#ricardo trepa

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O Estranho Caso de Angélica. Manoel de Oliveira. 2010

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O princípio da incerteza (Manoel de Oliveira, 2002)

[lifejustgotawkward]

365 Day Movie Challenge (2018) - #63: Belle Toujours (2006) - dir. Manoel de Oliveira

E.B. White wrote in 1941 that “humor can be dissected, as a frog can, but the thing dies in the process and the innards are discouraging to any but the pure scientific mind.” The same thought can be applied to Manoel de Oliveira’s film Belle Toujours (2006), a sequel of sorts to Luis Buñuel’s surrealist drama Belle de Jour (1967). The extraordinary longevity of Oliveira, a Portuguese director whose career began in 1931 and lasted until his death in 2015 at age 106, may have given him the idea to create a follow-up to Buñuel’s classic by reuniting Sévérine Sérizy (originally Catherine Deneuve; now Bulle Ogier) with her late husband’s best friend, Henri Husson (Michel Piccoli), who sees her at a Paris concert and eventually convinces her to have dinner with him. But where Buñuel opted for dreamlike imagery and ambiguity, Oliveira attempts to pick apart the characters’ motivations so thoroughly that the thrills of Buñuel’s mysteries disappear.

Perhaps Belle Toujours was doomed before filming even began by not featuring Catherine Deneuve in a return to her former role. Late in Oliveira’s film, Ogier explains her altered personality to Piccoli by noting the passage of time, remarking that “the fire no longer burns” in her. Of course, such a sea change is possible over so many decades, but the bigger issue is that Bulle Ogier is an actress of a completely different temperament than Deneuve. Where Deneuve is simultaneously icy, regal and yet still alluring, Ogier comes off as delicate and almost timid by comparison. Even after so many years, it is hard to imagine the Sévérine character becoming so meek and somehow physically unimposing. (Ogier is four inches shorter than Deneuve, though I suppose that detail can be attributed to the character growing older.) Ogier conveys a wistful, melancholy air most effectively when she tells Piccoli that she never had children because it was not meant to be – a reminder to this viewer that in real life, the actress had a daughter, Pascale Ogier, who was an up-and-coming starlet before dying of a drug-related heart attack at age 25 – but it is still difficult to recognize the character’s transformation.

Michel Piccoli is as appealing as ever in his second go at playing Henri Husson, now bearing an even more pronounced twinkle in his eye due to his age. He is as charming here as an octogenarian as he was when he was in his early forties, still questioning the vagaries of life with wit and curiosity. Much of Belle Toujours is spent with Henri in a small Parisian bar, relating the tale of his long-ago involvement with Sévérine to a young barman (nicely portrayed by Ricardo Trêpa, Manoel de Oliveira’s grandson). This is unsurprising, given that bartenders often serve as armchair psychiatrists for their patrons, but the clinical ways in which Henri (in other words, Oliveira) scrutinizes his and Sévérine’s actions drains the story of its original magic. Buñuel’s achievement in his film was to show rather than tell, never showing us more than was necessary so that we would always be left wanting a little more; Oliveira’s drawn-out scenes, whether in the bar or at the dinner between Henri and Sévérine that closes the film, makes what should be a compelling reunion fairly boring. And the whole film is only 68 minutes long, so the story ends before it even has a chance to begin.

In the only other Oliveira film I have seen, A Talking Picture (2003), the centerpiece is a lengthy conversation between three older women (Catherine Deneuve, Irene Papas and Stefania Sandrelli) who are dining together on a luxury cruise. A special alchemy regarding those actresses makes the twenty-minute-long scene work; not even the presence of one of my all-time least favorite actors, John Malkovich, can detract from the overall success of the women’s philosophical ruminations. It’s a shame that Deneuve, who also collaborated with Oliveira on The Convent (1995) and I’m Going Home (2001), could not be persuaded to appear in Belle Toujours, but given how flimsy the premise is, evidently she exercised good judgment.

As an homage to Belle de Jour, Oliveira’s Belle Toujours also fails to capture the first film’s sense of humor. Oliveira’s dry approach to storytelling is too formal and stiff to seem at all related to Buñuel’s unique combination of melodrama, eroticism and comic absurdity. Sabine Lancelin’s cinematography brings welcome touches of artistry in certain key moments, like Henri and Sévérine’s dinner by candlelight in a hotel room, and the dramatic conclusion of that encounter ends with the film’s one genuine soupçon of surrealism, but otherwise the best that can be said of Toujours is that it is an only occasionally amusing experiment.

[ricardoramalhopoemas]

A Nave dos Loucos

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Era uma nau invulgar

Que navegava prados e fragas

Levando em seu velejar,

Castelos, princesas e fadas.

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Numa varanda briosa

Estava a infanta mais bela,

Com uma gata curiosa

A admirá-la à janela.

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Mais acima a rainha

vigiava os jovens infantes,

Enquanto o rei se entretinha

Perscrutando os horizontes.

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Outros animais havia

Na nau atabalhoada,

De rostro uma cotovia

Atrás do rei pespegada.

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E um cão estouvado

Olhando em frente ansioso,

Enquanto o príncipe acanhado,

Ficava atrás, receoso.

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Um feiticeiro velava

Uma belíssima fada

Que segurava a vela alva

Pelo vento enfunada.

.

Três donzelas admiradas,

De sua cor, cada qual,

Sondavam destemidas

O percurso pontual.

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Uma cabeça de mostrengo

Enorme, à proa emergia,

Para assustar inimigo

Que surgisse em travessia.

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O almirante, no seu lugar,

Dá ares de preocupação.

Talvez pela ausência do mar,

Ou pela singular formação.

.

Há mesmo um clandestino

Que trepa por um vão,

Juntando assim o destino

À egrégia tripulação.

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Há laranjeiras carregadas,

Flores e plantas a granel,

Bandeiras esvoaçadas

Anunciando o tropel.

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Mas mesmo aos solavancos

A nau não sai do lugar.

É uma nave de loucos,

Uma metáfora vulgar

à humana condição.

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Em pintura de enorme distinção.

.

Ricardo Ramalho (2022)

[estrategiaconcursos]

Não perca a nossa Revisão de Véspera TRE PA – Analista Judiciário (Área Judiciária)! Programação (sujeita a alterações): 08:00 até 09:00| Direito Constitucional| Nelma Fontana 09:00 até 10:00| Direito Eleitoral| Ricardo Torques 10:00 até 11:00| Direito Penal| Renan Araujo 11:00 até 12:00| Direito Processual Civil| Ricardo Torques 13:00 até 14:00| Português| Felipe Luccas 14:00 até 15:00| Direito Processual Penal| Priscila Silveira 15:00 até 16:00| Administração Pública| Rodrigo Rennó 16:00 até 17:00| Direito Administrativo| Herbert Almeida 17:00 até 18:00| Regimento Interno| Ricardo Torques Torne-se um assinante: https://ift.tt/2YOtA2D Conheça os nossos cursos para concursos: https://ift.tt/1QIsghV ✓ Acompanhe através do: Instagram: https://ift.tt/2G2GXlz Facebook: https://ift.tt/2rpOHr8 Twitter: https://twitter.com/EstratConcursos Não se esqueça de deixar o seu Gostei e Favoritar este vídeo. Deixe seu comentário. Mais conteúdos em: https://ift.tt/1ARpJ23 "O segredo do sucesso é a constância no objetivo." ® #TREPA #ConcursoTREPA #concursotribunais by Estratégia Concursos

[ctvsalitalnet-blog]

Perú vs. Chile y cinco errores a evitar para ganar el 'Clásico del Pacífico'

New Post has been published on https://www.ctvsatelital.net/peru-vs-chile-y-cinco-errores-a-evitar-para-ganar-el-clasico-del-pacifico/

Perú vs. Chile y cinco errores a evitar para ganar el 'Clásico del Pacífico'

El duelo Perú vs. Chile está a la vuelta de la esquina y seguramente Ricardo Gareca ha revisado más de un video de los duelos anteriores entre ambos seleccionados, con el único objetivo de no repetir los mismos errores que, quizás nos pueda costar el resultado.

Aquí puedes seguir el minuto a minuto del Perú vs. Chile EN VIVO

Tras los últimos encuentros ante las selecciones de Alemania y Holanda, inclusive tomando en cuenta los disputados en el Mundial de Rusia 2018 podemos decir que los dirigidos por Ricardo Gareca no pueden volver a caer en las mismas situaciones.

Errores en salida

La casi obligación por salir desde el fondo con el balón dominado hace que muchas veces se cometa errores desde el fondo. Nos pasó con Alemania y también con Holanda. Si retrocedemos un poco más también sucedió lo mismo contra Francia y Dinamarca.

El primer gol ante Holanda, fue precisamente por una mala salida

Olvidarse de la famosa “rivalidad histórica”

Si bien es cierto, el último encuentro el equipo de Gareca terminó con los 11 jugadores en 90′, en otras ocasiones se vio perjudicado con expulsiones sobre los primeros minutos del encuentro. Para muchos hay jugadores que se dejan llevar por ese fervor patriótico, basado en una “rivalidad histórica”. Esto, el viernes próximo debe quedar enterrado de una vez por todas, pues de no ser así podríamos ver episodios lamentables como lo fue en la Copa América 2015 con Carlos Zambrano o el de las Eliminatorias a Rusia 2018 con Christian Cueva. En choques como estos, el factor emocional será fundamental.

Así fue la expulsión de Carlos Zambrano en la Copa América 2015

Desacostumbrarse a la idea de jugar con un ‘9’

Probablemente el Mundial de Rusia 2018 fue el punto de quiebre para empezar a buscar otras maneras de jugar sin Paolo Guerrero. El ‘Depredador’ a lo mucho jugará sus últimos encuentros con la selección peruana en la Copa América 2019 y sino se le encuentra un reemplazante, Ricardo Gareca deberá ingeniárselas para competir sin el ahora atacante del Inter de Porto Alegre. Por ahora, quien se perfila para reemplazante de Guerrero sería el hombre del Seattle Sounders, Raúl Ruidíaz.

Ganar en el medio campo

Para compromisos como los que se sostienen ante una selección como la chilena, el trabajo de los volantes centrales es determinante. Hasta el momento se espera que Renato Tapia y Yoshimar Yotún, sean quienes intenten frenar el juego que Arturo Vidal. Además, el sector izquierdo peruano deberá ser reforzado, pues estará Mauricio Isla, quien en repetidas ocasiones trepa por dicha zona y podría ser vital para los ataques del conjunto de Reinaldo Rueda.

Mayor determinación en la defensa

En los duelos amistosos anteriores, pudimos apreciar que Anderson Santamaria no lució del todo seguro en la zaga. Para el choque ante la ‘Roja’, se espera que la ‘Muralla’ se muestre mucho más sólido y con una mejor compenetración con Christian Ramos, quien seguramente será su compañero en la zona de los centrales.

LEE ADEMÁS:

[enterfilm]

BELLE TOUJOURS (Manoel de Oliveira, 2006)

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[iliketigers]

[lentecreativo]

[jarcieri]

Films Watched in 2012: #19 - The Strange Case of Angelica (dir. Manoel de Oliveira, 2010)

Oliveira (who turned 103 in December) is easily one of my favorite directors. I find all of his films endlessly fascinating.

[wronglikeright]

187 minus 1 Eccentricities of a Blonde-Haired Girl (2009) Manoel de Oliviera is 102 years old.  When he made this film he was 100.  He started directing pictures eighty years ago.  This is the first movie he's made that I've seen.  It's moments like this where I feel like a babe in the woods.  I might watch 365 movies this year but sometimes I feel like I should be watching twice that many.  At this rate, I'm never going to catch up to the bounty of riches the brief history of cinema has left for me; and that's considering I was wise enough to only focus on the riches (which I obviously don't).  Catching up is putting it crudely; all I'd really like to do is make a somewhat serious scratch at cinema.  Just when I feel like I'm getting there, I discover a director who's made more then fifty films for nearly a century whom I'd previously never heard of.  Days like this almost make me want to give up. Thankfully, Eccentricities of a Blonde-Haired Girl is so charming.  It's a strange movie to say the least.  De Oliveria seems to be a kinder, gentler Luis Bunel and this movie sometimes feels like a tall tale your grandpa would tell you before reaching over and literally pulling your leg.  It has a strange fable like quality, with odd, forced and stilted dialogue in conjunction with beautifully sumptuous Lisbon photography.  The cinematography is filled with layers of interest everywhere on the screen and de Olveira's favorite device seems to be frames within frames; the titular girl is, at one point, framed through a window frame, framed again through the window pane, yet again through a frontal curtain and finally a fourth time through a second outer see-through veil.  If you count the Chinese-fan she's constantly waving in front of her face, that's five layers of frames to get through before we get to the real eccentricities and even that's not counting the most obvious frame of all; the movie screen itself. The intentions here might be obvious; with that many levels of mystery, it's only natural that our hero, the gullible Macario (Ricardo Trepa) suffers greatly for a lack of understanding concerning his point of great, distant affection (the truly beautiful Catarina Wallenstein).  That's all well and good, but the movie would hardly be worth it for that level of folksie charm alone.  What makes Eccentricities work are its own eccentricities; the mixture of beautifully shot locations and the strange, childlike dialogue, the odd character habits like Macario's Uncle denying his right of marriage for no discernible reason whatsoever, or the hero's train ride with a woman who refuses to look him in the eye (she has more eye-contact with us/the camera than him).  While some of these little quirks can be off-putting, they make for a quietly refreshing, playful film, especially coming from a director so experienced.  Now if you're excuse me, I've got a lot of work to do.  Not even halfway through the year and I already feel like I'm not nearly close to finished. Photo courtesy of reverseshot.com

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