#hee hee hee hee morel

[californiaquail]

many wonderful treasures in the woods today

[chubunited]

Morel has singlehandedly renewed my interest in ponies. I need a detailed lore sheet and list of his favorite foods lol Until then... does the ponyboy like belly rubs?

i think it's safe to say that ponyboy does in fact like belly rubs

[grimmshood]

im still of the opinion that miss claudette morel is yhe most beautiful woman in dbd i am not taking criticism at this time

[ingramjinkins]

My first art doll, Morel!

[ID: 6 photos of a needle felted poseable art doll of Morel, a two legged green mushroom with purple spots. In the first three she wears a bee-themed dress, and in the bottom three he isn’t wearing anything]

[drzito]

Las 211 peliculas que he visto en 2022 (parte 2)

En negrita las que os recomiendo:

106. Azul oscuro casi negro (Daniel Sanchez Arevalo, 2006).

107. Destino Final 3 (James Wong, 2006)

108. El territorio de la bestia (Greg McLean, 2007)

109. Lake Mungo (Joel Anderson, 2008)

110. Las Ruinas (Carter Smith, 2008)

111. Los limoneros (Eran Riklis, 2008)

112. Superagente 86 de película (Peter Segal, 2008)

113. Petit Indi (Marc Recha, 2009)

114. Edificio España (Víctor Moreno, 2010)

115. El hombre sin pasado (Lee Jeong-beom, 2010)

116. Tron: Legacy (Joseph Kosinski, 2010)

117. Beyond the black rainbow (Panos Cosmatos, 2011)

118. La bicicleta verde (Haifaa al-Mansour, 2012)

119. The Bay (Barry Levinson, 2012)

120. Ahora me ves (Louis Leterrier, 2013)

121. El gran simulador (Nestor Frenkel, 2013)

122. The Borderlands (Elliot Goldner, 2013)

123. Frank (Lenny Abrahamson, 2014)

124. The Big Men (Rachel Boynton, 2014)

125. The Guest (Adam Wingard, 2014)

126. Caza al asesino (Pierre Morel, 2015)

127. El despertar de los dragones (Soi Cheang, 2015)

128. La juventud (Paolo Sorrentino, 2015)

129. Perdiendo el Norte (Nacho G Velilla, 2015).

130. Una pastelería en Tokio (Naomi Kawase, 2015)

131. Ahora me ves 2 (Jon M. Chu, 2016)

132. Cien años de perdón (Daniel Calparsoro, 2016)

133. Doña Clara (Aquarius) (Kleber Mendonça Filho, 2016)

134. El Caso Sloane (John Madden, 2016)

135. El Vacio (Jeremy Gillespie y Steven Kostanski, 2016)

136. La autopsia de Jane Doe (André Øvredal, 2016)

137. Paterson (Jim Jarmusch, 2016)

138. Reina de Katwe (Mira Nair, 2016)

139. The eyes of my mother (Nicolas Pesce, 2016)

140. Un italiano en Noruega (Gennaro Nunziante, 2016)

141. Ingrid Goes West (Matt Spicer, 2017)

142. Lady Bird (Greta Gerwig, 2017)

143. Tierra Firme (Carlos Marques-Marcet, 2017)

147. Verónica (Paco Plaza, 2017)

148. Default (Kook-Hee Choi, 2018)

149. El ombligo de Guie’dani (Xavi Sala, 2018)

150. Searching... (Aneesh Chaganty, 2018)

152. Silvio (y los otros) (Paolo Sorrentino, 2018).

153. Un pequeño favor (Paul Feig, 2018)

154. Upgrade (Leigh Whannell, 2018)

155. Así crecen los enanos (Raul Serrano, 2019)

156. Bliss (Joe Begos, 2019)

157. Brittany corre un maratón (Paul Downs Colaizzo, 2019)

158. Contagio en alta mar (Neasa Hardiman, 2019)

159. El bosque maldito (Lee Cronin, 2019)

160. First cow (Kelly Reichardt, 2019).

161. La cabaña siniestra (Veronika Franz y Severin Fiala, 2019)

162. La democracia en peligro (Petra Costa, 2019)

163. Los días que vendrán (Carlos Marques-Marcet, 2019)

164. Nación cautiva (Josh Wyatt, 2019)

165. Quien a hierro mata (Paco Plaza, 2019)

166. The Beach House (Jeffrey A Brown, 2019)

167. Vivarium (Lorcan Finnegan, 2019)

168. Aves de presa y la fantabulosa emancipación de Harley Quinn (Cathy Yan, 2020)

169. Casa Ajena (Remi Weekes, 2020)

170. Come true (Anthony Scott Burns, 2020)

171. El capital humano (Marc Meyers, 2020)

172. El hombre invisible (Leigh Whannell, 2020)

173. Hillbilly, una elegia rural (Ron Howard, 2020)

174. La boda de Rosa (Iciar Bollain, 2020)

175. Mandíbulas (Quentin Dupieux, 2020)

176. Mas allá de los dos minutos infinitos (Junta Yamaguchi, 2020)

177. Minari. Historia de mi familia (Lee Isaac Chung, 2020)

178. Murder Death Koreatown (anonimo, 2020)

179. Sputnik (Egor Abramenko, 2020)

180. Tenet (Christopher Nolan, 2020)

181. Underwater (William Eubank, 2020)

182. Un lugar tranquilo 2 (John Krasinski, 2020)

183. Black Widow (Cate Shortland, 2021)

184. Chavalas (Carol Rodríguez Colás, 2021)

185. El buen patrón (Fernando Leon de Aranoa, 2021)

186. Freaks Out (Gabrielle Mainetti, 2021)

187. Gaia (Jaco Bouwer, 2021)

188. Hombres lobo entre nosotros (Josh Ruben, 2021)

189. In the Earth (Ben Weathley, 2021)

190. Kate (Cedric Nicolas-Troyan, 2021)

191. La abuela (Paco Plaza, 2021).

192. La peor persona del mundo (Joachim Trier, 2021)

193. Los voyeurs (Michael Mohan, 2021)

194. No mires arriba (Adam McKay, 2021).

195. One Shot: Mision de Rescate (James Nunn, 2021)

196. Paris, distrito 13 (Jacques Audiard, 2021)

197. Petit Maman (Céline Sciamma, 2021)

198. Sin tiempo para morir (Cary Joji Fukunaga, 2021)

199. Spencer (Pablo Larrain, 2021).

200. Spiderman: No way home (Jon Watts, 2021)

201. Titane (Julia Ducornau, 2021).

202. Ultima noche en el Soho (Edgar Wright, 2021)

203. Un héroe (Asghar Farhadi, 2021)

204. Woodlands Dark and Days Bewitched (Kier-La Janisse, 2021)

205. Alcarras (Carla Simón, 2022)

206. Bullet Train (David Leitch, 2022)

207. El agua (Elena López Riera, 2022)

208. Kimi (Steven Soderbergh, 2022)

209. Minions: El origen de Gru (Kyle Balda, 2022)

210. Thor: Love & Thunder (Taika Waititi, 2022)

211. Todo a la vez en todas partes (Dan Kwan y Daniel Scheinert, 2022)

[botanyspirit]

Do you guys celebrate the holidays in the fog? I know last year the entity added lights and snow

[venturebroes]

i dont think im over morel at all

[eldritch-spouse]

Table-Eating anon here with a relatively normal question (HOW DARE I??)... Do the Clergy like animals? Like, would they positively, internally freak out if they came face-to-face with a puppy/cat/rabbit/whatever the fuck? I can just imagine Patches sat at his desk doing paperwork with a cup of coffee at his desk and a big cat just curled up on his lap, or Gallon watching a little rabbit hop about ontop of the bar... Idk please just let me have this--

[Asking me for mercy is about the same as begging an executioner, anon. Now put your head in the guillotine. <3]

Ehhhhhh- How about this:

Can be trusted alone with animals:

Nebul. He loves them. He's the saving grace of any animal that stumbles into The Clergy or otherwise any other creature that the establishment itself concocts via foreign elements deposited in its garden.

Belo. He has no drive to hurt animals and will actually save them from peril unless instructed by Krulu to do otherwise. He has a particular fondness for any lifeforms generated by Krulu himself or The Clergy.

Gallon. Although he shares no particular fondness for animals, he will also not go out of his way to protect them unless he has somehow bonded with them.

Fank-e. Squishie enthusiast. Loves animals, super curious about them, but- Do not let him keep pets, he can't even keep a plant. Ends up scaring most animals away with his loud nature anyway.

Santi. Genuinely enjoys animals, though has no desire for standard pets as of now. Will probably guide things out of The Clergy if he has the chance to.

Ludwig. He knows not to direct his anger towards beings who don't deserve it, for the most part. He's been quasi-adopted by the gargoyles outside.

Cannot be trusted with animals:

Morell. He will be too busy picturing how to cook them. Can have one pet. One. With a lot of outside chastising.

Vinnel. He strays from animals so that his impulse to hurt things isn't triggered around one. He knows what he's capable of, and he'd rather just kill people.

Patches. Hee hee hoo hoo free experiment guinea pig.

Grimbly. If the animal is small, it will trigger hunting instincts in him. He can't even help it, immediately chases the thing.

Krulu. If an animal ever falls into his hands, it may not die, but it will also never be the same again. Not even his beloved ravens can escape that.

Sybastian. F O O D .

[sonntagberlin]

The SONNTAG BOOK is now available!

Sonntag in book format highlights a wide variety of nuanced elements of the project, including Sonntag as a social sculpture that harnesses not only dialogue about art making in a private space, but considers how food and the architecture of a home can contribute to a greater experience.

Sonntag in book format, includes the work of 44 previous Sonntag artists, in addition to their favorite cake recipes.

Book design by Anja Lutz // The Green Box With texts by Catherine Nichols and Ally Bisshop Edited by Sara Barnes

192 pages 200 llustrations 200 x 270 mm Hardcover English ISBN 978-3-96216-000-5EUR €34

The book is available internationally! Please support your local book store and buy/order your copy of the Sonntag book there. Alternatively you can also directly order the book via our publisher The Green Box.

The Sonntag Book includes works by the following artists; Aleks Slota, Alon Levin, Anna Steinert, Anne Duk Hee Lee, Anne Gathman, Astali/Peirce, Azar Pajuhandé, Christine Cheung, Franziska Furter, Hannah Dougherty, Heike Gallmeier, Heiner Franzen, Ignacio Uriarte, Inken Reinert, Ivan Seal, Jesper Dyrehauge, Joachim Schmid, Joe Neave, Johannes Albers, Julien Villaret, Kerstin Honeit, Laure Catugier, Elizabeth McTernan, Emmanuel Geisser, Maria Anwander, Mark Curran, Markus Zimmerman/Markus Born, Marte Kiessling, Matt Mullican, Miriam Steinhauser, Nadja Bournonville, Nika Radić, Oliver Walker, Pierre-Etienne Morelle, Sam Dowd, Sibylle Jazra, Simon Faithfull, Sinta Werner, Sonja Burbidge, Sophia New and Dan Belasco Rogers, Tilman Wendland, Uli Aigner, Vanessa Enriquez, and Viktoria Binschtok.

[musicoviniciusrodrigues]

10 filmes de ação imperdíveis para assistir na Netflix

Nem só de explosões e confrontos mortais vivem os filmes de ação. Alguns deles surpreendem pela trama bem elaborada, qualidade do roteiro, produção e direção. O gênero está entre os preferidos dos usuários da Netflix. A Revista Bula analisou os títulos do gênero disponíveis no serviço de streaming e reuniu os melhores em uma lista. Alguns destaques entre os selecionados são: “Operação Chromite” (2016), de John H. Lee; “Pânico na Torre” (2012), de Ji-hoon Kim; e “Kimura” (2017), dirigido por Aldo Rey Valderrama. Os filmes estão organizados de acordo com o ano de lançamento e não obedecem a critérios classificatórios.

Kimura (2017), Aldo Rey Valderrama

Armando Carrera, um ex-lutador com um passado trágico, volta ao Panamá para se reconciliar com seu irmão, Alejandro, que se tornou um campeão de MMA. Após chegar ao país, Armando se encontra com Manfredo, seu ex-promotor de luta, que insiste para que ele volte aos ringues. Mesmo resistente, Armando decide participar do maior torneio de MMA da América Central, onde terá que enfrentar o seu irmão.

Jack Reacher: Sem Retorno (2016), Edward Zwick

Após abandonar seu cargo de major do exército, Jack Reacher retorna à base militar onde serviu, na Virgínia, a fim de se encontrar com a major local, Susan Turner. Mas, logo ao chegar, Jack descobre que sua amiga foi acusada de vazar informações confidenciais do exército e está presa. Ele decide provar a inocência de Susan Turner e inicia uma investigação por conta própria.

Operação Chromite (2016), John H. Lee

Baseado em fatos reais, o filme conta a história de um dos maiores feitos militares do século 20. Quando as forças conjuntas da Coreia do Sul e dos Estados Unidos estão prestes a perder a Guerra da Coreia, o General MacArthur envia seu time de espionagem disfarçado ao centro de comando do exército norte-coreano. O plano é conseguir informações de inteligência para preparar a invasão do porto de Incheon.

A Onda (2015), Roar Uthaug

O fiorde de Geiranger, na Noruega, é um dos pontos turísticos mais visitados do país, mas também é um local propício para desastres naturais. O geólogo Kristian trabalha há anos no centro de monitoramento das montanhas e, em um dia de muito movimento, percebe sinais anormais. Ele descobre que uma onda gigante atingirá o local em apenas dez minutos. Então, Kristian corre para salvar sua família e alertar os turistas.

O Franco-Atirador (2015), Pierre Morel

Depois de uma longa carreira como assassino de aluguel, Martin Terrier decide se aposentar e trabalha como voluntário em uma ONG na República Democrática do Congo. De repente, um grupo de extermínio aparece para matá-lo e Terrier descobre que está sendo traído por pessoas de sua confiança. Então, ele volta à ativa e viaja por toda a Europa para se vingar de todos os traidores que desejam vê-lo morto.

Rastro de Maldade (2015), S. Craig Zahler

No Velho Oeste, um forasteiro suspeito chega à pequena cidade de Bright Hope. Ao ser abordado por Hunt, o xerife local, ele foge e acaba sendo baleado. Para cuidar de seus ferimentos, a enfermeira Samantha vai até a prisão. Mas, durante a madrugada, a delegacia é invadida por uma tribo de índios selvagens, que sequestram o prisioneiro e a enfermeira. Para resgatá-los, o xerife conta com a ajuda de velhos amigos pistoleiros.

Pânico na Torre (2012), Ji-hoon Kim

Na véspera de natal, o luxuoso prédio Sky Twoer, em Seul, oferece uma grande festa para convidados da elite. De repente, dois helicópteros que sobrevoavam o edifício colidem e caem, causando um grande incêndio no local. Dois funcionários do local, Yoon-hee e Dae-ho, se unem para tentar salvar a vida das pessoas em poucos minutos, antes que o fogo destrua toda a Torre.

Capitão América: O Primeiro Vingador (2011), Joe Johnston

Durante a Segunda Guerra Mundial, o jovem Steve Rogers aceita ser voluntário em uma série de experiências que visam criar um supersoldado americano. Os militares conseguem transformá-lo em uma arma humana e percebem que ele é valioso demais para lutar na guerra. Mas, Rogers sabe que pode derrotar os nazistas e, para isso, assume a identidade de Capitão América.

Ladrões (2010), John Luessenhop

Um grupo de bandidos acostumados a assaltar grandes bancos sem deixar vestígios resolve se aposentar. Para isso, eles precisam realizar um último golpe: assaltar um carro-forte para garantir uma quantia de 20 milhões de dólares. Durante vários anos, eles conseguiram fugir e despistar a polícia. Mas, agora o detetive Jack Welles está disposto a elucidar o caso e faz de tudo para prendê-los.

Lágrimas do Sol (2003), Antoine Fuqua

A Nigéria acaba de passar por um golpe militar e sofre a ameaça de uma guerra civil. O tenente da Marinha norte-americana A. K. Waters recebe a missão de resgatar a médica missionária Lena Kendricks, que está na Nigéria. Mas, Lena diz a Waters que só irá embora junto com seus pacientes, 70 refugiados de guerra. O tenente decide acatar o apelo humanitário da médica, contrariando o governo dos EUA.

10 filmes de ação imperdíveis para assistir na Netflix publicado primeiro em https://www.revistabula.com

[diarioelsancarlino]

Cecilia Morel visitará destacado centro para la tercera edad en Beijing

La agenda paralela de Cecilia Morel en gira China – Corea. La primera dama, Cecilia Morel, viaja junto al Presidente de la República, Sebastián Piñera, en sus visitas a China y Corea. En la oportunidad, Morel realizará actividades paralelas como ha sido característico en esta administración relacionadas con el programa que lidera en nuestro país, “Adulto Mejor”, el cual pretende a través de una serie de iniciativas integrar y relevar a la tercera edad a través de una envejecimiento positivo, activo y saludable.  Por ejemplo, el jueves 25 de abril cerca de las 11 de la mañana llegará hasta el centro de asistencia a la Tercera Edad de Beijing. Este espacio se ubica en el norte de la ciudad, tiene más de 20 años, es de financiamiento público y sobresale por la alta calidad en su infraestructura y servicio sobre un elevado número de centros y hogares para la tercera edad que son de financiamiento privado. Es la institución número uno de bienestar social para los adultos mayores de la capital de China. “Conocer este tipo de iniciativas sirven muchísimo para las políticas que estamos implementando en nuestro plan Adulto Mejor en nuestro país. Este centro es similar a los condominios de viviendas tuteladas, los cuales tenemos en Chile y que hemos incentivado a que se construyan más ya que así los adultos mayores pueden conectarse, hacer redes y así permanecer activos y retrasar su dependencia”, señaló Cecilia Morel. Además, la primera dama participará de una reunión bilateral con su par china Peng Liyuan donde compartirán experiencias de sus labores que desarrollan en sus países, como, por ejemplo, Morel con el plan de envejecimiento positivo que lidera en nuestro país “Adulto Mejor”.  Datos oficiales de 2014 indican que China tiene más de 212 millones de personas mayores de 60 años y 137 mayores de 65, lo que representa un 15,5% y 10,1% de la población respectivamente. Según cálculos del Comité Nacional sobre Envejecimiento del Consejo del Estado, en 2020 habrá 248 millones de adultos mayores y en 2040, más de 400 millones, lo que significará que un 26% de la población total tendrá más de 60 años. Y para el 2050, se espera que la cantidad de adultos mayores llegue a más de 487 millones de personas y que la convertirá según los expertos en una de las sociedades más envejecidas del mundo.  Dentro del Foro de Cooperación Internacional sobe la Iniciativa La Franja y La Ruta que participará el Presidente Sebastián Piñera en China, las primeras damas tendrán actividades paralelas donde podrán intercambiar experiencias de trabajo, presenciarán una ópera característica de ese país, un coro de niños, una caminata por los jardines de Danruo y un almuerzo. En tanto, en la visita a Corea del Sur, la primera dama se reunirá con su par Kim Jung – Sook. La esposa del Presidente Moon Jae – In, más conocida como la “dama alegre”, es una conocida cantante surcoreana de música clásica. Incluso fue integrante del coro de la ciudad de Seúl antes de tener hijos. Kim se graduó como Bachelor of Arts en música vocal en la Universidad de Kyung Hee, lugar donde conoció a su actual esposo. Por su cercanía con la música, Morel le relatará la labor que en nuestro país realiza la Fundación de Orquestas Juveniles e Infantiles (FOJI), institución que preside y que desarrolla un gran trabajo musical con jóvenes que capacitan para integrar orquestas, los cuales recorren los principales teatros de Chile y del mundo permitiendo que nuevos talentos chilenos muestren su arte. Read the full article

[hongsangsooweb]

“Claire’s Camera” : reviews from Cannes / “La caméra de Claire” : critiques de Cannes

Une sélection de textes en anglais et en français sur l’autre film de Hong Sang-soo présenté à Cannes cette année, hors-compétition / (a selection of english and french reviews about the other Hong Sang-soo film showned in Cannes this year, out of competition)

Daniel Kasman - Mubi Notebook

“Far from a polished production, Claire’s Camera paradoxically pairs off two acting super stars across several charming awkward, seemingly spontaneously shot conversations. The two actresses are so charismatic—and Huppert in hat and trench dressed like an amateur detective!—that their stilted attempts to connect and communicate in the shared language of English comes off at once completely true to such random meetings in foreign countries, but is also something quite surreal, if not magical. “I agree,” Claire exclaims at Manhee’s disgust with selling films. “It’s great to agree,” she responds. “I agree 100%,” Claire eagerly affirms. Each struggles to hit their lines in good but not great English, drawing on the same humor of misunderstandings and emotional pleas as Huppert's other film with the director, In Another Country.”

Giovanni Marchini Camia - Sight & Sound 

“The film’s pleasures lie more in the improvisational feel of the dialogues and the charming chemistry between the characters, particularly Manhee and Claire (Isabelle Huppert), an enigmatic figure who may or may not be fully real. A visitor to the festival, Claire runs into all the characters and snaps each with her instant camera, gifting them their picture and prompting their introspection. Dressed in an eye-catching trench coat and fedora combo, she’s like a quirky detective counterpart to the Stranger from Pasolini’s Teorema.”

Deborah Young - The Hollywood Reporter

“Hong goes on lightly pulling the focus in and out on fiction and reality. As self-possessed as a Zen master, Claire strolls around town snapping little Polaroids of everyone she meets. Mysteriously, these snapshots change their lives. "If I take a photo of you, you are not the same person anymore," she insists to So and Yanghye, who turn out to be long-time lovers. They don't believe her, but magic is in the air. One of the pictures she has taken is of a beautiful girl on the roof terrace of a building (it's Min-hee). Later, she runs into her again on the beach and they get acquainted. As the real reason for the girl's humiliating dismissal from the sales company becomes apparent, Claire's photos do indeed play a role in righting wrongs. Who knows, they may even wake up a sleeping gray mastiff perennially sprawled across the sidewalk.”

Sam C. Mac - Slant 

“During one party-set scene, Claire snaps a photo of Man-hee, who’s crying after having been lectured by So. The girl’s pained protest (“Don’t take pictures!”) speaks volumes about Hong’s awareness of the toll this autobiographical project could be taking. It also makes the final scene here—one of Man-hee vigorously taping-up boxes and preparing for her departure from Cannes—a perfect place to leave things, and even an indicator that, while projecting change for this filmmaker is never a good idea, Claire’s Camera may represent a closing of this particular chapter in Hong’s career.”

Bradley Warren - The Playlist

“Also worth a mention is the big grey dog that Claire and Manhee encounter on multiple occasions (billed as Bob in the trailer, though its name isn’t mentioned in the film proper), and, if there’s any justice, currently a Palme Dog frontrunner alongside the namesake super-pig from “Okja.” This dog’s presence is one obvious marker of the improvised nature of “Claire’s Camera,” as the director surely had to pick out locations and commence shooting at a whirlwind pace. He pulled off the challenge well and serves up a special treat for Cannes audiences — not only the satisfaction of familiar locations but also in how the film credibly captures the festival’s esprit de corps. It’s an unexpected vibe, seeing as Hong’s cynical depiction of the film industry in Korea is typically of art-house directors playing their movies for small theaters sparsely populated by disinterested students.”

Guy Lodge - Variety

“That playful allegory for the restorative powers of cinema lends but a tissue’s worth of extra weight to a gossamer charmer — at just over an hour, a trifle compared to such recent Hong highs as “Right Now, Wrong Then” and “On the Beach at Night Alone,” but a complete work on its own light terms. The presence of Huppert — in a similarly whimsical fish-out-of-water role to the one she played her first Hong collaboration, “In Another Country” — lends this not-quite-disposable “Camera” a little extra marketability. Still, Cannes is really where the film was meant to be seen, and where its heart will remain after its out-of-competition premiere.”

Pierce Conran - Screen Anarchy

“ Awkward exchanges over meals and drink dominate as always but even by Hong's minimal standards, Claire's Camera feels like a film that was made on a whim with little preparation. Shot a few streets away from the main action of the Cannes festival, Hong's film takes place in cafes, restaurants and beaches, and sees a few hard-to-fathom characters engage in unlikely interactions. The ruminations exchanged during drinking sessions don't have the bitter poignancy seen in other Hong films, and with its conventional chronology and bare-bones aesthetic (much of it was surely shot on the fly), it doesn't offer a puzzle for the viewer to decrypt, a facet that drives some of his other films.”

Mathieu Macheret - Le Monde

“D’une simplicité exemplaire, le film joue sur un comique « de traduction », qui accentue l’effort de communication entre les différents personnages. Celui d’Isabelle Huppert, extraordinaire, s’apparente à une petite fée, qui apparaît et disparaît d’un coin à l’autre de la ville, dénoue les situations, révèle chacun à lui-même. Cannes et ses murs jaunes sont filmés comme un enchevêtrement de passages secrets et de voies croisées, où l’on tombe sans cesse les uns sur les autres. La beauté du film tient au grand cas qu’il fait du regard : non seulement Claire prétend que ses photos transforment ses modèles, mais elle invite ces derniers à poser un regard différent sur le monde qui les entoure. « La seule façon de changer les choses, c’est de tout regarder à nouveau très longtemps », dit-elle.”

Elizabeth Franck-Dumas - Libération

“Le film est ordonné en une série de révélations, il faut faire jouer la polyphonie du mot car, à mesure que Claire prend ses clichés et les secoue pour que le résultat apparaisse aux yeux de ses sujets, transparaîtra une vérité qui redressera l’histoire. Claire retisse les lambeaux de tissu rageusement découpés par une Man-hee ruminant l’injustice de son licenciement, et ce faisant, compose un film. «La seule manière de changer les choses, c’est de les regarder une deuxième fois, très lentement», explique-t-elle. Le cinéma peut réaliser ce miracle-là, et la vision conjuguée de Claire’s Camera et du Jour d’après, ajoutée au savoir tout parcellaire que l’on a de la vie privée de Hong Sang-soo, impose l’idée d’un cinéaste raboutant majestueusement dans ses films les éclats d’une déflagration intime.”

Josué Morel - Critikat

“Il serait facile de cataloguer ce nouveau film, concis (1h09) et tourné vite pendant le Festival de Cannes de l’année dernière, de pièce mineure. Il n’en est rien : sa modestie met au contraire ici particulièrement en exergue la finesse qui caractérise aujourd’hui l’écriture du cinéaste, dont la suprême épure renferme un cœur mystérieux (c’est peut-être le Hong Sang-soo le plus ouvertement fantastique, au sens orthodoxe du terme). Sans jouer ici de la porosité entre le rêve et le réel (Haewon et les hommes) et sans adopter un dispositif narratif saillant (comme ceux, par exemple, de Hill of Freedom ou d’Un jour avec, un jour sans), le film s’articule autour d’une figure potentiellement magique, qui fait secrètement le lien entre les différents régimes de réalité cohabitant de façon presque invisible dans la fiction.”

[sensitivefern]

Although Emilia-Romagna is one of Italy’s prime dairy regions, you can drive all the way across it and see scarcely a single cow. The cows are no longer grazed outdoors because the land is so valuable that it’s reserved for cash crops. Instead the farmers bring freshly cut grass and hay into the barns. The Consorzio allows no silage or other fermented feed.

[Ari Weinzweig]

===

And the people believed: and when they heard that the Lord had visited the children of Israel, and that he had looked upon their affliction, then they bowed their heads and worshipped.

And their foolish descendants have been worshiping ever since. What is more, they have taught us to worship. It therefore behooves us to know what kind of a God they and we are worshiping. [...]

And the Lord spake unto Moses, Say unto Aaron, Stretch forth thine hand with thy rod over the streams, over the rivers, and over the ponds, and cause frogs to come up upon the land of Egypt.

[...] And how could Aaron, a man, stretch his hand over the whole of Egypt?... And how could any race believe the Creator would do such things for it?

And they gathered them together upon heaps: and the land stank.

Here a meaningful touch is added by another writer: Moses and the Egyptian magicians vie with one another in doing miracles. The Egyptians duplicate everything Moses does until he produces lice, then they give up. The great man Moses has shown his superiority by creating lice!

[Deceptions and Myths of the Bible]

===

...I had long been convinced that the Stockholm Academy, which chose the recipients of the prizes in literature, was a diligent player of politics. It would be impossible on any other ground to account for its choice of Carl Spitteler the Swiss in 1010, Wladyslaw Reymont the Pole in 1924, and the Italian woman writer, Deledda, in 1926. All of these were plainly third-raters, but Italy had not been honored since 1906 nor Poland since 1905... Hitler, I believe, was quite right when he denounced the whole Nobel Prize set-up as dubious and forbade any German to accept an award... [Though] George Bernard Shaw had pretended to refuse the award in 1925 he had nevertheless taken the money.

[H.L. Mencken]

===

Cut all morels by cutting the stem with a knife or pinching it off at ground level. Always leave the underground portion undisturbed... Cut all morels in half vertically and inspect the hollow insides. Any mushroom with cottony material inside its stem and cap should be discarded. The morel’s stem should be directly connected to the cap.

[Start Mushrooming]

===

❚...While K-Y Jelly can be and is used for a variety of different purposes, it is most commonly associated with being a personal lubricant used to enhance sexual intercourse and masturbation. During the act, one or more of the participants will typically apply a small amount to their genitals...

Viewers confused as BBC News gets 'haunted by laughing pink face'

Harry Shearer Stunned/saddened to hear Don Rickles passed away this morning. Just saw him again in LA recently--sharply funny onstage, sweet offstage.

Michael Caine voted for Brexit

Paul O'Neill, the founder of popular prog-metal group Trans-Siberian Orchestra, has died

Fleur de sel has been collected since ancient times (it was mentioned by Pliny the Elder in his book Natural History), although it was traditionally used as a purgative and salve. It is now used as a finishing salt to flavor and garnish food. The name comes from the flower-like patterns of crystals in the salt crust.

Klayman: I am Batman

Hee Haw - Premier Episode Opening (Aired June 15, 1969)

3 Liberal Celebrities Arrested for Conspiracy to Assassinate President Trump? CLAIM... Miley Cyrus, James Franco, and Seth Rogan were arrested for conspiring to assassinate President Trump. ...FALSE

Now Gwyneth Paltrow Wants You To Walk Around Barefoot!

A Fata Morgana is an unusual and complex form of superior mirage that is seen in a narrow band right above the horizon. It is the Italian name for the Arthurian sorceress Morgan le Fay, from a belief that these mirages, often seen in the Strait of Messina, were fairy castles in the air or false land created by her witchcraft to lure sailors to their deaths... One of the possible explanations of the origin of the Flying Dutchman legend is a Fata Morgana mirage seen at sea... The Flying Dutchman, according to folklore, is a ghost ship that can never go home, and is doomed to sail the oceans forever. The Flying Dutchman is usually spotted from afar, sometimes seen to be glowing with ghostly light.

[grimmshood]

when the lantern died that night we didn't need to see

[hongsangsooweb]

“The Day After” : reviews from Cannes / “Le jour d’après” : critiques de Cannes

Une sélection de textes en anglais et en français sur le Hong Sang-soo présenté en compétition / (a selection of english and french reviews about the new Hong Sang-soo film showned in competition)

Daniel Kasman - Mubi Notebook

“The parallel timelines of The Day After efficiently introduces the idea of Bongwan toggling between reality, memories and desires, but then Hong leaves behind his frequent rhythmic shenanigans to let us piece together the nuances of each relationship. We see Bongwan with his lover; then we see him with his new employee; then Haejoo visits the office and mistakes Areum for her husband’s mistress; and so on—The Day After rotates its four players around to create the clever shape of two love triangles, one in the past, one in the possible future, with the seemingly passive but subtly caddish Bongwan at its meeting point.”

Giovanni Marchini Camia - Sight & Sound

“Whereas in Claire’s Camera the affair is left unexplored and So is simply presented as a callous chauvinist, the wonderful opening stretch of The Day After makes inventive use of montage to provide exposition. On his way to work, Bongwan dejectedly reminisces about the affair and every cut projects the film back and forth in time, each flashback triggered, madeleine-like, by an object or location that carries memories of his time with Changsook. More than merely an efficient means of sketching out the backstory, this parallel structure forcefully conveys Bongwan’s state of mind through a poignant illustration of the imprint romantic relationships leave on the minutiae of our everyday, haunting our present in their wake.”

Nikola Grozdanovitc - The Playlist

“The play with time and memory, as Bong-woon reflects over Chang-sook when coming across places they’ve spent time together in, is another fascinating aspect of the film. The elliptical nature of the structure, as past present and future fold into each other throughout the film, gives “The Day After” a lilting rhythm that is positively infectious. Harmoniously, the actors play their essential part in making the piece tick and tock with a full range of emotions as jealousy, admiration, anger, love, disbelief, guilt, regret, and acceptance get tangled in Hong’s controlled web. Kim Min-hee, is brilliant as Areum, the film’s anchor and most conscious character. Similarly, veteran actor Kwon Haeh-yo adds a tremendous amount of layers to Bong-woon that craft a completely believable three-dimensional human being, full of weakness. A key conversation between Bong-woon, his wife, and Aruem ends in his tears as that gorgeous melody slips through the speakers. The humanity on display transcends the screen.”

Monique Delgado - Desist Film

“If in previous films the resource of variation inside a variation allowed for an unfolding of time in two ways to discover the possibilities of the narrative and the characters, like an extrapolated literary exercise, in The Day After, this revisit of the same scene doesn’t deal with what “could have been” but with the indifference to memories. The characters aren’t submitted to this double play of reality, but to confirm that the past is a certain fact of the flexible, forgettable or fragile. “

David Ehrlich - Indie Wire

“To that end, “The Day After” is noticeably more subdued than most of his other movies (none of which would be considered “high-energy”). Filled with dead air, peppered with references to loss and tragedy, and glazed with a washed out synth score that stands out in contrast to the more jaunty tunes the director tends to use, the film is carried along on a powerful undercurrent of regret, and it comes to feel as though Bong-wan is a prisoner in the book-lined office where he ostensibly holds all the power. Hong never judges his characters — it’s not like viewers need the help — but it’s clear that all of the dishonesty has gotten under Kwon’s skin. “

Sam C. Mac - Slant

“This prototypical Hong production just doesn’t have enough to differentiate it from the filmmaker’s other ones. In fact, the only thing that feels slightly new in The Day After is the degree to which the film allows for things to go the way that its pathetic, self-pitying central character wants them to. And by the end, that level of indulgence isn’t sufficiently interrogated.”

Murielle Joudet - Chronicart.com

“La matière autobiographique qu’on devine traitée de manière plus frontale que d’habitude fait de The Day After le film le plus noir et le plus ébréché du cinéaste. C’est sans doute pour cela qu’il évoque autant de cinéastes français : on pense à Eustache mais aussi à Rohmer (Ma Nuit chez Maud) et surtout Garrel dans la façon qu’a le film de se plonger dans un réalisme sentimental désespéré : il est ici moins question de flirt innocent que de conjugalité brisée, d’indécidabilité amoureuse, qui aboutit à une catastrophe coulant sur toutes les scènes. Le constat amusé de la lâcheté masculine laisse ainsi place au dénombrement de ses ravages sur les femmes, subitement détraquées et rendues hystériques par un homme qui ne veut pas choisir. “

Elizabeth Franck-Dumas - Libération

“L’inventivité narrative du film est d’autant plus poignante qu’Areum porte ici une contradiction, argumentant pied à pied face à un Bong-wan désespéré que «rien n’est grave, tout est merveilleux». Areum croit au pouvoir des mots à saisir le réel, et Bong-wan, que l’on assimilera trop rapidement à la figure du réalisateur, n’est pas d’accord. L’on ne peut s’empêcher d’entendre dans ses propos un écho à ceux de Claire cités plus haut, car ce que tente cette fresque magistrale, c’est de prendre acte de l’équation insoluble entre ce qu’on rêve et ce qui est avéré, ce qu’on aurait aimé être et ce qu’on est vraiment.”

Mathieu Macheret - Le Monde

“ Pour une fois, Hong Sang-soo n’invente aucun dispositif de variation narrative, mais laisse son quartet amoureux errer dans une temporalité flottante et filandreuse, où l’on ne sait jamais bien quelle durée s’est écoulée entre chaque plan. Aux montagnes russes des échanges filés, souvent cruels, succèdent des trouées solitaires, où Bongwan marche dans une nuit sans fin et sans extériorité, à travers des coins de rues déconnectées. Ce que le film observe, et qui remue le cœur, c’est la complète dissolution du héros masculin, terrassé par sa velléité amoureuse, figé dans son impossibilité ontologique de trancher entre le confort de l’amour et la houle du désir, et ce jusqu’au complet effacement de lui-même.”

Josué Morel - Critikat

“Pendant un temps, dans le sillage d’un superbe raccord qui opère un retour en arrière et fait se succéder Areum et Changsook, on se demande si la première ne serait pas l’extension de la deuxième, un double possible, voire pour Bongwan un substitut à cette amante qui lui manque. Il n’en est finalement rien, mais l’incertitude que travaille l’écriture de Hong Sang-soo (bien que ce film-ci ne soit pas son plus joueur) conditionne le spectateur à supputer toutes formes d’hypothèses narratives, pour mieux finalement déjouer ses attentes en adoptant une narration assez linéaire. “