CAI YOUNG WISH YOU HAPPY HOLIDAYS !!!!!
Wednesday, December 23, 2009
Wednesday, December 9, 2009
Ears Ringing Itchy Nose Superstitions
boulder in the city
Sabato 19 dicembre 2009
Piazza Garibaldi - Sondrio
Siete tutti invitati
al primo
Sondrio Street Climbing
e alla Festa degli Auguri
Siete tutti invitati
al primo
Sondrio Street Climbing
e alla Festa degli Auguri
-ore 16.00
Piazza Garibaldi.
Apertura Campo Base con parete d’arrampicata per bambini, igloo con musica e esposizione prodotti, proiezione video, Slackline.
-ore16.30 - 19.00
StreetBoulder Contest.
-19.30 pm
StreetBoulder Final Contest in Piazza Campello, at Credito Valtellinese.
Up Next: Happy Hour buffet at "Berry's".
-hours 21:00 to 22:00
Piazza Garibaldi
StreetBoulder Award Contest.
Day greetings with Bonfire and VinBrulè.
Piazza Garibaldi.
Apertura Campo Base con parete d’arrampicata per bambini, igloo con musica e esposizione prodotti, proiezione video, Slackline.
-ore16.30 - 19.00
StreetBoulder Contest.
-19.30 pm
StreetBoulder Final Contest in Piazza Campello, at Credito Valtellinese.
Up Next: Happy Hour buffet at "Berry's".
-hours 21:00 to 22:00
Piazza Garibaldi
StreetBoulder Award Contest.
Day greetings with Bonfire and VinBrulè.
..............................
CAI Valtellinese Section arranges for Christmas 2009, an innovative sporting event in the urban context. It will be a race of "Street Boulder," or climbing urban, where the boulders and rock walls and then replace it, at least for one night, the city and its structures. The "Street Boulder, already practiced, though without a legal name, for fun and exercise, by the climbers of the '70s, the attempt to transfer the gestures and the desire to" verticality ", typical of the climb to the sites of their daily lives, or in the streets and alleys of the city.
Cornices, columns and sills are then transformed into fun "steps" by the different characteristics and difficulties, thus to discover an unusual way to live the urban dimension. A new activity
therefore, feels that the CAI to accommodate seamlessly, to mark in an unusual and fun, the bond that unites our city with the activity of climbing, an essential element of alpinism. For the city streets, inspired by recent research Christmas shopping, will be around so many young "urban climber" united by a passion, challenging each other on the various steps, including a final "surprise" very dramatic, knockout. The event, called "Sondrio Street Climbing" shall occur the annual Festival of Christmas greetings CAI, emphasized with the values \u200b\u200bof sport, fun and friendship. In Piazza Garibaldi set up our "base camp", with many attractions. Apart from a small panel of climbing where even the youngest children can, with confidence, try this activity, there will be a corner where the groped "slackline" (the rope for balance, always loved by people in the exercise vertical), a for local products and music for adults and children. The Bonfire of the CAI, in partnership with the Fire Department, will illuminate the Piazza Garibaldi, and will be projected on a large panel of striking images of mountaineering and climbing on our most beautiful mountains, to open, right in the heart of the city, a window on what that più bello le sta attorno e che la rende, appunto, “Città Alpina”.
Cornices, columns and sills are then transformed into fun "steps" by the different characteristics and difficulties, thus to discover an unusual way to live the urban dimension. A new activity
therefore, feels that the CAI to accommodate seamlessly, to mark in an unusual and fun, the bond that unites our city with the activity of climbing, an essential element of alpinism. For the city streets, inspired by recent research Christmas shopping, will be around so many young "urban climber" united by a passion, challenging each other on the various steps, including a final "surprise" very dramatic, knockout. The event, called "Sondrio Street Climbing" shall occur the annual Festival of Christmas greetings CAI, emphasized with the values \u200b\u200bof sport, fun and friendship. In Piazza Garibaldi set up our "base camp", with many attractions. Apart from a small panel of climbing where even the youngest children can, with confidence, try this activity, there will be a corner where the groped "slackline" (the rope for balance, always loved by people in the exercise vertical), a for local products and music for adults and children. The Bonfire of the CAI, in partnership with the Fire Department, will illuminate the Piazza Garibaldi, and will be projected on a large panel of striking images of mountaineering and climbing on our most beautiful mountains, to open, right in the heart of the city, a window on what that più bello le sta attorno e che la rende, appunto, “Città Alpina”.
Friday, December 4, 2009
Repair Water Damaged Artex
Sweet Rain - Accuracy of Death (Dolce Pioggia. L'accuratezza dello spirito della morte)
O " tontazzo history of the Shinigami." I think they are few nippofili who have no idea what is the saga of デスノート ( Desu Noto - Death Note), created by 大場 つぐみ ( Tsugumi Oba ) as translated into manga and anime and live action movies of success.
However, for those like me who do not know instead of it (or if they have deliberately kept away), in Japan it is believed in many semi-divine and supernatural entities, and between them there are 死神 ( Shinigami ) or spirits of the dead, a godlike figure in Japan imported from Europe and adopted in the Meiji period. This film gives us yet another alternative view of the Shinigami, but first things first ...
Mr. Chiba is a Shinigami. Mr. Chiba is a Shinigami to come very elegant and handsome, with his beautiful hair and her clothing style, "Le Iene". Mr. Chiba has no age, traveling in random in time and space, walking with his spirit controller (a black dog) over the rails of a monorail (identical to that of Naha, Okinawa), which should be precisely the supernatural dimension from which comes the beautiful Chiba. The handsome Shinigami is also bored with his routine: he has never seen a blue sky in endless millennia of its existence because when he works for some reason it always rain ... and then those damn crows blacks, there are always about the person to die The only break from the rain Mr. Chiba is walking on the concrete monorail, which is above the clouds. When the mono-rail stops with a door, it means that promises a new job. Crossing the threshold, this is our world in a thunderous downpour, a lot of crows and a contact to be established: one with the victim, that is the person who should die: Chiba good as his colleagues (there are many around the world) must decide: do with death or suspend the death. It's kind of a process in which victims are subjected. Before it is for an employee of the unlucky 80, then at a Playboy of the yakuza of today, and then to a hairdresser for the future with a lot of helper robots (very cute I would add, and I speak of the robot). Mr. Chiba will (or will not) take its decisions by showing a human side, etc etc. Let
now, the film I liked. It showcases a sleek and Takeshi Kaneshiro pumped crap, Chinese actor and shoulders are a little strong to hold a ridiculous script. The Shinigami and interpreted by him immortal, but his travels in space and time make it hopelessly clumsy in front of humans and important concepts which the courts of life as a Shinigami which is discussed should at least be informed, if not very casual: funny as a cue to the loosening and humanization of death, but not credible if you want to apply to a character who should be a demigod whose job should be to judge men for their lives and for the effective fulfillment of their intentions. Mr. Chiba passes missions to pronounce sentences deep, deep to the maximum as the bathtub of my mother's house, to respond vaguely to his dog that keeps asking account of his work, to be completely set aside the wisdom of the female protagonist in the final film. Mr. Chiba reacts to positive datigli the characters in the form of painful lessons of life with silent scenes worthy of a gorilla in a suit and tie who listens to a lesson in philosophy ... This film is a
version when compared to an almost comical attempt by the Western cinema of the nineties to humanize the death, always with a handsome, but blond named Brad Pitt. The film we are talking about is "Meet Joe Black", 1998, directed by Martin Brest. Although even that was crap un'emerita likely only to pump the beautiful fall in love with Brad and make millions of girls, there was felt a different way of dealing with profound themes such as death, and then the character played by the beautiful Brad proved highly educated, serious and prepared in a lot of concepts, just as it should be a demigod (I'm damned, I'm really talking about how it should be a demi-god ...), and then didiamocelo is also the daughter of his broom victim is a large, light years from the gorilla Kaneshiro.
Interesting to note how light (or care?) Japanese dash of very deep and important issues from a spiritual point of view. Domistrazione once again that the Japanese spirituality is completely different from ours, especially in the mix of symbols from different religions in the opening scene, for example, a Shinigami, but the basic concept imported in some way derived from Shinto deity is rare Buddhist cerimoina that witnessing the funeral of a Christian girl who has just sent to another world. You can groped a deeper vision of the film by analyzing its imperfection Shinigami of the same, in practice, is intended only to make two decisions: After an investigation, including "suspend" or "proceed" with the death of the victim, an event apparently decided to be an inevitable fate that the spirit of death can only delay, but not avoided. That death is not the result of divine intervention but a simple need in a lifetime event? That everything is based on the blind law of life? And then the black dog, the spirit of Mr. Chiba controller: the black dog in English mythology is associated with the devil or the spirits of the dead since the medieval demonology (who also has read "The Hound of the Baskervilles" by Arthur Conan Doyle knows what speak) ... but the dog in the film is very unlucky and mounting makes it even comical at times for his condition, also for the spirit which is of extreme inpotenza is to manage the events, that in managing the Shinigami that has been assigned. I believe strongly that the author, 伊 坂 幸 太郎 ( Isaka Kotar ), apart from the scene where Chiba wonders why death is represented by a black spirit with a sickle, perhaps not used this symbolism consciously or if ' has sought to sdrammattizzare all in a comic, partly because the Japanese would not understand the nuances of us fearing Catholic education has taught us to notice. I think we can safely relelgare this plot quell'accozzaglia to religious symbols and for our aforementioned oblivious and obtuse Catholic sensibility even venial blasphemy of a company, the Japanese, who never had his true religious identity (and this is one of his great merits)
We also say that the crows are all done in computer graphics and feel sorry for them? Apart from the main character, are the supporting cast to make the film: the so-called victims take the stage, all the characters are beautifully managed, and the ending is cute too. But I free from my endless speeches and leave you to face this idiot of Kaneshiro poster ...
O " tontazzo history of the Shinigami." I think they are few nippofili who have no idea what is the saga of デスノート ( Desu Noto - Death Note), created by 大場 つぐみ ( Tsugumi Oba ) as translated into manga and anime and live action movies of success. However, for those like me who do not know instead of it (or if they have deliberately kept away), in Japan it is believed in many semi-divine and supernatural entities, and between them there are 死神 ( Shinigami ) or spirits of the dead, a godlike figure in Japan imported from Europe and adopted in the Meiji period. This film gives us yet another alternative view of the Shinigami, but first things first ...
Mr. Chiba is a Shinigami. Mr. Chiba is a Shinigami to come very elegant and handsome, with his beautiful hair and her clothing style, "Le Iene". Mr. Chiba has no age, traveling in random in time and space, walking with his spirit controller (a black dog) over the rails of a monorail (identical to that of Naha, Okinawa), which should be precisely the supernatural dimension from which comes the beautiful Chiba. The handsome Shinigami is also bored with his routine: he has never seen a blue sky in endless millennia of its existence because when he works for some reason it always rain ... and then those damn crows blacks, there are always about the person to die The only break from the rain Mr. Chiba is walking on the concrete monorail, which is above the clouds. When the mono-rail stops with a door, it means that promises a new job. Crossing the threshold, this is our world in a thunderous downpour, a lot of crows and a contact to be established: one with the victim, that is the person who should die: Chiba good as his colleagues (there are many around the world) must decide: do with death or suspend the death. It's kind of a process in which victims are subjected. Before it is for an employee of the unlucky 80, then at a Playboy of the yakuza of today, and then to a hairdresser for the future with a lot of helper robots (very cute I would add, and I speak of the robot). Mr. Chiba will (or will not) take its decisions by showing a human side, etc etc. Let
now, the film I liked. It showcases a sleek and Takeshi Kaneshiro pumped crap, Chinese actor and shoulders are a little strong to hold a ridiculous script. The Shinigami and interpreted by him immortal, but his travels in space and time make it hopelessly clumsy in front of humans and important concepts which the courts of life as a Shinigami which is discussed should at least be informed, if not very casual: funny as a cue to the loosening and humanization of death, but not credible if you want to apply to a character who should be a demigod whose job should be to judge men for their lives and for the effective fulfillment of their intentions. Mr. Chiba passes missions to pronounce sentences deep, deep to the maximum as the bathtub of my mother's house, to respond vaguely to his dog that keeps asking account of his work, to be completely set aside the wisdom of the female protagonist in the final film. Mr. Chiba reacts to positive datigli the characters in the form of painful lessons of life with silent scenes worthy of a gorilla in a suit and tie who listens to a lesson in philosophy ... This film is a
version when compared to an almost comical attempt by the Western cinema of the nineties to humanize the death, always with a handsome, but blond named Brad Pitt. The film we are talking about is "Meet Joe Black", 1998, directed by Martin Brest. Although even that was crap un'emerita likely only to pump the beautiful fall in love with Brad and make millions of girls, there was felt a different way of dealing with profound themes such as death, and then the character played by the beautiful Brad proved highly educated, serious and prepared in a lot of concepts, just as it should be a demigod (I'm damned, I'm really talking about how it should be a demi-god ...), and then didiamocelo is also the daughter of his broom victim is a large, light years from the gorilla Kaneshiro.
Interesting to note how light (or care?) Japanese dash of very deep and important issues from a spiritual point of view. Domistrazione once again that the Japanese spirituality is completely different from ours, especially in the mix of symbols from different religions in the opening scene, for example, a Shinigami, but the basic concept imported in some way derived from Shinto deity is rare Buddhist cerimoina that witnessing the funeral of a Christian girl who has just sent to another world. You can groped a deeper vision of the film by analyzing its imperfection Shinigami of the same, in practice, is intended only to make two decisions: After an investigation, including "suspend" or "proceed" with the death of the victim, an event apparently decided to be an inevitable fate that the spirit of death can only delay, but not avoided. That death is not the result of divine intervention but a simple need in a lifetime event? That everything is based on the blind law of life? And then the black dog, the spirit of Mr. Chiba controller: the black dog in English mythology is associated with the devil or the spirits of the dead since the medieval demonology (who also has read "The Hound of the Baskervilles" by Arthur Conan Doyle knows what speak) ... but the dog in the film is very unlucky and mounting makes it even comical at times for his condition, also for the spirit which is of extreme inpotenza is to manage the events, that in managing the Shinigami that has been assigned. I believe strongly that the author, 伊 坂 幸 太郎 ( Isaka Kotar ), apart from the scene where Chiba wonders why death is represented by a black spirit with a sickle, perhaps not used this symbolism consciously or if ' has sought to sdrammattizzare all in a comic, partly because the Japanese would not understand the nuances of us fearing Catholic education has taught us to notice. I think we can safely relelgare this plot quell'accozzaglia to religious symbols and for our aforementioned oblivious and obtuse Catholic sensibility even venial blasphemy of a company, the Japanese, who never had his true religious identity (and this is one of his great merits)
We also say that the crows are all done in computer graphics and feel sorry for them? Apart from the main character, are the supporting cast to make the film: the so-called victims take the stage, all the characters are beautifully managed, and the ending is cute too. But I free from my endless speeches and leave you to face this idiot of Kaneshiro poster ...
Sweet Rain - 死神 の 精度 (Sweet Rain . Shinigami No Seido - Sweet Rain. The accuracy of the spirit of death)
Japan, 2008 - directed by 笕 昌 也 ( Kakehi Masaya )
Saturday, November 28, 2009
Change License From Nj To Ny
natural Kokekko (Un "Coccodè" naturale)
From the director of リンダ リンダ リンダ ( Lina Linda Linda ), Nobuhiro Yamashita, here comes on tiptoe another small miracle of contemporary Japanese cinema 
From the director of リンダ リンダ リンダ ( Lina Linda Linda ), Nobuhiro Yamashita, here comes on tiptoe another small miracle of contemporary Japanese cinema Ever dreamed of leaving all your hectic city life, smog, noise, the crowded workplace, the time is never enough? Have you ever dreamed of going to a quiet place to listen in silence on the passing of time, see the grass grow, not to feel anxiety about something behind you chasing?
Japan, island Honshu, Shimane Prefecture. In a small village in the countryside where small rice fields and steep hills full of trees there is a small school. The number of inhabitants of this village is so small that the elementary school and middle school are merged in the same building, and everything in between one and the other there are only six students: the smallest is so small that it is still Piss on you, and the largest is the penultimate year of the medium. The school is in turmoil because it is going to get a new student, he is from Tokyo and moved into the village of his grandfather with his mother. Soyo (played by the young 印 东 夏 帆 ( Indo Kaho ), stage name " Kaho") in particular, the larger the school, can not wait to come to the boy: Hiromi Osawa is in fact one of his same age. The first meeting between Hiromi, Soyo and the village is not the most happy: the boy, accustomed to the bustle of the metropolis Japan struggles to adapt to the new reality in which it was thrown. His six classmates are all set to do so, their joy and abandon are so disarming to challenge even a guy like him underground. Over time, Hiromi learns to appreciate her new life in the village.
A film that has caused me great excitement, I must admit. Maybe it was the time of 茶 の 味 (Cha No Aji - The Taste Of Tea), 2004, Katsuhito Ishii. that I felt a desire to do so intense downshifting. I think this film is a hymn to downshifting for excellence. What
landscapes, those of Shimane prefecture, one of the least populated of Japan's impossible to describe for their beauty all its own: the cliffs yellow grains such as those I had seen at the coast of Shikoku in the Inland Sea, the crystalline sea, lush green and brilliant campaign and the small rail lines with diesel trains that regularly climb on cliffs in narrow tunnels es'infilano between a valley and another. Feels like heaven: big houses, verandas of polished dark wood open summer and the desire to sleep in tatami surrounded by the song of cicadas. The people of the village do not know what the sophistication that ugly town exquisitely made mainly by their wits behavioral self-defense are fairly honest and quiet. Never a problem, never a violent and sad event apart from the suicide of the woman, there on the bridge in the beach road: take the long way to go to sea, which moreover is even more scenic, to forget that too. Do you expect surprises? Heinous murders? Ghosts? None of this, Tennen Kokekko not subject to unpleasant surprises, a medicine for the soul of dreamers like me, who need every now and then to identify himself in a paradise like this and get lost in the soothing oblivion of silence and a quiet place away from everything and everyone. Whatever it takes to eat, you can take to the field, or the maximum you can take a short walk to the store's mom Ibuki, the girl in the sixth grade. The doctor? You have to go to town! The stranger is not Osawa ability of all this, and his amazement mixed with bewilderment are disgusted that the expedient cinemantografico ago from crutches to us viewers dreamers still lame in this new world of fantasy.
No surprise, really, no.
may arise a doubt this is a film filthy liar? If I'm Shion with 紀子 の 食卓 ( Noriko No Shokutaku - Noriko's Dinner Table) teaches us that moving to a heavenly place is not useful to flee their own ghosts, and that they are hidden inside us, Nobuhiro Yamashita (formerly director of Lina Linda Linda ) gives his personal or more optimistic view: the problems are everywhere, even in a heavenly place, and reminds us with the flowers placed in the balustrade of the bridge rusted on the road to the beach, or the attachment of the mother's asthma Osawa, perhaps the most dramatic of the film, but if you have the strength to leave their troubles behind them, if you are able to purify their hearts and live with a strong optimistic attitude, you can find your own personal paradise.
Often the contemporary Japanese cinema paradise built parallel reality where the viewer can rush and dream in these situations can be identified in Love Story, journeys that seem epic adventures although experienced in the backyard, great victories and successes. Often all these beautiful works are scaffolding of lies that cover very different realities: the school really sucks, the job really sucks, it is difficult to succeed in sport, as in the show or the music, much less in love, let alone win fabulous girls, beautiful, kind and thoughtful as enchanted fairies: in reality the beautiful girls are often clever and unscrupulous, with their beauty and popularity. But the scaffolding Yamashita demonstrates strong: it is the isolation of the village to protect him from the ugliness and wickedness of the world, Soyo and his companions are genuinely good and honest, and above all, simple. The boys school trip to Tokyo does nothing but strengthen this general feeling of purity and this atmosphere special: A Shinjuku, afraid of standing out in front of the towers of the municipal government building by Kenzo Tange, Soyo covers his ears, holds her breath and says the skyscrapers, the frenzy, noise, that when he grows up he will learn to deal with them, but now all his love is for the village, its people and its small school. A place so beautiful that the same people already feel nostalgia for it, while living there.
"There is nothing better than our house," says a professor at Soyo afraid to Tokyo.
Tennen Kokekko is a film of love, love of beauty in itself, the beauty of simplicity, the beauty of nature, the beauty of interpersonal relationships, the beauty of love. Tennen Kokekko is a film of love for Love. A film to dream, a movie where even find shelter from the stresses of daily life and the widespread ugliness of our times.
Tennen Kokekko is a stab to the heart, because after having lived his world, any world can seem less beautiful.
Japan, island Honshu, Shimane Prefecture. In a small village in the countryside where small rice fields and steep hills full of trees there is a small school. The number of inhabitants of this village is so small that the elementary school and middle school are merged in the same building, and everything in between one and the other there are only six students: the smallest is so small that it is still Piss on you, and the largest is the penultimate year of the medium. The school is in turmoil because it is going to get a new student, he is from Tokyo and moved into the village of his grandfather with his mother. Soyo (played by the young 印 东 夏 帆 ( Indo Kaho ), stage name " Kaho") in particular, the larger the school, can not wait to come to the boy: Hiromi Osawa is in fact one of his same age. The first meeting between Hiromi, Soyo and the village is not the most happy: the boy, accustomed to the bustle of the metropolis Japan struggles to adapt to the new reality in which it was thrown. His six classmates are all set to do so, their joy and abandon are so disarming to challenge even a guy like him underground. Over time, Hiromi learns to appreciate her new life in the village.
A film that has caused me great excitement, I must admit. Maybe it was the time of 茶 の 味 (Cha No Aji - The Taste Of Tea), 2004, Katsuhito Ishii. that I felt a desire to do so intense downshifting. I think this film is a hymn to downshifting for excellence. What
landscapes, those of Shimane prefecture, one of the least populated of Japan's impossible to describe for their beauty all its own: the cliffs yellow grains such as those I had seen at the coast of Shikoku in the Inland Sea, the crystalline sea, lush green and brilliant campaign and the small rail lines with diesel trains that regularly climb on cliffs in narrow tunnels es'infilano between a valley and another. Feels like heaven: big houses, verandas of polished dark wood open summer and the desire to sleep in tatami surrounded by the song of cicadas. The people of the village do not know what the sophistication that ugly town exquisitely made mainly by their wits behavioral self-defense are fairly honest and quiet. Never a problem, never a violent and sad event apart from the suicide of the woman, there on the bridge in the beach road: take the long way to go to sea, which moreover is even more scenic, to forget that too. Do you expect surprises? Heinous murders? Ghosts? None of this, Tennen Kokekko not subject to unpleasant surprises, a medicine for the soul of dreamers like me, who need every now and then to identify himself in a paradise like this and get lost in the soothing oblivion of silence and a quiet place away from everything and everyone. Whatever it takes to eat, you can take to the field, or the maximum you can take a short walk to the store's mom Ibuki, the girl in the sixth grade. The doctor? You have to go to town! The stranger is not Osawa ability of all this, and his amazement mixed with bewilderment are disgusted that the expedient cinemantografico ago from crutches to us viewers dreamers still lame in this new world of fantasy.
No surprise, really, no.
may arise a doubt this is a film filthy liar? If I'm Shion with 紀子 の 食卓 ( Noriko No Shokutaku - Noriko's Dinner Table) teaches us that moving to a heavenly place is not useful to flee their own ghosts, and that they are hidden inside us, Nobuhiro Yamashita (formerly director of Lina Linda Linda ) gives his personal or more optimistic view: the problems are everywhere, even in a heavenly place, and reminds us with the flowers placed in the balustrade of the bridge rusted on the road to the beach, or the attachment of the mother's asthma Osawa, perhaps the most dramatic of the film, but if you have the strength to leave their troubles behind them, if you are able to purify their hearts and live with a strong optimistic attitude, you can find your own personal paradise.
Often the contemporary Japanese cinema paradise built parallel reality where the viewer can rush and dream in these situations can be identified in Love Story, journeys that seem epic adventures although experienced in the backyard, great victories and successes. Often all these beautiful works are scaffolding of lies that cover very different realities: the school really sucks, the job really sucks, it is difficult to succeed in sport, as in the show or the music, much less in love, let alone win fabulous girls, beautiful, kind and thoughtful as enchanted fairies: in reality the beautiful girls are often clever and unscrupulous, with their beauty and popularity. But the scaffolding Yamashita demonstrates strong: it is the isolation of the village to protect him from the ugliness and wickedness of the world, Soyo and his companions are genuinely good and honest, and above all, simple. The boys school trip to Tokyo does nothing but strengthen this general feeling of purity and this atmosphere special: A Shinjuku, afraid of standing out in front of the towers of the municipal government building by Kenzo Tange, Soyo covers his ears, holds her breath and says the skyscrapers, the frenzy, noise, that when he grows up he will learn to deal with them, but now all his love is for the village, its people and its small school. A place so beautiful that the same people already feel nostalgia for it, while living there.
"There is nothing better than our house," says a professor at Soyo afraid to Tokyo.
Tennen Kokekko is a film of love, love of beauty in itself, the beauty of simplicity, the beauty of nature, the beauty of interpersonal relationships, the beauty of love. Tennen Kokekko is a film of love for Love. A film to dream, a movie where even find shelter from the stresses of daily life and the widespread ugliness of our times.
Tennen Kokekko is a stab to the heart, because after having lived his world, any world can seem less beautiful.
天然 コケッコー (Tennen Kokekkō - A Gentle Breeze In The Village)
Japan, 2007 - directed by Nobuhiro Yamashita
Thursday, November 26, 2009
Pulmonary Fibrosis And Bronchiectasis
- MEETING -
VENERDI' 4 DICEMBRE ALLE H 21
Incontro presso la sede CAI di Sondrio in Via Trieste per discutere, ideare e programmare le iniziative invernali!!!
Siete tutti invitati a partecipare!! E' fondamentale la partecipazione degli interessati per una buona riuscita dell'organizzazione.
A PRESTO!!
Siete tutti invitati a partecipare!! E' fondamentale la partecipazione degli interessati per una buona riuscita dell'organizzazione.
A PRESTO!!
Monday, November 23, 2009
Betty Croker Pund Cake Mix
table Noriko (Noriko's Dinner Table)
(In this text, there might be some spoilers) Noriko, a girl of 17 years, feels an alien in his family and his country town. He decides to run away and join in a forum known to her friends, and during a blackout takes a suitcase, throws everything into it in bulk and run to catch the first train to Tokyo. After a while even his younger sister, Yuka, vanish and run away. The father, desperate to leave the job hysterical and started a search of his daughters that will take him on the trail of what he thinks is the infamous theatrical organization called the media "Suicide Club".
After seeing the beautiful 愛 の むきだし ( Ai no mukidashi - Love Exposure) Far East debut at 11, see a movie 园子 温 ( are Shion ) can transform an ordinary evening into an unmissable evening. Noriko's dinner table should be the result of its 自殺 サークル ( Jisatsu saakuru - Suicide Club) 2002, but differs with a script that tells of events temporally almost parallel to those of the first episode, but lived in different places and people, which at times come into contact with the events and characters in the film mentioned above.
do not remember much of Suicide Club, I saw many years ago and I see him to be able to write something, but I think anyone who has seen me as I can not forget his big scene, ie the collective suicide of more than fifty high school students under a train line Chūō in Shinjuku, Tokyo: applicant scene several times in this film.
Una sceneggiatura se pur parallela a quella del "primo episodio", indipendente ed autoconclusiva, sembra quasi che il regista abbia voluto sfruttare il successo di Suicide Club e sfruttarne la preesistente "piattaforma" per parlare di argomenti nuovi. Si può tranquillamente guardare questo film anche senza aver visto il precedente, addirittura lo si potrebbe utilizzare come prequel...
Il tema del suicidio è sempre comunque presente anche in questo film. La visione di Sono Sion sull'argomento é abbastanza critica pur nella sua tragica satiricitá: Noriko pur non avendo alcuna intenzione di suicidarsi finisce col prendere contatti with some of the members of a mysterious girl forum, considered by some coverage of the "suicide club" and socializing with them in a particular nickname Ueno Station 54, real name Kumiko, in turn, founder and head of a strange organization that provides its customers with humans for rent "for all purposes. You can never tell if in fact this organization is the Suicide Club, or its cover, or even if the script will force a review of the viewer that everything that happens in the film has no connection with the Suicide Club offers into question its very existence and degrading to mere obsession of a desperate father who, together with its subsidiaries is lost everything.
But the kids still continue to kill in groups and it seems that behind the scenes there is an accurate direction to move the threads of a macabre sequence of events. Apparently for many of the characters in this film suicide is a wonderful liberation from suffering, but some of them undergoing a different death, though still voluntary, and this is one of the things that left me stone: get killed deliberately by someone who wants to murder to vent anger on an adulterous wife, for example, to set out and interpreted by a person whose fate is to die, to offer a service and make his own death for a few more useful. Idiocy, idiocy result of a great mind of the poor women with no hope.
I believe I am the genius of Zion lies in making a metaphor for the madness of the collective hysteria which Japan is really sick, and carefully dismantle it piece by piece in this same folly with intelligent constructive criticism in key metaphor: after building a scenic picture that shows a definite reality, the organization that hires human beings for any purpose, that the hypothetical Suicide Club, breaks all using one of his cards apparently less influential on character Yuka's sister, Noriko, who with great cunning seeps into the fabric of mystery created by the disappearance of her elder sister and father as opposed to staying "sane" Deus Ex Machina apparatus becomes destructive of the author, ridiculing THAT 'Babel organization now bloody hatred for themselves and for life, gomorra perversions of ancestral cowardly disguise from the public utility service, a mirror of society, the Japanese, the author wishes to denounce as ever now empty of content and especially quell'autocontrollo that has always set, self-control has now become the silent autoviolenza many private individuals and many families.
Kumiko's organization becomes a parody of those thousands of people who help suicides in Japan to successfully achieve their goal: the single-issue forum, an accurate methodology developed by the voluntary death for poor people with perverted minds the only fault to be born in the wrong place, or do not have enough strength to endure the endless pain of living. Yuka is alive and vigilant in its apparent idiocy of girl of fifteen, seems dazed but is already a foot ahead of the sister who does nothing but self-pity to hide behind those thick glasses and unfashionable, behind the excuse that the evil of the whole world is because of his father.
Tetsuzo, he, the great man convinced that it is enough to take refuge with his family in the beautiful coastal town called Toyokawa seemingly perfect (which also is the birthplace of the director) to escape the evil and violence of the outside world, but soon realizes that the evil and the problems are generated mainly from ourselves that most of the time we create our own little personal hell mastery.
In a great metaphor for the film and then Tetsuzo know the hell is alone, he descends into the underworld and face the devil, kills his squires with unprecedented ferocity, and hopefully we can start all over again. But it sinks back to its roots in hell from which it can not be resurrected, and resignation as a shroud also covers all the others, except Yuka, who after his descent into the underworld has made sure both her sister his father in hell less painful for them, tore the roots from your feet and flew away like an angel of life, and his freedom will not let her alone, naked and scared as it was for Noriko, but makes it quite Light finally about to take its first flight.
Zion I has a unique style of shooting, the film is divided into chapters, each monograph of a character, but all time in a smooth chorus. The brilliance of this script, however, reach the perfection of unnecessary delays, if filed, and with some modifications in the final too slow: defects such as his latest work "Love Exposure" is free, even with his crazy period of four hours.
Japan, 2005 - directed by 园子 温 ( are Shion )
Monday, November 2, 2009
Dental Treatment Plan Said Insurance Would Cover
MEETINGS
I RITROVI DEL GRUPPO RIPRENDERANNO NEL PERIODO FINE NOVEMBRE - INIZIO DICEMBRE
A fine mese pubblicheremo con maggiore the exact date of the first meeting. 
I RITROVI DEL GRUPPO RIPRENDERANNO NEL PERIODO FINE NOVEMBRE - INIZIO DICEMBRE
A fine mese pubblicheremo con maggiore the exact date of the first meeting.
Thursday, October 29, 2009
How Long Does Gingerbread Dough Last In Fridge?
blue flame (La Luce Blu): Kamakura e il "Super Teenager"
I wanted to come back to this film, already recensito ed incontrato di nuovo, e devo dire volutamente, in una produttivissima ed interessantissima seconda visione.
Reduce da una bellissima gita a 鎌倉( Kamakura ) con annessa cavalcata sull'Enoden fino a 江の島( Enoshima ) in un tramonto davvero fuori dal comune, ho voluto fortemente rivedere questi posti a me tanto cari ed allo stesso tempo riprendere da capo una storia che avevo giá a suo tempo trovato estremamente interessante, stimolante, struggente, ma mal recitata.
in Japanese cinema continues to exalt the fetish of youth, pure aesthetics and physiological status of a temporary and transient in which each individual feels when you are trapped inside, but then when you regret and idealizes turns out that in some ways life is not nothing but a void. These concepts are still too common in our culture, even if expressed in a manner less hysterical and maniacal obsession: Japanese cultural production, however, put a brand new aspect in my opinion, only in youth and can shape their life, only heroic youth, rebellion and courage, and capable of exceptional quality, which could not be determined by the ostracism part of a society that kills creativity and diversity to protect quell'ormai spastic and very harmful to the common sense thinking and common action.
The nail that sticks out from a piece of wood must be got hammered for it to be reported in a location where it can be harmful just because of her boss, says a Japanese proverb. But the film, television Japanese literature and continue to create entities in which the break away, break the rules, being different, which is worse or better then it makes no difference, it is a strength. Youth gives you the ability to flip the world, even kill, put the soles social hierarchy, education and so on. In addition, after the casino there is always the limit, beyond which willy-nilly is necessary to return the rows, wearing the uniform of the soldier and get to do the robot, the only option.
I think the dream of being able to break out, reflecting themselves in an all-powerful teen-ager who can afford to split all, what the reader or viewer has never had the chance to do in real life, is the feature that mostly generates the success of all the teen comedy, all the drama school and all the tragedies of love and death so dear to the Japanese public.
(SPOILER) But this film goes a bit further: a police commissioner to the luxury of being able to kill a seventeen year old murderer, escaping the law on earth (and yet the law and common sense in Japan, In contrast to those of our own are certainly not lenient with convicts, offenders and criminals in general) and becoming a hero anointed impunity quell'indelebile morale post- mortem. Salva da famiglia dall'onta e s'immola. Una lacrima e via per riconoscerlo in un rapace in volo nell'infinito blu del cielo d'autunno di 鎌倉( Kamakura ). (FINE SPOILER) 
I wanted to come back to this film, already recensito ed incontrato di nuovo, e devo dire volutamente, in una produttivissima ed interessantissima seconda visione. Reduce da una bellissima gita a 鎌倉( Kamakura ) con annessa cavalcata sull'Enoden fino a 江の島( Enoshima ) in un tramonto davvero fuori dal comune, ho voluto fortemente rivedere questi posti a me tanto cari ed allo stesso tempo riprendere da capo una storia che avevo giá a suo tempo trovato estremamente interessante, stimolante, struggente, ma mal recitata.
Ho innanzitutto avuto la conferma del fatto che la location è effettivamente Kamakura ( Kamakura ). La seconda scoperta è che la scuola in cui sono girate acune scene del film è la Kamakura Gakuen ( Kamakura gakuen ), cioè l'istituto comprendente sia una Hitoshi Takashi school ( Kōtō- gakkō - scuola superiore) che una schools in ( Chū- gakkō - scuola media) which is located next to the famous Zen temple complex called 建 长 寺 ( Kencho-ji ). For the sake stage, students move from one cave to go to school: in fact, the cave in question is the 釈 迦 堂 切 通 ( Shakadō kiridoshi ), one step inside the "Alps of Kamakura" and is a few kilometers from the school, yet actually also a 镰仓 ( Kamakura ).
I do not want to highlight the shortcomings of this movie, already mentioned in the post some time ago, but I want to force me to bring out of my head and capture on paper a valuable and highly volatile concept that the second movie has impressed in my mind.
in Japanese cinema continues to exalt the fetish of youth, pure aesthetics and physiological status of a temporary and transient in which each individual feels when you are trapped inside, but then when you regret and idealizes turns out that in some ways life is not nothing but a void. These concepts are still too common in our culture, even if expressed in a manner less hysterical and maniacal obsession: Japanese cultural production, however, put a brand new aspect in my opinion, only in youth and can shape their life, only heroic youth, rebellion and courage, and capable of exceptional quality, which could not be determined by the ostracism part of a society that kills creativity and diversity to protect quell'ormai spastic and very harmful to the common sense thinking and common action.
The nail that sticks out from a piece of wood must be got hammered for it to be reported in a location where it can be harmful just because of her boss, says a Japanese proverb. But the film, television Japanese literature and continue to create entities in which the break away, break the rules, being different, which is worse or better then it makes no difference, it is a strength. Youth gives you the ability to flip the world, even kill, put the soles social hierarchy, education and so on. In addition, after the casino there is always the limit, beyond which willy-nilly is necessary to return the rows, wearing the uniform of the soldier and get to do the robot, the only option.
I think the dream of being able to break out, reflecting themselves in an all-powerful teen-ager who can afford to split all, what the reader or viewer has never had the chance to do in real life, is the feature that mostly generates the success of all the teen comedy, all the drama school and all the tragedies of love and death so dear to the Japanese public.
(SPOILER) But this film goes a bit further: a police commissioner to the luxury of being able to kill a seventeen year old murderer, escaping the law on earth (and yet the law and common sense in Japan, In contrast to those of our own are certainly not lenient with convicts, offenders and criminals in general) and becoming a hero anointed impunity quell'indelebile morale post- mortem. Salva da famiglia dall'onta e s'immola. Una lacrima e via per riconoscerlo in un rapace in volo nell'infinito blu del cielo d'autunno di 鎌倉( Kamakura ). (FINE SPOILER)
Non pensate che il Giappone sia come ve lo raccontano nei film, almeno non nelle commedie o tragedie adolescenziali.
Friday, September 25, 2009
How To Migrate Pokemon From Emerald To Soulsilver
ON OUTPUT AND LACE Scotese ' CONFIRMED
We will start even in bad weather because the weather expected openings of the sky throughout the day. If bad weather persists we will stop the Mambretti for lunch and then return to the valley floor.
Monday, September 7, 2009
Chevrolet Silverado 427
LACE Scotese
E 'is certainly interesting to climb one of the most beautiful peaks ( fifth the height of the Alps Orobie) and less frequented than the average Valtellina. Pizzo Scotese is easily recognized by the entire top side for curing its characteristic pyramid shape and the two glaciers that burrow in N, just below the summit peak, in the dark valley of Pioda.
was climbed for the first time in September 1887 by Melzer, and Bonacossa Confortola, who lost in the nebbia, raggiunsero la vetta pensando di essere sul Pizzo Biorco. L'impresa fu confermata alla prima ripetizione grazie al ritrovamento della bottiglietta coi nomi dei tre alpinisti. Dei 4 versanti praticabili con differenti difficoltà il più semplice è quello che percorre la ripida pala N. 
DATE: September 26, 2009
DEPARTURE: Agnedo (1228 m) H 7.00
HOW TO GET THERE: From Campus school Sondrio take the SS38 towards Tirano to the end the bypass. Just before the level crossing turn right and follow SP joining the Mountain Top and Piateda to Busteggia. 100 feet beyond the former kennel, take the road on the right that goes up to Pam and then rejoin the main artery for Piateda Alta. After about 7 km from Sondrio is at the crossroads in town Mon. Follow the road on the right who also
Vedella Val. Just beyond the Central Vedella (1000 m, 6 km), the fund becomes gravel concrete mix. Continue to Agnedo (2.5 km) and leave the car at the bottom level.
VIA: Mambretti (m 2003) - Lakes at an altitude of 2400 - - Scotese nozzle - for the loader N Pizzo Scotese (2978 m)
TIME LIMIT FOR UP: 5h and a half (a minimum necessary to be trained)
EQUIPMENT REQUIRED: Clothing for the high mountain
DIFFICULTIES ': 3
PROCEEDINGS OF GUIDE SERIES (ideal conditions) f Mountaineering
HOW TO GET THERE: From Campus school Sondrio take the SS38 towards Tirano to the end the bypass. Just before the level crossing turn right and follow SP joining the Mountain Top and Piateda to Busteggia. 100 feet beyond the former kennel, take the road on the right that goes up to Pam and then rejoin the main artery for Piateda Alta. After about 7 km from Sondrio is at the crossroads in town Mon. Follow the road on the right who also
Vedella Val. Just beyond the Central Vedella (1000 m, 6 km), the fund becomes gravel concrete mix. Continue to Agnedo (2.5 km) and leave the car at the bottom level.
VIA: Mambretti (m 2003) - Lakes at an altitude of 2400 - - Scotese nozzle - for the loader N Pizzo Scotese (2978 m)
TIME LIMIT FOR UP: 5h and a half (a minimum necessary to be trained)
EQUIPMENT REQUIRED: Clothing for the high mountain
DIFFICULTIES ': 3
PROCEEDINGS OF GUIDE SERIES (ideal conditions) f Mountaineering
Participation is voluntary and open to the outputs, the' organization is not responsible for accidents or injury. CAI for non-members should fill out the appropriate insurance policy can be downloaded from the site www.cai.it , under insurance.
allow rapid TO BETTER THE LOGISTICS OF THIS PLEASE SEND AN EMAIL CONFIRMATION OF YOUR MEMBERSHIP WITHIN THE DAY September 24 A giovani@cai.sondrio.it ITINERARY
E 'is certainly interesting to climb one of the most beautiful peaks ( fifth the height of the Alps Orobie) and less frequented than the average Valtellina. Pizzo Scotese is easily recognized by the entire top side for curing its characteristic pyramid shape and the two glaciers that burrow in N, just below the summit peak, in the dark valley of Pioda.
was climbed for the first time in September 1887 by Melzer, and Bonacossa Confortola, who lost in the nebbia, raggiunsero la vetta pensando di essere sul Pizzo Biorco. L'impresa fu confermata alla prima ripetizione grazie al ritrovamento della bottiglietta coi nomi dei tre alpinisti. Dei 4 versanti praticabili con differenti difficoltà il più semplice è quello che percorre la ripida pala N.
****
Dal fondo della piana di Agneda si sale (sentiero segnalato con bolli bianco-rossi), per carrozzabile prima e sentiero poi, fino al versante settentrionale del bacino di Scais (m 1434, ore 0:50).
Il sentiero poi s'insinua in Val Caronno per boschi e pascoli fino alla Capanna Mambretti (m 2003, ore 1:10). Dal rifugio ci si inerpica a N lungo i ripidi prati. Anche se non facili da individuare, le bandiere bianche e rosse dipinte sui sassi guidano fra pascoli e macereti fino alla piana detritica che precede l'impennata finale per il Passo Biorco (sentiero per la Donati). Si abbandona la via tracciata e si piega a dx (E). Si risale un gradone che adduce a un nuovo ripiano. Due laghetti di disgelo son lì a dare il benvenuto ai pochi alpinisti che transitano in questi luoghi desolati (m 2400 ca., ore 1:30). Il grande anfiteatro è dominato oltre che dal Pizzo degli Uomini, anche dai Pizzi Biochi. A NO si distingue il Pizzo Rodes, mentre a SE l'altezza dello spartiacque preclude la vista sul gruppo Scais-Redorta. Ci si porta ora sulla sx (NE) del vallone detritico e per la dx orografica si sale verso NE puntando il passaggio sulla cresta meridionale del Pizzo degli Uomini (One crosses the path pointed to the courts that comes from Bivouac Donati and passes through the False Biorcio). Reached the watershed, cross the short incision of the valley that leads
ridge known as O Lace Scotese nozzle Scotese. The ending is crossed in a narrow channel with chains. It was in the Valley of Pioda. Followed slightly exceeded the chains to lose share to the NE crossing. Once at the center of the blade which is the face of Pizzo NO Scotese, leave via the branded and climb straight to the (steep) to the top. With easy climbing among broken rocks and debris is the small cairn summit (2978 m, at 2). The scenery is magnificent in every direction, from the wild and collected by Valone Pioda N, fairs peaks Group Scais-Redorta, as well as the impressive side of the Coca NO. The descent is by the same procedure.
Dal fondo della piana di Agneda si sale (sentiero segnalato con bolli bianco-rossi), per carrozzabile prima e sentiero poi, fino al versante settentrionale del bacino di Scais (m 1434, ore 0:50).
Il sentiero poi s'insinua in Val Caronno per boschi e pascoli fino alla Capanna Mambretti (m 2003, ore 1:10). Dal rifugio ci si inerpica a N lungo i ripidi prati. Anche se non facili da individuare, le bandiere bianche e rosse dipinte sui sassi guidano fra pascoli e macereti fino alla piana detritica che precede l'impennata finale per il Passo Biorco (sentiero per la Donati). Si abbandona la via tracciata e si piega a dx (E). Si risale un gradone che adduce a un nuovo ripiano. Due laghetti di disgelo son lì a dare il benvenuto ai pochi alpinisti che transitano in questi luoghi desolati (m 2400 ca., ore 1:30). Il grande anfiteatro è dominato oltre che dal Pizzo degli Uomini, anche dai Pizzi Biochi. A NO si distingue il Pizzo Rodes, mentre a SE l'altezza dello spartiacque preclude la vista sul gruppo Scais-Redorta. Ci si porta ora sulla sx (NE) del vallone detritico e per la dx orografica si sale verso NE puntando il passaggio sulla cresta meridionale del Pizzo degli Uomini (One crosses the path pointed to the courts that comes from Bivouac Donati and passes through the False Biorcio). Reached the watershed, cross the short incision of the valley that leads
ridge known as O Lace Scotese nozzle Scotese. The ending is crossed in a narrow channel with chains. It was in the Valley of Pioda. Followed slightly exceeded the chains to lose share to the NE crossing. Once at the center of the blade which is the face of Pizzo NO Scotese, leave via the branded and climb straight to the (steep) to the top. With easy climbing among broken rocks and debris is the small cairn summit (2978 m, at 2). The scenery is magnificent in every direction, from the wild and collected by Valone Pioda N, fairs peaks Group Scais-Redorta, as well as the impressive side of the Coca NO. The descent is by the same procedure.
Sunday, August 23, 2009
Broken Veins Al Over My Body
Tokyo Tower ~ Mom and Me, and Sometimes Dad ~ (La Torre Di Tokyo: Io, La Mamma E Qualche Volta, Il Babbo)
Masaya é una specie di artista/creativo/tante altre cose e vive a Tokyo. Seduto su una sedia, in un ospedale, Masaya aspetta la morte della mamma, malata terminal cancer
The theme of the story is not so much of this perfectly normal because its very normal Masaya past: a childhood like many others, a careless and drunken father, a wonderful mother and a life as more than usual disappointments of success, mainly because not everyone is born beautiful, cool, intelligent Nobel Prize or Heroes: most people live like shit, even in Japan, but there is still a blessing that is called "mother" .
Window on true feelings so as to reflect even in their scontatezza, the film is made of its characters well done: Masaya, interpreted from the usual excellent オダギリ ジョー (Joe Odagiri ) is a nice person on the capacities and quiet good intentions, despite its growth has been virtually ineffectual in terms of education (drawing cartoons for children and talk about things "dirty "erotica with a radio microphone). Even his father has driven on all fronts, from this point of view, although in its tragicomic booze in those damn memorable and eight mm home movies in which she delights in taking a run-dominated Masaya helpless child in front of a blurred fury harmless madness, madness that only a woman of the house can tame shots at rugby tackle-style: Eiko, una donna di poche parole e forte come la sua 九州( Kyūshū ) che doma il Godzilla della quotidianità familiare e che con coraggio ha cresciuto Masaya forgiando il carattere di una persona fantastica nella sua dannata normalità.
Non é un mistero che si aspetti la morte della signora Eiko, scontata come quell'evento naturale col quale tutti noi prima o poi nella nostra vita avremo a che fare, e comunque sempre scontatamente dolorosa. 
Masaya é una specie di artista/creativo/tante altre cose e vive a Tokyo. Seduto su una sedia, in un ospedale, Masaya aspetta la morte della mamma, malata terminal cancer The theme of the story is not so much of this perfectly normal because its very normal Masaya past: a childhood like many others, a careless and drunken father, a wonderful mother and a life as more than usual disappointments of success, mainly because not everyone is born beautiful, cool, intelligent Nobel Prize or Heroes: most people live like shit, even in Japan, but there is still a blessing that is called "mother" .
Window on true feelings so as to reflect even in their scontatezza, the film is made of its characters well done: Masaya, interpreted from the usual excellent オダギリ ジョー (Joe Odagiri ) is a nice person on the capacities and quiet good intentions, despite its growth has been virtually ineffectual in terms of education (drawing cartoons for children and talk about things "dirty "erotica with a radio microphone). Even his father has driven on all fronts, from this point of view, although in its tragicomic booze in those damn memorable and eight mm home movies in which she delights in taking a run-dominated Masaya helpless child in front of a blurred fury harmless madness, madness that only a woman of the house can tame shots at rugby tackle-style: Eiko, una donna di poche parole e forte come la sua 九州( Kyūshū ) che doma il Godzilla della quotidianità familiare e che con coraggio ha cresciuto Masaya forgiando il carattere di una persona fantastica nella sua dannata normalità.
Non é un mistero che si aspetti la morte della signora Eiko, scontata come quell'evento naturale col quale tutti noi prima o poi nella nostra vita avremo a che fare, e comunque sempre scontatamente dolorosa.
Questo é un film di dolore e di morte, come tanti, ce ne sono in Giappone: per i più will be easy to get caught by the close of chair to dry the tears, but "cold" gives the impression of being once again a film that gently and with great craft relies on those feelings all too often used and abused by modern Japanese cinema for to grip the public. A great advantage is the lack of deification of the characters, who do not recite lines for effect, not grant pardon even spectacular pre-mortem and are all pretty ugly. Long and tearful, at times served as the onset of the death of a terminally ill and yet you leave the same look, like all films of its kind (one of which recently won an Academy Award), and sends a message very Important: Do not ever forget how fortunate we are, we value and love the most important person in our lives, the one who gave everything for love and make us live in the best manner possible.
東京 タワー 〜 オカン と ボク と, 时 々, オトン 〜 ( Tokyo Tawa: Okan To Boku To, Tokidoki, Oton - Tokyo Tower: Me, Mum and sometimes, father)
Friday, July 24, 2009
New Years Eve Killeen Tx
blackout the night (Il blackout notturno)
Tokyo is one of the largest urban agglomerations in the world, and its suburbs, themselves as large as immense metropolis not hard to exceed thirty million inhabitants. The capital of technology, the capital of the oddities, the capital of those "contrasts " so fascinating to a tourism niche, that of the dudes who "go out to eat sushi is cool" and then go to Japan to do more the coolest (and rediscover, unbeknownst to the vast audience of post-holiday lovers who Mc.Donalds forse è linguisticamente meno ostico), oppure quello dei fissati dei fumetti o degli anime Giapponesi, che ne fanno meta di pellegrinaggio. Tokyo (cosiccome d'altronde accade per tutto il Giappone in generale) vista dagli occhi del gaijin superficiale, del giornalista di viaggi o del promotore di viaggi organizzati é la " metropoli dei contrasti ", un luogo dove la tecnologia piú avanzata convive con la piú severa tradizione, un luogo dove quartieri di grattacieli di mirabile altezza sono affiancati da complessi sacri dove regnano il silenzio e il religioso raccoglimento, e da quartieri a luci rosse dove ci si può anche solo idealmente affacciare alle piú depravate pratiche sessuali...
But those "contrasts" so chic and trendy, these are only for those many people who do not know enough Japanese society as a whole and in its complexity: for example, those many people who grew up in that world cattolicizzato that leads us to consider "the diversity "or" alternative "as the usual babble of poor to be pitied and save with armies of evangelization, or the usual crafty so endemic in our country that always pass the post-holiday Japanese to mock those who give their lives for the work or who are loyal to respect the rules even if it would amount to a damn line outside the door of the meter, from the cultured weekly rotogravure pitiful in a pitiable company is now best known for suicide, or a class adolescent beset by enormous problems of life (as if our teenagers were sane ...), or a working class widely seen as enslaved by a morally totalitarian or at least to visit on a nice tour that will not fail to include Tokyo, Kyoto, geisha, sushi and shit to no end.
But why such a controversial preamble to the review of this film? Why
watching this film is highly recommended to begin to wake up to the Japanese company, however, without too involved in psycho-sociological analysis, but starting to learn Japanese not as aliens but as " men, like us, just off the huge glittering electric game that is Tokyo, and see what's inside.
It's Christmas Eve, a businessman in mind his wife to meet his lover in a luxurious hotel in Odaiba, a bartender at his bar in the desert waiting for the passing of the night before the close of 'activities, an ex-convict looking for his ex-girlfriend, a model corniciome sits on a hospital looking for the courage to kill himself, an old man awaiting death in a hospital, a boy fond of satellites observing the sky, an elderly couple living in harmony il focolare domestico. Accade l'incredibile: una specie di meteorite si abbatte su una centrale elettrica e Tokyo si spegne .
Chiunque abbia vissuto Tokyo non potrebbe mai immaginarla senza elettricitá, ma paradossalmente proprio spegnendola é possibile vedere il suo vero cuore. Gli " extraterrestri " si tolgono le maschere da extraterrestri e cominciano a fare gli uomini, i problemi sono sempre gli stessi, come lo sono per noi, e il vederli attraverso degli occhi a mandorla non li rende meno dolorosi da vivere ed affrontare.
Il buio costringe la pupilla a dilatarsi e alla fine si vede pure meglio. E quella che mi piace definire " la cittá illuminata non da stelle naturali, ma da galassie elettriche ", riesce di nuovo, incredibilmente a liberarsi di quell'aura di inquinamento luminoso e a " riveder le stelle ", quelle vere.
Tralasciando l'ottima valenza didattica per i conoscitori superficiali di Giappone e Giapponesi, il film é un ottimo intreccio comunque giá visto di storie separate tra loro ma connesse indissolubilmente l'una all'altra, peccato per l'eccessiva lunghezza e ridondanza: con qualche limatura and some rethinking on installation is losing the desire to define this film, despite the catwalk star is not negligible and their evidence as always good acting, "a wasted opportunity." 
Tokyo is one of the largest urban agglomerations in the world, and its suburbs, themselves as large as immense metropolis not hard to exceed thirty million inhabitants. The capital of technology, the capital of the oddities, the capital of those "contrasts " so fascinating to a tourism niche, that of the dudes who "go out to eat sushi is cool" and then go to Japan to do more the coolest (and rediscover, unbeknownst to the vast audience of post-holiday lovers who Mc.Donalds forse è linguisticamente meno ostico), oppure quello dei fissati dei fumetti o degli anime Giapponesi, che ne fanno meta di pellegrinaggio. Tokyo (cosiccome d'altronde accade per tutto il Giappone in generale) vista dagli occhi del gaijin superficiale, del giornalista di viaggi o del promotore di viaggi organizzati é la " metropoli dei contrasti ", un luogo dove la tecnologia piú avanzata convive con la piú severa tradizione, un luogo dove quartieri di grattacieli di mirabile altezza sono affiancati da complessi sacri dove regnano il silenzio e il religioso raccoglimento, e da quartieri a luci rosse dove ci si può anche solo idealmente affacciare alle piú depravate pratiche sessuali... But those "contrasts" so chic and trendy, these are only for those many people who do not know enough Japanese society as a whole and in its complexity: for example, those many people who grew up in that world cattolicizzato that leads us to consider "the diversity "or" alternative "as the usual babble of poor to be pitied and save with armies of evangelization, or the usual crafty so endemic in our country that always pass the post-holiday Japanese to mock those who give their lives for the work or who are loyal to respect the rules even if it would amount to a damn line outside the door of the meter, from the cultured weekly rotogravure pitiful in a pitiable company is now best known for suicide, or a class adolescent beset by enormous problems of life (as if our teenagers were sane ...), or a working class widely seen as enslaved by a morally totalitarian or at least to visit on a nice tour that will not fail to include Tokyo, Kyoto, geisha, sushi and shit to no end.
But why such a controversial preamble to the review of this film? Why
watching this film is highly recommended to begin to wake up to the Japanese company, however, without too involved in psycho-sociological analysis, but starting to learn Japanese not as aliens but as " men, like us, just off the huge glittering electric game that is Tokyo, and see what's inside.
It's Christmas Eve, a businessman in mind his wife to meet his lover in a luxurious hotel in Odaiba, a bartender at his bar in the desert waiting for the passing of the night before the close of 'activities, an ex-convict looking for his ex-girlfriend, a model corniciome sits on a hospital looking for the courage to kill himself, an old man awaiting death in a hospital, a boy fond of satellites observing the sky, an elderly couple living in harmony il focolare domestico. Accade l'incredibile: una specie di meteorite si abbatte su una centrale elettrica e Tokyo si spegne .
Chiunque abbia vissuto Tokyo non potrebbe mai immaginarla senza elettricitá, ma paradossalmente proprio spegnendola é possibile vedere il suo vero cuore. Gli " extraterrestri " si tolgono le maschere da extraterrestri e cominciano a fare gli uomini, i problemi sono sempre gli stessi, come lo sono per noi, e il vederli attraverso degli occhi a mandorla non li rende meno dolorosi da vivere ed affrontare.
Si ama, si odia, si sbaglia, si tradisce, si scappa, si ha paura, si aspetta, si ruba, si gioisce... insomma si vive.
Il buio costringe la pupilla a dilatarsi e alla fine si vede pure meglio. E quella che mi piace definire " la cittá illuminata non da stelle naturali, ma da galassie elettriche ", riesce di nuovo, incredibilmente a liberarsi di quell'aura di inquinamento luminoso e a " riveder le stelle ", quelle vere.
Tralasciando l'ottima valenza didattica per i conoscitori superficiali di Giappone e Giapponesi, il film é un ottimo intreccio comunque giá visto di storie separate tra loro ma connesse indissolubilmente l'una all'altra, peccato per l'eccessiva lunghezza e ridondanza: con qualche limatura and some rethinking on installation is losing the desire to define this film, despite the catwalk star is not negligible and their evidence as always good acting, "a wasted opportunity."
Japan, 2005 - director Takashi Minamoto
Friday, July 3, 2009
Electro Schock Masterbation
Tokyo!
A multinational production for a film by Japanese actors recited in size (almost always) set in Japan and Japanese: a very special film divided into three independent episodes are not related to each other, three passionate declarations of love / hate relationship for most cities around the world immeasurable work of three influential film directors of that unconventional I so adore. 
A multinational production for a film by Japanese actors recited in size (almost always) set in Japan and Japanese: a very special film divided into three independent episodes are not related to each other, three passionate declarations of love / hate relationship for most cities around the world immeasurable work of three influential film directors of that unconventional I so adore. Interior Design
The French visionary Michael Gondry form this first episode. Akira Hiroki and move for a few days at home with Akemi, a friend of her. Akira is an aspiring filmmaker in town to present his latest work: a film will be hard to host the screening of his film, however, that will be several days after their temporary transfer to Akemi's house for its small size is not suitable to accommodate more than two people at a time. The couple shows at all now able to find a solution to this problem: the search for a job and an apartment for rent are constantly empty, and just Akira, the only two to have some of the project in life, can almost by chance to find work as a packer in pottery shop. As the days passed and the atmosphere between the two Akemi is getting heavier and sitaizone is complicated by the arrival of her boyfriend: what's more the relationship between them is deteriorating Hiroko and Akira because of many difficulties. The discouragement of Hiroko is transformed into something strange, very strange.
Merde
Another Frenchman, Leos Carax, he directed the second episode. A Western man dirty and lame, with a strange beard and strange clothes, makes brief raid on the streets of Tokyo, emerging from the sewers and returned shortly after. He soon became known to the public for its mocking violence against passers-by. The discovery of grenades in an underground storage leads him to cause a massacre in Shibuya. The man was arrested and the world learns to know him as "Merde" (which has the same meaning as the Italian word). His language is incomprehensible, but comes forward a bizarre French lawyer who has the facial features very similar to those of the tramp who will act as a translator for the interrogators.
Shaking Tokyo
The most beautiful, in my opinion, operadel Korean director Bong Joon-Ho. A man in his forties now 11 years living quietly at home and is a ひきこもり ( Hikikomori), one of those people in Japan spend their lives in isolation from the outside world. La sua vita è perfetta, estremamente scandita da rituali precisi. Ma un terremoto e l'arrivo di una ragazza porta-pizze cambieranno la sua vita, per sempre...
Nonostante la diversità dei tre episodi ho trovato un interessante filo conduttore che li unisce in maniera indissolubile: tutti e tre i registi esprimono la difficoltà di "vivere" una città come Tokyo e un paese come il Giappone: per qualunque appassionato e sognatore sfegatato del Giappone, la visione di questo film è un delicato ridimensionamento di una infinita Disneyland marziana a semplice luogo di questo pianeta terra, abitato da gente normale alla quale non basta il denaro per vivere, gente normale che very common and has serious problems, people sucube of intolerance and persecution, people who love and people who hate, people who are frightened, people who suffer. Especially Gondry and to a lesser extent the other two, imbue their films with the "difficulty" of everyday life like a stain that creeps between the lives of their characters, ruining them. Speaking of Gondry episode in particular, only a visionary genius like his can bring together a very sad with the magic realism of the dream, or nightmare if we both always metaphorical. Ayako Fujitani, already seen in the Ritual Year and Hideaki Kase Ryo, the main character of それでも ボク は やっ てない ( Anyway, I did not ) the actors are really good and the episode draws huge benefit and credibility.
Carax, in my opinion, the history of the persecution of Merde is always metaphorically a very topical issue in Japan: the distrust and fear of foreigners. Merde speaks an incomprehensible language, is filthy and smelly, rude and behaves light years away from the common label. Well any stranger, when Tokyo was refused by a taxi driver because "Japanese", or when he sees the neighbors away by subway to his approach, or if you have a dealing with the police, he feels like shit, which becomes almost a messiah of a longed-for relaxation by the Japanese company as a whole, against gaijin.
Bong, also thanks to the beautiful and talented Yuu Aoi wins the race for absolute separation of millet episode: a masterpiece of delicacy and poetry, which are very difficult to describe, and show its great sensitivity and passion for the Japanese. The cameo by Naoko Takenaka is a must!
A really good film.
Tokyo!
Giappone, Francia, Germania, Corea del Sud, 2008 - regia di Michael Gondry, Leos Carax e Joon-Ho Bong
Sunday, May 31, 2009
Spinal Meningitis And Inability To Walk
sky of love (Koizora - Il Cielo Dell'Amore)
Avevo sentito già diverse volte parlare di questo film, l'avevo disponibile in videoteca ma mai avevo concretizzato la sua visione, forse perchè durante l'esame di uno spezzone per il test dei sottotitoli avevo visto un tipo orrendo dai capelli talmente biondi che sin dall'inizio ho sentito antipatia nei suoi confronti... e non mi sbagliavo.
Siamo dentro ad uno di quei treni locali che attraversano la campagna Giapponese. Mika, seduta vicino al finestrino, crea degli origami and think of a man, a man who has changed her life forever. Mika looks tired, as if returning from a war, and in fact has been through a lot, too.
Dodge back seven years: Mika is the first year of high school, it's been three months into the school. Mika is in the bathroom with her short skirt, you put a gloss on the lips is not still in love, and do not really know where to start. Then one day his eyes met with that of a boy, a kind of pixie-blond leading the Japanese currency as a thug and is going steady with another type of full pearcing named Nozomu, which seems too a hoodlum. What seems to end there. Mika loses his cell phone in the library, this is found by a stranger who puts it in one of the shelves, making sure to delete all contacts of the girl and take her number. Begins a kind of stalking, he said his name was "secret," and Mika begins a long distance relationship that takes more and more, until they meet. Mika When you realize you have in front of the blond, run scared, he insists until you come along and explodes the ammmore. 
Avevo sentito già diverse volte parlare di questo film, l'avevo disponibile in videoteca ma mai avevo concretizzato la sua visione, forse perchè durante l'esame di uno spezzone per il test dei sottotitoli avevo visto un tipo orrendo dai capelli talmente biondi che sin dall'inizio ho sentito antipatia nei suoi confronti... e non mi sbagliavo. Siamo dentro ad uno di quei treni locali che attraversano la campagna Giapponese. Mika, seduta vicino al finestrino, crea degli origami and think of a man, a man who has changed her life forever. Mika looks tired, as if returning from a war, and in fact has been through a lot, too.
Dodge back seven years: Mika is the first year of high school, it's been three months into the school. Mika is in the bathroom with her short skirt, you put a gloss on the lips is not still in love, and do not really know where to start. Then one day his eyes met with that of a boy, a kind of pixie-blond leading the Japanese currency as a thug and is going steady with another type of full pearcing named Nozomu, which seems too a hoodlum. What seems to end there. Mika loses his cell phone in the library, this is found by a stranger who puts it in one of the shelves, making sure to delete all contacts of the girl and take her number. Begins a kind of stalking, he said his name was "secret," and Mika begins a long distance relationship that takes more and more, until they meet. Mika When you realize you have in front of the blond, run scared, he insists until you come along and explodes the ammmore.
I just can not go forward, not to be spoilers, but from here on will really Mika many joys, along with many troubles, say more trouble that joy.
Now: the film is based on ケータイ 小説 (keitai Shosetsu - novel by phone) entitled 恋 空 ~ 切 ナイ 恋 物語 ( Koizora: Setsunai Koi Monogatari - The Sky Of Love : The History of Sorrowful) is a kind of autobiographical novel written by a certain 美嘉 ( Mika), a very unlucky girl really have happened if all the things you see in the movie because she states that the story is totally invented. The series of novels has reached 25 million electronic readers, and this was taken in 2007 this film, and in 2008 a drama in six episodes. The film adaptation is in all respects a 纯爱 ( Jun-ai - true love) and respects the canons: sad love story, death or disease in various rivers and tears.
I must say that I like 纯爱 ( Jun-ai - true love), but I do the "Vincenzo Mollica the contrary" of the situation, saying from the beginning that this movie is not nice . And I explain why in the following points:
1) Too much crippled, as they say old essays, and here this saying has never been so appropriate: the girl goes way too much trouble, so many that the story borders on the ridiculous. A story with so much trouble should turn in a completely different way, perhaps using the real drama and the drama school youth, and not in Japan because such problems do not exist, but because in my opinion is not cinematically believable.
2) The honey-like expressions of poetry recited by actors awkwardly kids who play "adult" kids and saturated with color photography, installation almost drama (see also paragraph "6" in this regard ), the voice-overs and other things come up against the power of extreme gravity and painful topics.
3) I love 新 垣 结 衣 ( Aragaki Yui ), since the drama マイ ★ ボス マイ ★ ヒーロー (My Boss My Hero), which is beautiful co-star, but after seeing her I think this film is not exactly the height of film interpretation, and it would be really better that focuses on the drama: of course after seeing a Jun-Ai with controcoglioni entitled ただ, 君 を 愛し てる ( Tada, Kimi Wo Ai Shiteru - Simply, I Love You ), with a "real actress" named 宮崎 あおい ( Miyazaki Aoi), watching Koizora grow exponentially boredom and discontent.
4) will be that after years of Japanese film I've seen a lot of stories, but this film is obvious from the beginning, I had already guessed the ending before the end of first half: no there are concrete ideas in this adaptation.
5) If there is one thing that I understand Japanese film and the bottom appreciated so far, is that the sexual act in all its forms, from the kiss, the caress pushed to the full report, or omitted facts are absolutely always imagine the viewer, but here you go sull'esplicito, explicit unpleasant materialized both in the images in the stories of the voiceover: I've always loved the Jan-Ai is the purity of the sensory loving relationship, distilling the essence of which only feeling this Japanese film in my personal experience has been able to express . We are light years from the poetry of dell'Iwai Love Letter, and the raw visual power of the Yukisada Sekachu: Norihiro Koizumi even a 26-year-old has done better in 2006 with the best Debut Tayou no Uta .
6) The stranger Natsuki Imai, director of this film, has done more to life than drama, and his inexperience in the whole film feels like a film shot this micro-drama.
7) Never as in this case, the theme of death is exploited and abused in order to resolve the plot.
8) Jun-often in the comic and there is a small component sdrammatizzante, but here, nada.
There are some positive points, such as certain bars, but everything else is like flatness and especially women (ask Shiho that has not stopped crying).
恋 空 (Koizora - The Sky Of Love)
Japan, 2007 - Directed by Natsuki Imai
Wednesday, May 27, 2009
Spinal Meningitis And Inablity To Walk
Departures (Departures)
Masterpiece winner of the Far East 2009 (both the Audience Award and with the Black Dragon Award), 2009 Oscar Award in the category "Best Foreign Film", dozens of awards in film festivals around the world, especially in Japan, almost always in the categories "Best Film", a successful stratospheric box office in the mother country, which is incredible for a film with an original screenplay (though freely based on the autobiography of Shinmon Aoki, 纳 棺 夫 日记 ( Nōkanfu Nikki ) English title " Coffinman: The Journal of a Buddhist Mortician ") is not taken from television series or manga, and not a common subject, that of death and management of a dead body, physiologically fled and feared by the "live ". Significant corollary of this is the ultimate taboo of the confidentiality of the Japanese funeral ceremony, reserved exclusively for family narrow and therefore difficult to express cinematically without arousing mixed feelings in the Japanese public.
Departures, a term coming directly from the English translation of a funny scene from the film, is not an exact translation of the Japanese title that is おくり びと ( Okuribito ): This word comes from the verb 見送る ( Miokuru ) which expresses the action of the healthy from the ground a deceased person who is already in heaven while we contemplate with the eyes. It just takes the part of the "healthy " 送る ( Okuru ) and joins the ideogram 人 ( Hito ), which together with the previously mentioned verb ingorizza is becoming "the framework ": " Okuribito " is the person who welcomes the dead to heaven, meaning more metaphorical than physical.
We are in the hard winter 酒 田 ( Sakata), Yamagata Prefecture. A young 纳 棺 师 ( nokanshi ) performing the ritual of the recomposition of the body of a beautiful young woman before her deposition in the coffin. His old mentor, welcomed the following to practice the graceful movements of an ancient and fascinating, brilliant of piety, composed of dignity, full of love that the living can no longer give to the dead, delegating so unique and special person.
Prior to conducting this work, Daigo was a cellist in an orchestra in Tokyo, unfortunately after the dissolution thereof, the young man is out of work and decide to move to his home town of Sakata. Here, in a newspaper ad reads an ad: "Wanted staff, even without experience, specialized agency in departures. Convinced it is a travel agency, Daigo makes contact with the elderly owner, who hired him without even reading the resume. Soon the boy realizes that this is an agency of the funeral, a 葬 仪 屋 ( Sōgiya ): his initial offers to hide him away from hateful gossip but, given the small size of the city were not slow in coming, even undermining the solidity of his marriage. Here begins a new path for Daigo, sometimes painful, to find inner peace and serenity and the respect of others.
Beautiful, sensitive, poignant and seemingly perfect a film in which festival-goers have given a nice 5 / 5 (the vote was 4 / 5 but in my own yardstick to FEFF Japanese movies are always a plus point) . Indeed, not a fan of Asian cinema can truly appreciate this film the classic Japanese film slow lamented by those who you approach for the first time is less heavy usual, the theme is extremely interesting for its rarity and also applies the vision of two hours and ten minutes into the film: there is a better overall balance of the collection. A film esportabilissimo, a successful challenge once again from far-sighted and reckless executive producer 间 瀬 泰 宏 ( Mase Yasuhiro ). It 'important to note that Departures had its most important victory in the motherland, in Japan, where a huge public success has marked the fall of a great taboo, cleared through customs cinematic figure of 纳 棺 师 ( nokanshi ) and the practice of funeral , things that in years of Japanese cinema had never seen personally. None it would have bet on this film and the film is about just this problem: the marginalization of Daigo because of his work comes from a feeling shared by many people around the world. We all fear of the gravediggers, anyone at least once in their life tried to imagine how it would work from gravedigger, and even touch the dead : not in this case the "fear of difference" to frighten people, but the most natural fear of death, to escape what they feared even more as an idea. From here you can instead create the groundwork for an interesting movie, because in addition to showing things that no one has ever seen (the practice of the composition of the corpse in front of relatives, at least in Europe I think it is so widespread ...), allows you to show a reassuring daily in a work so special, and it is then possible to put the viewer at ease with the inclusion of macabre fun situations: an expedient, to play with death without ever falling into bad taste, absolutely brilliant.
good interpretation 本 木 雅 弘 (Masahiro Motoki ) as Daigo, and an equally valid test 広 末 凉子 (Ryoko Hirosue ), the unforgettable little face of the daughter of Jean Reno in Wasabi, who plays his wife, the presence of pleasant 山崎 努 ( Tsutomu Yamazaki ) a great film career behind and many role-thick (I do not forget that in Sekachu Sakutaro's grandfather), who plays the elderly owner of the agency.
Well, I am happy for this Oscar winner, absolutely not undeserved, and that gives luster to the Japanese cinema, after the one won in 2001 by Hayao Miyazaki with 千 と 千尋 の 神隠し (Sen To Chihiro No Kamikakushi - Spirited Away). But who knows in Japanese cinema and made the call at the Japanese contemporary drama, can not help but note that this is a film built on purpose to rip tears, with a sound not bad nè sgradevole ma ripetitivo che se vogliamo enfatizza ancora di più le scene commoventi e tristi. Forse scontato come struttura, utilizza la morte per i suoi fini di genere, come tutti gli esponenti del genere 純愛( Jun-ai – vero amore), ma senza utilizzare il topic dell'amore. Grazie a questo film le autorità di Sakata dovrebbero ergere un monumento in onore della produzione, visto che l'affluenza turistica nella cittadina è spaventosamente esplosa fino a mettere in ginocchio le sue capacità ricettive, un pò come accadde per Aji, nell'isola di Shikoku, location di Sekachu, che ancora oggi vive di turismo cinematografico (io ho contribuito ad esso nell'estate del 2008).
Unico of its kind and unique, like that which shows an absolute must even also in terms of knowledge of Japanese culture, well done and never boring, delicate but ironically, a perfect balance created and perfected by the great director 滝 田 洋 二郎 ( Takita Yojiro ), balance, without which, Mase's words, would it really all to pieces. 
Masterpiece winner of the Far East 2009 (both the Audience Award and with the Black Dragon Award), 2009 Oscar Award in the category "Best Foreign Film", dozens of awards in film festivals around the world, especially in Japan, almost always in the categories "Best Film", a successful stratospheric box office in the mother country, which is incredible for a film with an original screenplay (though freely based on the autobiography of Shinmon Aoki, 纳 棺 夫 日记 ( Nōkanfu Nikki ) English title " Coffinman: The Journal of a Buddhist Mortician ") is not taken from television series or manga, and not a common subject, that of death and management of a dead body, physiologically fled and feared by the "live ". Significant corollary of this is the ultimate taboo of the confidentiality of the Japanese funeral ceremony, reserved exclusively for family narrow and therefore difficult to express cinematically without arousing mixed feelings in the Japanese public. Departures, a term coming directly from the English translation of a funny scene from the film, is not an exact translation of the Japanese title that is おくり びと ( Okuribito ): This word comes from the verb 見送る ( Miokuru ) which expresses the action of the healthy from the ground a deceased person who is already in heaven while we contemplate with the eyes. It just takes the part of the "healthy " 送る ( Okuru ) and joins the ideogram 人 ( Hito ), which together with the previously mentioned verb ingorizza is becoming "the framework ": " Okuribito " is the person who welcomes the dead to heaven, meaning more metaphorical than physical.
We are in the hard winter 酒 田 ( Sakata), Yamagata Prefecture. A young 纳 棺 师 ( nokanshi ) performing the ritual of the recomposition of the body of a beautiful young woman before her deposition in the coffin. His old mentor, welcomed the following to practice the graceful movements of an ancient and fascinating, brilliant of piety, composed of dignity, full of love that the living can no longer give to the dead, delegating so unique and special person.
Prior to conducting this work, Daigo was a cellist in an orchestra in Tokyo, unfortunately after the dissolution thereof, the young man is out of work and decide to move to his home town of Sakata. Here, in a newspaper ad reads an ad: "Wanted staff, even without experience, specialized agency in departures. Convinced it is a travel agency, Daigo makes contact with the elderly owner, who hired him without even reading the resume. Soon the boy realizes that this is an agency of the funeral, a 葬 仪 屋 ( Sōgiya ): his initial offers to hide him away from hateful gossip but, given the small size of the city were not slow in coming, even undermining the solidity of his marriage. Here begins a new path for Daigo, sometimes painful, to find inner peace and serenity and the respect of others.
Beautiful, sensitive, poignant and seemingly perfect a film in which festival-goers have given a nice 5 / 5 (the vote was 4 / 5 but in my own yardstick to FEFF Japanese movies are always a plus point) . Indeed, not a fan of Asian cinema can truly appreciate this film the classic Japanese film slow lamented by those who you approach for the first time is less heavy usual, the theme is extremely interesting for its rarity and also applies the vision of two hours and ten minutes into the film: there is a better overall balance of the collection. A film esportabilissimo, a successful challenge once again from far-sighted and reckless executive producer 间 瀬 泰 宏 ( Mase Yasuhiro ). It 'important to note that Departures had its most important victory in the motherland, in Japan, where a huge public success has marked the fall of a great taboo, cleared through customs cinematic figure of 纳 棺 师 ( nokanshi ) and the practice of funeral , things that in years of Japanese cinema had never seen personally. None it would have bet on this film and the film is about just this problem: the marginalization of Daigo because of his work comes from a feeling shared by many people around the world. We all fear of the gravediggers, anyone at least once in their life tried to imagine how it would work from gravedigger, and even touch the dead : not in this case the "fear of difference" to frighten people, but the most natural fear of death, to escape what they feared even more as an idea. From here you can instead create the groundwork for an interesting movie, because in addition to showing things that no one has ever seen (the practice of the composition of the corpse in front of relatives, at least in Europe I think it is so widespread ...), allows you to show a reassuring daily in a work so special, and it is then possible to put the viewer at ease with the inclusion of macabre fun situations: an expedient, to play with death without ever falling into bad taste, absolutely brilliant.
good interpretation 本 木 雅 弘 (Masahiro Motoki ) as Daigo, and an equally valid test 広 末 凉子 (Ryoko Hirosue ), the unforgettable little face of the daughter of Jean Reno in Wasabi, who plays his wife, the presence of pleasant 山崎 努 ( Tsutomu Yamazaki ) a great film career behind and many role-thick (I do not forget that in Sekachu Sakutaro's grandfather), who plays the elderly owner of the agency.
Well, I am happy for this Oscar winner, absolutely not undeserved, and that gives luster to the Japanese cinema, after the one won in 2001 by Hayao Miyazaki with 千 と 千尋 の 神隠し (Sen To Chihiro No Kamikakushi - Spirited Away). But who knows in Japanese cinema and made the call at the Japanese contemporary drama, can not help but note that this is a film built on purpose to rip tears, with a sound not bad nè sgradevole ma ripetitivo che se vogliamo enfatizza ancora di più le scene commoventi e tristi. Forse scontato come struttura, utilizza la morte per i suoi fini di genere, come tutti gli esponenti del genere 純愛( Jun-ai – vero amore), ma senza utilizzare il topic dell'amore. Grazie a questo film le autorità di Sakata dovrebbero ergere un monumento in onore della produzione, visto che l'affluenza turistica nella cittadina è spaventosamente esplosa fino a mettere in ginocchio le sue capacità ricettive, un pò come accadde per Aji, nell'isola di Shikoku, location di Sekachu, che ancora oggi vive di turismo cinematografico (io ho contribuito ad esso nell'estate del 2008).
Unico of its kind and unique, like that which shows an absolute must even also in terms of knowledge of Japanese culture, well done and never boring, delicate but ironically, a perfect balance created and perfected by the great director 滝 田 洋 二郎 ( Takita Yojiro ), balance, without which, Mase's words, would it really all to pieces.
A souvenir photo with the FEFF11 间 瀬 泰 宏 ( Mase Yasuhiro ), producer of this film, the thriller as a hospital Nakamura.
おくり びと ( Okuribito - Departures)
Japan, 2008 - directed by 滝 田 洋 二郎 ( Takita Yojiro )
Sunday, May 24, 2009
Diego Maradona Hepatitis
K-20 Phantom Transfer twelve looks (La leggenda dell'uomo misterioso dalle venti facce)
We are in Japan "post-no-war", that is in 1949 but that there was no World War II: the Empire has never made the choices that brought the wicked country to the ruin of the Rising Sun (attack on Pearl Harbor, entrance into the war with the Axis powers etc.) , and the country lives in an antebellum-style futurism unreal, strange flying machines, a Blade Runner-iron, steel and steam, a bizarre technological progress but did not touch the company, lost as if it were frozen in eternal seeming Middle Ages from which, for better or for worse, Japan came only after the end of the war, after the nuclear destruction and the American occupation means a company sectorally divided into an opulent aristocracy dominating a poor class poor.
I was extremely interested in this movie: I love movies of Japanese super-heroes, but those who do not take themselves seriously, as the beautiful Zebra-man Miike, for one thing: here we are a marvel-Japanese film, and especially compared to what you do not want to be an innovative film but a film that follows a trend already established and that more senior figures, could be down to his total. I must say that I had changed his mind, even if partially. Adapted from the work of 北 村 想 ( Kitamura I know), the film is crisp and agile, as the ability director of its writer, 佐藤 嗣 麻子 ( Sato Shimako ). To attract the masses, especially of girls and women, there is the Japan-Taiwanese star 金城武 (Takeshi Kaneshiro ), great acting talent. The female lead is played by 松 たか子 (Takako Matsu ) for me the same as the star of the recent thriller hospital Nakamura, Yuko Takeuchi. 
K-20 怪人 二十 面相 伝 (K-20 Ni-Ju Kaijin Mensa Den - The legend of the mysterious man from twenty-sided) 
We are in Japan "post-no-war", that is in 1949 but that there was no World War II: the Empire has never made the choices that brought the wicked country to the ruin of the Rising Sun (attack on Pearl Harbor, entrance into the war with the Axis powers etc.) , and the country lives in an antebellum-style futurism unreal, strange flying machines, a Blade Runner-iron, steel and steam, a bizarre technological progress but did not touch the company, lost as if it were frozen in eternal seeming Middle Ages from which, for better or for worse, Japan came only after the end of the war, after the nuclear destruction and the American occupation means a company sectorally divided into an opulent aristocracy dominating a poor class poor. We are in the imaginary capital Teito. During the presentation of an extraordinary invention by the legendary Dr. Tesla, a mysterious individual takes possession of the machine and cause a massacre: the notorious criminal Mescher called "Twenty Faces". The detective Kogoro Akechi, accompanied by his assistant disturbing child, continues the investigation to catch the villain. Down in the gutter while the fearless acrobat Heikichi Endo, after finishing his performance in a show veien approached by a strange man who pays him to complete a dangerous job, which must be completed at the reception for the Annunciation Kogoro detective with the wedding of his noble girlfriend, Yoko Hashiba: Things are bad and the unfortunate Heikichi is hopelessly mistaken for the criminal "Twenty Faces" and hunted. The boy will have to face an entire city so that it pursues, the wily detective Kogoro, a dangerous criminal, and save the world ... Well not to be spoler, but in short films super-heroes in the end they are all so ...
I was extremely interested in this movie: I love movies of Japanese super-heroes, but those who do not take themselves seriously, as the beautiful Zebra-man Miike, for one thing: here we are a marvel-Japanese film, and especially compared to what you do not want to be an innovative film but a film that follows a trend already established and that more senior figures, could be down to his total. I must say that I had changed his mind, even if partially. Adapted from the work of 北 村 想 ( Kitamura I know), the film is crisp and agile, as the ability director of its writer, 佐藤 嗣 麻子 ( Sato Shimako ). To attract the masses, especially of girls and women, there is the Japan-Taiwanese star 金城武 (Takeshi Kaneshiro ), great acting talent. The female lead is played by 松 たか子 (Takako Matsu ) for me the same as the star of the recent thriller hospital Nakamura, Yuko Takeuchi.
The film amuses and intrigues, the plot is compelling and there are plot twists, action scenes are exciting, but the special effects of Japanese cinema, I may say so, are not yet up to the standard American and New Zealand. There is always the sword of Damocles of the comparison with Filmon targati Marvel, but I do not think you can just ask for more for this genre, from Japanese cinema.
K-20 怪人 二十 面相 伝 (K-20 Ni-Ju Kaijin Mensa Den - The legend of the mysterious man from twenty-sided) Japan, 2008 - directed by 佐藤 嗣 麻子 ( Sato Shimako )
Friday, May 22, 2009
Inspirational Words For Stroke Victums
triumph of General Rouge (Il Trionfo del Generale Rosso)
After チーム バチスタ の 栄光 ( Chiimu Bachisia No Eiko - The Glory of Team Batista ) and フィッシュストーリー ( Fisshu Sutoorii - Fish Story ) meeting for the third time Yoshihiro Nakamura the Far East, and here even after the painful disappointment of Fish Story there was no doubt on the absolute quality of the product: as anticipation, a kind of soft thriller Investigation into hospital sauce (precisely the result of the pleasant " Glory of Team Batista ).
You return to 东城 大学 医学 部 付 属 病院 ( Tojo Daigaku Igakubu Fuzoku Byōin - University Hospital Tojo), the same fictional hospital on the outskirts of Tokyo: the shy but enterprising Dr. Kimiko Taguchi, a psychologist and brilliant improvisation investigator at the time of the events of the prequel, has been appointed head of the hospital's ethics committee, a task not easy for a quiet soul like her. Life in the hospital proceeds peacefully until the Taguchi receives an anonymous letter that provides knowledge of alleged shady deals in the area of \u200b\u200bsupplies made by Dr. Koichi Hayami, called the "Red General", the powerful head of emergency, with the complicity 'of his head nurse, Ms. Miwa Hanabusa. What's more, a helicopter lands sull'eliporto hospital ambulance carrying a patient special Keisuke Shiratori, big shot of the Ministry of Health and Taguchi's old friend (he had participated in the crimes of the team Batista). The sudden arrival of Mr. Shiratori causes hives to Taguchi, who knows that a simple broken leg does not justify the transfer of the bureaucrat in the same helicopter that big trouble is on the way: in fact, Shiratori also received an anonymous letter with the same content, and most importantly the equipment supplier of General Rosso died (suicide?) falling from the heliport, located on the roof of 'hospital. The Taguchi finds himself catapulted into a new crisis, an obligation to investigate also saw his role as head of the ethics committee, and again with the unbearable but nice Shiratori at his heels.
A year after watching チーム バチスタ の 栄光 ( Chiimu Bachisia No Eiko - The glory of Team Batista ), come gia' detto sempre di Nakamura , mi tuffo di nuovo nell'atmosfera familiare dell'ospedale Tojo. E' un piacere incontrare di nuovo la gradevolissima figura della dottoressa Taguchi, un personaggio dotato di una grande sensibilita' ed umilta' e che non si fa fatica ad amare a prima vista e interpretato da una sempre brava 竹内結子( Takeuchi Yūko ). Non si poteva fare un seguito del blockbuster datato 2008 senza riproporre il mitico 阿部寛( Abe Hiroshi ), anche questa volta colonna portante della pellicola e protagonista di scene incredibili (la scena del reparto di pediatria coi bambini che lo sfottono è già da leggenda). Anche qui pochi difetti, forse nessuno, e se vogliamo una migliore gestione generale delle risorse: tralasciando la storia, comunque non originale ed adattata sempre dai lavori di 海堂尊( Kaido Takeru ), la sensazione generale è che il sequel sia migliore del prequel. Una regia più audace in certe inquadrature, addirittura effetti speciali in post-produzione per una scena particolarmente estrema, e comunque un meccanismo di personaggi prefettamente collaudato ed oliato. 
After チーム バチスタ の 栄光 ( Chiimu Bachisia No Eiko - The Glory of Team Batista ) and フィッシュストーリー ( Fisshu Sutoorii - Fish Story ) meeting for the third time Yoshihiro Nakamura the Far East, and here even after the painful disappointment of Fish Story there was no doubt on the absolute quality of the product: as anticipation, a kind of soft thriller Investigation into hospital sauce (precisely the result of the pleasant " Glory of Team Batista ). You return to 东城 大学 医学 部 付 属 病院 ( Tojo Daigaku Igakubu Fuzoku Byōin - University Hospital Tojo), the same fictional hospital on the outskirts of Tokyo: the shy but enterprising Dr. Kimiko Taguchi, a psychologist and brilliant improvisation investigator at the time of the events of the prequel, has been appointed head of the hospital's ethics committee, a task not easy for a quiet soul like her. Life in the hospital proceeds peacefully until the Taguchi receives an anonymous letter that provides knowledge of alleged shady deals in the area of \u200b\u200bsupplies made by Dr. Koichi Hayami, called the "Red General", the powerful head of emergency, with the complicity 'of his head nurse, Ms. Miwa Hanabusa. What's more, a helicopter lands sull'eliporto hospital ambulance carrying a patient special Keisuke Shiratori, big shot of the Ministry of Health and Taguchi's old friend (he had participated in the crimes of the team Batista). The sudden arrival of Mr. Shiratori causes hives to Taguchi, who knows that a simple broken leg does not justify the transfer of the bureaucrat in the same helicopter that big trouble is on the way: in fact, Shiratori also received an anonymous letter with the same content, and most importantly the equipment supplier of General Rosso died (suicide?) falling from the heliport, located on the roof of 'hospital. The Taguchi finds himself catapulted into a new crisis, an obligation to investigate also saw his role as head of the ethics committee, and again with the unbearable but nice Shiratori at his heels.
A year after watching チーム バチスタ の 栄光 ( Chiimu Bachisia No Eiko - The glory of Team Batista ), come gia' detto sempre di Nakamura , mi tuffo di nuovo nell'atmosfera familiare dell'ospedale Tojo. E' un piacere incontrare di nuovo la gradevolissima figura della dottoressa Taguchi, un personaggio dotato di una grande sensibilita' ed umilta' e che non si fa fatica ad amare a prima vista e interpretato da una sempre brava 竹内結子( Takeuchi Yūko ). Non si poteva fare un seguito del blockbuster datato 2008 senza riproporre il mitico 阿部寛( Abe Hiroshi ), anche questa volta colonna portante della pellicola e protagonista di scene incredibili (la scena del reparto di pediatria coi bambini che lo sfottono è già da leggenda). Anche qui pochi difetti, forse nessuno, e se vogliamo una migliore gestione generale delle risorse: tralasciando la storia, comunque non originale ed adattata sempre dai lavori di 海堂尊( Kaido Takeru ), la sensazione generale è che il sequel sia migliore del prequel. Una regia più audace in certe inquadrature, addirittura effetti speciali in post-produzione per una scena particolarmente estrema, e comunque un meccanismo di personaggi prefettamente collaudato ed oliato.
Dopo la visione, vista la delusione di フィッシュストーリー ( Fisshu Sutoorii - Fish Story ) ho pensato che Nakamura sia di sicuro un ottimo regista e sceneggiatore, ma che vada assolutamente controllato da qualcuno (in questo caso e in quello del prequel la TBS ha fatto il suo).
Due ore di divertimento senza pensieri. Consiglio questi due film e qualsiasi altro sequel dovesse essere prodotto.
ジェネラル・ルージュの凱旋 ( Jeneraru Ruuju No Gaisen - The Triumph of General Rosso)
Japan, 2009 - directed by Yoshihiro Nakamura
Wednesday, May 20, 2009
How To Change License From Nj To Ny
Glory of Team Batista (La gloria del Team Batista)
The Japanese film as "great" Far East 2008. Great in terms of audience: according to the president of TBS (Tokyo Broadcasting System ), present in the room, a public success unprecedented in terms of big budget production made for a blockbuster win, a money machine practically perfect, great in terms of entertainment, why is this movie entertaining great. 
The Japanese film as "great" Far East 2008. Great in terms of audience: according to the president of TBS (Tokyo Broadcasting System ), present in the room, a public success unprecedented in terms of big budget production made for a blockbuster win, a money machine practically perfect, great in terms of entertainment, why is this movie entertaining great. We enormous 东城 大学 医学 部 付 属 病院 ( Daigaku Igakubu Fuzoku Byōin Tojo - Tojo University Hospital), a fictional hospital in the outskirts of Tokyo. Here by a famous cardio-surgical team applied an innovative and apparently successful method in open-heart surgery. The team, after the incredible success in resolving cases of desperate people who have brought prestige to the entire healthcare facility, begins to lose patients to death in the operating room. Dr. Kimiko Taguchi, passionate softball player as well as quiet harmless and psychologist, is responsible for querying various team members, to try to understand the causes of this alarming and unexplained series of deaths. His investigation ends with an innocent verdict of acquittal in respect of the team, seemingly powerless against those who are established as accidental deaths. Meanwhile, the Ministry comes Keisuke Shiratori, an investigator appointed to investigate the affair. Shiratori will stir throughout the hospital with his impulsiveness that will not just an awkward one to shy Taguchi, but that will bring a new light on the events.
As I said before チーム バチスタ の 栄光 ( Chiimu Bachisia No Eiko - The Glory of Team Batista) is a film that simply does his duty: to entertain and make money: it is proven that a car with no Japanese blood of yellow and without violence. Adapted from the novel by 海 堂 尊 ( Takeru Kaido ), is at the end a very long episode of "Murder, She Wrote , where my grandmother second Angela Lansbury solving crimes all over the place (I've always been convinced that bring bad luck wherever he went because we escaped the dead), but the caliber of actors, production billionaire and a modern and intriguing story make this film a great movie with yellow edges of comedy. I personaggi, pur di contorno, sono ottimamente definiti e ognuno di loro ha un suo misterioso carisma: 竹内結子( Takeuchi Yūko ), che interpreta la dottoressa Taguchi è incredibilmente dolce nella sua sincera goffaggine; 阿部寛( Abe Hiroshi ), che interpreta il politico Shiratori non ha certo bisogno di presentazioni, e qui sfoggia una faccia da schiaffi da primato e riesce a dare al suo personaggio una potenza carismatica non indifferente: penso che questo film non sarebbe nulla senza di lui. E a quanto pare anche la sanità Giapponese ha le sue magagne, e forse anche a questo scottante tema si deve la grande affluenza di pubblico.
Divertente, intrigante, passa via in un lampo.
チーム・バチスタの栄光( Chiimu Bachisuta No Eiko - La gloria del Team Batista)
Giappone, 2008 - Regia di Yoshihiro Nakamura
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