#Sergio Barea

[gaussmultimedia]

Máster Diseño UX-UI y Programación Web 2023-24. Proyecto final de Sergio Barea Arroyo: diseño responsive para web Frame:

[docpiplup]

@asongofstarkandtargaryen There's a couple of comics and films I wanted to post something about them some time ago, so here they are

Black is Beltza is a duology of comics, the first one was published in 2014 and the second in 2022, and they have been adapted into two Basque animated films recently in 2018 and 2022, Black is Beltza and Black is Beltza II: Ainhoa.

One of the main things of the comics are the sociopolitical environment of the places and the period the films are set in, for example the first one is set in the 60's mainly in New York and the sequel is set in the 80's and among other places, in Pamplona.

Black is Beltza (2018)

October 1965. The Pamplona troupe of giants, a typical image of the San Fermín festivities, is invited to parade on Fifth Avenue in New York. But not everyone will be able to leave: due to racial discrimination, the North American authorities prohibit the participation of the two black giants. Based on this real event, "Black is Beltza" tells the story of Manex, the waiter in charge of carrying one of the giants. Headed for a long and unexpected journey, Manex will witness key events in history: the racial riots resulting from the assassination of Malcolm X, the eccentricities of the characters in The Factory, the alliance between the Cuban secret services and the Black Panthers, and the proto-hippie psychedelia of early music festivals.

Duration: 87 min.

Script: Harkaitz Cano, Fermín Muguruza, Eduard Solà (Comic: Fermín Muguruza, Harkaitz Cano, Jorge Alderete)

Animation Companies: ETB, Setmàgic Audiovisual, Talka Records & Films

Cast

Unax Ugalde: Manex

Isaach de Bankolé: Wilson Clever

Iseo: Amanda Tamaya

Sergi López: Warren Philips

Ramón Agirre: Xebero

Jorge Perugorria: Sargento Bravo

Angelo Moore: Rudy

María de Medeiros: Amira

Emma Suárez: Laia

Oscar Jaenada: Che Guevara

Rossy de Palma: Ruth Abransom

Ramón Barea: Ramiro

Hamid Krim: Yassim

Guillermo Toledo: Teniente Muñoz

Ander Lipus: guardia civil

Josean Bengoetxea: Juanpe, Pancho Villa

Lenval Brown: Jimmy

Valeria Maldonado: Esperanza

Sergio Arau: Juan Rulfo

Jorge Ferrera: Eliseo

Giancarlo Ruiz: Tin-Tan, Smithy, Sergei Titov

Josh Kun: Dwayne

Ray Fernández: Cte. Antonovich

Victor Navarrete: Guerrillero 1

Iban Rusiñol: Laurent

Exprai: Pedro del Taller, Hernán Cortés

Márgenes Dermer: azafata

Ramón Zumitrenko: Sf dentista

Stuart Casson: Otis Redding, Emory Douglas

KO the Knockout: Ben Cauley

Sistaeyeire: Angela Davis

Dratzo Gomex: policía fronteriza I

Marieder Iriart: Iman

Mariam Bachir: Amal

Black is Beltza II: Ainhoa (2022)

Ainhoa ​​was born by a miracle in La Paz (Bolivia) after the death, in a parapolice attack, of her mother Amanda. She grew up in Cuba and in 1988, at the age of 21, she traveled to the Basque Country to see the land of his father Manex. In the middle of the repressive conflict, she meets Josune, a committed journalist, and her gang of friends. When one of them dies of a heroin overdose, Ainhoa ​​and Josune set out on an initiation journey that will take them through Lebanon, Afghanistan and the city of Marseille. These are the last years of the Cold War and both will delve into the dark world of drug trafficking networks and their close ties to political plots.

Direction: Fermin Muguruza

Duration: 86 min.

Script: Fermín Muguruza, Isa Campo, Harkaitz Cano (Comic: Fermín Muguruza)

Music: Maite Arrotajauregi

Photography: Animation, Mariona Omedes

Companies: Co-production Spain-Argentina; Talka Records & Films

Cast

Maria Cruickshank: Ainhoa

Itziar Ituño: Josune

Manex Fuchs: Hamid

Antonio de la Torre: Rafael

Darko Peric: Igor

Ariadna Gil: Isabelle

Eneko Sagardoy: Diego

Mikel Losada: Mikel

Ramón Agirre: Xebero

Miren Gaztañaga: Amatxi Tere

Maite Larburu Iman

Ximun Fuchs: Jean-Pierre

Gorka Otxoa: Iñigo Kortatu

Fermín Muguruza: Fermin Kortatu

Jon Plazaola: Javier Salutregi

Peio Berteretxe: Didier

Maryse Urruty: Armineh

Isidro: Isidro

Joseba Sarrionandia: Martin

Maria Forni: Yady

Iban Rusiñol: Commisaire Marcel

Natalia Abu-sharar: off Sabra y Shatila

Moraysys Silva: Tania

Maykel García Cardo: Felix The Cat

Bruno Coscia: Arthur

Maria Amolategui: Amaia Apaolaza

Papet-J: Chef Chérif

[watchingalotofmovies]

Everybody Knows

Everybody Knows    [trailer]

A Spanish woman living in Buenos Aires, returns to her hometown outside Madrid with her two children to attend her sister's wedding. However, the trip is upset by unexpected events that bring secrets into the open.

First everyone seems to be happy at the wedding. Then you can trust no one. At some point I was expecting kind of a 'Murder on the Orient Express' like situation.

I liked the "mystery" thriller-like elements, the continued revelations. (Though one 'revelation' seemed to be highly likely right from the start.) But not so much the (family) drama. Kidnapping a kid is never a good plot point.

Side note, Irene didn't look like possibly being anybody's daughter.

[whileiamdying]

‘Everybody Knows’ (‘Todos lo saben’): Film Review | Cannes 2018

Cannes opener 'Everybody Knows' was directed by Iranian filmmaker Asghar Farhadi ('A Separation') and stars Penelope Cruz and Javier Bardem.

BY BOYD VAN HOEIJ

Extended families, class differences, children being crushed underfoot (mostly metaphorically), long-ago secrets that reluctantly float to the surface — on paper, Everybody Knows (Todos lo saben) has the classic ingredients of the best work of Asghar Farhadi, who won Oscars for his Iranian dramas A Separationand The Salesman and who earlier worked in a foreign language in The Past, with Berenice Bejo and Tahar Rahim.

But instead of another perceptive family drama that examines questions of morals and personal responsibility from different sides, his latest feature — and his first in Spanish — has a more overt genre touch, revolving around a kidnapping and a ransom sum that needs to be found in a place where most villagers turn out to have more grievances than money. The result is an odd, somewhat underwhelming hybrid that’s part talky thriller, part family drama, though the package of Farhadi plus stars Penelope Cruz and Javier Bardemshould nonetheless make this a fairly appealing proposition at art houses worldwide.

After years in Argentina, Laura (Cruz) has returned to Spain for the wedding of her younger sister, Ana (Inma Cuesta), to Joan (Roger Casamajor). She has traveled with her teenage daughter, Irene (Carla Campra), and her young son, Diego (Ivan Chavero), though the kids’ Argentinean father, Alejandro (Darin), has remained at home. They are staying at the large village abode of Laura’s aging father, the former landowner Antonio (Ramon Barea). Everyone is happy to see Laura and her brood again, including her siblings, in-laws and family friend Paco (Javier Bardem), a successful local vintner married to the conspicuously childless Bea (Barbara Lennie).

The first reels are sun-dappled and leisurely in a way none of Farhadi’s previous films have been. One could initially be forgiven for thinking this was the latest in a long line of pretty-but-not-very-deep commercial films from yesteryear, like Under the Tuscan Sun or A Walk in the Clouds, in which the gorgeous vistas had more depth than the story.

It takes about 20 minutes before the first significant piece of information from the past surfaces, while the wedding mass is celebrated. Paco’s nephew Felipe (Sergio Castellanos) has escaped to the church’s bell chamber with Irene. In the room’s exquisite ochre light, he reveals to her that Laura and Paco used to be childhood sweethearts. Later that evening, a family member goes missing and it becomes clear that a crime has been committed when text messages start to arrive. This is when the wedding party — up until then in full swing despite a power outage (later thought to be intentional) and a torrential downpour (probably still natural) — comes to a screeching halt.

To what extent the past influences the behavior and decision-making processes of people in the present has been a recurring theme in Farhadi’swork. He’s been especially interested in how links to often-unsuspected antecedents can make people’s conduct seem illogical or irrational to others and how this, in turn, means that most people seem unpredictable. Using secrets that are carefully unraveled as a structural device has another advantage as well, as it allows the filmmaker to give his potentially sprawling family dramas a razor-sharp focus and a sense of mounting tension and unease that turn matters of morality and civility into the material of a thriller. 

Everybody Knows does have a few big secrets up its sleeve but, unfortunately, they never produce the same effect as in Farhadi’s previous works. This is firstly because the biggest revelation can be seen coming from miles away, robbing the proceedings of tension and of its potential to turn family history into a thriller. The actual abduction plot in the present — with all its suspects and red herrings — and the mysteries in the past are also not sufficiently tied together, so the narrative keeps hobbling from one plot strand to the other without ever really becoming a gripping maelstrom of revelations as things get progressively worse for the characters.

If the film remains largely watchable it is because Farhadi has cast some of the finest actors in Spain and they know how to breathe life into their characters even when they don’t have all that much to do (though a few of them have quite a lot to say). Bardem and especially Cruz impress in roles specifically written for them; their chemistry, but also their melancholy about what might have been, is palpable, while their worries over the fate of the kidnappee further complicate their emotions.

That said, there is not a false note in the entire cast, which is so large it is hard to keep track of everyone and their possible motives, especially when Alejandro also shows up from Argentina and a retired police officer (Jose Angel Egido) starts asking everyone uncomfortable questions. The perpetrators’ identities and motivation, when they are revealed, are barely explored, leaving the resolution feeling somewhat arbitrary and again robbing the film of a potential source of tension. More room is given to discussions of issues such as class, property and money — things that can be divisive in any family but here feel a tad superficial and repetitive. If everybody knew, as the title suggests, why isn’t that turned into a source of tension, a la Chronicle of a Death Foretold? 

The pic’s production design and costumes, while admittedly gorgeous, manage to just barely stay on the right side of Spanish-countryside clichés. The same can’t be said of the cinematography by Almodovar regular Jose Luis Alcaine, which is much glossier than the more modest realism that cinematographers Hossein Jafarian and Mahmoud Kalari have brought to Farhadi’s work in the past. Here, everything’s beautifully captured in a Conde Nast Traveler-kind of way, which works fine in Almodovar’s heightened melodramas but feels like an odd fit for Farhadi’s earthier and more sober storytelling sensibilities.

Production companies: Memento Films Production, Morena Films, Lucky Red Cast: Penelope Cruz, Javier Bardem, Ricardo Darin, Eduard Fernandez, Barbara Lennie, Inma Cuesta, Elvira Minguez, Ramon Barea, Carla Campra, Sara Salamo, Roger Casamajor, Jose Angel Egido Writer-director: Asghar Farhadi Producers: Alexandre Mallet-Guy, Alvaro Longoria Director of photography: Jose Luis Alcaine Production designer: Maria Clara Notari Costume designer: Sonia Grande Editor: Hayedeh Safiyari Music: Javier Limon Casting: Eva Leira, Yolanda Serrano Venue: Cannes Film Festival (Competition — Opening Film) Sales: Memento

In Spanish 132 minutes

[dnowit41]

HOW LUKA DONCIC IS EVOLVING AS THE LEADER OF THE MAVS

JAN 18, 2021 ISAAC HARRIS

It was a somber day in early December when the table was set to say goodbye to a legend. It would be J.J. Barea’s final day as a player for the Dallas Mavericks.

Donnie Nelson spoke to the media and offered his bittersweet remarks about Barea’s career. J.J. took questions as it was an emotional day for everyone. In Rick Carlisle’s interview, I wanted to ask him one question.

Obviously, the day was all about Barea’s success story and career in Dallas. But at the same time, I also wondered about the young Mavericks team Barea was departing in the middle of training camp. A team that is made up of 15 players under the age of 30. With Barea’s departure, it left just James Johnson and Boban Marjanovic as the only over-30 players. On top of that, Barea was a franchise legend and beloved by everyone. He was a leader.

So the question I wanted to ask Carlisle was about that leadership baton. With Barea now departing, who gets it next? After I uttered that question to Carlisle, he responded pretty quick and in a firm manner.

“Luka Doncic is our leader,” Carlisle said. “There is no question about that.”

I had put too much weight into the age part of the conversation. In the back of my mind, like a lot of Mavs fans, the 2011 title team still feels like yesterday. This was a squad that started three guys over the age of 30 in the Finals with four more coming off the bench. It was a veteran-laden team from top to bottom. But what about a 2020 Dallas Mavericks team, that by age and experience, is built virtually the opposite of the 2011 group?

Can Luka Doncic, at the age of 21, be the leader of a playoff team in the NBA?

Absolutely—because age doesn’t make a leader.

“There are certain players who have a certain leadership personality,” Carlisle said.  “They have a charisma and magnetism. He [Luka Doncic] has that and that is no secret. Each year he becomes more and more that guy.”

When Doncic was acquired by Dallas in a draft night trade in 2018, the Mavs knew what they were getting: a European prodigy who was arguably the most decorated young European basketball player of all-time. Doncic went pro at the age of 13 at Real Madrid and over the course of his teenage years won the MVP of the Liga ACB, EuroLeague, and EuroLeague Final Four. It wasn’t just the highlights and stat lines that made Doncic stand out, it was also the fact that on a professional team with grown men, veterans such as Sergio Llull and Rudy Fernandez were deferring to the 18-year-old Doncic. And by following Doncic’s lead, Real Madrid found themselves hoisting several championship trophies in his last season in Europe.

Doncic then arrived in Dallas, a city and franchise that had been led for the past two decades by another European: Dirk Nowitzki. As Nowitzki was at the end of his career and the Mavericks still had long-standing veterans like Barea and Devin Harris, Doncic was just a teenaged rookie—no matter how accomplished he had been overseas. But Doncic, a natural leader, had respect for his new vets and didn’t want to step on any toes.

As Doncic tight-roped the rookie-role, once he was on the court, it was clear that he was a natural leader. In the first week of voluntary scrimmages and workouts he was handing out instructions and telling teammates where to go. But as his first few years in the league went on, the veterans on the team, prior to Doncic’s arrival, slowly departed. In the same week, the Mavs traded DeAndre Jordan, Wesley Matthews and Harrison Barnes. Nowitzki rode off into the sunset a few months later. Harris is working for Fox Sports Southwest and Barea is no longer on the team.

There was no doubt remaining. This is Luka Doncic’s team.

But it isn’t just because he’s the best player on the team. It isn’t like a quarterback situation in football. For a lot of NFL teams, whoever starts at quarterback is deemed a team captain by default. Some might think that for an NBA team that whoever the best player is on the team is naturally thrust into the top leadership role when that simply isn’t the case every time.

“There are instances where the best player is not a leader,” said a former scout for the Boston Celtics. “They either don’t have the characteristics of a leader, or they lead in different ways. Some players lead vocally and some are introverted and lead through example.”

The scout continued by using Paul Pierce as a prime example of that. “Pierce was clearly the team’s best player, but he was quiet for the most part and let his game and work ethic do his leading for him. Antoine Walker was an All-Star level player but not as talented as Pierce. He was the team’s backbone and heart. He did most of the talking and the players looked to him for leadership.”

Leadership is basically the process or method in which someone motivates or influences the behavior of others—but how that is done looks different for everyone. Leadership styles differ by the person. Some leaders like to direct, point and vocally coach people into reaching their fullest potential while some leaders tone it back vocally and lead by example. On a recent episode of The Old Man & the Three Podcast, Barea was talking about Dirk’s incredible 2011 run while also describing him as a leader to the team. “He doesn’t talk much,” Barea said. “If you know him, he leads by example. But he doesn’t lead by talking.”

That was Nowitzki’s style of leadership. His work ethic, hours in the gym, and play on the biggest of stages earned him the respect in the locker room. In a way, the leadership path has already been paved in Dallas for Doncic. And in the first few years of his young career, he is doing exactly that.

“He’s an MVP candidate and is a born leader on the floor as you can see,” says a former assistant coach. “He’s not one of those guys it seems that will be on everyone all day every day, but once he’s on the floor it’s a completely different story.”

Doncic set the records and served up magical highlights. He dished out fun passes and put-up stat lines as a rookie that put him with some of the greats. His play on the court earned him the respect, but it was the fun, carefree style and charisma that opened up a lane of leadership that loosened up the mood for everyone.

“He is the type of guy who leads by his play,” Willie Cauley-Stein said. “And when he does, it is fun. He’s a kid. He has fun with the game and you can tell. The way he crafts and approaches the game is fun.”

Nobody likes the uptight, all-serious boss, the one you dread seeing every Monday morning and Chick-Fil-A being open on Sunday is more likely to happen than seeing a smile on their face. That type of leadership isn’t motivating to a lot of people. But Luka is the opposite of that. When you have a leader that breaks the ice, it enables the people around them to fully spread their wings.

“For him, I think he leads by making everything fun instead of so serious all of the time…Luka is always coming in with something to lighten the mood,” Cauley-Stein continued.

When talking to Kristaps Porzingis about Luka as a leader, he too pointed not just to his leading on the court, but how that care-free mentality is a way of leadership. “It comes natural to him because he is capable of doing great things on the court,” Porzingis said. “He is leading by playing great basketball. He has that I-don’t-care mentality when he needs to. I mean that in a good way. He is not afraid of the big moments. He can be careless and that is why he can play so freely. That is just Luka.”

There is never a moment too big for Luka. His basketball knowledge is off the charts and he already has a LeBron-like ability to maximize everyone’s strengths around him on the basketball court. When he was given the Matador nickname early on in his career from former assistant coach, Mike Procopio, it wasn’t because of the Spanish background, but because of the control he has on the court and the entertaining show he puts on for the crowd. Luka has a gravitational force about him that not only draws in the crowd and fans, but teammates too. “Luka is in control from tip to final buzzer and his teammates know it,” one former assistant told me. “He reminds me of Tom Brady to be honest. Someone that was born to lead an organization and has the generational type talent to back it up… he’s a fantastic kid that people gravitate to. He’s great with teammates, coaches, fans. It’s easy to see how all of Europe loved the kid…well besides the fans of the teams he destroyed in the ACB & EuroLeague.”

Doncic is a leader, but he’s an evolving leader in my opinion. When you talk to anyone around the team about Doncic as a leader, you will naturally hear about him leading by example. After losing to the Hornets at home earlier in the season, Doncic didn’t go immediately to the ice bath nor did he leave the arena. He stayed on the court after the game getting up shots with assistant coaches for more than 30 minutes. This is what leaders do. When the team and head coach preached about defense to start the season, it is Doncic that has set the tone defensively (Carlisle’s words, not mine) for what is now a top five defense in the NBA over the first few weeks. That is what leaders do.

Doncic leads by example, but where he has evolved is in his leadership when the ball isn’t in his hands. Luka the leader looked different as a rookie. The majority of his leadership came from the play on the basketball court. But as the past year or so has gone along, Luka the leader of men has evolved.

“He has grown with his chemistry with the guys,” Brunson said. “He has been able to connect with everybody. Guys feed off his energy. That is our go-to guy. He has definitely evolved [as a leader]. There is obviously a lot on his shoulders at the age of 21 and we have to be there to protect him and help him every step of the way.”

When the Mavs went to Orlando for the bubble experience last fall, the only access to the team for fans across the world was what social media provided. Pictures and videos of the team fishing, swimming, playing pickleball and plenty of other activities circulated on social media. The Mavs became the source for fun content and the team’s chemistry was off the charts. So, who was getting the team together for all of that?

“When you got your leader in Luka, and Luka’s a guy that he loves his teammates and he’s always texting ‘hey let’s do this, let’s play cards, let’s go to the pool, let’s go fishing,” Barea said. “It’s all about the team and about having fun.”

When the Mavs were up at pick 31 in the 2020 NBA draft and selected Tyrell Terry out of Stanford in the second round, who was the first Maverick to reach out to him a short time after?

Luka Doncic.

Going back to Barea, there was more to the quote. In describing Dirk’s leadership, he said, “He doesn’t talk much. If you know him, he leads by example. But he doesn’t lead by talking.”

The second half of that quote was this.

“But that year [2011], in timeouts and before the games, he was talking. He was talking loud, pointing fingers. He was on all the time.” Barea said.

Nowitzki evolved as a leader. He picked his spots to be more hands-on and vocal. James Johnson, who has only been with the Mavericks a few short months, had this to say about Doncic as the leader of the team.

“Emerging,” Johnson said. “He is definitely emerging, if not already, as the leader of our team. He is still building and letting his game do the speaking and yet still being able to voice his own opinion in practice.”

It’s that balance that Luka is now discovering in his third season. Dirk paved his own leadership path with the Mavs for over two decades, but Luka isn’t Dirk and that is OK. He is paving his own leadership path and it’s one that brings the best out of his teammates. It maximizes their strengths and inspires them to be better. It allows everyone to have fun and brings the team together both on and off the court.

Luka isn’t Dirk or anyone else. He is Luka Doncic and the leader of the Dallas Mavericks.

[thewoofer]

Everybody Knows Review

The theme of a family broken runs deep through Asghar Farhadi’s movies, and Everybody Knows, his latest, carries on in a grand, if not always plausible, way. This is a movie that begins with much happiness and celebration and ends in speculation and disbelief. That could make for a delicious little thriller, but somewhere along the way, as the movie develops contrivances to drive wedges between family members, it loses interest like a deflating balloon.

As it opens, Laura (Penélope Cruz) and her two kids, Irene (Carla Campra) and Diego, arrive home from Argentina at a picturesque Spanish village for her younger sister’s wedding. There, in a manner not unlike a Robert Altman film or the early wedding scenes in The Godfather (1972), we are introduced to her sprawling family and a number of important peripheral players in a series of scenes that are quite expertly choreographed.

We meet Laura’s older sister, who runs the local store with her husband Fernando (Eduard Fernández). Their daughter Rocío (Sara Sálamo) is somewhat estranged. The grumpy family patriarch, Antonio (Rámon Barea), lives to pick fights with the good townspeople. Paco (Javier Bardem), an old friend of the family’s, oversees the local vineyard with his wife Bea (Bárbara Lennie). Then there’s Paco’s nephew Felipe (Sergio Castellanos), who has a kind of playground romance with Irene and schemes to run away with her. There are lots of little stories going on, but on the night of the wedding, Irene is mysteriously abducted from her bedroom, and suddenly all the threads come weaving together.

Naturally, the rest of the movie deals with the family’s attempts to bring Irene back. The usual abduction tropes apply here: members of the family receive anonymous text messages demanding ransoms and threatening to hurt the poor girl should the cops be notified; the family consults a retired police officer for advice; they scramble about to try and consolidate the ransom money; so on and so forth. The hysteria and panic that sweeps the sleepy village isn’t helped by the fact that another girl was abducted under similar circumstances some time earlier. Could the same perps be at work again?

Everybody Knows uses Irene’s abduction not as a device to generate suspense but as a catalyst to uncover buried secrets about Laura, her family, and most importantly Paco. Old wounds are re-opened, past traumas relived, etc. People start turning on each other as suspicions rise. I can’t give too much away, since the movie holds off revealing the identity (or identities) of the abductor (or abductors) till about the end of the second act. I can’t even reveal the big secret that “everybody knows” as it more or less stitches the entire plot together. But I suspect, if you’ve seen domestic thrillers like this one, and you know that Paco is played by Javier Bardem for a reason, you’d be able to gradually build your own case.

Predictable or not, Everybody Knows showcases the collective might of its cast. Cruz and Bardem, married in real life, play here two childhood friends who fell in love and then outgrew it. Cruz spends about 80% of the film sobbing her precious eyes out, but watch her in scenes of strength. She is quick to present herself as a woman who refuses to be pushed around. She is sly, fragile, protective, formidable, and a bit nasty when she has to be. Bardem responds appropriately to suit Paco’s emotional state at various points throughout the film, but alas, I am again restricted by his role from divulging too much about his performance.

The film is set in the lovely Spanish countryside, in the kind of town where everyone more or less grows up as one family. There’s a lot to relish, particularly the way Farhadi’s screenplay subdues any urges to turn itself into a mindless thriller, but Everybody Knows is a very modest attempt. It is straight-laced melodrama, amped up by its gorgeous scenery and impressive acting. I bought into the characters and their relationships with each other, I sympathised when tragedy fell, but to be honest, when I thought hard about the necessity of the plot, I still wasn’t quite sure why poor Irene was abducted in the first place.

[adnaadalia]

Cinepelis-esp El silencio de la ciudad blanca Pelicula Completa latino HD

Cinepelis El silencio de la ciudad blanca Pelicula Completa latino HD

VER El silencio de la ciudad blanca (2019) Pelicula Completa. El silencio de la ciudad blanca en línea favoritas gratis. Ver El silencio de la ciudad blanca HD Calidad.

El silencio de la ciudad blanca (2019)

Fecha de estreno : 2019-10-25 Géneros : Suspense, Drama Runtime : 110 Minutes Home Page : https://www.silenciodelaciudadblanca.com IMDb Page : https://www.imdb.com/title/tt8393332 Company : Atresmedia, Rodar y Rodar Reparto : Belén Rueda, Javier Rey, Aura Garrido, Manolo Solo, Àlex Brendemühl, Ramón Barea, Allende Blanco, Sergio Dorado, Rubén Ochandiano, Pedro Casablanc Tagline: Overview : Vitoria-Gasteiz, País Vasco, España, 2016. Dos cadáveres aparecen en la cripta de la Catedral Vieja. El oficial de policía Unai López de Ayala, experto en perfiles criminales, debe cazar al asesino ritual que ha estado aterrorizando a la ciudad durante dos décadas…

Ver El silencio de la ciudad blanca (2019) Pelicula Completa. El silencio de la ciudad blanca en línea favoritas gratis. Ver El silencio de la ciudad blanca HD Calidad.

Tags: Ver El silencio de la ciudad blanca 2019 Pelicula Completa Online Descargar El silencio de la ciudad blanca 2019 Pelicula Completa Torrent Ver HD El silencio de la ciudad blanca 2019 Descargar El silencio de la ciudad blanca Pelicula Completa en Espanol Latino El silencio de la ciudad blanca Pelicula Completa en Linea Subtitulado El silencio de la ciudad blanca Pelicula Completa Espanol

[gaussmultimedia]

Máster Diseño Editorial 2018-19. Diseño de cubiertas para la obra El cuento de la criada. Trabajo de Sergio Barea Arroyo.

[saturdaynightmatinee]

CALIFICACIÓN PERSONAL: 6 / 10

Título Original: Todos lo saben

Año: 2018

Duración: 130 min.

País: España

Director: Asghar Farhadi

Guion: Asghar Farhadi

Música: Canciones: Javier Limón, Nella Rojas

Fotografía: José Luis Alcaine

Reparto: Penélope Cruz, Javier Bardem, Ricardo Darín, Eduard Fernández, Bárbara Lennie,Elvira Mínguez, Ramón Barea, Inma Cuesta, Sara Sálamo, Carla Campra,Sergio Castellanos, Roger Casamajor, José Ángel Egido, Tomás del Estal,Esteban Ciudad, Nella Rojas, Jaime Lorente, Jordi Bosch

Productora: Coproducción España-Francia-Italia; Memento Films Production / Morena Films / Lucky Red

Género: Crime, Drama, Mystery

https://www.imdb.com/title/tt4964788/

TRAILER: https://www.youtube.com/watch?v=w7cvj9RabiA

[movs4up-blog]

Twin Murders: The Silence of the White City

Twin Murders: The Silence of the White City

Vitoria-Gasteiz, Basque Country, Spain, 2016. Two corpses appear in the crypt of the Old Cathedral. Police officer Unai López de Ayala, an expert in criminal profiling, must hunt down the ritual murderer who has been terrorizing the city for two decades…

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Crítica – ‘Todos lo saben’

Título original: Todos lo saben

Año: 2018

Duración: 130 min

País: España

Dirección: Asghar Farhadi

Guion: Asghar Farhadi

Música: Alberto Iglesias

Fotografía: José Luis Alcaine

Reparto: Penélope Cruz, Javier Bardem, Ricardo Darín, Eduard Fernández, Inma Cuesta, Bárbara Lennie, Elvira Mínguez, Ramón Barea, Carla Campra, Saadet Aksoy, Sergio Castellanos, Sara Sálamo, Roger Casamajor, Nella Rojas, Jaime Lorente

Productora: Memento Films Production / El Deseo / Lucky Red / Morena Films

Género: Thriller / Drama

Tic… Tac… Tic… Tac… El sonido de las manecillas de un gran reloj vibra en las paredes de piedra caliza del campanario donde se encuentra. Es un sonido continuo, muy tenso e incluso frustrante, que las propias campanas se tragan al iniciar su baile. Al mismo tiempo, una paloma alza el vuelo intentando escapar por un pequeño hueco. De esta manera comienza la nueva cinta de Asghar Farhadi, Todos lo saben, octava película del director ganador de dos Oscars, la cual además sirvió como film inaugural en la pasada edición de Cannes. Se trata a grandes rasgos de un thriller con tintes de melodrama entorno a una familia donde la comunicación no es exactamente la herramienta más usada.

El director iraní vuelve a brillar en la ejecución de sus planos a través de una cámara, siempre presente pero nunca entrometida, que nos va presentando a un clan aparentemente feliz. Se aproxima la boda de la hermana de Laura (Penélope Cruz), que viaja con sus dos hijos desde Buenos Aires hasta el pueblo donde se crio para asistir a la celebración. Todo parece ir perfecto hasta que Irene (Carla Campra), hija en la ficción de Penélope Cruz y Ricardo Darín, desaparece en mitad de la noche sin dejar rastro. Es aquí desde donde parte el aspecto más intrigante de la trama, llevándonos poco a poco a sospechar de cada uno de los habitantes del pueblo y sacando a relucir los prejuicios y las verdaderas caras de sus personajes. Su reparto más bien coral funciona a la perfección en todo momento, siempre guiado por una Penélope especialmente maravillosa que, sin duda, logra mostrar el dolor, la confusión y el miedo suscitados por la pérdida de un hijo. Javier Bardem, por su parte, borda el papel de Paco, ex amante y amigo de toda la vida de Laura y el personaje con el viaje emocional más intenso.

Si bien es cierto que la película podría seguir ese camino más policial, con toques de suspense, del que últimamente hemos visto un auge dentro del cine español; Farhadi decide ser fiel a sí mismo. Poco a poco nos va introduciendo en los tejemanejes de sus personajes. Los rumores, los secretos, los comentarios y las peleas abundan durante todo el metraje, haciendo crecer la tensión y sacando a relucir lo peor de cada uno. El cineasta consigue llevar a una familia que parecía no tener problemas con nadie a permitirse el lujo de abrir heridas pasadas con sus amigos y conocidos mientras que hunden más y más en la miseria a una madre que no entiende por qué esto le está pasando precisamente a su hija. Nos invita a reflexionar sobre los comportamientos humanos en situaciones de extrema urgencia, planteándose en repetidas ocasiones y con diferentes personajes la misma pregunta: ¿y si la secuestrada fuese mi hija? A pesar de su ritmo a contrarreloj, el director se permite pararse a encontrar la emoción de cada momento, una pausa para pensar, una mirada que dice más que mil palabras, un gesto con segundas intenciones… Todos lo saben se acaba convirtiendo en un retrato mucho más intimista de lo que parecía ser en un principio, y justo es ahí donde alcanza su mayor plenitud, cuando te das cuenta de que tienes ante ti un drama que habla más sobre la pérdida y la confianza que sobre el propio misterio detrás del secuestro.

Escena tras escena, la cinta se aleja poco a poco del envoltorio de thriller al que estamos acostumbrados, para embriagarnos de lo que esencialmente conforma: un melodrama rural que perfectamente podría firmar el mismísimo Almodóvar. Farhadi intenta hacer un retrato cercano de una España concreta, la que le apetece mostrar, y, aunque en ciertos momentos se nota su mirada extranjera con toques de culebrón entre viñedos, por lo general, logra mudar su estilo personal a nuestras tierras, manteniendo las grandes virtudes que caracterizan su filmografía y ofreciéndonos una obra que, aunque no acaba de dejar clara su forma, se va convirtiendo por el camino en un film tremendamente recomendable.

Lo mejor: Su reparto cohesionado y bien dirigido, y en especial Bárbara Lennie que, aun siendo secundaria, logra destacar junto al dúo Cruz-Bardem por encima del resto.

Lo peor: Su final más bien seco, y en cierto modo fuera del tono melodramático que adquiere la película en su segunda mitad, puede dejar frío a más de uno.

Nota: 7/10.

La entrada Crítica – ‘Todos lo saben’ aparece primero en 35 Milímetros.

from WordPress http://35milimetros.es/critica-todos-lo-saben/

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30/11/17 14:10:27: Assumpta Feltrer: El miércoles 6 del pasado mes de abril, en el Parlamento Europeo se votó una enmienda para restringir los vuelos en primera...* *NOTA PREVIA.- Un vuelo de Barcelona a Bruselas, en "Bussines Class" de Iberia, ida y vuelta, cuesta unos 1.297 ?. Con Vueling, clase turista, unos 150 euros. Con el coste de cada viaje de un eurodiputado en clase bussines, se paga un maestro durante 20 días. ________________________________ BUENO, PUES ASÍ VOTARON LOS EURODIPUTADOS ESPAÑOLES: -A favor de volar en turista: Ramón Tremosa i Balcells (CiU) Rosa Estarás Ferragut (PP) Oriol Junqueras Vies (ERC) Raúl Romeva i Rueda (Iniciativa) -En contra de volar en turista: Francisco Sosa Wagner (UPD) Jaime Mayor Oreja (PP) Alejo Vidal-Quadras (PP) Luis de Grandes Pascual (PP) Pilar del Castillo Vera (PP) Carlos Iturgaiz Angulo (PP) Teresa Jimenez-Becerril Barrio (PP) Pablo Arias Echeverria (PP) Pilar Ayuso (PP) Agustín Diaz de Mera García (PP) Santiago Fisas Ayxela (PP) Carmen Fraga Estévez (PP) Salvador Garriga Polledo (PP) Cristina Gutiérrez-Cortines (PP) Ester Herranz García (PP) Gabriel Mato Adrover (PP) Francisco Millán Mon (PP) Ignacio Salafranca Sánchez-Neyra (PP) Josefa Andrés Barea (PSOE) Inés Ayala Sénder (PSOE) Alejandro Cercas (PSOE) Ricardo Cortes Lastra (PSOE) Iratxe García Perez (PSOE) Eider Gardiazabal Rubial (PSOE) - Esta es la que falsifica el horario para cobrar la dieta entera (300 euros) del día de vuelta (Los jueves) Enrique Guerrero Salom (PSOE) Sergio Gutiérrez Prieto (PSOE) Ivan Irigoyen Pérez (PSOE) Juan Fernando López Aguilar (PSOE) Miguel Ángel Martinez (PSOE) Antonio Masip Hidalgo (PSOE) Emilio Menéndez del Valle (PSOE) María Muñíz De Urquiza (PSOE) Andrés Perelló Rodriguez (PSOE) Teresa Riera Madurell (PSOE) Antolín Sánchez Presedo (PSOE) Luis Yáñez-Barnuevo Garcia (PSOE) Raimon Obiols (PSOE) -Abstenciones: Izaskun Bilbao Barandica (PNV) María Badia i Cutchet (PSOE) Los parlamentarios españoles en Europa se niegan a volar en clase turista. La "crisis" solo existe para los de siempre: Hospitales con plantas cerradas, Centros de Asistencia que cerrarán por las noches, sueldos recortados y un largo etc. pero ellos no pueden prescindir ni tan siquiera de una cosa tan prescindible... VAMOS A INTENTARLO : Se trata de que cada destinatario reenvíe este whatsapp a su lista de contactos y a la vez, pedir a cada uno de ellos que hagan lo mismo. En tres días, la mayoría de las personas de este país tendrán este mensaje. Si estás de acuerdo con lo expuesto, reenvía. Si no, bórralo. Tú eres uno de mis contactos. Por favor, mantén este mensaje CIRCULANDO

[cazawonke]

El pasado domingo 21 de mayo Manlleu acogió un total de 557 pájaros fringílidos que competían en el Campeonato Oficial Ocellaire de Catalunya de Resistencia, evento que marcó el inicio de temporada para la Federación Catalana de Caza.

Después de la entrega de premios, se distinguió al ocellaire federado Josep Capdevila, de la Sociedad Ocellaire de Manlleu, activo a los 95 años. El campeonato siguió el horario establecido con la apertura del pabellón La Salle a las ocho de la mañana y el inicio del campeonato a las 9:00 horas. Se contó con una gran participación, un total de 557 pájaros fringílidos compitieron para ser el mejor de Cataluña en su especie, de los cuales 142 eran verderones, 162 jilgueros, 111 pinzones y 142 pardillos. A lo largo del campeonato, que se desarrolló con toda normalidad, hubo chocolate, coca, fuet y vino a disposición de los participantes y también servicio de bar. Hacia las 13:30 h. se terminaba el campeonato y cerca de las 14:00 h. se hacia la entrega de premios a los diez mejores de cada pluma y de un premio de honor al 11º y 12º de cada especie. Los tres primeros de cada pluma fueron: Pinzones: 1º Pedro Barrera, de Ripollet / 2º Moha, de Torelló / 3º Joan Codina del Nido, de Parets Pardillos: 1º German Codina, de Torelló / 2º Ismael Barba, de Sant Llorens / 3º Dani Muñoz, de Manlleu Verderones: 1º Carlos Palma, de Parets / 2º Antonio Rondon, de la Frontera / 3º José Mª Bautista, de Llinars Jilgueros. 1º Jesús Lago, de Parets / 2º Manuel Hidalgo, de Ripollet / 3º Marcelo Barea, de Manlleu.

Àlex Garrido Serra, alcalde de Manlleu, Sergio Sánchez, presidente de la Federación Catalana de Caza, Joaquín Zarzoso presidente de la R. T. de la Federación Catalana de Caza en Barcelona, Mariano Mate, delegado ocellaire de la Federación Catalana de Caza, y Josep Vilalta, delegado ocellaire de Osona-Girona, estuvieron presentes en el campeonato e hicieron entrega de los premios. Este año se hizo un reconocimiento especial al señor Josep Capdevila «Pepet», ocellaire federado en activo de la Sociedad Ocellaire de Manlleu a sus 95 años. En estas últimas líneas, queremos agradecer especialmente a la Agrupació Esportiva Ocellaire de Manlleu su compromiso, trabajo y esfuerzo para conseguir un campeonato de éxito, así como al Ayuntamiento y municipio de Manlleu que lo han hecho posible con su estrecha colaboración. Además, no queremos olvidarnos de todos los competidores por su participación. El domingo que viene, día 28 de mayo, recordamos que hay Campeonato Oficial Ocellaire de Cataluña de la modalidad de Rapidez, en Dosrius. ¡No os lo perdáis!

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Campeonato de Cataluña Ocellaire de Resistencia El pasado domingo 21 de mayo Manlleu acogió un total de 557 pájaros fringílidos que competían en el Campeonato Oficial Ocellaire de Catalunya de Resistencia, evento que marcó el inicio de temporada para la…

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Máster Diseño Editorial 2018-19. Cubiertas y packaging contenedor para libro Fascismo - Una advertencia, diseñadas por Sergio Barea.

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Máster Diseño Editorial 2018-19. Revista digital Nova. Proyecto de Sergio Barea.

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Curso de Especialista en Motion Graphic 2015-16. Animación de personajes: “Ali”, realizado por Sergio Barea.