yes, we fuck

i will write a non-Chinese language review if time permits and my heart still at it, for the time being u have to settle on imperfect google translate
香港社會運動電影節(今年第十七屆)是我覺得比較進步的組織之一。在過去幾個月香港嘅社會運動、遊走拉美之間、以及老豆進出醫院之間,到十一月中先至到電影節做觀眾。

第二套睇嘅戲係yes, we fuck,內容探討身體不同能力嘅人的性需要 。
影後討論提到性教育、衛生巾、男女待遇不同、性小眾等等當代議題。對於身體狀況不一樣嘅人,如智商低於70的話,香港政府以保護為由,所有跟以上人士的性行為皆屬違法。問題來了,性慾、性高潮、甚至更複雜的性愛情感是天生賦予的,在保護個別人士和滿足他們生理需要甚至生理健康之間怎樣取捨?我相信認識個人身體、體質、能力係非主流媒體世界外隱形但實實在在放喺觀眾眼前的多樣的胴體、多樣的性需要、多樣的性快感,是包容不同需要人士的進步社會遲早要正視的第一步。

if you leave, omd

If you leave
, a number plays its visits from time to time in the airwaves resembling a not-so-distant relative. Whether it’s from the radio or boombox, in the car or at a fast food joint, I always allowed its melody in to my unsuspecting ears.   The music of the electronic 80s never falls out of favour,  I wonder if it has anything to do with the above PG-13 but not risqué at all lyrics.  Two other lame reasons for the song to occupy my brain space in me. Firstly, Orchestral Manoeuvres in the Dark (OMD) has a Merseyside origin, and Liverpool was where I lived away from home for a long period of time (just over a year) the very first time. Secondly, although I have never watched “Pretty in Pink” from the beginning till the end, Molly Ringwald, Andrew McCarthy and Jon Cryer do appear various other works, “Brat Pack” or not, that I like.

 

tous les soleils

songs from “tous les soleils“, a film  with many italian references make me remember it to this date.  i dunno if i would have the same curiosity if i understand italiano and the various dialects / languages close-by.


http://v.youku.com/v_show/id_XNDU1Mzk2ODcy.html

“Luna Lunedda” (Pizzica) – La Tarantella: a very boisterous and joyous opening

with italianness exaggerated to hilarious proportions, perhaps to appease the residents of l’hexagone. the story took place in Strasbourg, centered on a professor of classical music to weave  a credulous storyline.

“Silencio d’Amuri” is a rather sad or romantic number towards the end.

 


quelle fin triste mais egalement musicale

sogna fiore mio

the film reminded me of yves montrand and marcello mastroianni who left their marks in french cinema. how many famous french actresses or actors can perform in spanish or italian anyway?

 

ps. if u speak italian, can u tell me if any of the songs were sung in dialects or languages other than italian?

海洋公園搞基!oh si gay l’océan park

朋友開心地評論兩個麻甩佬feel嘅海洋公園廣告。瞥了一眼才知是仿效電影裡張國榮、梁朝偉的角色。對象是臺灣的文青遊客?

海洋公園拗(臺灣)啲基!

依我每年一次生日到訪,過去幾年都以國內遊客居多。臺灣中產hehe的男生真的喜歡來跟排隊打尖的大媽迫登山纜車?如果大家忽略動物權益的話,也許這倒是社會開放的一小步!不過開放也是對人哋,外來嘅人。廣告暫時冇係香港嘅網站出現過噃。

une publicié homo de hong kong.

deux gars s’embrassent devant la colline de l’océan park d’aberdeen à hong kong. ça vous rappelle du infameux long métrage
‘happy together’ de wong war-wai

fréquenté par des milliers et milliers des touristes chinois, hétéro de plus. ce lieu est plus proche de euro disney à paris, dit familial que la ville sur-romantisée qui s’appelle buenos aires òu se trouvent les deux exilés hongkongais dans le film. c’est un changement de cible intéressant vers une clientèle plus diverse, même si hong kong reste une ville qui tiene toujours des valeurs conservateurs.

此colonia跟彼colonia la mala traduccion

墨西哥導演奧斯卡得獎的電影roma在北京的塞萬提斯學院免費放映,在免費影展買少見少的時代,當要多加讚許!美中不足之處是中文翻譯搞錯了!roma-cn.jpg
colonia 雖然於西班牙語、法語colonie、英語colony理一看就覺得是殖民地,但在墨西哥城的不同區也會用colonia,意思大概和zona或barrio相近。由一個地區,變成羅馬殖民地,希望北京不會找馬德里和墨西哥城麻煩啦!
roma-es.jpg

La Jaula de Oro (The Golden Dream)


films on immigrants will not be going out of style anytime soon in the 21st century even though we are almost through with the second decade.

why? people flee their homes because of economic difficulties, violence, war, environmental devastation etc. will continue to do so in foreseeable future, despite all the agreements, treaties and protocols signed.

La Jaula de Oro (Director: Diego Quemada-Díez, 2013) is the latest one i saw. a few teenagers from guatemala trying to ride the freight trains North to fulfill their golden dream. there were good people throwing fruits up to the dehydrated migrants on the slow moving train. unfortunately, more often the travelers were robbed, often at gunpoint. real cinema, real story, sad future that repeats.

the impossible

an ordinary name for a film that reenacted a very out of the ordinary event for those who lived through it. a 2012 spanish / american mainstream film production adapted from a spaniard family’s real account in the 2004 south-east asia’s indian ocean earthquake and subsequent devastating tsunami. the story revolves around the bennett family, whose mom and eldest son were separated form the dad and the younger two kids when the tsunami hit. the visual effects looked real and dramatic, with people and much bigger and at sharp debris bouncing back and forth in a gigantic whirlpool. naomi watts, whom i have been watching since her performances in 21 grams and king kong, gave a solid performance, with all the bruised make-up and such. her son in the film, tom holland, also delivered, with the scene reuniting with his two younger siblings especially touching. i dunno why the director casted ewan mcgregor, who just appeared a just tad too photogenic for someone running around in rags searching for his wife and kids.

the earthquake and tsunami were daily headlines for at least a few weeks for what i recall – my friend and i were glued to tv and interest newscasts re reports coming out nightly at home for much of the christmas and new year holidays then. what stuck me, apart from the good story-line (the real story can’t be bad, eh?) was the still the very european / white (well actually anglo, for the characters’ names were anglicized) narrative. the thai people were pretty much in and out of the background. perhaps the white privileged expats (an insurance company paid for medical evacuation flight to singapore for the five-member family at the end) did only hang out with each other, but this answers exactly the posts i ‘ve been seeing these days on “crazy rich asians” (the film) perpetuating stereotypes. society won’t advance unless diversity of storytelling take centre stage

Plaza de la Soledad

Plaza de la Soledad

un documentaire sur les prositutés dans la capitale du Mexique, Mexico ou CDMX.

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À deux pas de Zócalo, CDMX,  cette plaza regroupe ces femmes qui travaillent dans la rue, pratiquant le plus vieux métier du monde. L’amour, le travail de sexe, leurs corps, la violence, la pression économique démontrent les défis quotidiens  qui les entourent. Las mujeres no es bellas,  pero està es una historia real y rica. Ce film me rappelle ce quartier (Merced) plein d’énergie, meme si les gens qui fréquent sont parfois défavourisés.

Hidalgo, La Historia Jamás Contada

Hidalgo, The Never Told Story.

Miguel Hidalgo, whose name wasn’t even mentioned in full in the
introduction when it was screened at a local film festival. The
presenter, however, highlighted that it tells a lesser known and
more controversial side of Hidalgo, who is probably one, if not
the grandfather of the Mexican independant revolution.

Digging up his more mainstream info I found on wiki, he was born in the colonies of Spaniard descent. His prisethood mingled with his love life, his European ancestry intertwined with his
friendship as well as appreciation of indigenous peoples and their
languages, his references to the destiny of French royalties as a
result of the aftermath of the French Revolution, and ironically
his attraction to French bourgeoise or théâtre français (as accused by certain people he came into contact with), are a sampling traits of a revolutionary in the making. Even though his death as well as those around him, directly or remotely linked to the rebellions were bloody and graphic to say the least. It is not difficult for the uninformed to take a peek into the more playful, colourful or non-conventional aspect of the martyr in the modern Mexican nation building process.

Hidalgo, La Historia Jamás Contada

Hidalgo, La Historia Jamás Contada

泰奧·安哲羅普洛斯 Theodoros Angelopoulos

泰奧·安哲羅普洛斯(Theodoros Angelopoulos, 希臘語:Θόδωρος Αγγελόπουλος)是個在他在世時我不認識的導演。偶然的機會看了他的《永遠的一天》(Eternity and a day).拼除希臘的政治和歷史背景來看這電影,內面的“一天”雖不至變成永恒,但的的確確做就一千絲萬縷、錯綜復雜的長故事。

泰奧·安哲羅普洛斯 Theodoros Angelopoulos

泰奧·安哲羅普洛斯 Theodoros Angelopoulos

A director unbeknownst to be when he was around, his Eternity and a day was my initiation to his works. Within that eternity (or was it merely a day?) entered and exited a pre-teen illegal migrant worker, a neighbour who was never seen, only heard, indirectly through music coming out from across the balcony, close friends and relatives, flashbacks and promises, etc that insofar I haphazardly recall here. Like sediments running downstream, it would take me more time and perhaps another of his long métrages to fully appreciate his contributions to cinema.