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Prisons

" Eat, For This is My Body "by Michelangelo Quay plunges us into a deep breath hallucinatory experience yourself where do the suffering of a people, relationships of domination, dispositions arising throughout a film that takes the form of a strange ceremony.

A white woman, Mrs. (Catherine Samie), lives with her daughter (Sylvie Testud) in a large house in which she collects black children whom she provides, food, health and education.
To process reports from colonialism and slavery, particularly in Haiti, Michelangelo Quay favors the exploration of a more obscure of these reports: the springs unconscious deep trauma and devastation that inner part of this dominant-dominated relationship, raise the ambiguity of it. And for this, Michelangelo Quay does not stand on the ground of realism but chose to proceed by allegory.
all begins with a magnificent tracking shot that takes us into air slowly into the bowels of a barren land with low vegetation. This value is traveling exhibition: in one, all is said about the situation in Haiti: visions of overcrowded slums, rivers dried up. A land supposedly nourishing but a land where nothing seems push, a cursed place, abandoned by God, inhabited by the wretched of the earth.

The film, by its title, is placed immediately under the seal of the Eucharist. The Eucharist is given as a symbol of sharing, of communion. It is, for Christians, the symbol of Christ's sacrifice, the Eucharist takes a value of food given by God to help Christians live it, what Mrs. It feeds these black children, feeds her own body, the "whitening", the term is not in vain. That woman is somehow equal to God in the eyes of these children, also sealed somehow their dependencies. On Haiti, we can not help thinking of a country constantly on a drip.

This woman becomes a metaphor for the dependence of third world countries to rich countries. But this relationship is ambivalent in this dialectic of master and slave, that one needs the other? Those children who eat this woman are themselves ingested by it becomes the image of an ogre. Ms. emptied of its substance, dries itself in the image of the country. These children are also the raison d'être of this woman. It is a metaphor for domination, but also metaphor of the bad conscience of the dominant. Ambivalence also highlighted by Michelangelo filigree Quay, the figure of Christ, is alienating, but also a symbol of liberation theology, a movement from the Catholic South America advocating a return to fundamentals of Christianity.

's daughter Lady, substitute is also to Christ during a meal recalling the Last Supper. Michelangelo Quay file Christ metaphor throughout the film: the second sequence of the film opens on a delivery that prelude to the arrival of rains, the birth of Christ. Later, the daughter of Madame (Sylvie Testud), exit the house, an enclosed upon itself, to regain the world will find themselves among the people, a black child in his arms like a Pieta. The idea of a black Christ, container and symbol of the misery of a people caught on.
The sequence of ceremonial meals and movies with home like setting, are framed by scenes of carnival and voodoo ceremony. Redeeming moments highlighted by a contrast in style between domestic (home) and outside executives made very light and very neat and light. Carnival and voodoo trance are treated by a camera freer.

The house of Madame is also a metaphor for inner prisons, dispositions that everyone carries within himself. Disposition reinforced by the use of circular tracking shot that can not seem to be unable to leave by the recurrence of liquid flowing referring to a principle of constantly repeating cycle: menstrual cycle, nourishing milk treated with the blood of Christ, Ocean that the slaves of the cross ...

The relationship between interior and exterior is also highlighted by a fine geographical jumps (choice of turning the outside of the house in a European environment). This bias strengthens this boundary cut between two worlds, between two worlds. These reports
concrete domination is therefore double reporting of alienation more deeply buried. Franz Fanon, in "Black Skin White Mask and" noted the psychological trauma And lead by the domination and haunt the unconscious. As such, those who dreamed Caribbean with white skin in their sleep. Appropriation of religion as the masters ... Here Michelangelo

Quay deals with intelligence, without great speech, this part of alienation. As that great play where children dive naked into the milk, when Patrick (Hans Dacosta Saint Val) the Ms. Butler will whiten black face in his unconscious desire to become white. The director plays chromatic partitions: shots of black hands on white surfaces (tiles, tablecloths), white hand on their faces.

This alienation is also illustrated by reports that ancillary innuendo and fantasy intertwine. The desire of the other outcrops, the sexual tension is palpable. Some plans are very sensual, as the white hand that caressed the faces of children in close-ups that come pick up the texture of skin. Shots on mirrors that distort the faces where identities become uncertain ... The use of clips that make up the film also reinforces a sense of identity because of uncertainty in this movie, to escape the subjectivity of the gaze often induced by the use of field-cons- field, to avoid customization. The clip here reinforces the allegory and the universality of the subject.

Michelangelo Quay does not leave us in a situation completely immutable. Out of the house, world amounts to a deadly release. This tension of desire seems alienation seem to be resolved in the exuberance of a carnival outlet for frustration, misery which will flow again when the amniotic fluid will eat hope.

DVD Release September 6, 2010

"Eat, this is my body" France

Dir: Michelangelo Quay

with Sylvie Testud, Catherine Samie, Hans Dacosta Saint Val, Jean-Noël Pierre

Duration: 105 mn

Image: Thomas Ozoux

Editing: Jean-Marie Lengellé

supplemental "The Gospel of the Creole Pig" short film by Michelangelo Quay

Body Panels For Enclosed Trailers

dismemberment us. I'm Back

No? This is not true. If ya right? Yeah.

Yes, it's confirmed. A new project shows up on the horizon for me.
It will be "groovy." (Yet another word that I do not know the spelling. If it's good, it is buissiness.)

the month of March. Or 2011. (For more lost) I'll be performing with "our" first show. ("We" includes me and Geneviève Côté,''talent''to the comedian refaient.) Mongolian
It'll be fun.

Where is it? when? how hour? It remains to be confirmed. It's still in 6 months, calm down bitch. (Lord, I'm vulgar for no reason, but we like that.) As mentioned in my last article, my website is under construction. By cons in the weeks to come, or within 1 year (C'mon, you know this is not true, you're cute) I metterai my first capsules online content. Probably through this blog. There will have several interesting topics and comedy. (Admit you worry do not expect it?)

You also see the "Making of" of this show that is already waiting impatiently. (It was still me and this bomb of many talents.)

I look forward to this change in my life and yet it's already started.

See you all.

D.

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Foto Galery Milena Velba

"One China" Guo Xiaolu, a film about desires elsewhere but also a beautiful portrait of a woman.


A young girl Li Mei, bored in her provincial life, a life made of dull pocket daily lives, where nothing happens. She dreams of escape from this life and join the big city.

The theme of the film Xiaolu Guo is this girl, Mei Li. From it, we do not know much, she lives with her parents, already elderly, in a province still rural. She works in a small tavern at the edge of a road crossing point, also place where youth congregate around who spend their time with endless games of billiards.

The director is Mei Li, an allegorical image of Chinese youth. Through Li Mei emerges in hollow, desires, aspirations of the Chinese youth trapped in the contradictions of a society torn between ultra-modernity and tradition. But, beyond this an example that seems to embody a priori Mei Li, Guo Xiaolu takes the ways of the story of initiation and shape for his character, a tough journey, sometimes painful, in which Li Mei win its independence.

"One China" is a film about globalization and its consequences in the minds of young Chinese today, wedged between a Communist past still near their parents, and a present marked by unfettered capitalism . A film about migration, primarily those internal to China, Li Mei became the archetypal portrait of these young people, caught between the prospects bleak futures in rural China, begin to listen to the song sirens of the city, and rush like fireflies to light. These large cities, the Chinese growth engine, represent them as much hope for a richer life than a life more in keeping with the canons of modernity.



The introductory shots speak volumes: the encounter with the young freedman, who left the village and living in Shenzen, playing amazes front of his friends with his scooter with his clothes, his money. This represents the eyes of young Li Mei, all this modernity, all she wants to be everything she wants to have everything that is away from the monotony province she lives with her parents.

But these great cities, for hope is also that of disillusionment for many and quickly transformed into a jungle or a nightmare for many of those uprooted from the provinces who come here to fail.

Li Mei, who was hired in a factory, made this experience very quickly. It does not cadenzas is done out of doors. This gives rise to a dismissal genuine public trial sessions worthy of condemnation and self-criticism Communists.
This sequence can also ask to Guo Xiaolu intelligently realities of the Chinese society where the long forced march to capitalism is not encumbered by scruples, leaving many people on the floor, capitalism and consumption n 'is not synonymous with democracy and respect for human rights, far from it.

Li Mei or others left behind, so few choices, living by his wits, live on the margins, make the choice for some of life of crime as spikey, a killer, Li Mei fell in love with and eventually killed.
The mirage for many in the form of Western countries. Mi Lei share in Europe in London. These desires also take in the film form of lithographs. Li Mei will have a picture of London on a schedule for these images from elsewhere, often stereotypical, come feed the imagination of these young people seeking a better world. London, Paris or New York to become mental recurrences. The soundtrack, also excellent, consisting partly of Chinese rock bands has a rhythm and strengthen this part fantasy.
In London, Li Mei is confronted with the situation of immigrants without papers, she spent odd jobs in odd jobs, sleeping among sellers of sleep a periphery away from his dreams anonymous postcards. The universe in which she lives, is also restricted in their province or in Shenzen. No horizon, living conditions are much better. The director also runs fine differences of cultures, the differences between communities that intersect in the modern Babylon are the major Western cities. His relationship with Rachel, an Indian Muslim, is one example, which approximates the outset, the youth, the same conditions of existence is precarious, will soon move away to make room for misunderstanding. Rashid, a sort of male counterpart Li Mei him mentally perform the reverse path of Li Mei and return to his country. But

Xiaolu Guo's film is another kind of escape, of openness. this escape takes the form of an initiatory journey. What will finally Li Mei at the end of this route: it herself.

Part of an enclosed world, his home province, where the woman is still treated as inferior, on which all rights are Mei Li lives in a world of men, whether in China or later Great Britain, they impose their domination, women suffer doubly precarious. Not only
Li Mei will eventually leave, but in his journey, she will gain her freedom. Li Mei is a character who grows in strength, initially frail, fragile, she defeated bids gradually. Firstly that of his parents, his middle, then raped, she does not resign. Whether with his romantic relationships with Spikey, relationship in which she discovers her body, physical desire, either with Mr. Hunt, an Englishman older with whom she married out of necessity and leave it for Rachid, little little, Li Mei finally becomes independent access to freedom of woman.

Do not know much about Li Mei, the deal just sketches, for keys, without deepening the character in appearance, is a deliberate choice by Guo Xiaolu allowing one hand to Li Mei A representative figure of Chinese youth, but also not falling into a portrait psychologizing, Li Mei became this figure of freedom, emancipation of women. Guo Xiaolu
finally let his character sail on his own for after Li Mei seems to have occurred.

"One China"

Director: Xiaolu Guo

China / UK

with

Mei: Huang Lu

Spikey: Wei Bo

Mr. Hunt: Geoffrey Hutchings

Rashid: Cris Ryman