comes with a price

MEGADETH - THE SYSTEM HAS FAILED

the scorpion: As I climb onto your back, I will promise not to sting / I will tell you what you want hear, and not mean anything / Then I treat you like a dog as I shoot my venom in / You pretend you didn't know that I am a scorpion

TURISAS - STAND UP AND FIGHT

the march of the varangian guard: Guards of glory and of might / Red as blood and black as night / Flies our banner as we march / In the East, for the king of the Greek

LANA DEL REY - NORMAN FUCKING ROCKWELL

happiness is a butterfly: I said, "Don't be a jerk, don't call me a taxi" / Sitting in your sweatshirt, crying in the backseat / I just wanna dance with you

HOLE - NOBODY'S DAUGHTER

nobody's daughter: Nobody's daughter, she never was, she never will / Be beholden to anyone she cannot kill / You don't understand how damaged we really are / You don't understand how evil we really are

ANGRA - REBIRTH

rebirth: Ride the wind of a brand new day / High where mountains stand / Found my hope and pride again / Rebirth of a man

FLICTS - SINGELOS CONFRONTOS

desmascarar sua bandeira: Foda-se a bandeira do estado de São Paulo / Foda-se a bandeira e o hino nacional / Fascismo enrustido sob as cores do estandarte / Velando o ódio ao livre amar e a diversidade (english translation for my mutuals - guess which state i was born and raised in lol: Fuck the flag of the state of São Paulo / Fuck the flag and the national anthem / Closeted fascism under the colors of the banner / Veiling hate for free love and diversity)

MARINA AND THE DIAMONDS - ELECTRA HEART

teen idle: Yeah, I wish I'd been, I wish I'd been, a teen, teen idle / Wish I'd been a prom queen, fighting for the title / Instead of being sixteen and burning up a bible / Feeling super, super, super suicidal

MY CHEMICAL ROMANCE - THE BLACK PARADE

famous last words: I am not afraid to keep on living / I am not afraid to walk this world alone / Honey, if you stay, I'll be forgiven / Nothing you can say can stop me going home

MODERN BASEBALL - YOU'RE GONNA MISS IT ALL

your graduation: You weren't the only one / Who thought of us that way / I spend most nights awake / Wide awake / I never thought that I / Oh, I would see the day / Where I'd just let you go / Let you walk away / Where I'd let you walk away

[hollandcloset]

Inspired Outfit - Isabelle Lightwood from Forever21

[ITA]

Buonasera a tutti. ( O Buongiorno / dipende quando state leggendo. ) Sono qui con una collaborazione insieme al blog di un mio amico: Il blog vuoto  ( vi consiglio di darci un’occhiata <3 .) 

Ci sono molti personaggi in questa serie tv degni di nota ma uno in particolare ha attirato la nostra attenzione. 

Bellissima e letale, Isabelle Lightwood è una donna disinibita che non si lascia comandare, e sa sempre come e quando lasciarsi andare ed essere sé stessa.  Per questo, indossa sempre indumenti che esternano la sua incredibile bellezza ed il suo fisico mozzafiato. Mi raccomando: non sottovalutatela. 

Se siete ispirati e vorreste vestirvi come Isabelle (sì, anche tu, lettore ventottene con barba folta e decisamente troppi chiletti), bisogna ricordare alcune cose:

 Abiti attillati (quasi come se fossero il tuo costume.) 

Trasparenze. (Non siate timidi e scoprite i vostri corpi) 

Lacci. ( Pantaloni, tute, giubbotti ) 

Pelle. ( No, non il vostro corpo ma per assimilare un po' questo angelo, avrete bisogno di giubbotti, gonne, abiti in pelle o semi pelle e sinceramente vi consiglierei il semi pelle che fa sempre una bellissima figura. ) 

Sappiamo che la nostra Izzy, preferisce il total black ma abbiamo visto in alcune puntate look colorati, quindi...Osate con il blu, il viola, il rosso e perché no? anche un bel tubino bianco potrebbe essere una buona alternativa.

PS: Non dimenticate gli accessori.!

[ Eng ]

Good evening to all of you. (Or good morning, depends on when you'll read this.)

This is a collab with my friend:  Il Blog Vuoto (I suggest you to check it out  ) There are many characters in this TV show that are worthy of mention, but one of them particularly caught our attention. Beautiful and lethal, Isabelle Lightwood is a unhibited woman that doesn't let others rule her, and always knows how and when let herself go. Therefore, she always wears clothes that showcase her incredible beauty and her stunning physique. Warning: don't underestimate her.

If you're inspired by Isabelle and want to dress like her (yeah, even you, 28 y/o reader with a long beard and definitely too much kg), just remember a few things:

Tight clothes (almost as if they're your costume)

Transparences (Don't be shy when it comes to show your bodies)

Laces (Pants, gym suits, jackets)

Leather (to assimilate this angel, you would need jackets, skirts and clothers in leather or similar, and I'd suggest you leatherette because it's always good)

We know that Izzy likes total black, but we've seen coloured looks in some episodes, so ... use blue, violet, red and why not? Even a white tube dress could be a good alternative.

PS: don't forget accessories!

[ Link ]

Mesh Zip-Up One-Piece €25,00  (Costume da bagno)

Lace-Up Cami Jumpsuit €34,00 ( Tutina con lacci )

Caged Mesh-Panel Dress €24,00 €15,99 (Vestito da sera con trasparenze)

Off-the-Shoulder Crop Top €11,00 (crop top)

Contemporary Wrap-Front Bodysuit €16,00 €10,99 ( Body )

Contemporary Mesh Leggings €16,00 (Leggins con trasparenze)

Active Mesh-Insert Jumpsuit €24,00 ( tuta sportiva )

High Impact - Sports Bra €16,00 (Reggiseno sportivo)

Selfie Leslie Crochet Dress €69,00 (vestito in pizzo bianco)

Laced Faux Leather Moto Jacket €34,00 (Giubbotto con lacci)

Se vi piacciono queste collaborazioni ne faremo delle altre <3

[eliseuandrade]

“MEUS MELHORES CLIPES DE 2018”

01. “This Is America” - Childish Gambino.

Direção: Hiro Murai.

Lançamento: 05 de Maio.

 02. “APESHIT” – The Carters.

Direção: Ricky Saiz.

Lançamento: 16 de Junho.

 03. “Til It’s Over” - Anderson .Paak.

Direção: Spike Jonze.

Lançamento: 05 de Março.

 04. “PYNK” – Janelle Monáe.

Direção: Emma Westenberg.

Lançamento: 10 de Abril.

 05. “God Is A Woman” – Ariana Grande.

Direção: Dave Meyers.

Lançamento: 13 de Julho.

 06. “Pa’lante” – Hurray For The Riff Raff.

Direção: Kristian Mercado Figueroa.

Lançamento: 21 de Maio.

 07. “Nothing Breaks Like A Heart” – Mark Ronson Feat. Miley Cyrus.

Direção: We Are From L.A.

Lançamento: 29 de Novembro.

 08. “After The Storm” – Kali Uchis Feat. Tyler, The Creator & Bootsy Collins.

Direção: Nadia Lee Cohen.

Lançamento: 25 de Janeiro.

 09. “All The Stars” – Kendrick Lamar Feat. SZA.

Direção: Dave Meyers & The Little Homies.

Lançamento: 06 de Fevereiro.

 10. “Hard World” – YACHT.

Direção: Mike Hollingsworth.

Lançamento: 02 de Fevereiro.

11. “King's Dead” – Jay Rock Feat. Kendrick Lamar, Future & James Blake.

Direção: Jack Begert & The Little Homies.

Lançamento: 15 de Fevereiro.

 12. “Big God” – Florence + The Machine.

Direção: Autumn de Wilde.

Lançamento: 20 de Junho.

 13. “Django Jane” – Janelle Monáe.

Direção: Andrew Donoho.

Lançamento: 22 de Fevereiro.

 14. “BLUESMAN” – Baco Exu do Blues.

Direção: Douglas Ratzlaff Bernardt.

Lançamento: 23 de Novembro.

 15. “Come Over” – The Internet. 

Direção: Syd.

Lançamento: 06 de Junho

 16. “Guess There” – Bully.

Direção: Aleia Murawski & Samuel Copeland.

Lançamento: 16 de Julho.

 17. “Queens” – The Blaze.

Direção: Jonathan & Guillaume Alric.

Lançamento: 04 de Setembro.

 18. “Hunger” – Florence + The Machine.

Direção: AG Rojas.

Lançamento: 03 de Maio.

 19. “No Tears Left To Cry” – Ariana Grande.

Diretor: Dave Meyers.

Lançamento: 20 de Abril.

 20. “O Tempo É Sua Morada” – francisco, el hombre.

Direção: Los Pibes.

Lançamento: 02 de Novembro.

 21. “Fallingwater” – Maggie Rogers.

Direção: Zia Anger.

Lançamento: 30 de Maio.

 22. “Strip” – Little Mix Feat. Sharaya J.

Direção: Rankin & Little Mix.

Lançamento: 16 de Novembro.

 23. “Thank U, Next” – Ariana Grande.

Direção: Hannah Lux Davis.

Lançamento: 30 de Novembro.

 24. “My My My!” – Troye Sivan.

Direção: Grant Singer.

Lançamento: 11 de Janeiro.

 25. “Fall in Line” – Christina Aguilera Feat. Demi Lovato.

Direção: Luke Gilford.

Lançamento: 23 de Maio.

 26. “Youth” – Shawn Mendes Feat. Khalid.

Direção: Anthony Mandler.

Lançamento: 05 de Novembro.

 27. “Queen” – Jessie J.

Direção: Marc Klasfeld.

Lançamento: 17 de Maio.

 28. “Jumpsuit” – Twenty One Pilots.

Direção: Andrew Donoho.

Lançamento: 11 de Julho.

 29. “Ginga” – IZA Feat. Rincon Sapiência.

Direção: Felipe Sassi.

Lançamento: 23 de Março.

 30. “Joga Bunda” – Aretuza Lovi Feat. Pabllo Vittar & Gloria Groove.

Direção: Felipe Sassi.

Lançamento: 19 de Janeiro.

 31. “Indestrutivel” – Pabllo Vittar.

Direção: Bruno Ilogti.

Lançamento: 10 de Abril.

 32. “Head Above Water” – Avril Lavigne.

Direção: Elliott Lester.

Lançamento: 27 de Setembro.

 33. “Movimento” – Aretuza Lovi Feat. IZA.

Direção: Felipe Sassi.

Lançamento: 26 de Julho.

 34. “Sanctify” – Years & Years.

Direção: Fred Rowson.

Lançamento: 07 de Março.

  35. “Party Of One” – Brandi Carlile.

Direção: Bérénice Eveno.

Lançamento: 11 de Dezembro.

  36. “No Matter What” – Calum Scott.

Direção: Ozzie Pullin.

Lançamento: 08 de Novembro.    

 37. “Promises” – Calvin Harris Feat. Sam Smith.

Direção: Emil Nava.

Lançamento: 04 de Setembro.

 38. “Taki Taki” – DJ Snake Feat. Ozuna, Cardi B & Selena Gomez.

Direção: Colin Tilley.

Lançamento: 10 de Outubro.

 39. “El Anillo” – Jennifer Lopez.

Direção: Santiago Salviche.

Lançamento: 27 de Abril.

 40. “Savior” – Iggy Azalea Feat. Quavo.

Direção: Colin Tilley.

Lançamento: 01 de Março.

 41. “A Dança” – Tiago Nacarato.

Direção: Mimi Sá Coutinho.

Lançamento: 24/ de Maio.

 42. “Duas da Tarde” – Silva.

Direção: Vitoria de Mello Franco.

Lançamento: 31 de Outubro.

 43. “Electricity” – Silk City Feat. Dua Lipa.

Direção: Bradley and Pablo.

Lançamento: 05 de Setembro.

 44. “1999” – Charli XCX Feat. Troye Sivan.

Direção: Ryan Staake & Charli XCX.

Lançamento: 11 de Outubro.

 45. “Love Lies” – Khalid Feat. Normani.

Direção: Gerard Bush & Christopher Renz.

Lançamento: 16 de Fevereiro.

 46. “Party For One” – Carly Rae Jepsen.

Direção: Bardia Zeinali.

Lançamento: 01 de Novembro.

  47. “Good Form” – Nicki Minaj Feat. Lil Wayne.

Direção: Colin Tilley.

Lançamento: 29 de Novembro

 48. “Finesse (Remix)” – Bruno Mars Feat. Cardi B.

Direção: Bruno Mars.

Lançamento: 04 de Janeiro.

49. “Imaturo” – Jão.

Direção: Miguel Cariello.

Lançamento: 23 de Janeiro.

 50. “Bumbum de Ouro” – Gloria Groove.

Direção: Os Primos.

Lançamento: 05 de Fevereiro.

[no-producoes-blog]

REFERÊNCIAS

Crítica Rushmore

Rushmore is the best film Wes Anderson has ever made, and it would take something incredibly special for him to top it. Not because the filmmaker has less talent now than he did 15 years ago, but because the Anderson that made Rushmore has, more or less, disappeared.

The movie tells the story of ambitious, eccentric, insecure 15-year-old Max Fisher, a kid at a prep school who spends way too much time on extra-curricular activities, not enough time on his studies and is always trying to make his mark on his beloved Rushmore Academy.

Right from the start of Rushmore I still get that jolt that I’m watching something special. It’s such an original, efficient, beautiful, sad, hilarious work. Anderson is completely confident in his ability not just with his eyes, but also with his heart.

Before I talk about that film, though, it’s important to look at the film in the context of Anderson’s career.  As it stands now his fans unofficially divide his films into two categories: The first consists of his first three films (Bottle Rocket, Rushmore and The Royal Tenenbaums). The second includes everything he’s made since. His first three films can easily be described as his most universally loved while his later efforts like The Life Aquatic With Steve Zissou and Moonrise Kingdom are met with a more mixed reaction. That’s not to say that they don’t have their defenders, but the number of them is much smaller. I still attest that The Darjeeling Limited and Fantastic Mr. Fox rival his best work, but I do concede that there’s still some magical, unexplainable element missing. Some have argued that Anderson’s films post-Tenenbaum lack a powerful emotional element, but I don’t buy that. Instead I think the emotions are there, but they are somewhat sacrificed to what has become a slightly bloated visual style.

Anderson’s films have these very easily noticeable qualities: a distinctive, detail-focused visual style and an equally discernible comedic dryness and emotional subtlety. You know a Wes Anderson movie from the first frame. That’s what makes him so special and that’s why even his lesser efforts are still pretty great.

His later films have a larger scope and budget that gave him the freedom to experiment, but that freedom also causes him to lose focus on his characters. The LIfe Aquatic is a funhouse of visual gags and really bonkers characters (especially Willem Dafoe’s Klaus), which makes it very entertaining. But the film’s core emotional story between Zissou (Bill Murray) and his possible son (Owen Wilson) doesn’t have the emotional pull it should. By the end we’re supposed to feel for this relationship, but the film becomes so muddied in its own gleeful imagery and imagination that we don’t. Moonrise Kingdom falls prey to the same problem. For me, The Darjeeling Limited and Fantastic Mr. Fox find Anderson moving back in the right direction, and the more I watch Fox the better it gets, but, for me, they don’t reach the height of his early career trifecta.

There’s no denying that for the first part of his career he found a beautiful balance with his unique visual and emotional styles. You can see as he evolved with Bottle Rocket, Rushmore and Tenenbaums his visual style slowly took a larger and larger place in his films.Bottle Rocket’s minimal budget (it’s claimed to be $7 million, but I just don’t believe it) made him disciplined visually. We still have the yellow jumpsuits and the great fireworks montage, but the film feels beautifully minimalist and Anderson leans heavily on his great comedic instincts (“Is that tape on your nose?” “Exactly.”), deft emotional touches and unique characters to make the film so memorable.

Two films later with The Royal Tenenbaums, Anderson had a much larger budget ($21 million) and an ensemble cast that included the likes of Gene Hackman, Anjelica Huston, Gwyneth Paltrow and Ben Stiller. There’s absolutely nothing minimalist about this movie. It’s big and bold, but it still maintains the strong emotional resonance of his early works. When Stiller’s Chas, an energetic ball of rage, finally concedes his love for his father it’s a beautiful moment because we care so much. The film’s third act is littered with one emotional payoff after another. It’s one of Anderson’s true masterpieces, but it is now obvious, looking at its ambitious visual sense, this was the film that began Anderson’s move into, for lack of a better phrase, style over substance.

In between Bottle Rocket and Tenenbaums, though, Anderson made Rushmore, a film that announced to the world that he was indeed a first-rate filmmaker. It’s also remains the pinnacle of his already decorated career.

The two main characters in Rushmore are Max Fisher (Jason Schwartzman) and Herman Blume (Bill Murray). While one is a teenager at a prep school and the other a 50-something, self-made millionaire the two men share many of the same qualities. For starters they’re both secretly lonely and inherently immature. So, of course, they instantly form a friendship.

It’s only fitting that they both fall for the same woman, Rosemary Cross, a first-grade teacher at Rushmore. It’s obvious she’s too old for Max and too mature for Herman, but the two men fight for her love even if it costs them their newfound friendship.

Just going over the bare bones of the film’s plot reveals that it’s a screwball comedy underlined with sadness. This is perfect for Anderson, who always seems to sneakily go for big laughs. And Murray’s brilliant delivery only makes things easier. Like when he stares sadly at his wrestling twin boys and admits, “Never in my wildest dreams did I ever think I’d have sons like these.”  Anderson also uses Murray in brilliant and simple physical bits like his embarrassing attempt to spy on Rosemary by hiding behind a tree, getting caught and then trying to play it cool. And Schwartzman just kills it as Max in all his insecure and arrogant glory. He makes the now infamous exchange of “These are O.R. Scrubs.” “Oh, are they?” one of the film’s centerpieces. Rushmore is laced throughout with jokey comedic moments like these and they work because Anderson, and co-writer Owen Wilson, are just being genuine to their characters. If you make childish characters you should have them doing childish things. In fact the war of pranks that comes out of Max and Blume’s rivalry over Rosemary, which includes Blume driving over Max’s bike and Max getting him back by putting bees in the man’s hotel room, could be in a comedy for kids. This film is so zany when you think about it that it’s amazing how emotional things get.

As much as the comedy in the film is great, and RUSHMORE is, first and foremost, a comedy, it’s the meticulous and subtle scenes of pathos that make this Anderson’s true masterwork.

If you watch Rushmore closely you understand that a line of dialogue, a look, a shift of a hand can tell you everything about what’s going on inside a character. The film is filled with so many important small moments that when it’s over it feels like you’ve gone through a journey that could not have been squeezed into a breezy 93 minutes.

In fact the main emotional conflict in the film, Max dealing with the death of his mother, is only mentioned about a handful of times. But it’s the key to who Max is. He’s a busybody because he doesn’t want to spend time at home missing his mother. He’s dismissive of his father sometimes because that’s the only link he still has to her. He loves Rushmore because it was his mother’s idea he go there. Anderson never dwells on any of this, but instead allows Max’s actions to reflect these feelings.

And the visual style of Anderson is apparent throughout, but never feels overdone. There’s the breathtaking, French New Wave-inspired montage of Max’s numerous after-school groups and clubs (my personal favorite being “The Bombardment Society”). Also Murray’s The Graduate-esque cannonball-turned-underwater-solace scene comes to mind as well as the continuing theater curtain that covers the screen whenever the film story moves to a new month.

By the end, the world that Anderson creates and the characters than inhabit it come to a massively satisfying conclusion as Max premieres his latest Vietnam-set play. It’s a beautiful collage of images and music and emotions that comes to a head when Max asks Rosemary, whom both he and Herman fail in wooing, to dance. He asks the DJ to play a certain song. We hear The Faces’ “Ooh La La” and are treated to one of Anderson’s signature slow-motion closing shots that he’s used throughout his entire career.

In general terms Rushmore is Anderson’s greatest achievement because it’s his perfect balance of style and substance. His visual eccentricity doesn’t overshadow his characters and the emotional resonance of the film and, in fact, accentuates it beautifully.

After his first three films the potential of what a Wes Anderson movie can be has been brought down by his need to make his film’s visual sensibility overshadow its story and characters, especially with The Life Aquatic and Moonrise Kingdom. They are all still pretty fantastic and some get close to finding that magic, but until he can strike that balance of style and substance that make his first three films, and Rushmore in particular, so loved, we’ll just have to keep revisiting his masterpiece.

http://birthmoviesdeath.com/2013/09/16/rushmore-and-the-style-and-substance-of-wes-anderson

comentários

Como uma das primeiras obras de Wes Anderson, Rushmore tem algumas características que merecem ser destacadas. Max Fischer, o principal personagem do filme, é um personagem com diversas peculiaridades e detalhes que são desenvolvidas e vem ao público ao longo do filme. Sua relação incomum com os outros personagens também têm muito a dizer, principalmente quando se refere à Herman e Rosemary. Em todas as cenas em que as personagens interagem, o diretor consegue trazer mensagens e diálogos repletos de significado. Ao mesmo tempo, o filme também não deixa a desejar no âmbito visual, que é hoje um dos principais focos do artista. Esse equilíbrio entre visual e significado pode ser considerada a grande virtude do filme, que foi produzido no início da carreira de Wes, enquanto seus orçamentos eram menores e a necessidade era fazer menos com mais.

Crítica O Grande Hotel Budapeste 

The cinema of Wes Anderson is nothing if not mechanical. Watching his movies is less like marvelling at the silent workings of a Swiss watch than goggling at the innards of a grandfather clock, cogs and pulleys proudly displayed. Theatrical framing devices are everywhere, from book bindings to doll's houses to miniature stages and fluctuating screen ratios, with chapter headings a recurrent feature. As for the performances, one imagines that if Anderson were ever to include a "gag reel" of outtakes from his movies, it would include shots of an actor raising an eyebrow a millimetre too high, or placing a teacup an inch to the left of its allotted space upon a table.

Such choreographed precision and overwrought artifice can make Anderson's movies seem emotionally sterile – the all-too-arch constructions of a "smart cinema" icon whose idea of casual dress is (non?)-ironic corduroy. Yet rigorous physicality is also the key to screen comedy, following a tradition that dates back to the silent era and the carefully constructed pratfalls of Chaplin and Keaton. Significant, then, that The Grand Budapest Hotel is both Anderson's most tightly wound and funniest film in years, lacking the melancholy charm of The Royal Tenenbaums or Moonrise Kingdom perhaps, but more than making up for it in terms of elegantly capering contrivance.

The action centres upon the titular establishment, a once-grand confection of a building located in the imaginary European state of Zubrowka, lurking somewhere between the Best Exotic Marigold and the Overlook hotels, with Anderson's prowling, panning cameras occasionally resembling a cartoon caricature of Kubrick on speed. As ever, the story unfolds as a series of boxes within boxes. Our first narrator, a writer (variously played by Tom Wilkinson and Jude Law) hands the baton to a second storyteller, Mr Moustafa (F Murray Abraham, embodied in younger years by Tony Revolori) who in turn draws our attention to the real heart of the matter: the charismatic concierge, M Gustave (a splendidly rancid and randy Ralph Fiennes). Back in the 30s, Gustave was the hotel's primary attraction, a vision of purple-clad slickness attending the guests with oily efficiency, bedding the dowagers whose patronage was his fetish. When one such dowager (an unrecognisable Tilda Swinton) expires, leaving Gustave a priceless painting, the family revolts, and a frenetic caper is set in motion involving art theft, murder, love, prison breaks, steam trains, cable cars, occupying armies (non-specific war breaks out), dead cats, a clandestine order of fraternal concierges and elaborate cakes. In boxes.

With Lubitsch and Hitchcock his guiding lights, and author Stefan Zweig providing inspiration for a screenplay co-written with Hugo Guinness, Anderson conjures a fictional vision of Europe that nods its head towards the Hollywood backlots upon which so many émigré directors worked their magic in the golden age of the studios. Everything looks like a set, and deliberately so, with the screen oscillating between classic Academy ratio and more panoramic widescreen (both 1.85 and 2.35) to differentiate between the various time periods, ancient and modern(ish).

The overriding air is one of carefully controlled craziness in which even the outbursts of sporadic violence (a spontaneous gunfight shatters the hotel's studied serenity) are politely staged. It's a rigid structure in which the players flourish, most notably Fiennes, who caught Anderson's eye in a stage production of the savage farce God of Carnage, and whose brittle manner here proves the director's perfect tool. Relishing rapid-fire dialogue that veers incongruously between the oleaginous and the obscene (his clipped diction lends bizarre gravitas to the phrase "shaking like a shitting dog"), Fiennes is in roaring form, his timing note-perfect down to the last demisemiquaver, his mannerisms piercingly angular, from the set of his arms to the arch of his back, the curl of his lip, the bristle of his manicured moustache. Even more so than the mannequins of Fantastic Mr Fox, Fiennes has the appearance of an expertly animated creation, painstakingly captured frame by frame, each gesture rich in detail.

Around him a rogues' gallery of regular players is augmented by a growing gaggle of the great and the good, with fleeting turns from Bill Murray and Owen Wilson fighting for space alongside Harvey Keitel's shaven-headed comrade-in-crime, Saoirse Ronan's perfect partner, Adrien Brody's conniving son, Willem Dafoe's feral thug, Léa Seydoux's inquisitive maid, Mathieu Amalric's elusive butler, Jeff Goldblum's Freud-like lawyer, Jason Schwartzman's third-rate concierge, and more.

Sometimes the level of fleeting celebrity spectacle threatens distraction, with too many guests for even this sprawling hotel to accommodate. Yet each time we return to Abraham's ageing narrator the story coalesces once more, allowing the deeper undercurrents of personal loss and historical tragedy to breathe, albeit briefly.

With its signature zooms, satirical tableaux, and fiercely ordered visual palette (architecture is everything, from  the hairstyles to the shot compositions) this is Anderson-world writ large: a hermetically sealed environment in which reality is something you only read about in books, and the upheavals of the interwar years provide tonal rather than political background. What slices the surface is the rapier-sharp wit, with Fiennes on point at all times, a dashing foil for his director's comedic cut and thrust.

https://www.theguardian.com/film/2014/mar/09/the-grand-budapest-hotel-review-wes-anderson

Comentários

O Grande Hotel Budapeste é um dos filmes mais reconhecidos de Wes Anderson. Sua notoriedade se dá principalmente por motivos estéticos, visto que até os mínimos detalhes são pensados e executados de acordo com um padrão. A obra cria uma realidade a parte, em que tudo e todos adotam características, comportamentos e até histórias extremamente originais, que, apesar de fazer referência à elementos históricos e culturais, conseguem manter uma grande autenticidade.

[dasynka]

The first real day in Valencia (here the day before between Barcelona and our arrival) started from Starbucks: pumpkin spice milk with soy milk and cinnamon. One of the things I prefer. The day was hot, and we spent it at Bioparc, which hosts all the animals of South Africa and Madagascar in completely natural settings, free to live together even among different species, just like in nature.We ate the Paella Valenciana: rice, saffron, jackdaws, chicken and white beans. In the afternoon we walked through almostall the park that surround Valencia, immense and rich in different vegetation. People run, go biking, skating, doing yoga, sleeping, playing. It’s a place full of positive energies. In a kiosk we have tasted the horcata de chufa: a drink prepared with water, sugar and milk of the roots of a typical Valencian plant. It’s offered always with fartons, sweet bread. The horchata has a floury tasty and not like our almond barley water. To try. In the evening we tasted different tacos very particular for the flavors matched at “La Llorona Taquerìa”. And then we went looking for a bar that made churros but since they are offered with hot chocolate, in summer it’s harder to find them. So we opted for a puffle, a kind of waffle rolled up with ice cream or cream. So good and light, not at all fried.

Valencia maintains its elegance even in the evening, semi-desert in these times, hot, palms and orange illumination. It’s always interesting to let yourself be overwhelmed by a new city, to attach to every new place with a different feeling. Valencia for me is like a nice warm dream, it’s lightheartedness and lightness, it’s instinct and safety. How do you perceive it? xx Dasynka

Il primo vero giorno a Valencia (qui il giorno prima tra Barcellona e arrivo) è iniziato da Starbucks: pumpkin spice latte con latte di soia e cannella. Una delle cose che preferisco. La giornata era caldissima, e l’abbiamo trascorsa al Bioparc che ospita tutti gli animali del Sud Africa e Madagascar in ambientazioni del tutto naturali, liberi di vivere insieme anche tra specie differenti, proprio come avviene in natura. Abbiamo mangiato la paella Valenciana: riso, zafferano, taccole, pollo e fagioli bianchi. Il pomeriggio abbiamo attraversato a piedi quasi tutto il parco che circonda Valencia, immenso e ricco di differenti vegetazioni. Le persone corrono, vanno in bici, pattinano, fanno yoga, dormono, giocano. È un posto pieno di energie positive. In un chischetto abbiamo assaggiato la famosa horchata de chufa: una bevanda preparata con acqua, zucchero e il latte delle radici di una tipica pianta valenciana. Che viene spesso servita con fartons, del pane dolce. L’horchata ha un sapore pastoso e per nulla simile alla nostra orzata di mandorle. Da provare. Di sera abbiamo assaggiato diverse varietà di tacos particolarissimi per accostamenti di sapori da “La Llorona Taquerìa”. E poi siamo andate alla ricerca di un bar che facesse churros ma poiché vengono offerti con la cioccolata calda, in estate è più difficile trovarli. Così abbiamo optato per un puffle, una specie di waffle arrotolato con gelato o panna. Buonissimi e leggeri, per nulla fritti.

Valencia mantiene la sua eleganza anche di sera, semideserta di questi periodi, calda, palme e illuminazioni arancioni. È sempre interessante lasciarsi sopraffare da una nuova città, affezionarsi ad ogni nuovo posto con un sentimento differente. Valencia per me è come un piacevole sogno caldo, è spensieratezza e leggerezza, è istinto o sicurezza. Voi come la percepite? xx Dasynka

OUTFIT OF THE DAY

JUMPSUIT: Nanà (similar here, here and here) JACKET: H&M (similar here) SNEAKERS: Blink (similar here) SUNGLASSES: H&M (similar here) BACKPACK: Forever21 (similar here)

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Photography by me and Carmela.vix, www.carmelavicedomini.it

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VALENCIA | DAY 1 The first real day in Valencia (here the day before between Barcelona and our arrival…