Sabroina Sweet Wikipedia

The Wind That Shakes the Barley: The hyperbole of a fact

Whenever I get ready to watch a movie good (insert laugh) Ken Loach, I imagine myself in a class and the teacher getting very simpaticote pinko and he starts giving us a history lesson and its strategy is to convince everyone that we take part in empirical facts on which we judge these characters without taking into account the historical context in which these events occurred, without judging the education received by those persons, or without understanding the social and lifestyle of the time. I crush your head, you point the finger and makes you wonder whether you are a good person if you support his own cause, whether just or not (I shall not evaluate this issue as we talk about history, past events) and nothing short of disrespect you if you fail in what they want. The funny thing is that British film is neither more nor less than the highest Manichaean the film industry, so blatant camouflaging its supposedly revolutionary ideas and looking for objectivity and realism from the more extreme subjectivity, and that is why Wind That Shakes the Barley pamphlet ends up being a bit ridiculous at the network level and with little to humanize the two parties to an armed conflict, in addition to the coolness with which Loach tells facts which, starting from base quite dramatically, as is the country's political conflict and fighting between friends or brothers as this happens, and please all those unable to see beyond their noses and understand the complexity of an event that dates back nearly 800 years in the past, and the impudent director here becomes a treaty of offensive partisanship ending away from the Irish nationalist question (thing absolutely legitimate and I agree that until the last point) to focus on its stale topicazo social cinema, where the wicked oppressors are wealthy landowners who support the British and good-natured film, those who have no advantage in life and struggle for a just cause is the poor lower-class Irish who exceed all the problems in carrying out his revolution and triumph over evil, and which is neither more nor less than proletarian version of Michael Collins Hollywood a few years ago made the always interesting Neil Jordan, and here has a start scene sober and somewhat inert, and if it is true that you have another great sequence, the director almost cleared and ends up being a movie without any force.

Within this alleged historicism Loach looking into the story, it makes two major errors in his narrative and structure of the film: if you want to be historical and verismo should give a broader view of certain facts, as it passes for high enough important elements of conflict, as the presence of Michael Collins and De Valera, his signing of the treaty or its virulent anti once Ireland is split into two halves, and the excessive distance that permeates the story, making it impossible to establish links between two main characters, brothers O'Donovan, and the viewer, which will be debated in his mind which of the two should support policies according to their own ideas and not because he actually cares what happens to one or the other, as , depending on height of the movie, that matters as well as the color of the eyes of Ana Botella. The script, by longtime collaborator Paul Laverty, is riddled with inconsistencies between the protagonists contradictions, especially Damian O'Donovan, a very good Cillian Murphy, a character capable of executing in cold blood a fellow murderers but then accuse protrat and unfair to do exactly the same (perhaps not realize Loach, but is a representation of his films, quite a liar and manipulator). There is a scene that adds nothing, one in which Sinead Damian tells her encounter with the boy's mother executed, and would have achieved a major result being told visually and not to the words of the protagonist, but I imagine that no Loach would like to charge for such responsibility to their cultured and refined hero character that never really came to understand its full evolution, because in just a couple of scenes we see changes from a neutral and rather cowardly blockhead, to call it somehow be the end of the most idealized patriotism, leaving Collins, the father of the Irish homeland, the height of the bitumen. And that's another matter. It is, at least, the harsh fact that the real revolutionaries, those who are right, are guided by a character study, since, in a way no rube will be able to realize the injustices committed by the British towards the Irish, and not corrupt as the evil Teddy, mix between Judas and Cain, with whom he is primed to show his iron Loach doctrine and show how much was wrong with his little brother, the intellectual of the family (although, ironically, the kid can study even though his family has no money).

The resort, well-worn, but no less effective, placing starring two brothers, is fairly predictable, and its similarity to the Irish Civil War and the vision of Paddy O'Donovan Cain is very poor. Would ever have courage if his ideas and his message were not so clean and not to demonize the British and Irish protrat to exhaustion, but when dividing the story into two parts, the play will go wrong and, in fact, maliciously, it could get support proingleses to the kitsch and the heroism of Murphy's book character, and his false view of farmers, able to drop a political tirade in the middle of a meeting of the Irish rebels where to find pros and anti treaty, and wherein the second talk consistent with reasons and arguments, while the former can hardly be justified babble and questions, irrefutable evidence to the director of his ill-advised ideas, and, moreover, is the most incredible scenes (and implausible) and boring the whole tape. Completely destroying the historical, as I said above, the portraits of the English as well as being superficial, which only will swallow the most dupes, is that of a dehumanized killing machines, the only thing they do in Ireland is to enjoy killing native and non-stop abusing them, neither more nor less than that performed in the 40's in Hollywood on Nazis, and indeed, this film has much in common with the other hand, portentous Hangmen Also Die, the (yes) master Fritz Lang. True, in the classic Austrian director had didacticism, and a clear good and bad, with that Brecht's own intellectualism that was something cold and hard to grasp by the viewer Loach likes both, but lacking the force of another, and, above all, moral debate that has been submitted to Brian Donlevy, between doing the right thing and surrender to the Nazis, while here the creation of Cillian Murphy is a hero in the Homeric sense of the word, strong and without weaknesses to fight the evil giants attacking people. And, in The Wind That Shakes the Barley not no room for debate, English destroys any attempt of reflection by the viewer and makes him swallow his message, it really dangerous to justify the fact, so quite explicit, the use of violence, leading to sympathize with the IRA, something similar to what made the cake in his allegedly inflammatory Medem The Basque Ball . There were more ideas, a priori, more interesting, such as dehumanization caused by the war on people, or the inability to mix law and war, but that does not matter at the point where they'll become the film, a parody of children looking for small to eat the head and left wing people here see the classic songs mythologized to the ridicule of a struggle based on ideals quite correct, but where the end should never justify the means and to see supported its political and sign that the festival is happening something strange and it looks all that is removing political consciences ... mine, of course, to forget, is that I am an evil mataboers

Between Love And Goodbye

[REC]: Terror hyper

a kid my family used to go every weekend to a cottage which my own grandparents. The classic old country house with some look really creepy and disturbing if you have an age apt to dream of monsters under the bed and ghosts of those noise-making blood-curdling you lids as you sheets to the head, regardless of the time of year. Among the innocent games I had with my cousins \u200b\u200bwere coming up to the second floor, where no one slept and whose bedrooms were used as store for old clothes and various utensils, and, seen from outside, scared, because, from time to time appeared some light on or the windows were open without, apparently, no one would. We were three or four children as young as eight or nine years climbing the stairs that diverged into two paths leading to doors. That brief moment on the stairs was the basic idea of \u200b\u200bpanic, looking up and seeing the doors seemed to open, once inside, not go out. That is, cinematically, stair climbing detective Arbogast in Psycho , slow and fraught with tension. Once there, trying to pass the as long as possible while our heart was going a mile a minute and the house seemed to groan, more a product of our suggestion that the furniture might be interested in scare. In the midst of darkness, not knowing whether that to what you topabas was a bed, or arm of a monster that went around, not knowing if the noise we heard was that of a pipe or a ghost that moved slowly us, tension and fear that we experienced was crescendo as we went into the darkness, until suddenly one came running and the others were still screaming in terror from the old stays until we saw a ray of light through the door ajar and went back to the family room safe. What I felt at that moment was pure terror, horror, fear suffocating in its purest conception, that grips you and you can not shake off, that fear can experience almost exclusively children, those with the capacity to dream both for good and for bad. In the film, that feeling had only while a ball coming down the unoccupied second floor the stairs hit like a hammer and a distressed and incredulous George C. Scott approached check it at the end of the ladder . Masterpieces of the genre or as or The Shining Seed the devil made me experience the feeling of fear, a fear that dominates you and leaves you immobile. With [REC] went back to that second floor, that impenetrable darkness, I again have nine years and think that under my bed might have something grabbed my foot in the middle of the night and dragged me with him.

tape not intended as a thesis, however much it is dressed in television documentary of those who may be on stale programs for the elderly such as Spain Direct is not intended as a tart critique of the television and flip through the morbid and unhealthy despite the famous "Do not stop recording with Angela tells camera, as if they pursue the shift Jesulín to ask about her great-aunt angina, anything can be interesting and then broadcast it even though everything was working around the nondescript two-night fire. A film that seeks to, almost exclusively, the pure entertainment of the viewer, let them go wrong based on something less than an hour and a half frantic and terrible in eighty minutes in which every action seems to be improvised by the ability of two directors who demonstrate a superlative command of film language, bringing terror to some heights to which until now had not been approached about being real as life itself, and may be the seed of a hybrid genre between the most suffocating terror and pure neo-realism, a genre where every drop of sweat and blood were hyperreal, where every gasp had been caused by a tangible terror, and where the suspense was in what can not be controlled, that inexplicable, going off the tangent of dark rooms, dramatic effects created by the sound, hands that rest on the shoulders of the players scared in the dark. Experimentation in a genre devoted to repeating the same clichés and five or six changes such topics from a peripheral to the American cinema (Asia in recent years), only to fall again in a loop, something that is never seen. Balagueró Plaza and have the freedom and unpredictability his big gun, placing his characters as real as the fear, in a controlled but seemingly more insecure at the same time, since we all fear that unknown, and this is usually always closer to what we have and that, therefore, less hope to change. A simple script with no traps nuisance to place characters in situations insurmountable, and profiled characters brilliant and consistent, with some surprising touches of humor that helps make everything more bearable, and the exercise of more virtuous and surprising direction in 2007 next to Zack Snyder in 300 , they take the film to a higher level the horror genre, making it a rare bird that mixture as little violence, suspense and action, and lead the viewer into a finale, showing the control their own competent film directors, and where, almost plagiarizing in his brilliant Fresnadillo 28 Weeks Later, and Demme in The Silence of the Lambs make night vision the best way to create a sense of confusion and fear with only guess the shapes, playing with the idea of \u200b\u200bfear caused by the unknown and what we can only feel. Plaza Balagueró and sign the best film their respective filmographies and gender in many years, and demonstrating to the rest of mediocre and English filmmakers weeping for a film that is good do not need a big budget, if not good ideas and work within what you have. As a child playing on a voluntary basis to be scared. Now I pay in a film to scare me ... yes, the difference is that now I get with someone who is nine.

What Kind Of Hair Does Teyana Taylor Have

Kagemusha: The Emperor's New Clothes



ORIGINAL TITLE Kagemusha

YEAR 1980 DURATION 159 min. Trailers / Videos
COUNTRY DIRECTOR
Japan Akira Kurosawa Akira Kurosawa &
SCRIPT Masato Ide
Shinichiro Ikebe
MUSIC PHOTOGRAPHY & Takao Saito Masaharu Ueda Tatsuya Nakadai
CAST, Tsutomu Yamazaki, Kenichi Hagiwara, Daisuke Ryu, Masayuki Yui, Toshihiko Shimizu

is very depressing to have to talk about the difficulty they had the great geniuses the history of cinema to create new jobs to advanced ages, which for many meant the death in life. It's something that Billy Wilder commented in his interview with Cameron Crowe, and said he did not trust in experienced hands, but it is preferred to leave a project of many millions in the hands of new directors that would benefit the box office, and many suffered . People like Ford, Hawks, Hitchcock and Wilder himself ended their lives begging for one last movie that always denied, especially if the bleeding was the Austrian master, who lived 20 years without having had the opportunity to get behind the scenes and show that when the truth fat cats are those handling the issue of how best, and not only that, but it was as genuine mediocre remake one of his tapes, Sabrina , shamelessly. Given this it is no wonder the deep depression that engulfed Akira Kurosawa, perhaps, one of five or six more monstrous and talented directors, whose importance in the history of cinema is like the scientist who described a new priest, seeing that a few years after winning the Oscar with the grim Dersu Uzala, could not find who you pay a new movie. Fortunately (or unfortunately, get to know you), Lucas and Coppola appeared and Kagemusha financed, the film that definitely causes a split in his films and has his fervent Occidentalism to a point never before reached, trying to turn an idea into something so Japanese worldwide reach, which means that, despite being a work of great depth aesthetic, whose visual beauty is undeniable, is irregular and can not be the place to meet your great bands, but without However, it can be seen as a preview of his last great masterpiece, it was awesome Shakespearian fresh Ran, which could tack better aesthetics and history here not to make it unbalanced, as is the case The Shadow Warrior , somewhat marred by the density of the staging of Kurosawa and quite incomprehensible in many parts, in addition to the concessions to the Western public, especially in the songs, away from his work at Toho.



And that spirit is the first Kurosawa is hard to see here. We are facing a more pessimistic filmmaker with a message, Sometimes an excessive badness, and wallows in the cruelty of life, erasing the image Capriana leaving the monumental genius Ikiru, song to life with the great Takashi Shimura. Here the light at the end of the tunnel no longer exists, backtracking is not seen as a choice and destiny we mark from the same crib, well seen the example of Shingen's grandson, and the epic is linked to a dark path, since that there is no adventure, the battles are a sign of mental strength and iconic, as represented by the spirit of the leader Takeda and image embodied in the face of his double Kagemusha. Kurosawa, as in the celebrated case of Spielberg, Lucas and The Temple of Doom , seems to convey all the evil that the world has given him all the hypocrisy, and turn this tragedy into an elegiac film that is slowly dying, but not in a pejorative sense, if not that, as in to Once Upon a Time, we see an absolute requiem, the summary of all that spirituality that has always inhabited the Japanese master's films, from Rashomon to Barbarossa, up to a grim epilogue filled with rage, with a depth worthy praise, since, even though their characters do not have any psychological depth, but it is a mere revision of virtues or defects hardly evolve throughout the film, all at full power, opening a range intimate and psychological line of David Lean has already sensed with Dersu Uzala , but nevertheless, this did have the taste of old filmmaker Yojimbo, Sanjuro or Seven Samurai, wonderful arguments in favor of popular movies and evasion. In contrast, the narrative line causes boredom at some time or another, and its density for the most disadvantaged, as Kurosawa over losing that time was full of vitality and style that narrative clarity to stop and turn his film into something slow even cumbersome, what you can do that by promoting the virtues intimate, smother the narrative and make the viewer not only be lost in history, if not lose interest in the film, as the battle sequence in which the power of the Takeda clan leader is tested in assault on the castle and win the fight for their presence, planned so that we never know for sure what happens, and you finish highlighting the visual appearance over the story (such as the spectacular use of the dream sequence in which Kagemusha, copy of the original feared retaliation, Shingen, once it was stopped stealing) when the director was characterized by transparency narrative of his films, leading him to be compared with the larger among the greats, John Ford, allowing the viewer a glimpse of the disillusionment with the Japanese film giant now contemplating life.



Here, despite being based on a true story happened in the endless civil wars between the clans Japanese cinema has always portrayed Japan, and that saves a lot of resemblance to the famous victory of the troops of the Cid in Valencia with the body of this on horseback, the director of Stray Dog brings all the power of Shakespearean literature and builds a drama in which, like the English genius, it attacks the megalomania displayed in Katsuyori, son of the lord, who seeks usurp, by way of Richard III, the throne, prevented his own son, a true heir appointed by Shingen. Within this figure, masterfully described by the pen the script and even better portrayed by the skill of the director in a couple of sequences, we find everything that has always caused the largest declines: ambition. Following this rule, which almost always true, that everything that goes up must come down, Kurosawa exemplifies a perfect portrait of irrationality, as opposed to the ideas that he had passed the wise Shingen. It is especially clarifying the scene in which the child talks to his counselor and this tells him that her late father prevents you from using its emblem mountain, and the magical and terrifying final battle sequence everything is explained why. Immaturity is something hard to cure, and here is the example. As a result, we find another of the strengths of the film, reflection and analysis about the power and everything that entails, the devastation and futility, sometimes it all, and the dangers involved the failure of a ruler. Following these designs of Machiavelli who spoke about good leader, Shingen is presented as a cunning and powerful warlord, perhaps cruel but intelligent and wise and well advised. It is important to the group surrounding the head visible, and counselors can move more than a real king (and that the English know better than anyone that we bundled the mentees in the Baroque was tremendous), and is ignoring the thoughtless Katsuyori, which acts angered by pride and the arrogance of having the largest army in its favor, not to mention that the theme of the four elements is what made America great was her father, can be interpreted as a democratic argument director, if it is true that Kurosawa little or no After talking about facts that were not pertaining to the condition and form of human being. In contrast, the development of Kagemusha is rather weak, and much is wasted that could be the portrait make your search for identity and loss of life to live a lie, because the story focuses more on the areas of power and greed in the real protagonist of her, which ends consumed with his own legend the final battle, after which killed the soul, the container matter rather little, and drifting in the misty and spooky Lake Suwa, thus fulfilling the dictates of fate, and only been postponed while the loyal and kind Nobukado , guide for a masked man who never felt comfortable with his new suit, saved him from being crucified for stealing.

Doushinji Palletshipping

CRAZY the birth of the Messiah pop

ORIGINAL TITLE

CRAZY (CRAZY)

YEAR 2005 DURATION 127 min. Canada

COUNTRY DIRECTOR Jean-Marc Vallée Jean-Marc
SCRIPT Vallée, François Boulay
Several
MUSIC PHOTO SHARING Pierre Mignot
Michel Côté, Danielle Proulx, Marc-André Grondin, Émile Vallée
PRODUCER Cirrus Communications / Crazy Films Jean

Marc Vallée, debutant director, surprised and strangers performing one of the most renowned films in 2005 with CRAZY swept the awards of the Canadian film and spend a significant amount earned in the international market also to be unanimously praised by critics, coming to be regarded as the revelation of the season movie. It tells the relationship of Zac, a special child since birth, who possesses a kind of healing gift and a special sensitivity to his family, especially her father, a homophobe frightened by the idea that your child may be homosexual. As a curiosity, and matching the title of the song that marks the protagonist's relationship with his father (Crazy, Patsy Cline), the name of the movie is an acronym that contains the first letter of the name of Zac and his own Brothers in the respective order of birth: C hristian, R Aymond ntonine A, Z ac e And van.


generational change since Nicholas Ray
revolutionize the cinema in 1955 (along with Rossellini's Viaggio in Italia which pledged his life on screen played by the always excellent George Sanders) with the premiere of Rebel Without cause, envejecidísima film chronicling the experiences of an outsider unable to adapt to the American way of life of the 50's, we have seen thousands of times in movies the eternal parent-child conflict, the destruction of the bonding involved belong to two different worlds marked simply by the difference old. Provided, of course, located in adolescence, perhaps the most contentious stage in the life of a person, where you decide what kind of social member will be. In CRAZY , Vallée presents an interesting if uneven cool Canadian company called Quiet Revolution, when Quebec was carried out a drastic decline of religious influence in society. A country that changed in a rush and that topics about yourself social identity, cultural and religious. Beaulieu family, a figure somewhat Fordist group for their social function (and metonymy) for Canada, is always present and we will serve as a guide and introduction into the world apparently unknown to non-Canadian viewers. Subtle ways, using Christmas as a leitmotiv, placing the birth of the young Zac such an important day in the West and is on 24 December, we have cast the first goal. From that moment, the star symbolize an entire country, or rather, an entire generation that needed (and brought) the change.



Music is the soul of this generational change. The powerful soundtrack is used in an exemplary way to narrate a period of 20 years in the life of this particular family. A bit like Martin Scorsese, who has always used music to propose temporary jumps ellipsis and distinction. We found three very different phases: childhood, security, under the command and the parental control, in which we listen to Patsy Cline, Buddy Rich, Charles Aznavour, music that, to this day (and the 60 full revolution in pop as well), could be considered "old." A time full of poetic moments like those car rides with his head out, chips, holiday gifts, and other less pleasant, and small blame or the boring masses. But the house is a safe place (where for you, be ladybug is just something that should not be, without knowing the reality of the term), so when of child wets the bed, her mother runs to their aid soon, and when you go to camp, the children will drown by being unable to control. Patriarchy is always present on the players, the strong presence of paterfamilias comes out from that Zac has a word. The concerns of this for your child's sexuality, favoritism of this until it begins to emerge the "sensitivity" of Zac, these holidays are marked by the karaoke that is mounted Aznavour playing father (always a popular request, as jokes Gervais). Especially significant is the "sacrifice" of the protagonist to break the record of Patsy Cline will cause a schism with the father. He, thinking that will solve it, gives his father the same disk but in the Canadian edition, trying to correct the error, but for the father, even with the same songs, the same letters, "does not sound the same." Zac is that record that his father did not want to hear.



Later, in the seventies, when the son has decided to dethrone god belief to put rock stars in the altar, Bowie, Pink Floyd or the Stones take the soundtrack. Traditional iconography is cracking and replaced by secular deities, just as in the Mass, Psalms Zac does not listen, if not a choral version of Sympathy for the Devil. Birth of the Counterculture, Dies convention. This version teen decorate their bedroom (he now shares with his new little brother) and his own world, with patterns reminiscent of the masterful cover Dark Side of the Moon Pink Floyd and pictures of David Bowie, the new god previously referred to. A world away in her home, and to highlight that, at any given time we see him singing Space Oddity , whose lyrics have some resemblance to their adolescent feelings. And once that Zac's character seems to have matured, having left behind his homosexuality, but at the same time with his family dead, punk and electronic music are displayed as a symbol of the maturity of rupture, as was said movement within the rock. Although like everything in that time, illustrating the time of confusion and self-destruction of the main character, its identity lost in a constantly changing musical tastes, social and even their own aesthetic. The total rejection of the family and the rules imposed. Zac now seems a kind of Sid Vicious goes around and goes to her ball. Although here we have a little time Magdalena de Proust at the wedding of eldest brother. When Zac's cousin appears with her boyfriend, dancer attracts Zac, hear Brother Louie Stories before it, as in the 70, everything is broken and the problems teens about homosexuality out again.



The reverse in the mirror

CRAZY talk about identity, either a country or a person. And is the point around which everything revolves, using, as I have said, the music. But the final aspect that helps to shape (and destroy, all at the same time) Zac's personality is the presence of religion in his life, the assimilation of either dogmatic values \u200b\u200bencoded within the Christian tradition to end away from the official version end up being a simple matter of faith, man with God without church involved. The film is full of biblical references, as the ratio of Zac Cain and Raymond, "my greatest enemy ", but the most important refers to the messianic qualities of the protagonist. Because Zac is a character counter. Zac has asthma, but smoke. Zac does not believe in God, but prays. Zac is gay but sleeps with women by mere appearance. We reemphasize the drawing room Zac: the cover of Dark Side of the Moon , and beside it, a mirror in which we see the true face of our anti-hero. We as viewers we are only that we are aware of that omniscient view, because the boy's personality is extremely multifaceted, changing depending on who you are. But perhaps I should say the apparent real face, because if something leaves the film is free to interpretation. Hence the comparison to Jesus is quite accurate. As shown in the aforementioned scene of Patsy Cline album. We are never told it was him, but Zac takes the blame because it is their mission, the mission of the messiah of the Beaulieu family. Roasted like family to heal all because his mother asked. Therefore, to get the family is at peace, chooses to waive its condition creates a make-e (like Bowie) to be who is not. All for the family benefit, the father's joy. And in fact, that is, when the Christmas dinner for 80 runs in total harmony with father and son together as never before appearing again the issue of homosexuality. Thus, together with the fatal destiny of the wayward brother, this is a character set for a denouement worthy of the purest Greek tragedy. It's a shame that the movie madness and end up as a psychotropic trip to the back of your mind, because the idea of \u200b\u200bJerusalem with the lover almost identical to our standard vision of Jesus Christ, is not all bad, but too much dream time and conjunctions and miraculous coincidences subtracted more they bring, and are somewhat tiresome, as they repeat the same idea over on sensory and telepathic connection between mother and child, and we say, are somewhat ridiculous.


CRAZY
But despite its virtues, is irregular. No longer the indie film classic with all their tics and foibles clearly marked, from aesthetic abuse ellipses and an overburdened forced use of music, always seeking the most beautiful possible at the expense of an asceticism which, at times, are the best film. That mannerism, the baroque visual destroy the dramatic force as obtained based on the family tradition in daily scenes. When you leave the camera Vallée stand and let those who speak are the wonderful actors, the film grows in surprising ways. Michel Coté as the overbearing father gives lessons interpretation, and the times when everything works smoothly at the moment we have priceless sequence. The scene in the bathroom where the couple talks about her son, shot in a single plane, is something close to magic, to the everyday trapped in a frame. That sobriety, joined the expressive use of colors and shapes give these segments calmer certain postmodern touches of melodrama of Douglas Sirk. But when Canadian filmmaker decides to strike at the table and say "this is signed by an author" thing gets out of hand. The redundancy of slow motion to highlight the seriousness of a scene, the search constanre epic drama and forced at the end, if you do not worsen outcome global. They usually coincide with the looks now inside Zac introspective and subjective view of the world, how he addresses the situation. As the antithesis of the bath scene is the Christmas dinner, and in the 80's. It's all going well, conventionally and smoothly, the Christian wedding reaffirms this traditionalism, until the outbreak of conflict situation and drugs and homosexuality represented Raymond and Zac respectively. An outstanding piece to that Vallée's not enough to put their players to play. He, like metteur en scene, has to make their mark. We must not go like a bull in a china shop to show the hardness y la gravedad de una situación, hay más opciones además de la cámara lenta y a la música reventando tímpanos. Pregúntenle a un tal Clint Eastwood.