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Greetings! Bad

Uno dei segni della crisi è la cautela negli auguri... per chi ancora li fa, per chi non dice che tanto non cambia niente o che tanto, al massimo, è sempre peggio .

I receive few, smiling, good wishes for a happy 2011, a year when all my dreams and my projects can be realized. Accustomed to a mythology (especially the greek-roman) in which the realization of the hopes of the most intimate and true tips over into ruin, we are afraid to face ourselves and subversive forces that come from the future we want for ourselves and for people to we care.

That is at least a peaceful year!

And down there with variations on the theme happiness does not exist, or - if it exists - does not concern us, is not this world ... and perhaps never will happen another!

I, however, I say, I say this without fear that the place is ruined or that there is no change, and projects you want to be a total failure or destabilize the present. We do wishes, not the prophecies!

I say, I say GREETINGS! THAT IS YOUR YEAR! Whether it's 2011!

I have no dawn appointment with destiny in the presence of witnesses, I challenge my future, nor atavistic fears. I do not bet, do not get the chance: the best way to bet on the future is always making things and believe it.

I do not know that form will not observe it and, of course I'll look in my face.

I recognize, oh, if I recognize among the thousands and thousands of times, I recognize that I have my future, I am a year that has just entered and those that I will be allowed to live.

I recognize and acknowledge all of us, we call that day from dawn today, 365, 2011. We who give meaning to these numbers, all of us who live in quest'algebra accounting of our future, between positive and negative values.

So, congratulations, greetings with all my heart that day "2011" has a meaning that resonates in all of you as a stage, as un momento nel cammino che avete intrapreso o che, magari, state per intraprendere!

FELICE 2011!!!

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all ... oval. Megamind

Parla un po' storpiando le parole ed è piuttosto bruttarello. Ma, come tutti i cattivi dei cartoni animati da un po' di tempo in qua, è estremamente più simpatico del plastificato buono di turno, mattatore di qualche karaoke dai grandi numeri e niente più.

Si chiama Megamind e, per quanto non abbia forse questo grande cervello, più che altro vede vanificare dagli eventi la sua creatività: ha la carnagione lilla, ma guarda dalle profondità di due stupendi occhi verdi molto espressivi e una consapevolezza di sé che stupisce il più smaliziato spettatore di cartoni animati e film dell'ultima generazione in 3D.

La  Dreamworks segna un nuovo punto a suo favore con questa deliziosa parabola sull'irrequietezza esistenziale dei personaggi:  Megamind rende esplicito ciò che da tempo ormai serpeggiava tra le immagini di una cinematografia che non tollera più nessun manicheismo di fondo, salvo poi supportarlo nella sottotrama della psiche e dei ribaltamenti di ruoli e prospettive.

In Megamind la prospettiva psicanalitica trova un sostegno nella narrazione in soggettiva del soggetto e nella ricerca di precedenti childhood. More than the story of heroes and ancestral deeds, the story is to identify the essential characteristics and the psychological pressures of the participants in a story that has the unreal. The Mega City as a backdrop to this all-out struggle between "good" and "bad" suffers a bit 'of the opaqueness of the regions invaded by the fantasy of hyperbolic Saramago : not so much the initial singularity hypothesis to have the better, but the absoluteness of boundaries within which this research takes place on themselves and on the existential life.

species does not, nor is it a great event, the audience can cheer for bad or for his conversion. I do not think that the conduct characters may affect too adversely the younger viewers: the game is already done when the villain (played by English Will Farrell) is credited with the most sympathetic and, in short, the role of making people laugh and inspire tenderness in public, whereas "good" (with the voice of Brad Pitt ) a silhouette really nasty, if not hostile.

This should make us think that perhaps, in an era without heroes and without ideas for where to be, is the inability to believe in an enemy and in his strength, in a myth and its resources. The search for a credible appearance Megamind can maybe move a child I would not know: for an adult is the emblem of those who struggle to identify with a broken mirror. The protagonist has no real contradiction, it is isolated in its history, able to win the right of the audience cheering, to tell a love story, but it remains unresolved, nothing more than a digital character stuck in a fantasy locked the doors the big dream.

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Maybe you enjoyed view from up there and who knows what cold. But
fell from the roofs of those researchers unable to tell the crisis of a system. Because how can you compete with a government, or with those with the cuts, which relies on predetermined and constrained poverty of the people? As can you explain to people who only understand new areas of cuts and the superfluous, that research is important? How can you, above all, as a result of continuous low blows lobotomized in which governments and academies organized by politicians and politicians, when that's great, unselfish culture force us? How to tell
cultural and spiritual crisis of a country who, like elementary school children in the Veneto region, I believe, will give you a Bible? How to tell the need to overcome and to overcome the marketing consensus rin easy for people closed in their individualism of poverty and resulting aphasia, more and more narrow in vicious circles of propria ignoranza del mondo?
La vera povertà di questo paese consiste nell'impossibilità di parlare di piani di lavoro, di impegno serio e costante e di apertura a ciò che potrà accadere, ai risultati che ne potranno venire fuori, all'irrompere del nuovo, in una parola di ricerca , di studio. E di farlo, in special modo, con persone imprigionate nella propria sopravvivenza, nelle proprie paure, nell'eutanasia di ogni attesa di realizzazione personale.

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Telling the crisis we're here - Horton Hears a Who

Immagina che esista un mondo, un mondo piccolo piccolo che chiede aiuto e vede nella tua esistenza tanto un pericolo quanto la salvezza. Immagina di tenere in mano queste loro hopes and having to defend against a world unable to go beyond what you see, what you feel, what you feel. Imagine having to defend

in a world that does not know without looking into the sky wonder of the colors that can take on the links extemporaneous and shared between cause and effect. Imagine that you are an elephant and that more than any ball of a flower and the sky over there is life pulsing, life-threatening, life unaware, disbelieving souls lives and souls.

There is an animated film, wonderful, where everything happens: it is Horton Hears a Who , a feature of almost eighty minutes of visual grace and invitation to faith that there is something beyond what we see. Not the distant echo of the little prince, is essential is invisible to the eye , but something more intimate and mystical together the main thing is beyond what the eyes can see, the ears hear, the fingers touching .

Or maybe, perhaps, even this is essential. Nor is the mismatch between what we feel and what we see or touch, even the consequences that such an "arbitrary" synthesis in a concept difficult - and sometimes hostile - how faith can lead to a man in ' membership in a society that shares it. Perhaps the essential di questo incantevole film è l'accettazione della finitezza del mondo e delle sue cause, l'apertura ad altri mondi ed altre cause.

Voglio dire: non è necessario arrivare a Dio, no, neanche oggi che è Natale e che chi scrive si unisce al coro dei Non-So-Chi nel gridare, pieni di speranza, Siamo qui . Basterebbe guardarsi un po' meglio, basterebbe guardarsi allo specchio e notare quanto siamo piccoli e grandi, quanto siamo uomini, basterebbe scoprire il proprio volume, la propria voce, come se fosse nuova, basterebbe scoprirsi in vita, in relazione con la vita, aperti alla sua germinazione infinita, al suo gioioso e talvolta incomprensibile proliferare, al suo caos Suddenly, to appreciate items that are far from telling you that there are . Opening to the world and life that overcomes the barriers of sight, sound, dell'impalpabile.

Merry Christmas, dear readers.

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It's never too late to Rob Reiner

It's never too late is a title by the proverbial flavor, a bit 'bothers me, as always with the hope of cheap (or at the expense of others). Actually, even the original title, The Bucket List (translated as The list of terminus) is inauthentic and sententious.

If there is a reason, though, for vedere questa triste favola firmata da Rob Reiner è l'incontro di due attori diversissimi e geniali come Jack Nicholson e Morgan Freeman , che interpretano due uomini prossimi alla morte in un reparto oncologico.

I soldi dell'uno e la timida eleganza esistenziale dell'altro danno via a un'improbabile scommessa: raschiare il fondo della vita, fare tutto ciò che né il denaro né il rispetto della vita da soli possono dare; e tutto ciò che non ha senso fare in solitudine. Così comincia la corsa di Edward e Carter a recuperare i propri sogni e far sì che vaghe nuvole diventino esperienze per sé.

In realtà, non c'è taking title and It's never too late remains a delightful and comforting story that would be nice to believe so. Those who know the pain of the "time remaining", the unavailability of this means that he knows that is not on these lists you can sign up hope.

not in a night flight to the poles, in a roll at breakneck speed from a plane or in a desperate race in luxury cars, at least. Neither the luxury of things and people. But it would be wrong to think that Edward and Carter are not lucky enough to find in this amusement park in the world offered by the money something more real, intimate and something of their own.

For two men, confronted with what still remains in their human, This compares their essence, make available to each other, with no overlay but the soul of their lives, without even bet too. Despite the strangeness of this unlikely story, his eyes staring Jack Nicholson and unforgettable smile, sweet and compassionate, repay the attention of Morgan Freeman and the expectation of a deeper thought about what it means to be alive.

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A life profile. Robert Redford's Ordinary People From water

Perhaps those unfamiliar with the wonderful film by Robert Redford may be misled into thinking that the 'common people' (or tit.. Ordinary People ) of the title may refer to a some neorealist trend comparable to the traditional wording European (and Italian in particular). But there is no connotation of mediocrity in this family devastated by tragedy, to the point of forcing the viewer to wonder, once again, what it means to be normal, common people among the people.

Calvin, Beth, and Conrad, belong to high- American middle class and do not seem to fear the future. In fact, this family is a greater burden on the past, which deprives them of a direct confrontation with reality: the death of Buck, Buck's son nice and sweet, between father, mother and youngest son of context, put them aside .

Calvin ( Donald Sutherland) is an affectionate father, caring, passionate, concerned that his young son, Conrad (Timothy Hutton ), which has seriously attempted suicide to heal his guilt for the death of his brother. By contrast, Beth (Mary Tyler Moore ) seems estranged from his feelings and his pain, looking for a life that is as normal as possible, ordinary, unlike the suffering of the past and present.

But you can not escape his pain. Conrad knows, trying to bridge the distance between himself and his dead brother, entering in his pain after attempting to do flow with blood from the veins of the wrist. Conrad, the handsome swimmer leaves the team and poor results in time to meet with a psychiatrist (Judd Hirsch ) and try to define what's normal, ordinary in his life and his feelings of guilt. And do you know Calvin, who torture on an episode of Buck's funeral.

Beth, the mother, it seems the only one not to know: there is no lack of affection, lack of transport that Conrad and strongly requests that the husband is not enough to compensate. The relationship between father and son, as healthy as possible, given the circumstances and the people involved, it is totally biased in favor of the latter and Beth note: in a vicious cycle of disappointment and lack of affection, she manifested un bisogno a tratti disperato della presenza di Calvin.

Padre, madre e figlio s'inseguono e rifuggono l'uno dall'altro, incapaci di padroneggiare ciò che loro accade. Non difetta in loro il dialogo, ma ne manca una prospettiva, uno sguardo al di là delle preoccupazioni che il confronto reciproco comporta. Conrad, il sensibilissimo Conny, incontra e sembra anche amare una ragazza, ma soffre di un'impossibilità a mettere insieme i pezzi di un sentimento. Così, tra i due, sovrabbondano marche connettive del discorso, ma senza un reale seguito: quasi un'attesa che l'altro faccia il primo passo, il passo più importante in quel delicato momento che è l'incontro con il next.

Excellent sense of proportion and grace in this poignant film of Redford in 1980, winner of four Oscars (film, director, screenplay, Timothy Hutton, as a supporting actor). But Calvin, Beth, and Conrad told the universal values \u200b\u200bof modern Western world, and if you look at them in the face, are anything but common. Doors, each, the weight of his world, rolled in the background by unknown forces centrifuges.

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Sometimes I suspect that what I see, I love those words and breath that are reflected in a pool of clear water and impenetrable.

be why the image and sounds of a sudden ripple of a fish for the slide, indifferent to my reality, with the bubbles that tarnish body and what I was telling myself.

be why we age: unsure if what we have seen, the sudden disruption to the life or reality or not, we point our finger on the face, wrinkled in the waves in infinite expansion.