#david cloutier

[starmaniamania]

The troupe with Luc Plamondon in Québec, Aug 12, 2024

[leszackardises]

C'est la demi-finale des Boomers à Zénith ce 6 avril 2023!

(more…) “”

[perkwunos]

Claude Esteban, Transparent God, transl. David Cloutier

[warmania]

PRE-DRINK from Midi La Nuit on Vimeo.

2017 | 23 min | French with English Subtitles | 4:3 | Couleur | 5.1 - ALEXE est une jeune femme trans, et CARL un homme gai. Meilleurs amis depuis toujours, une soirée passée ensemble déstabilise ALEXE, lorsque les deux décident de coucher ensemble pour la première fois. - ALEXE is a young trans woman, and CARL a gay man. Best friends since forever, an evening spent together destabilizes ALEXE, when both decide to have sex together for the first time. -

Un film de / A film by : Marc-Antoine Lemire Produit par / Produced by : Maria Gracia Turgeon (Midi La Nuit) Distribué par / Distributed by : H264 Distribution

CAST Pascale Drevillon - Alex Trahan

CREW Cinematographer: Léna Mill-Reuillard Editor: Anouk Deschênes Sound: Laurent Ouellette Sound Mixer & Editor: Theo Porcet - Jean-David Perron Key Gaffer & Grip: Olivier Racine 1st Assistant Camera: Ariane Aubin-Cloutier Art Director: Marc-Antoine Lemire Costumes: Alexandra Bégin- Laurie-Anne Viens - Renée Sawtelle Make-up: Andie Wisdom Dawson Hair: Tania Lacoste-Major - Andie Wisdom Dawson Executive Producers: Annick Blanc - Evren Boisjoli - Item 7 1st Assistant Director: Catherine Kirouac Coordinator: Kelyna N. Lauzier Production Intern: Gabrielle De Cevins Production Assistant: Lysandre Leduc Boudreau Catering: France Turgeon Traducer: Guylaine Jacob

Festivals: Toronto International Film Festival – Short Cuts, 2017 *Best Canadian Short Film Talent tout court/Not Short on Talent – Cannes Film Festival, 2017 Atlantic International Film Festival, 2017 Festival international du film francophone de Namur, 2017 Festival international du film de Bordeaux, 2017 Taipei Golden Horse Film Festival, 2017 Prends Ça Court Trouville, 2017 Festival international du film francophone d’Acadie, 2017 Whistler Film Festival, 2017 Thess International Short Film Festival, 2017 *Cinematic Achievement Award Southwest International Film Festival, 2018 Taos Shortz Film Fest, 2018 Flickerfest, 2018 Tampere Film Festival, 2018 Antitube, 2018 Canada’s Top Ten Film Festival, 2018 Canadian Screen Awards, 2018 *Nominated for Best Short Film 15e Gala Prends ça court *Audience Award, Post-Moderne Award Rendez-vous Québec Cinéma, 2018 *Best Fiction Short Film Melbourne Queer Film Festival, 2018 Nashville Film Festival, 2018 KASHISH Mumbai International Queer Film Festival, 2018 On vous ment : Festival Documenteur, 2018 InsideOut LGBT Film Festival, 2018 Seoul International Women Film Festival, 2018 Gala Iris Québec Cinéma, 2018 *Best Fiction Short Film OutFilm : Connecticut LGBT Film Festival, 2018 Kansas City LGBT Film Festival, 2018 Festival 48 Images Seconde, 2018 – *Jury Prize Festival Longue Vue sur le court, 2018 – *Best Script Moscow International Film Festival, 2018 Sicilia Queer Film Fest, 2018 Mostra La Ploma, 2018 Kortfilmfestivale, 2018 fliQs: Queer Film Nights, 2018 Frameline, San Francisco, 2018 Festival MIX Milano, 2018 Korea Queer Film Festival, 2018 Outfest Los Angeles, 2018 Odense International Film Festival, 2018 Seattle International Film Festival, 2018 Transgender Film Festival Zurich, 2018 Lovers Film Festival – Torino Lgbtqi Visions, 2018 Festival Internacional de Cine IBAFF, 2018 Wicked Queer: Boston LGBT Film Festival, 2018 CinemaQuebecItalia, 2018 Vancouver Queer Film Festival, 2018 Meziprata Film Festival, 2018 *Best Short Film award Festival Internacional de Cine de Murcia IBAFF, 2018 Norwegian Short Film Festival – Grimstad, 2018 Écrans Mixtes Lyon, 2018 Lviv International Short Film Festival Wiz-Art, 2018 Reel Affirmations: Washington, DC’s LGBTQ Film Festival, 2018 Off-Courts Trouville 2018 Queergestreift Filmfestival, 2018 Zinegoak, International LGTB Film and Performing Arts Festival, 2018 Mardi Gras Film Festival, 2018 Festival de cinéma de la ville de Québec, 2018 Les Percéides, 2018 L’Espace Filmique, 2018 Cinéma Diverse, Palm Spring LGBT Film Festival, 2018 Q Cinema – Fort Worth, 2018 PROUD film festival, 2018 Louisville LGBT film festival, 2018 TWIST Seattle film festival, 2018 Durham film festival, 2018 Mix Copenhagen LGBTQ film festival, 2018 NewFest: The NYC LGBT film festival, 2018 Reel Affirmation film festival, 2018 Inside Out 2018 Ottawa LGBT Film Festival, 2018 Austin Gay and Lesbian International Film Festival, 2018 Iris Prize Festival, 2018 *Finalist – Iris Prize Encounters Bristol, 2018 BENT: the 27th annual Sacramento LGBTQ Film Festival, 2018 Out On Film/Atlanta, 2018 Trans Film Fest Stockholm, 2018 SPASM, 2018 *Audience Award Chéries-Chéris, Festival LGBT à Paris, 2018 *Grand Prize Nahia Film Fest: International Short Film Festival, 2018 *Special Jury Award Plein(s) Écran(s), 2018 26th MIX BRASIL FESTIVAL, 2018 Queer Screen – Sydney, 2019 ReelOut – Kingston’s Queer film + Video festival, 2019 Qflix Philadelphia, 2019 Go Short – Netherlands, 2019 Queen’s World film festival, 2019 Vues d’en Face – Grenoble, 2019 Académie des Césars – Nuits en Or, 2019 Prague Pride screening – Meziprata Film Festival, 2019

[davidbysouth]

This Book Changed How I View the Environment

This Book Changed How I View the Environment https://www.youtube.com/watch?v=RYAMv1AkOGg The Right to Be Cold by Sheila Watt-Cloutier is a book that had a big impact on me during my PhD. It shares personal examples of how historical trauma and climate change have shaped Watt-Cloutier's life and experiences and the current work she pursues. It is a great book to think about how climate change and environmental destruction impact the culture and livelihoods of northern people. You can find the book here: https://ift.tt/utESADf Please visit my website to get more information: https://ift.tt/GdHz3KR 🔔Subscribe for more stories about the environment, conservation, climate change, and the world we live in: https://www.youtube.com/@DavidBysouth/?sub_confirmation=1 #arctic #climatechange #environment #forest #cold #ice #travelvlog #books #booktube #bookclub #reading #bookreview #conservation ⚠️Disclaimer: I do not accept any liability for any loss or damage incurred from you acting or not acting as a result of watching any of my publications. You acknowledge that you use the information I provide at your own risk. Do your research. Copyright Notice: This video and my YouTube channel contain dialogue, music, and images that are the property of David Bysouth. You are authorized to share the video link and channel and embed this video in your website or others as long as a link back to my YouTube channel is provided. © David Bysouth via David Bysouth - PhD https://www.youtube.com/channel/UC3ZyPtFAKgvbn7bkp2x7iHg July 27, 2024 at 06:00PM

[monkeyssalad-blog]

Lea Padovani by Truus, Bob & Jan too! Via Flickr: Italian postcard by Nannina, Milano. Lea Padovani (1923-1991) was an Italian stage and film actress. She appeared in 60 films between 1945 and 1990. She starred in the French crime film Le Dossier noir/Black Dossier (André Cayatte, 1955) which was entered into the 1955 Cannes Film Festival. Lea Padovani was born in Montalto di Castro, in 1923. Against her father's advice, Lea enrolled at L'Accademia d'Arte Drammatica, the National Academy of Dramatic Art in Rome, which she left in 1944. She made her debut as a soubrette in Garinei and Giovannini's revue 'Cantachiaro'. The following year, she was part of Erminio Macario's company in 'Febbre azzurra'. She demonstrated excellent acting skills and enjoyed great success. Her meeting with Macario led to work in the film industry. She made her film debut with the female leading role in the comedy L'innocente Casimiro/The Innocent Casimiro (Carlo Campogalliani, 1946) starring Erminio Macario. In 1946 she began her long and successful career as a theatre actress with Armand Salacrou's 'Un uomo come gli altri' and with Jean Cocteau's 'I parenti terribili' in Luchino Visconti's Milanese revival. In 1953, she was alongside Ruggero Ruggeri on a tour to London and Paris with 'Enrico IV' and 'Tutto per bene'. In 1954 she was awarded a special Nastro d'Argento (Silver Ribbon award) for her theatrical performances. From 1947 Lea Padovani appeared in international films, such as Una lettera al Alba/Letter at Dawn (Giorgio Bianchi, 1948) and the British social drama Give Us This Day (Edward Dmytryk, 1949) with Sam Wanamaker. Orson Welles originally cast Lea as Desdemona in his 1952 film production of Othello back in 1948. After Welles began the filming in Venice, producer Montatori Scalera informed Welles that he wanted to make Verdi's opera, not the Shakespearean play, so the money ran out and the film was shelved. By the time the film was made years later, Lea had been replaced by Suzanne Cloutier. She starred in the French crime film Le Dossier noir/Black Dossier (André Cayatte, 1955) which was entered into the 1955 Cannes Film Festival. A big hit was the comedy Pane, amore e...../Scandal in Sorrento (Dino Risi, 1955) in which she co-starred with Sophia Loren and Vittorio De Sica. In the 1950s, Padovani also took part in several TV dramas, including Piccole done (Anton Giulio Majano, 1955), Il romanzo di un giovane povero (Silverio Blasi, 1957) and Ottocento (Anton Giulio Majano, 1959-1960). During the 1960s, the stage and television became more important than her film career. In 1990, she made her last film, La putain du roi/The King's Whore (Axel Corti, 1990) with Timothy Dalton and Valeria Golino. Shortly before her death, the actress told writer Renzo Allegri about her encounters with Padre Pio in the late 1950s, asking for help for one of her lovers, who was terminally ill with cancer. She died in 1991 of a heart attack. In 2006, director Oliver Parker directed the film Fade to Black, based on the novel Fade to Black by Davide Ferrario, inspired by a fictional story involving the actress, played in the film by Paz Vega, and the director Orson Welles, played by Danny Huston. In 2012, a theatre named after Lea Padovani was inaugurated in Montalto di Castro by Mayor Sergio Caci and Culture Councillor Eleonora Sacconi. Sources: Wikipedia (Italian and English) and IMDb. And, please check out our blog European Film Star Postcards.

[if-you-fan-a-fire]

"Au procès de David Côté," La Patrie. August 4, 1943. Page 4. ---- Le procès de David Coté, accusé d'avoir incité les ouvriers de Canadian Vickers à faire la grève et à rester en grève, est commencé ce matin devant le juge Armani Cloutier. Une longue argumentation eut lieu entre Me Gérald Fauteux, représentant le ministère public, et Me Guy Merrill-Desaulniers, représentant de la défense, sur la validité des accusations portées contre l'inculpé.

Me Desaulniers demande au tribunal le renvoi immédiat des deux plaintes déclarant qu'il était illegal de faire subir un procès sur deux chefs d'accusation à la fois.Le juge Cloutier rejeta les objections de Me Desaulniers.

Au moment où nous allons sous presse Me Fauteax interroge M. Len Stewart, 2668, Saint-Zotique. Ce procès durera tout l'après-midi.

[deartotheheart]

"Christian hope is in fact for the whole world, this world, and the age to come, and it must challenge these man-made futures. It is resolutely an astonishing vision of love triumphant over history of sin and division, bringing into a being a future that is much more than we can imagine."

The Future of Today When Tomorrow Is Uncertain, University of Notre Dame

[shamandrummer]

Journey Song

I go in my canoe

all over

in my vision.

Over trees

or in water

I’m floating.

All around

I float

among whirlpools.

All around

I float

among shadows.

I go in my canoe

all over

in my vision.

Over trees

or in water

I’m floating.

Whose canoe

is this

I stand in?

The one

I stand in

with a stranger.

I go in my canoe

all over

in my vision.

Over trees

or in water

I’m floating.

--Northwest Coast Tsimshian (1)

1. David Cloutier, Spirit, Spirit: Shaman Songs, Incantations (Providence: Copper Beech Press, 1973), pp. 67-68.

[sassysophiabush]

SOPHIA BUSH for the #emmys2021 . Classic Hollywood perfection. 💋 Styled by @britelkin Hair @davidgardnerla #beauty by me using #augustinusbader skincare, #droplette to prep the skin, #Valentino beauty - Russo Valentino red lipstick 💋 , #PatMcGrath, #sweedlashes. Thanks to @lordgmv for the most perfect skin prep facial today using @augustinusbader ✨

[starmaniamania]

The troupe during the Starmania concert in Québec City (rehearsals + event.) Looks like they did an extended version of their finale medley and got to be in the last "Les uns contre les autres" tableau with Luc Plamondon.

(With a dig at Starmania 2022 not traveling to QC as a bonus 😅)

[leszackardises]

C'est la demi-finale des X à Zénith ce 30 mars 2023!

(more…) “”

[perkwunos]

Claude Esteban, Transparent God, transl. David Cloutier

[spiritualdirections]

Building a Bridge: How the Catholic Church and the LGBT Community Can Enter Into a Relationship of Respect, Compassion, and Sensitivity James Martin, SJ. Reviewed by David Cloutier

David Cloutier, associate professor of theology at the Catholic University of America, is quickly becoming one of my favorite Catholic intellectuals, in large part because he’s reliably interesting. He’s well versed in the Catholic tradition and faithful to it, and yet he’s neither a Thomist nor a ressourcement theologian nor a neoconservative, the three dominant schools of intelligent Catholic thinking in my lifetime. It’s hard to pin him down politically--I’d say he’s a man of the Catholic left, but I think that he might be one of the only people on the Catholic left, since much of the left-liberal political thinking of those who identify as Catholic is little more than baptizing the current talking points of the Democratic party without making the effort to show how today’s party line is consonant with Catholic tradition. I’m reading Cloutier’s The Vice of Luxury, and it’s the first book I’ve read that criticizes capitalism while taking both the Church Fathers’ and modern economists’ views seriously.  

Anyway, he reviewed the new book by Fr. James Martin, SJ, on how the Catholic Church ought to relate to the LGBT community. After saying lots of nice things, here’s his (devastating) critique:

There is much to commend in the image of a two-way bridge in which such things are recognized, and the prerequisite for such recognition is the kind of reputation for respect, compassion, and sensitivity to all sides that Martin has justly earned. That said, there are three ways in which the bridge seems shaky. The first is Martin’s initial characterization of the LGBT community as a “group.” At one point, he suggests that church leaders are obligated to treat the LGBT community like any other group—like the elderly or teenagers or different ethnic groups. As in these other cases, the institutional church should respectfully call the group by its chosen name. This question of naming, and its underlying question about the institutional church relating to “groups,” seems to me to be more challenging than Martin indicates. It may be that our tendency to frame ecclesial conversations in terms of group identities mirrors the fractious and often self-serving interest group politics of our society. But beyond that, it is also the case that these other groups do not inherently raise key issues about church teaching. Nor is “LGBT” itself uncomplicated. Some want a more complex label. Importantly, transgender persons raise different challenges from those for gays and lesbians. Deferring to the debatable assumptions about such group labels makes the kinds of comments Martin highlights by Cardinal Schönborn—about the potential value of the faith and love shown within the shared lives of gay and lesbian couples—less effective.

This overly tidy solution about naming leads to the second concern, which is whether this book is written for a socio-political context that no longer exists. At times, I imagined myself reading Building a Bridge in the early 1990s, when as a young Catholic at a very secular liberal arts college, I was learning to negotiate (hopefully with respect, compassion, and sensitivity!) LGBT issues for the first time. But on this issue, the early 1990s seem like ancient history. The idea of generous bridge-building is more difficult when anti-discrimination lawsuits lurk in the wings. Moreover, Catholics have observed decades of church-dividing strife among Protestant churches unable to make this sort of a bridge work, and Martin never hints at why Catholic bridge-building won’t end up in the same place.

Finally, the book never mentions sex. Or more precisely, the only mention of it comes in a quote from an Irish author who explains why gay men might have been attracted to the priesthood because they found “sex with a woman” problematic. Such men “had no blueprint for an easy future,” other than a vow of celibacy that “offered you relief.” Beyond this quote, one would have no idea that the fundamental issue at stake here is sex. Martin is right to point out that bishops and other church leaders are willing to interact with other groups whose agendas and membership do not entirely conform to church teaching (he uses business leaders as an example), but he elides the fact that the issue at the core of the LGBT community is the challenge to church teaching. I presume this omission of the question of sex is intentional, but there is a sense of “let’s pretend” that seems bothersome. Martin is careful never to call magisterial teaching into question, and he is more right than wrong when he points out that, for Jesus, it was “community first, conversion second.” But it was conversion second… and, needless to say, that doesn’t mean “conversion therapy.” It means being willing to avoid sex with a person of the same sex. Official church teaching on this issue isn’t complicated to understand. Just as Catholics should be rightly unhappy if a bishop speaks to business leaders without challenging them on hard questions about the rights of labor, solidarity, and the preferential option for the poor, how can Catholics fault bishops for doing the same thing with the LGBT community? It is true that the analogy here is not complete; business leaders often have cultural power that gays and lesbians do not, nor do they routinely face genuinely unjust discrimination. Nevertheless, especially as cultural power shifts on this issue, the messaging parallel holds: there are both words of compassion and words of challenge. For ultimately, the sexuality is not the problem; the sex is.

And don’t we all know that? It is telling that there cannot be candor about this issue, because it is so obviously a key piece of the bridge. It is resisted in part (not totally, but in part) because of structural obsessions in our society about the necessity of individual sexual fulfillment. The real, culturally perceived “abominable prejudice” Christians hold is the deep conviction that one can live a whole, fulfilling life in the absence of the fulfillment of one’s sexual desires. While we’re on the bridge, let’s talk as a church about chastity, even about involuntary celibacy, so that we might come to discern it as a potential gift, rather than an obvious curse. One wonders if we need church leaders who are able to state their sexual orientation without prejudice, so that they might communicate the possibilities of holiness in following the path of Christ. This is a worthy topic to take up because the effects of a society that so elevates sexual fulfillment should not simply be shouldered by gays and lesbians. There is a larger message here if the bridge can include a frank discussion about sex and contemporary society.

All these questions force us to consider whether Martin’s overall framework is too melioristic, no matter which side of the bridge one is on. Early in the book, he describes the status quo in terms of a group that has “felt hurt” and “excluded” and leaders that “want to reach out…but seem somewhat confused about how to do so.” Proponents of both sides might point out that the core problem is not how to bring together a marginalized group and an awkward church leadership. It’s really about two clashing views on the fundamental truths of justice and love. Each side has core beliefs about what these claims should mean, and we need to confront why those claims are at odds. Again, this is no different from what Catholics should expect from tough conversations on issues like economics and the environment: there is a clash of fundamental moral visions that must be engaged. If we’re going to have a conversation, we might not start with that clash. But any bridge is going to have to cross these troubled waters at some point.

As Cloutier points out, “the fundamental issue at stake here is sex,” not "how to bring together a marginalized group and an awkward church leadership.” Abstracting from that reality won’t lead to an honest conversation, nor will it remove the obstacles faced by the many souls who need the grace of the sacraments but are too prejudiced against the Church to approach them. 

[papciz-gram]

ericradford85: “Let us be grateful to the people who makes us happy; they are the charming gardeners that make our souls blossom”#thebest #myfavourites #friends #pride #happypride #montreal

(19.08.2019)