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Documentary; 7,4 of 10; 2018; Synopsis Factory and construction workers, farmers, commuters, miners, students. The director captures the state of his nation, by static filming one or more people in more or less motionless poses. No narrative, just portraits; Countries China. Extraordinária está canção valeu até mais ótimo dia. Novembro de 2019 alguém tá curtindo. Chinese Portrait Movie online. Chinese Portrait movies online. 22 de dezembro de 2018, e estou aqui revivendo grandes alegrias com esse cara! Show. 2019, março alguém. Chinese portrait movie online watch. If I were a song, I would be Bagdad Caf?, for the emotions. If I were an artist, I would be Giacometti because human is fascinating. If I were a color, I would be yellow and shiny no matter what. If I were a spice, I would be bergamot which ennobles its life in sweet meat. If I were a sport, I would be swimming or skydiving, fish or bird. If I were a historical year, I would be 2020 because Carpe Diem. If I were a writer, I would be Jane Austen for Pride and Prejudice. If I were my favourite dessert, I would be a plantain tarte tatin. If I were my favourite meal, I would be a boiled egg with truffle. Being a yucca swigs I would dive in with pleasure. If I were one of the seven wonder of the world, I would be the hanging gardens in Babylon, green, in the middle of the desert. If I were a movie, I would be sci-fi because fiction opens up on another reality. If I were one of the 5 elements, I would be win which comes from far and goes somewhere else. If I were a sin, I would be greed. According to my job, not being greedy would be a professional fault. If I were a fabric, I would be natural cotton which let you breathe. If I were a verb, I would be to discover because I'm curious. If I were an adjective, I would be generous because giving brings me a lot. If I were a jewel, I would be a wedding ring for the story that the ring tells. If I were one of the 5 senses, I would be the taste because It is what characterize me. If I were a country, then I won't exist because I don't have border. ? Back Have fun with ? If I were..? ?.
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Eu tô com medo. Alguém em 2019. Isso é a mais pura essência da música brasileira. Onde fomos parar. FALAR O QUE DUM MONSTRO. Adoro francês, e seus vídeos tmb Céline, parabéns.
Nossa viajei agora no tempo 24/08/2019 que linda música bons tempos. 32 anos atrás. Em 2019 eu me ntando pra amo e bem sei como eu amo! Coisas do amor! Valeu oitentistas! Essa música me transporta para 1987. Chinese portrait movie online gratis. Muito desumano. Ja até chorei ouvindo éssa rsrsrs voa... Chinese portrait movie online hd. Chinese portrait movie online hindi. Chinese portrait movie online download. Amei. Lindo demais. Chinese portrait movie online without. Chinese portrait movie online. Chinese Portrait Movie online pharmacy. Maior compositor de músicas de pagodes e samba de raiz apesar dele não se assumir nem pagodeiro e nem sambista, Benito de Paula é excepcional, Mel pros ouvidos, top, top...
I watched so many of these I think that I might as well open up a candy store.
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Chinese Portrait Movie. A mídia somos nós e nosso coraçã a dor é o sentimento puro e intenso?. Señor Jesucristo cuidanos ?? Edit: puede pasar en la vida real. A veces la realidad supera la ficción) ?Como dice el dicho ? :v. Meu deus, to me sentindo muito mal. Somos privilegiados por sermos dessa época, quando música era música. Chinese Portrait Movie online casino. Chinese Portrait Movie online store. Chinese portrait movie online movies. Um grande abraço á makakada toda :D. Something went wrong, but don’t fret ? let’s give it another shot. Chinese portrait movie online free. Chinese Portrait Movie online ecouter. Other people: I want to be an engineer! Me: I want to be a candy maker. O Kibe está vendo muito cartoon. Gumball manda lembranças.

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I t’s difficult to imagine Rotterdam as a place where a film festival isn’t taking place at all times. The city feels tailor-made for such an event, with its panoply of movie theaters teeming with character and charming espresso bars, convenient pitstops between screenings, so close to one another. Even the servers and baristas at various restaurants and cafés can seem like festival ambassadors, quick to express their excitement when spotting a person’s IFFR tote bag, at times offering recommendations on which screenings to attend. “I swear it’s not at all like the musical, ” said one server, referring to Ladj Ly’s Les Misérables. The LantarenVenster is the only venue that seems to require that you catch a festival shuttle from the downtown area. Here, too, the workers play their role with gusto, in a delicious fantasy of a port city so imbricated in cinema that its festival is all but an effortless consequence of its filmmaking spirit. One driver, as we cross the Erasmusbrug bridge at night time, chats about film criticism and turns on Miles Davis on the radio, and somehow it feels as we’re in Louis Malle’s Elevator to the Gallows. He points out certain buildings and riffs on their historical significance. When we pass by the Schilderstraat, letters forming the word CULT are inexplicably hanging above the cars on the street, where a garish “Merry Xmas” might appear in a different kind of town. The driver notes that Rotterdam is becoming almost too trendy and sophisticated. Almost. This may be what filmmaker Pedro Costa had in mind when, in his remarkable Masterclass, he used precisely the figure of the festival chauffeur to paint a picture of how much film festivals have changed in the past couple of decades. He said that even the drivers have master’s degrees in film studies these days. This would perhaps be a plus, but in Costa’s brutal indictment of the film industry, the film festival circuit certainly included, it also means everyone is constantly trying to pitch something. “Don’t pitch anything, please! ” Costa used the figure of the driver with an MA to illustrate the hyper-specialization of everyone involved in the business, but he reserved his venom to attack another figure?that of “sales agents” who, he suggested, act like vultures, depleting every aspect of the filmmaking process from any possible art-for-art’s-sake ethos, transforming everything into an opportunity to sell something. In this context, Costa argued, a filmmaker could make any kind of demand?for Robert De Niro, for Sean Penn, or for a dozen elephants on set?just not for “time, ” that most vital tool in a filmmaker’s arsenal (“When you don’t have time, you don’t discover life”). Costa’s talk was packed with references of artists he looked up to, from Robert Bresson to Kenji Mizoguchi, from Buster Keaton to Wang Bing?directors who knew that to make a good film all one needs is “three flowers and a glass of water, ” not “money, cars, and chicks. ” Costa kept mistakenly presuming that everyone in the audience was an aspiring filmmaker, and hopefully they weren’t, as his advice was for everyone to just stop making movies because we have too many in the world already. And on the off-chance that someone in the crowd still wanted to go out and make one, Costa established poetry, sociology, and subtlety as pre-conditions for the kind of cinema he’s interested in making and consuming?even if on his iPhone during his daily train commute (Bresson looks great on the iPhone, he claimed). “This is not about revealing anything, ” he said. Cinema should be about hiding, like a gift you put inside a box and wrap delicately before offering. There were certainly a few of those kinds of films at Rotterdam this year. One of them was Lesotho-born, Berlin-based filmmaker Lemohang Jeremiah Mosese’s This Is Not a Burial, It’s a Resurrection, which, like Costa’s own Vitalina Varela, explores the impossibility of mourning. In Mosese’s film, Mantoa (Mary Twala Mhlongo), an 80-year-old widow living in a rural village in Lesotho, learns that her last surviving son, a migrant worker laboring in a coal mine in neighboring South Africa, has just died. She has thus lost all of her loved ones and decides to plan her own funeral. She wants a simple coffin. No golden angels or other gaudy nonsense. An image from Lemohang Jeremiah Mosese’s This Is Not a Burial, It’s a Resurrection. © IFFR Mosese’s mise-en-scène and camerawork are breathtaking. The opening of the film, for one, is reminiscent of the Titanik Bar scene from Béla Tarr’s Damnation, where the camera glides through a God-forsaken nowhere, certain of where it needs to go, despite the darkness, all the way until it spots a cabaret performer singing the most melancholy of all songs. In This Is Not a Burial, It’s a Resurrection, the camera also sneaks gracefully through a dark nowhere until it finds, not a singer, but an old man playing a strange instrument and eager to tell us a sad tale about lands that weep, miners coming home, and “cups that could never be filled. ” Mosese takes us back to this non-space a couple of times, as if the old man, played by Jerry Mofokeng Wa Makhetha, were a non-diegetic master of ceremonies for the story of Mantoa that unfolds. It’s a story told through the gracefulness of the camerawork, the stunningly lit tableaux, and, most remarkably of all, through fabric. Not many films, especially ones with a documentary sensibility, use texture?wool, mud, cement, ashes, and cloth specifically?as a storytelling device the way that This Is Not a Burial, It’s a Resurrection does. Consider the moments where Mantoa, faced with the many obstacles that keep her from being able to dig her own grave, takes refuge in the gown her husband once gave her: an exquisitely lustrous damask dress with a black frill and white-collar trim. It’s a great sartorial departure from the sober blackness of her usual widow’s attire, which clashes with the flashy satin swathed around the bodies of the women around her and the blindingly yellow uniforms of city workers building a dam right where the dead lay, draped in white bedsheets. In one of the film’s many unforgettable scenes, Mantoa gets up from the chair where she usually sits to listen to the radio and dances with her dead husband, raising her arm as if holding an actual body that isn’t there, a voice in the background telling her to take off her “cloak of mourning. ” And she certainly takes it all off in a bewildering final sequence when Mantoa simultaneously surrenders to loss and spurns it. Several other films at IFFR explored the theme of death and dying, such as Carl Olsson’s Meanwhile on Earth, an observational study of the Swedish funerary industry. The film reminds us of the artificiality of funerals, or rites more generally, exposing them as highly theatrical performances, with their wreathes, pots, and crosses staged just so. It also pays close attention to the mechanics of funerals: their perfectly timed music and the multiplicity of gadgets and machineries required to lift and transport corpses and coffins. Olsson’s strategy for making the subject matter palatable is to try and extract discrete humor from it. He loiters on the professionals going about their tasks?transporting, cleaning, embalming?for long enough so that overtly banal dialogue emerges. In the film’s most successful moments, the juxtaposition between the morbid ambiance (bodies on stretchers that bleed long after dead) and chats about all-you-can-eat Chinese buffets or the nutritional value of bottled smoothies make for a Tati-esque skit with a disarming punchline at the end. Kristof Bilsen’s documentary Mother is the portrait of Pomm, a caretaker at an Alzheimer’s care center in Thailand whose poverty keeps her from living with her children, and Maya, her incoming patient, a privileged 57-year-old Swiss woman whose husband and children drop her off at the care center and go back to Switzerland. Unfortunately, Bilsen allocates the same amount of time on both women’s daily lives in their home countries prior to their encounter, insisting on obvious contrasts between poverty-stricken Thailand and the idyllic mountains of Switzerland. Yet only Pomm allows herself to be vulnerable for the camera, as Maya’s family never lets their guard down. It’s difficult to engage meaningfully with some of the subjects (like Maya’s entourage) when the filmmaker is content to accept the fact that they only have their façades to offer. An image from Megan Wennberg’s Drag Kids. © IFFR Rotterdam featured films about the exuberance of youth, too, liberated or stunted. Drag Kids, screened at the very laidback Scopitone Café, a bar named after film jukeboxes of yore inside the Theater Rotterdam Schouwburg. The documentary follows child drag artists, some as young as nine, and their supportive families, as they prepare for their first joint concert at Montreal Pride. Director Megan Wennberg is smart not to bank simply on the inexplicable thrill of watching young children perform like adults. She’s protective of the children, in fact, never lingering on the potentially embarrassing less-than-average performances, singing or voguing, from some of the kids. Instead, she focuses on the differences between the kids, suggesting that drag can take different meanings, and that it can make different promises of deliverance, for children with decidedly different psychic symptoms and family constellations. Their only kinship seems to be, apart for their love of drag, the apparently unconditional support from their parents. Still, problems arise, from Queen Lactatia’s self-obsessed competitiveness to Laddy GaGa’s near-psychotic outbursts. It’s impossible to look at Drag Kids, which is unabashedly reality TV show-esque at various moments, and not think of TLC’s Toddlers & Tiaras, with its barrage of Southern stag
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