I did not know, I confess, the existence of the actor, director, photographer, editor, musician, model and admirer of colonoscopies Roger Ebert, Vincent Gallo.
I not understand this. Another piece for the file on the difficulty What the major artistic and cultural events to reach the outskirts Vlach and commercial zoning of Quicks Road Fléron.
course, after watching "The Brown Bunny", I devoured the literature cyber-orbiting Vincent Gallo, until his senseless brinkmanship and his artistic integrity who promote the status of rare and envied damned poets of melancholy of love crazy in our contemporary society.
Before, I thought "Gallo" was just the nickname of an aspiring writer ("gallo31) for kinescopes-Sunday on a forum of passionate Radical exchange impressions cinephile fast-paced day of controversy and two quarterly mailings. And yet, I thought that this nickname was the result of a typo for "giallo", which I imagined, I do not know why, first he was a fan of the genre, and another that it was a tribute hijacked and sophisticated "Adalen 31" by Bo Widerberg.
A council in passing: if you want to strike the imagination in ouksacause fora with a nick that slams into the air and a lasting spirit of your contacts, get a star name, the film, music or literature, depending on your interests and investing more. Add a digit, depending on your age or the availability of name on the net. Thus, in addition to or agreed jennifer9948 franckpourcell62, you cut your success with a pen name or style vertov904 musil3615. With a little courage, do you call "jeanrollin" or "pierreguyotat" and you will be unique while multiple tree while being rhizomatic.
So, "The Brown Bunny."
a question at the outset, our lips: is that, eventually, if you the most adorable "road movies" contemplative way of Wenders's early 70s and "The Passenger" by Antonioni, you adorerirait it "The Brown Bunny"?
Well, this is not absolutely sure how qualified.
already be aware that if in the above-roads trip we had almost become accustomed to wander for nothing and for nothing, experiencing some discomfort identity difficult to identify by nature is not the case here.
here (and all announce that once again, it's going to hell in spoiler chronic c'te economy fare), the personal problem that moves the guys walking around in areas Palmieri parked motorcycle racing in his Van is a lost love in the time of her past, and that haunts him. Already, we know where we're going: nowhere, certainly, but it promises very emotional restraint, full of unspeakable shame in her silent suffering and naked simplicity, and no less poignant revelation that a spell of late sadly unfortunate. In
here (and all announce that once again, it's going to hell in spoiler chronic c'te economy fare), the personal problem that moves the guys walking around in areas Palmieri parked motorcycle racing in his Van is a lost love in the time of her past, and that haunts him. Already, we know where we're going: nowhere, certainly, but it promises very emotional restraint, full of unspeakable shame in her silent suffering and naked simplicity, and no less poignant revelation that a spell of late sadly unfortunate. In
c'film there, nothing happens or does not is insignificant, and somehow, it's a shame if it is felt that the experience of meaninglessness, it is not necessarily sign of a worrying gap that walk is not all moves away or resolve trauma or what or what.
Well, the guy Locke palm while her trousseau, and that the reckless enough to be admitted. Wilhelm Meister wanted to write, but he had lost the language and the others, and it was affecting his good humor. Overall, through the cracks of singular each other, was rather "big business" not necessarily private. The guy
Clay, That's one key that is missing: his fiancee, named Daisy. So he devotes himself to the bike on the salt lakes to no longer be an optical illusion on the horizon, and it gives us to think, as Mr. Perrichon, the smallness of man before the sea ice. Worse it rolls skates almost every woman he meets lonely before heavy as dry, not without some rude elsewhere: it means that none can make him forget his Daisy and that is sad.
Should also say that it is quite handsome in person, a sort of mix between melancholy singer Raphael nénette old and globetrotter sarko-romantic Arno Klarsfeld between two ages. Apparently, it is an asset. No, I say this because I think that if, eventually, I stopped on a deserted highway rest area with a sudden inspiration to administer mouth to mouth passion to a lady sitting at a picnic table, even a tad depressed, I'm not sure she would alert the i-phone on its border guards or the Mounties.
Y has many moments in the film, where one begins to wander, looking without thinking evil road signs, signs of motels and snack bars throughout the dirty windshield. But even in these times of uncertainty owls sensorimotor imperative, after a thirty minute shows in hand, fill it all by a acoustic ziquette drizzles churned out by some descendant of Johnny Cash; it never misses, and suddenly, we believe in clip Stephan Eicher.
Bud is also a fragile man who likes rodents. He wants to buy a rabbit Daisy. It turns out that Daisy loves rabbits, which is endearing (the part of childhood, innocence lost, all these things). But again, make no mistake, this is so meaningful. Bud is bothering the average lifespan of a rabbit. Five to six years maximum, depending on the seller, even by injecting them with a special product. Here, we say that this obsession with rabbits has something to do, if it is, with the painful feeling of the ephemeral things, and we sensed that if pleasure of love lasts only an instant, heartbreak Love lasts short life. So subtle and discreet at once, to draw our attention to the grief and sadness by Sigmund Freud, Gerard de Nerval and Mylène Farmer.
Okay, so I spent the minutiae of this destinerrance disenchanted to dwell on the inevitable final scene, the scent of scandal, which has attracted some big words in the newspapers festival. Actually, there is no real break three legs to a duck.
Bud finds himself waiting for Daisy in her motel after being cracked in vain at the door of her suburban house with abandoned cobwebs and all. Daisy is suddenly before him, he had not even get heard. Ensue from mild reproaches between lovers disappointed. Daisy pointed to Bud, who doubt the sincerity of their love, one day she ate a big treats chocolate bunny 60cm cube that had offered him for his annif, and despite its laborious digestion , vomit on the corner of the lips, he kissed her, not disgusted. This constitutes a proof of love almost mathematical. If we wanted to be a little killjoy, it might be noted that in terms of showing love, we are not called upon every time to swallow as a four-hours a chocolate bunny, was it as two meters in Donnie Darko. Although, as with anything, it is discussed. Trendy in some circles, a merguez s'enfiler frozen by the hindquarters appears to be an irrefutable proof of love. So let's not quibble.
There was also no time to think too much about this complex issue, because tumbles without warning the striking scene: Bud is - spoiler - to perform oral sex live-live by the ghost of Daisy addict. We understand that oral sex is painful, because after, Daisy says to him on the pillow is no longer of this world. We also understand that he did not exactly left Daisy on a Polaroid Sunset at Waikiki Beach. Before the arrival of EMS and before taking the tangent, he had what you might call the fleeting impression that it was caught, pregnant, in the toilets of a nightclub by a division of Texas rugby, then it was done may be violating drunk. And that's not cool, it portends the possibility of a pathological mourning. In any case, to properly drive the nail with a twist emotional unstoppable, Marc Levy and Barbara Cartland, even putting them in two, would not have found this idea.
So yes, we may tell me: "Sir, you are colder than a slug, no heart and lacks empathy. Let us dream, and besides this kind of thing happens every day, just open the newspaper mentioned. I pity you and I hope you get raped in front of your pregnancy by a division of rugby at the Ardennes Oktoberfest chocolate Houffalize, you will do less Jacques, and your child will grow up to serve special hospital The Aviary. "Yes, but it's not the problem, of course, reality is always worse than fiction, the thing is, in fiction, it's not necessarily pass, that" less is more "or" more is less "etc., all in the way of arranging, finally one will not ...
Some moviegoers inspired
we have noted, however, the character of this sequence Bergmanian impregnated phantasmagoria funeral. It is true that some of this: One can think in "shouting and Sucking" (if I had not done, it would be another charge), when dead woman's sister is scary to all world, except the nanny, claiming a hug in the middle of the night from his shroud.
But otherwise, it is not completely Bergmanian, due to one or two funny details that most reminds me, Me, Max Pecas or Fassbinder in his comic vein: while Daisy is all invested in his case of Bud not stop bothering to ask her insistent questions like "do you suck more than others?" Tell me you suck more than other guys, tell me that I am the only one like you suck "etc.. What the poor Daisy, of course, can not answer much, except for some onomatopoeia on the edge of the imperceptible, like: "... whew whhh rwhoeuw ... ewrhoewwh.
is where we are told that Ingmar did not do it like that. It would have struck poses and breathing in the dialogue. Bud Daisy would have stopped to ask an anxious tone: "Tell me, Daisy, is that in the darkness of this world without joy, god out of his cruel silence to give answers to the questions we ask about the meaning of our existence? ". What would Daisy replied, without releasing the phallus, but contemplating the horizon off- field: "No, Bud, the sky is empty, even the crows have fallen silent, the world is a big black hole and we are left alone and abandoned in a land where impenetrable resounds the echo of our solitude."
Otherwise In conclusion, one might also mention the passage of arms, now famous, between Roger Ebert and Vincent Gallo.
Ebert, American critic, who does not like road movies and nihilists chick sensory-motor connections, preferring those where Tommy Lee Jones reflects on the moral decay with the resigned look of a cocker sad (yet in the last chore pachyderm Bertrand Tavernier), exclaimed after the screening of "The Brown Bunny" Cannes: "This is the worst movie in the history of the festival." Gallo, not happy at all, replied through the press that Ebert was nothing but a "fat pig" riddled with cancer of the colon. Ebert replied that the hospital, he had shown in his last coloscanners date on a monitor screen, and it was more interesting to watch than "The Brown Bunny."
Actually, there were misdeal and a touch of bad faith shared.
The film was also recovered for distribution, and robbed of 25 minutes of driving and other "long lengths. A year later, Ebert, chivalrous, affix his three stars.
"The Brown Bunny" is not in itself a bad movie. It is not nearly as bad, for example, that "in the Valley of Elah," "Crash" and other horrors caramelized imbitable Paul Haggis that delight recent Ebert. The problem with this film may be, in my opinion - even look like a snob - we do not get bored enough, at least this good boredom that opens the time and space.
Anyway, there is still enough in there sweet bittersweet, clichetons of signifiers, Dolores two bullets and melodramatic jerrybuilt to meet Ebert and shut up the intermittent passion:
Well, the guy Locke palm while her trousseau, and that the reckless enough to be admitted. Wilhelm Meister wanted to write, but he had lost the language and the others, and it was affecting his good humor. Overall, through the cracks of singular each other, was rather "big business" not necessarily private. The guy
Clay, That's one key that is missing: his fiancee, named Daisy. So he devotes himself to the bike on the salt lakes to no longer be an optical illusion on the horizon, and it gives us to think, as Mr. Perrichon, the smallness of man before the sea ice. Worse it rolls skates almost every woman he meets lonely before heavy as dry, not without some rude elsewhere: it means that none can make him forget his Daisy and that is sad.
Should also say that it is quite handsome in person, a sort of mix between melancholy singer Raphael nénette old and globetrotter sarko-romantic Arno Klarsfeld between two ages. Apparently, it is an asset. No, I say this because I think that if, eventually, I stopped on a deserted highway rest area with a sudden inspiration to administer mouth to mouth passion to a lady sitting at a picnic table, even a tad depressed, I'm not sure she would alert the i-phone on its border guards or the Mounties.
Y has many moments in the film, where one begins to wander, looking without thinking evil road signs, signs of motels and snack bars throughout the dirty windshield. But even in these times of uncertainty owls sensorimotor imperative, after a thirty minute shows in hand, fill it all by a acoustic ziquette drizzles churned out by some descendant of Johnny Cash; it never misses, and suddenly, we believe in clip Stephan Eicher.
Bud is also a fragile man who likes rodents. He wants to buy a rabbit Daisy. It turns out that Daisy loves rabbits, which is endearing (the part of childhood, innocence lost, all these things). But again, make no mistake, this is so meaningful. Bud is bothering the average lifespan of a rabbit. Five to six years maximum, depending on the seller, even by injecting them with a special product. Here, we say that this obsession with rabbits has something to do, if it is, with the painful feeling of the ephemeral things, and we sensed that if pleasure of love lasts only an instant, heartbreak Love lasts short life. So subtle and discreet at once, to draw our attention to the grief and sadness by Sigmund Freud, Gerard de Nerval and Mylène Farmer.
Okay, so I spent the minutiae of this destinerrance disenchanted to dwell on the inevitable final scene, the scent of scandal, which has attracted some big words in the newspapers festival. Actually, there is no real break three legs to a duck.
Bud finds himself waiting for Daisy in her motel after being cracked in vain at the door of her suburban house with abandoned cobwebs and all. Daisy is suddenly before him, he had not even get heard. Ensue from mild reproaches between lovers disappointed. Daisy pointed to Bud, who doubt the sincerity of their love, one day she ate a big treats chocolate bunny 60cm cube that had offered him for his annif, and despite its laborious digestion , vomit on the corner of the lips, he kissed her, not disgusted. This constitutes a proof of love almost mathematical. If we wanted to be a little killjoy, it might be noted that in terms of showing love, we are not called upon every time to swallow as a four-hours a chocolate bunny, was it as two meters in Donnie Darko. Although, as with anything, it is discussed. Trendy in some circles, a merguez s'enfiler frozen by the hindquarters appears to be an irrefutable proof of love. So let's not quibble.
There was also no time to think too much about this complex issue, because tumbles without warning the striking scene: Bud is - spoiler - to perform oral sex live-live by the ghost of Daisy addict. We understand that oral sex is painful, because after, Daisy says to him on the pillow is no longer of this world. We also understand that he did not exactly left Daisy on a Polaroid Sunset at Waikiki Beach. Before the arrival of EMS and before taking the tangent, he had what you might call the fleeting impression that it was caught, pregnant, in the toilets of a nightclub by a division of Texas rugby, then it was done may be violating drunk. And that's not cool, it portends the possibility of a pathological mourning. In any case, to properly drive the nail with a twist emotional unstoppable, Marc Levy and Barbara Cartland, even putting them in two, would not have found this idea.
So yes, we may tell me: "Sir, you are colder than a slug, no heart and lacks empathy. Let us dream, and besides this kind of thing happens every day, just open the newspaper mentioned. I pity you and I hope you get raped in front of your pregnancy by a division of rugby at the Ardennes Oktoberfest chocolate Houffalize, you will do less Jacques, and your child will grow up to serve special hospital The Aviary. "Yes, but it's not the problem, of course, reality is always worse than fiction, the thing is, in fiction, it's not necessarily pass, that" less is more "or" more is less "etc., all in the way of arranging, finally one will not ...
Some moviegoers inspired
we have noted, however, the character of this sequence Bergmanian impregnated phantasmagoria funeral. It is true that some of this: One can think in "shouting and Sucking" (if I had not done, it would be another charge), when dead woman's sister is scary to all world, except the nanny, claiming a hug in the middle of the night from his shroud.
But otherwise, it is not completely Bergmanian, due to one or two funny details that most reminds me, Me, Max Pecas or Fassbinder in his comic vein: while Daisy is all invested in his case of Bud not stop bothering to ask her insistent questions like "do you suck more than others?" Tell me you suck more than other guys, tell me that I am the only one like you suck "etc.. What the poor Daisy, of course, can not answer much, except for some onomatopoeia on the edge of the imperceptible, like: "... whew whhh rwhoeuw ... ewrhoewwh.
is where we are told that Ingmar did not do it like that. It would have struck poses and breathing in the dialogue. Bud Daisy would have stopped to ask an anxious tone: "Tell me, Daisy, is that in the darkness of this world without joy, god out of his cruel silence to give answers to the questions we ask about the meaning of our existence? ". What would Daisy replied, without releasing the phallus, but contemplating the horizon off- field: "No, Bud, the sky is empty, even the crows have fallen silent, the world is a big black hole and we are left alone and abandoned in a land where impenetrable resounds the echo of our solitude."
Otherwise In conclusion, one might also mention the passage of arms, now famous, between Roger Ebert and Vincent Gallo.
Ebert, American critic, who does not like road movies and nihilists chick sensory-motor connections, preferring those where Tommy Lee Jones reflects on the moral decay with the resigned look of a cocker sad (yet in the last chore pachyderm Bertrand Tavernier), exclaimed after the screening of "The Brown Bunny" Cannes: "This is the worst movie in the history of the festival." Gallo, not happy at all, replied through the press that Ebert was nothing but a "fat pig" riddled with cancer of the colon. Ebert replied that the hospital, he had shown in his last coloscanners date on a monitor screen, and it was more interesting to watch than "The Brown Bunny."
Actually, there were misdeal and a touch of bad faith shared.
The film was also recovered for distribution, and robbed of 25 minutes of driving and other "long lengths. A year later, Ebert, chivalrous, affix his three stars.
"The Brown Bunny" is not in itself a bad movie. It is not nearly as bad, for example, that "in the Valley of Elah," "Crash" and other horrors caramelized imbitable Paul Haggis that delight recent Ebert. The problem with this film may be, in my opinion - even look like a snob - we do not get bored enough, at least this good boredom that opens the time and space.
Anyway, there is still enough in there sweet bittersweet, clichetons of signifiers, Dolores two bullets and melodramatic jerrybuilt to meet Ebert and shut up the intermittent passion:
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