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BaBeL
Wednesday

BABEL is the crowning achievement in the trilogy from the unstoppable creative pairing of screenwriter Guillermo Arriaga and director Alejandro Gonzalez Innaritu,
which also includes AMORES PERROS (2000) and 21 GRAMS (2003).
The movie focuses on four interrelated sets of situations and characters, and many events are revealed out of sequence.
The following plot summary has been simplified, and thus does not reflect the exact sequence of the events on screen.
The movie's first plot is interspersed with scenes of Richard and Susan. They came on vacation in Morocco to get away from things and mend their own marital woes.
The death of their infant third child to SIDS (this is the implied cause) has strained their marriage significantly as they struggle to communicate their frustration, guilt, and blame.
When Susan is shot on the tour bus, Richard orders the bus driver to the nearest village with a doctor (the village is named Tazarine in the film).


Main characters Pitt and Blanchett leave their two children in San Diego to spend quality time in Morrocco. Blanchett is shot by a stray bullet coming from a Morrocan goat farmer son who is testing out a new rifle. She almost dies while she is waiting to be transported to a hospital. Their trip gets extended and the Mexican housekeeper who is watching the two children has a son who is getting married immediately in Mexico. She has no one to watch the children so she takes them across the border for the wedding.



Nearly every performance of the film is devastating, offering an intimate, emotional experience that would approach melodrama if it weren’t rendered so realistically.
Cinematographer Rodrigo Prieto’s color palette masterfully captures the muted tones of the harsh natural landscapes of Morocco and the Mexican border, as well as the fluorescent lights of Tokyo that denote another, though equally barren, end of the spectrum.
The misunderstandings born of cultural, language, and class barriers are on par with those that occur between family members, depicting a world that, while connected in the least expected of ways, is also faced with a deep-seated crisis that threatens to alienate humanity from itself.

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posted by Ezhel Romero @ 8:47 AM   4 comments
FrEeDoM Writers
Tuesday

“Freedom Writers,” a true story about a white teacher trying to make a difference in a room crammed with black, Latino and Asian high school freshmen, has the makings of another groaner. It is inspired by a true story and the diaries of real Long Beach, California teenagers.directed by Richard LaGravenese. two-time Academy Award winner Hilary Swank stars as English teacher Erin Gruwell. At first, the children are very unfriendly to Gruwell, but she encourages them, and lets them write a diary. All of the diary entries in the film are true and all have been written by the children. After a few days of class, Gruwell and her students get into a debate about racism during which she compares a caricature of a black student with big lips, drawn by a Latino student, to the Nazis' caricatures of Jews with big noses. She then takes her students on a field trip to the Los Angeles Museum of Tolerance to teach them about the Holocaust. One of the books the students read is The Diary of Anne Frank, and money is raised to have Miep Gies come over to talk about the Holocaust. Funny how point of view works. If so many films about so-called troubled teenagers come off as little more than exploitation, it’s often because the filmmakers are not really interested in them, just their dysfunction. “Freedom Writers,” by contrast, isn’t only about an amazingly dedicated young teacher who took on two extra jobs to buy supplies for her students (to supplement, as Mr. LaGravenese carefully points out, a $27,000 salary); it’s also, emphatically, about some extraordinary young people.Mr. LaGravenese keeps faith with the multiple perspectives in the book, which includes Ms. Gruwell’s voice and those of her students, whose first-person narratives pay witness to the effects of brutalizing violence, dangerous tribal allegiances and institutional neglect. The film pops in on Erin and her increasingly troubled relationship with her husband, Scott (Patrick Dempsey), and there’s a really lovely scene between the two that finds them talking ruefully over a bottle of wine about the divide between fantasy and reality in marriage, a divide one partner tries to bridge and the other walks away from.

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posted by Ezhel Romero @ 11:44 AM   4 comments
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