« La Vallée de l’étrange » est un concept de Masahiro Mori qui décrit les objets qui ont un certain resemblance anthropomorphique imparfait, mais qui ne ressemblent guère les autres objets auxquels beaucoup de monde s’est habitué. Cette idée est originellement d'après le terme de Sigmund Freud, « l'inquiétante étrangeté » , pour décrire l’état entre l'être-humain et l’objet. Les personnes trouvent du confort en identifiant exactement tout ce qui est humain et tout ce que n’est qu’un objet. Cependant, les objets dans cette vallée sont plus difficile à distinguer. Alors, ils gênent plusieurs gens, qui ne peuvent immédiatement et sans doute les identifier en tant qu’être-vivant ou pas. C’est la raison pour laquelle Mori utilise aussi le terme « la vallée dérangeante » .
Dans le monde contemporain, il y a plusieurs exemples d’objets qui se trouve dans cette vallée. Les robots avec l’intelligence artificielle qui ressemblent les êtres-humains, par exemple, appartiennent à cette catégorie. Les marionnettes peuvent aussi se trouver dans cette vallée, parce qu’elles ont l’apparence de bouger et de parler comme de vraies êtres-vivants, mais ce n’est qu’une illusion. En revanche, même les êtres-humains peuvent se trouver dans cette espace dérangeante. Les cadavres gênent beaucoup de monde, parce qu’ils sont vraisemblables aux corps des personnes vivantes. Les clowns font aussi partie de cette catégorie, parce qu’ils utilisent du maquillage comme s’ils ne sont même pas des êtres-humains.
Affichage des articles dont le libellé est film. Afficher tous les articles
Affichage des articles dont le libellé est film. Afficher tous les articles
19 mai 2018
Happiness therapy est-il vraiment indépendant ?
Happiness therapy (Silver linings playbook) (David O. Russell, 2012) a un grand budget de 21 000 000 $ et une distribution de vedettes, bien connus à travers les Etats-Unis et le monde. Il est raisonnable d’imaginer que ce film n’est pas nécessairement indépendant. Pour Chris Tucker, l’acteur qui joue Danny dans le film, il dit sans hésitation : « Ce film avait vraiment l’air indépendant » . Sean McManus, le président de Film Independent, dit aussi que c’est une véritable dépiction du rapport entre le réalisateur et son propre fils, qui a lutté avec des maladies psychologiques. Néanmoins, pour beaucoup de monde, l'entrée de ce film dans les prix d’Indie Spirit et sa qualification comme indépendant n’est pas légitime ni équitable pour les autres films qui ont des budgets de production bien plus petits. Ainsi, la qualification de ce film est certainement contestable et une source de controverse aux Etats-Unis.
Ce film est un bon cas si on essaie de considérer quelles sont les caractéristiques d’un film qui le rendent vraiment indépendant. En dehors du placement du film dans le secteur industriel du cinéma américain—où on considère son coût de production et sa société de production—ce sont normalement des techniques dans le film-même qui déterminent si le film est indépendant ou un blockbuster. Hormis la considération financière, il s’agit de regarder la politique de représentation, d'identité, de la poursuite de bonheur par les américains ordinaires. Il est aussi important d’analyser les choix formels de l’esthétique du film, vis-à-vis des codes hollywoodiens. La relation d’un film avec les standards hollywoodiens forme un élément très important pour décider si le film incarne vraiment l'esprit indépendant.
Ce film est un bon cas si on essaie de considérer quelles sont les caractéristiques d’un film qui le rendent vraiment indépendant. En dehors du placement du film dans le secteur industriel du cinéma américain—où on considère son coût de production et sa société de production—ce sont normalement des techniques dans le film-même qui déterminent si le film est indépendant ou un blockbuster. Hormis la considération financière, il s’agit de regarder la politique de représentation, d'identité, de la poursuite de bonheur par les américains ordinaires. Il est aussi important d’analyser les choix formels de l’esthétique du film, vis-à-vis des codes hollywoodiens. La relation d’un film avec les standards hollywoodiens forme un élément très important pour décider si le film incarne vraiment l'esprit indépendant.
05 mai 2018
Fruitvale Station, pourquoi est-il indépendant ?
Fruitvale Station (Ryan Coogler, 2014) est un film réalisé d'après l’histoire vraie des dernières heures d’Oscar Grant III avant son assassinat par un policier le 1er janvier 2009. La première création de Coogler a fait le tour des festivals de films indépendants, dont Deauville et Sundance, où elle a gagné le Grand prix du jury et le Prix du public. Aux Independent Spirit Awards, Coogler a gagné le Prix de meilleur premier film, Michael B. Jordan était nominé comme Meilleur acteur et Melonie Diaz nominée également comme Meilleure actrice secondaire.
Pour juger de son niveau d'indépendance, on peut premièrement considérer son placement dans le secteur industriel du cinéma américain. Il est distribué par The Weinstein Company et ARP Sélection, deux sociétés indépendantes, avec un budget de 900 000 $, largement sous la moyenne des budgets indépendants. Hormis cette considération financière, il s’agit de regarder la politique qui se trouve derrière cette production, la représentation des identités raciales et les relations entre les Noirs et la police, vis-à-vis des codes hollywoodiens. Les choix esthétiques du film sont aussi pertinents, parce qu’ils avancent les thèmes du film. Parmi ces considérations, on peut également attribuer au film une posture plutôt résistante, opposée aux codes hollywoodiens, car il présente une logique d'authenticité et de différenciation en délivrant une histoire plus crédible et plus proche de la réalité américaine que celles produites par les blockbusters.
Pour juger de son niveau d'indépendance, on peut premièrement considérer son placement dans le secteur industriel du cinéma américain. Il est distribué par The Weinstein Company et ARP Sélection, deux sociétés indépendantes, avec un budget de 900 000 $, largement sous la moyenne des budgets indépendants. Hormis cette considération financière, il s’agit de regarder la politique qui se trouve derrière cette production, la représentation des identités raciales et les relations entre les Noirs et la police, vis-à-vis des codes hollywoodiens. Les choix esthétiques du film sont aussi pertinents, parce qu’ils avancent les thèmes du film. Parmi ces considérations, on peut également attribuer au film une posture plutôt résistante, opposée aux codes hollywoodiens, car il présente une logique d'authenticité et de différenciation en délivrant une histoire plus crédible et plus proche de la réalité américaine que celles produites par les blockbusters.
21 avril 2018
L’affaire Weinstein et la lutte mondiale contre le viol
Lorsque l’affaire Weinstein a fait fureur à travers le monde, ce n’est pas la véritable cause de l’explosion contemporaine des dénonciations du harcèlement sexuel. Cette lutte contre le viol et la violence sexuelle a des racines bien plus vieilles. Même le fait que cette affaire est considérée globalement comme un scandale, c’est le produit d’une tellement longue dialogue, et de la résistance par les femmes et leurs alliés depuis plusieurs années. Cependant, l’affaire Weinstein et le mouvement #metoo a beaucoup inspiré plusieurs gens à dire que c’est bien le moment de changer, une fois pour toutes.
17 octobre 2017
Shot-By-Shot Analysis: Silver Linings Playbook and Pulp Fiction
Part One: Chosen Scenes and Analysis Framework
For the two scenes I analyze, I present one scene from each of the two films, Silver Linings Playbook and Pulp Fiction. They both demonstrate characters participating in a similarly designed scene: two characters—Pat (Bradley Cooper) and Tiffany (Jennifer Lawrence), in Silver Linings Playbook, and Pumpkin (Tim Roth) and Honey Bunny (Amanda Plummer), with the waitress (Laura Lovelace), in Pulp Fiction—sitting across from each other at a diner, familiarizing themselves with the personal details of one another, as well as better understanding each other’s own personal philosophies.
For the two scenes I analyze, I present one scene from each of the two films, Silver Linings Playbook and Pulp Fiction. They both demonstrate characters participating in a similarly designed scene: two characters—Pat (Bradley Cooper) and Tiffany (Jennifer Lawrence), in Silver Linings Playbook, and Pumpkin (Tim Roth) and Honey Bunny (Amanda Plummer), with the waitress (Laura Lovelace), in Pulp Fiction—sitting across from each other at a diner, familiarizing themselves with the personal details of one another, as well as better understanding each other’s own personal philosophies.
10 mars 2016
On the Supposed Privilege of Desirability
John Crowley's Brooklyn is a story of love, resilience, and a willingness to finally choose.
The film follows a young Irish woman, Eilis (Saoirse Ronan), as she immigrates to Brooklyn, leveraging her geographical shift to begin anew. As she commences her new educational path, difficult daytime job, and unexpected romance with an Italian fellow, Tony (Emory Cohen), she must ultimately decide where her true home is and who she wants to become.
The film follows a young Irish woman, Eilis (Saoirse Ronan), as she immigrates to Brooklyn, leveraging her geographical shift to begin anew. As she commences her new educational path, difficult daytime job, and unexpected romance with an Italian fellow, Tony (Emory Cohen), she must ultimately decide where her true home is and who she wants to become.
10 janvier 2016
On Love Amid Dramatic Life Changes
Tom Hooper's The Danish Girl brings to light an often unasked question of love: When one person changes and develops dramatically, what role may her lover take on in remaining romantically engaged?
Indeed, as the film progresses, her husband, Einar Wegener (Eddie Redmayne), progressively grows to despise his designated gender, instead opting to dress and act as a woman and presume her new name, Lili Elbe. With the wavering support of her wife, Gerda Wegener (Alicia Vikander), Lili visits numerous doctors until she finds the one, Kurt Warnekros (Sebastian Koch), who will surgically remove Lili's male genitalia and construct female ones in their place.
Indeed, as the film progresses, her husband, Einar Wegener (Eddie Redmayne), progressively grows to despise his designated gender, instead opting to dress and act as a woman and presume her new name, Lili Elbe. With the wavering support of her wife, Gerda Wegener (Alicia Vikander), Lili visits numerous doctors until she finds the one, Kurt Warnekros (Sebastian Koch), who will surgically remove Lili's male genitalia and construct female ones in their place.
Reformulating Love
Scott McGehee and David Siegel's What Maisie Knew eloquently illuminates the farcicality of the childish notion of parental perfection while simultaneously redefining traditional roles for guidance and affection in the all-too-nuclear familial structure.
When Maisie (Onata Aprile) finds out that her parents are separating, her life becomes a growing faultline between her parents, Susanna (Julianne Moore) and Beale (Steve Coogan), with her nouveaux step-parents, Lincoln (Alexander Skarsgård) and Margo (Joanna Vanderham), respectively, as oddly placed lifelines when both of the raging tectonic plates that are her parents either rub against each other or drive away from the area altogether.
When Maisie (Onata Aprile) finds out that her parents are separating, her life becomes a growing faultline between her parents, Susanna (Julianne Moore) and Beale (Steve Coogan), with her nouveaux step-parents, Lincoln (Alexander Skarsgård) and Margo (Joanna Vanderham), respectively, as oddly placed lifelines when both of the raging tectonic plates that are her parents either rub against each other or drive away from the area altogether.
09 janvier 2016
To Care for the Self and for Humanity Itself
Destin Daniel Cretton's Short Term 12 is a story of growth borne from destruction and release in a nearly omnipresent tension.
The film details a few months in the work of Grace (Brie Larson), a director at a state-financed home for troubled teenagers, as she battles with her own painful past while guiding her kids, residents of the home, to overcome their abuse.
When someone new joins the group, the rambunctious Short Term 12 community meets a silence embodied by a confused, depressed, and introverted Jayden Cole (Kaitlyn Dever) who intentionally distances herself by lingering in her bedroom while the group joins together in games and activities. Grace quickly bonds with Jayden over their mutual history of depression and self-harm, even rolling up her own sleeves to show Jayden her history of cutting. And, when Grace's abusive father is reportedly released from prison, they begin to share one more treacherous trait.
The film details a few months in the work of Grace (Brie Larson), a director at a state-financed home for troubled teenagers, as she battles with her own painful past while guiding her kids, residents of the home, to overcome their abuse.
When someone new joins the group, the rambunctious Short Term 12 community meets a silence embodied by a confused, depressed, and introverted Jayden Cole (Kaitlyn Dever) who intentionally distances herself by lingering in her bedroom while the group joins together in games and activities. Grace quickly bonds with Jayden over their mutual history of depression and self-harm, even rolling up her own sleeves to show Jayden her history of cutting. And, when Grace's abusive father is reportedly released from prison, they begin to share one more treacherous trait.
Competing Empathies in a Wrongly Purposed Murder
Mark Herman's The Boy in the Striped Pyjamas is a chilling tale of conflicting empathies and reconciling the pain of grief with the reality of unbearable, yet elongated, mass-murder.
After relocating from Berlin, a German family led by their patriarch, Ralph (David Thewlis), a highly regarded Nazi general in the early 1940s, settles a few miles from Auschwitz-Birkenau. Bruno (Asa Butterfield), the eight-year-old protagonist, eager to explore their new home and its surroundings, ignores his mother's wishes and hikes his way to the electric, barbed-wire fence outlining the nearby "farm," where he meets his new clandestine contemporary: Shmuel (Jack Scanlon), an eight-year-old Jew at the work camp.
After relocating from Berlin, a German family led by their patriarch, Ralph (David Thewlis), a highly regarded Nazi general in the early 1940s, settles a few miles from Auschwitz-Birkenau. Bruno (Asa Butterfield), the eight-year-old protagonist, eager to explore their new home and its surroundings, ignores his mother's wishes and hikes his way to the electric, barbed-wire fence outlining the nearby "farm," where he meets his new clandestine contemporary: Shmuel (Jack Scanlon), an eight-year-old Jew at the work camp.
05 janvier 2016
Drinking with Students: A Story of Hope
Pat Mills' Guidance is a dark comedy of rediscovering oneself amid a sea of confusion and denial.
David Gold (Mills), a 30-year-old unemployed alcoholic steals someone's identity, becomes a high school guidance counselor, and imbibes with his students in his short-lived career before escaping from the police, robbing a slew of tanning salons, and turning himself into prison as a new-formed man.
Intertwined throughout the scenes are audio overlays of his own inspirational tapes from a previous career, juxtaposing his own narration of his excellence, happiness, and positive decision-making skills with visual evidence of binge drinking and smoking alone. Thus, throughout the film, we see first-hand the denial and mistrust of others plaguing David's mind as he ignores his doctor's cancer diagnosis, fails to pay rent, and insists upon living without changing his habits, even if it means "cutting off" the rest of his family.
David Gold (Mills), a 30-year-old unemployed alcoholic steals someone's identity, becomes a high school guidance counselor, and imbibes with his students in his short-lived career before escaping from the police, robbing a slew of tanning salons, and turning himself into prison as a new-formed man.
Intertwined throughout the scenes are audio overlays of his own inspirational tapes from a previous career, juxtaposing his own narration of his excellence, happiness, and positive decision-making skills with visual evidence of binge drinking and smoking alone. Thus, throughout the film, we see first-hand the denial and mistrust of others plaguing David's mind as he ignores his doctor's cancer diagnosis, fails to pay rent, and insists upon living without changing his habits, even if it means "cutting off" the rest of his family.
04 janvier 2016
Interpersonal Compassion, and Judgment?
Lasse Hallström's Chocolat is a story of overcoming exile and learning to accept the differences in others while maintaining a tight-knit community.
When a single French woman, Vianne (Juliette Binoche), and her daughter Anouk (Victoire Thivisol) move to a village on the French coast to set up a chocolaterie, they instigate townwide chaos by questioning the very cultural foundations of the town, including stringent attendance at Mass and Confession, as well as avoiding certain delicacies during Lent.
As a result, the town turns against their newest member, labeling her enterprise as a cooperative effort with Satan and her chocolates as acts against God himself. Yet, in continuing to follow her own moral compass in the face of ostracism, Vianne forms two crucial relationships, one with Josephine (Lena Olin), her friend-turned-associate whom Vianne hosts for fear that Josephine's husband (Peter Stormare) will continue to physically abuse her, and Armande (Judi Dench), an elderly woman and closet diabetic whom Vianne regularly serves and makes conversation.
When a single French woman, Vianne (Juliette Binoche), and her daughter Anouk (Victoire Thivisol) move to a village on the French coast to set up a chocolaterie, they instigate townwide chaos by questioning the very cultural foundations of the town, including stringent attendance at Mass and Confession, as well as avoiding certain delicacies during Lent.
As a result, the town turns against their newest member, labeling her enterprise as a cooperative effort with Satan and her chocolates as acts against God himself. Yet, in continuing to follow her own moral compass in the face of ostracism, Vianne forms two crucial relationships, one with Josephine (Lena Olin), her friend-turned-associate whom Vianne hosts for fear that Josephine's husband (Peter Stormare) will continue to physically abuse her, and Armande (Judi Dench), an elderly woman and closet diabetic whom Vianne regularly serves and makes conversation.
Comedy, Romance, and Stress: Living Through Your Hip-Twenties
Paul Ashton's This Isn't Funny is a genuine tale of love when surrounded by humor, anxiety, and alcohol.
Eliot Anderson (Katie Page) strives to make it big in the world of standup comedy, despite her continued struggles with anxiety. Along the way, after crashing into—and later making fun of—a local cyclist, Jamie (Paul Ashton), she must either learn to redefine herself and her medicinal needs to stay with him and form a family, or continue her shaky trajectory, without him, of advancement in the world of comedy.
This Isn't Funny ultimately demonstrates how complex a foundation for any modern romantic relationship is—dominated by capricious polyamory and mixed interpretations of monogamy, each romance, prior to even recognizing the various mental states of those within it, already begins with a grave sense of instability. Aggravating that are the contemporarily dynamic perspectives of and opinions about mental wellness, therapy, and medicine, exacerbated when Eliot intentionally skips her daily dosage for several days, for the fear that her anti-anxiety drugs block out her thoughts, keeping her from reconciling with her problems.
Eliot Anderson (Katie Page) strives to make it big in the world of standup comedy, despite her continued struggles with anxiety. Along the way, after crashing into—and later making fun of—a local cyclist, Jamie (Paul Ashton), she must either learn to redefine herself and her medicinal needs to stay with him and form a family, or continue her shaky trajectory, without him, of advancement in the world of comedy.
This Isn't Funny ultimately demonstrates how complex a foundation for any modern romantic relationship is—dominated by capricious polyamory and mixed interpretations of monogamy, each romance, prior to even recognizing the various mental states of those within it, already begins with a grave sense of instability. Aggravating that are the contemporarily dynamic perspectives of and opinions about mental wellness, therapy, and medicine, exacerbated when Eliot intentionally skips her daily dosage for several days, for the fear that her anti-anxiety drugs block out her thoughts, keeping her from reconciling with her problems.
03 janvier 2016
"Pick Paul," A Character-Based Reevaluation of Election
Alexander Payne's Election, a tale of myriad pseudo-protagonists presenting alternative perspectives in the upcoming high school election, demonstrates the intricate balance of unscrupulous characters whose motivations ultimately lie in promoting their own self-interest while pretending, to themselves and to their peers, that the above fails to be true.
The character structure in Election very much strays from any standard, as the alleged protagonist, Tracy Enid Flick (Reese Witherspoon), a preppy high school student seeking the office of student council president for her final year, undergoes an emotional breakdown, tearing down nearly every election poster in the school. Following that fiasco, her teacher, Jim McAllister (Matthew Broderick), pursues an extramarital affair, even abandoning his own class to attend to it, discarding both his marriage and his professional passion.
The character structure in Election very much strays from any standard, as the alleged protagonist, Tracy Enid Flick (Reese Witherspoon), a preppy high school student seeking the office of student council president for her final year, undergoes an emotional breakdown, tearing down nearly every election poster in the school. Following that fiasco, her teacher, Jim McAllister (Matthew Broderick), pursues an extramarital affair, even abandoning his own class to attend to it, discarding both his marriage and his professional passion.
Empathizing with the Unknown
A dying wish for empathizing with the unknown, Todd Haynes' Carol pushes us into the realm of a persecuted lesbian love blossoming under the covers of 1950s America, forcing us to divine rectitude when encompassed by utter hatred towards that which is yet to be understood.
With holiday spirit, Carol Aird (Cate Blanchett) offers her shopping assistant, Therese Belivet (Rooney Mara), to lunch, forming the beginnings of their hidden amorous relationship. Carol, mother of one, struggles with divorcing her physically abusive husband Harge (Kyle Chandler), while Therese's corroding relationship with her boyfriend (Jake Lacy) ends without much effort, quickly joining the two women together in a love borne in abandonment. Together, they discard their decaying pasts and commence a road trip westward, still only individually cognizant of their mutual love.
With holiday spirit, Carol Aird (Cate Blanchett) offers her shopping assistant, Therese Belivet (Rooney Mara), to lunch, forming the beginnings of their hidden amorous relationship. Carol, mother of one, struggles with divorcing her physically abusive husband Harge (Kyle Chandler), while Therese's corroding relationship with her boyfriend (Jake Lacy) ends without much effort, quickly joining the two women together in a love borne in abandonment. Together, they discard their decaying pasts and commence a road trip westward, still only individually cognizant of their mutual love.
02 janvier 2016
On Believing Falsehoods
In Thomas Vinterberg's Jagten (The Hunt), when testimonies conflict and instability is rampant, all crashes down upon the protagonist, Lucas (Mads Mikkelsen), who must seemingly impossibly prove his innocence to his tightly knit community while protecting his already damaged personal relationships.
Lucas, an ordinary kindergarten teacher in a small Danish town, is quickly blindsided by a false testimony rooted in the shady memory of his student Klara (Annika Wedderkopp), when she hints to his coworker Grethe (Susse Wold) at the potentiality of sexual assault. Trusting her contradictions to be products of denial, the kindergarten staff fires Lucas, and the entire town begins to reject Lucas as an unwelcome pedophile. His friendships, romance, and safety vanish.
Lucas, an ordinary kindergarten teacher in a small Danish town, is quickly blindsided by a false testimony rooted in the shady memory of his student Klara (Annika Wedderkopp), when she hints to his coworker Grethe (Susse Wold) at the potentiality of sexual assault. Trusting her contradictions to be products of denial, the kindergarten staff fires Lucas, and the entire town begins to reject Lucas as an unwelcome pedophile. His friendships, romance, and safety vanish.
A Look at Chef
Jon Favreau's Chef is ultimately a documentation of an unbroken trajectory: After a celebrity chef, Carl Casper (Favreau), realizes that his true passion is to cook under his own direction, forgetting the influence of a restaurant owner (Dustin Hoffman), a food critic (Oliver Platt), or even his thousands of online followers, he strives, with his two companions, his sous-chef (John Leguizamo) and his son (Emjay Anthony), to both revolutionize his own passion for food and better spread to his nationwide fanbase a love for what he considers to be the most beautiful—albeit perishable—artform.
While minimal complications arise, such as his perpetual failures to be an active father in his son's life damaging their relationship, or even a confusingly prolonged yet awkwardly humorous interaction with a local police officer (Russell Peters), these are typically brushed away faster than the buttering process for a single cubano. In a way, the film is majoritally the falling action of its initial setup: Carl, desolated and jobless, looks for both personal satisfaction and steady income. Thus, Chef, in all of its glory, is less a story of triumphing over conflict and more of following and ruminating in racing emotions, interpersonal changes, and physical movement.
While minimal complications arise, such as his perpetual failures to be an active father in his son's life damaging their relationship, or even a confusingly prolonged yet awkwardly humorous interaction with a local police officer (Russell Peters), these are typically brushed away faster than the buttering process for a single cubano. In a way, the film is majoritally the falling action of its initial setup: Carl, desolated and jobless, looks for both personal satisfaction and steady income. Thus, Chef, in all of its glory, is less a story of triumphing over conflict and more of following and ruminating in racing emotions, interpersonal changes, and physical movement.
01 janvier 2016
Life May Just Be a Cabaret
Bob Fosse's Cabaret takes us back to the final moments of the Weimar Republic in Germany, a time of conflicting ideologies and shifting cultural momentums, when any flame of novelty may instantaneously develop into an inferno.
Visiting Berlin, a British doctoral student, Brian Roberts (Michael York), finds lodging with Sally Bowles (Liza Minnelli), an American dancer at the Kit Kat Club, a local cabaret. Throughout the film, we see their own fits of sexual experimentation and growth with each other and others in the Kit Kat Club community.
Visiting Berlin, a British doctoral student, Brian Roberts (Michael York), finds lodging with Sally Bowles (Liza Minnelli), an American dancer at the Kit Kat Club, a local cabaret. Throughout the film, we see their own fits of sexual experimentation and growth with each other and others in the Kit Kat Club community.
Combustion and Connection
Lasse Hallström's What's Eating Gilbert Grape? is a story of freeing oneself from the shackles of the past while embracing meaningful interpersonal relationships borne from the present moment.
Gilbert Grape (Johnny Depp), the older brother-turned-patriarch of the family, years after the wake of his own father's suicide, mentors and cares for his younger brother, Arnie (Leonardo DiCaprio), who suffers from a developmental disability.
Yet, suffering from his own quandaries, Gilbert still fails to understand his own personal necessities, balancing his own relationship with a married mother of two, Betty (Mary Steenburgen), with that of a companion of only a few weeks, a traveler camping in the area, Becky (Juliette Lewis).
Gilbert Grape (Johnny Depp), the older brother-turned-patriarch of the family, years after the wake of his own father's suicide, mentors and cares for his younger brother, Arnie (Leonardo DiCaprio), who suffers from a developmental disability.
Yet, suffering from his own quandaries, Gilbert still fails to understand his own personal necessities, balancing his own relationship with a married mother of two, Betty (Mary Steenburgen), with that of a companion of only a few weeks, a traveler camping in the area, Becky (Juliette Lewis).
30 décembre 2015
Finding an Identity Amid Total Spiritual Entrapment
In Hayao Miyazaki's Spirited Away, Chihiro Ogino (Daveigh Chase, the English voice actor) ventures inescapably into the nearby world of spirits—her parents stolen from her and transformed into pigs before her eyes—and strives to take back her family, and her own rediscovered and reformed identity, in the midst of all of the madness.
On her family's move to a new town, while Chihiro wishes only for a level of control within her newly hectic life, her parents insist upon exploring the area, soon destined to fall into a trap of the spirits, by devouring someone else's well prepared meal in a seemingly abandoned amusement park. Left alone with her new mentor, Haku (Jason Marsden, the English voice actor), who pushes her to assimilate into the local bathhouse, the home of the local spirits, Chihiro hopes only to return with her parents.
On her family's move to a new town, while Chihiro wishes only for a level of control within her newly hectic life, her parents insist upon exploring the area, soon destined to fall into a trap of the spirits, by devouring someone else's well prepared meal in a seemingly abandoned amusement park. Left alone with her new mentor, Haku (Jason Marsden, the English voice actor), who pushes her to assimilate into the local bathhouse, the home of the local spirits, Chihiro hopes only to return with her parents.
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