Is Pulmonary Fibrosis Reversable

May 29 to win - by Marco Bellocchio-official trailer

Last night I saw "WIN" the new film by Marco Bellocchio, presented at the Cannes Film Festival with Filippo Timi and Giovanna Mezzogiorno.
's the story of the young lover's Benito Mussolini, with whom he conceived a child, first recognized to be subsequently disregarded. Obviously
Benito Mussolini, once started a political career which led him to be the leader, will try in every way to shut up and hide the uncomfortable presence of the woman who goes to undermine the model of social and family that fascism was proposing. It will succeed! The woman and her child will be detained in psychiatric hospitals until their deaths.
The film is seen from the perspective of less historic and famous: that of her, obscured by history so as not to fall into ridicule the true wife of the leader, Clarence.
We try to give voice to those who have not ever had one, who has been silenced.
And then the film tries to assert (without any big answers) the questions that this woman has done all his life.
Why should we forget what has been, the road has been traveled before getting to where you are?
Why should discredit that different to make sense of themselves?
it possible that I did not miss when I miss him to death?
Questions and continues to loop waiting for answers and signals never arrived. She would have served a reason, to have a reason to rationalize. Maybe things would be different.

The film certainly has an interesting style, but did not hit me fully. For example, could be effectively replaced, as they went on the film, the image of the Duce. First played by Filippo Timi (in youth) and later, after the abandonment of the lover, with real footage. It might help to underline the distance that was emerging between these two characters. But the final result is disappointing. While he obviously change over the years told the story, the character played by Mezzogiorno remains almost equal physically. Manco a tuft of white hair.
I did not enjoy even the excessive space and emphasis to the first sexual intercourse between the two, which tried to revive the temperament and harsh ruler Benito Mussolini. I found it a bit 'too simplistic and a bit' provincial. In short, between all the faults this man and among the many features that rightly should make it unpleasant for sure would not put my finger on his way to selfish and unimaginative to have sex. Also because usually each sadist is a masochist. In short, I found those scenes very representative of the history and dynamics developed in the pair. I loved
photography: dark and claustrophobic in some scenes,
very good actors, especially the South that was the smell of Palme d'Or at Cannes to the last!

At the end of the film I thought this could be the end that will help Veronica Lario, interned in some clinical and passed for mad and visionary. In short, a film about the treatment, as now, the "tissue ungrateful."

Rating: 2 1 / 2 stars (out of five)

Swelling Liquid On Knuckles

Last night I saw "Antichrist" the new film by Lars Von Trier, presented at the Cannes Film Festival (between whistles and buuuuu) and was worth the palm Gold Award for best actress Charlotte Gainsbourg.
We know that this film is the first job of the director after his depression led him to the hospital for months. And if, like me, you do not have a personal drawing of therapies to overcome phobias, guilt and anxiety and do not know what the sensory effect of the drugs may not fully appreciate the film. As rightly has defended the film saying it is not a job for the public or the critics but a cathartic film about his fears and his pain.

The protagonists are a young couple who lost his son who falls from a window. (No, not a film about Eric Clapton and Lory Del Santo!). The pain of the woman is total: fact of guilt and obsessions. Her husband, therapist, decides to personally take care of his wife, disregarding the basic rule of professional ethics that prohibits relatives or friends to care.
the man decided to bring his wife in a physical place that embodies his fear most primordial and authentic: the forest of Eden, around their home area where she moved often with her son to end his anthropological studies.
From here on, the film will be a constant symbol, a sequence of evocative imagery and dense with meaning, a long and dramatic staging concepts. Detesterà wrong and certainly those who will judge the film as "real" and not as "symbolic." I
there I found much of the Gnostic philosophy in this analysis by Lars Von Trier.
For Christians, the man is made in the image and likeness of God, and the creation contains the imprint of the creator. For the Gnostics, however, there is a vast difference between God and the material reality: the spirit is essentially alien to the universe and the relationship with the material world can not contribute in any way to the spiritual elevation of man. The material world is not the work of God, but evil, demiurge Yaldaboath (and the title would seem to confirm my thesis). And in fact all there is for the world to evil and suffering: the love you can (and often does) turn into hatred. Every life ends, inevitably. Everything is beautiful in the world is temporary, everything is destined for death and suffering. And we can not do anything to stop all this pain because it is in our nature to create it. We "need" of death, to keep us alive. As the plants we need the fruit fall and rot, to give the opportunity for new flowers to bloom. At the same time as giving birth to a son, we are already condemning the experience of death and pain. And fear.
According to the Gnostics the laws of nature would be dictated by the demiurge, proud of its dominion over man, is seeking a man to be reproduced by increasing and prolonging the condition of alienation of spirit into matter. And the only possible way to free the spirit and be happy creatures is to leave the material world, the body. In fact, the Gnostics "hope" the extinction of man. And examples of this concept are the scenes where she cuts her genitals. Or blinded by their hatred and fear that her husband abandoned, the plant (in the true sense of the word) a sinker in the leg to prevent his escape. Confusing and dividing the spirit in the body, a condition that inevitably leads to unhappiness on this earthly life.
But we are our bodies, we can not get rid of it. We are our fears. We are our instincts, even sexual. We are our mistakes. And then the movie tells us that there is no escape because our fears really are ourselves, by the mere fact of being alive. We are approximate and intended to be wrong all the time epilogue to the extreme of death (the scene of ejaculation sample of blood). No one has ever managed to reverse this trend and never succeed. For some it happens before and "apparently" no fault (as the couple's son), others happen in a more bloody and the "guilt" established by men (like the many women burned as witches during the Middle Ages), others will cause death independently. But we are all in this world to suffer and die. We are all here to be afraid to fight with our ghosts, to move through our fears. We are here to suffer, whether it is the psychic pain of her, whether it be physical pain to him. We are one of pain. In fact, even the treatment of her husband to try to cure his wife, passes through the body. Emotions are experienced physically.
baggage inherited from our Western culture is marked by "division" between those that are artificial elements of a single reality: the mind and body. Usually we divide our body in un “Io”, capace di pensare, immaginare, simbolizzare e verbalizzare, ed un “esso” (il corpo), che trasmette sensazioni fisiche interne, e che ci consente di entrare in contatto con l’ambiente attraverso i cinque organi di senso e il movimento nello spazio. Tale scissione si esprime mediante il nostro linguaggio e allo stesso tempo ne viene rinforzata. Infatti non abbiamo un'unica parola che ci permetta di dire “Io-corpo”, ma ci riferiamo ad esso dicendo “il mio corpo”, come se fosse un oggetto che possediamo, e non come una parte del sé.Spesso l’uso della parola “mio” non indica un’identità tra esperienza corporea e sé, ma implica possesso nel sense of ownership and emphasizes the distinction between the owner and the object possessed. Can you say "my neck" in the same way we say "my car". But she does not suffer, we will. Because for us (body + mind) loss and the sense of vulnerability are essential components of our experience of human beings, as well as the non-controllability of events.

rating: 5 stars (out of five)

Mogu People Curiosity

Concert or seance?
This is the question after seeing "A life along the borderline," the show / tribute to NICO Sunday night at the Teatro Comunale di Ferrara. We have seen
to a real concert, played and sung with transport by NICO who has really known or, as the young Soap & Skin, viscerally must have loved the post. I mean that most often assembled from a cast-dynamic promotional labels here-it was a friendly evening to regret the good times and friends gone. Forever.
A brilliant song, like Easter, where, for believers, we celebrate that Jesus died for our sins. And looking around the other night, with many also accompanied by 45 year old former punk teenagers, we felt a bit 'like this: to pay tribute to those who incarnate (up to the extreme) our sick soil, Our difficulties of being alive. That somehow saved us, sacrificing himself for us.
And there is no room for the "mask" Nico, the myth, for being iconic. No picture to remember, no biographical presentation, no nods to gossip about Nico addict who forgets the words of his songs, which all have Nico always had to tell some stories deafness. No form, but only his musical soul. And we deliberately exclude the most famous pieces ("Chelsea Girl", "These Days" or pieces with the Velvet Underground), which probably embody the very mask Nico, how the media reproduce the still there.
But we prefer the soul of his most obscure and intimate. And the soul, and is alive. So alive, still evolving. With new arrangements, which the British had criticized the first date of this show. But I really enjoyed the music of the proposed update of NICO.

I will not review a piece by piece, but some things remain in my memory forever.
"Afraid" (from "Desert Shore", 1970) sung by Mark Linkous, the front-man of Sparkehorse. I thought that after the cover of Antony & the Johnson could not do better. But this sad and desolate Charlie Chaplin gave us a version aching, intimate and heavenly accompanied dal quartetto d’archi dell’Orchestra del Teatro di Ferrara.
“My hear is empty” (da”Camera obscura”, 1985) l’unico pezzo senza band, cantato e suonato da sola al piano dalla rivelazione dell’anno: la 19enne Soap&Skin. Lei manco era nata quando uscì questo disco. Non avrebbe avuto senso eseguirla con “gli altri”, perché è evidente che la ragazza ha vissuto questo disco fuori tempo massimo, nell’intimità della sua cameretta, quando “gli altri” della sua età ascoltavano Madonna. Una piccola Nico disadattata. Intimorita nel essere ammessa su quel palco. Basta pensare a come fugge via all’ultima nota prima che parta il suo deserved applause. Or in the final song, performed by all, where is held by force by Peter Murphy which prevents it from running away in the darkest corner of the stage (see the 2:26 minute video attached), which makes the rest just fail. And what does it do? Look at all these great artists and claps with her hands, as if it were one of the public, as if the stage could never be his. Santa now!
"Mutterlain" (from "Desert Shore", 1970) sung by Peter Murphy, singer Bauhouse. A myth that pays tribute to a legend. And 'as if to celebrate his marriage to his corpse bride. Log onto the stage in black suit and throws rose petals with a dark intensity that makes you freeze the blood in his veins. The latest hunt them in the mouth, almost as if to suffocate and reach his beloved. Then he blows and flying petals carried by the soul of Nico awakened from this seance.
"The Falconer" (from "Desert Shore", 1970) sung by Lisa Gerrard. Judging dall'applausometro she is the most anticipated star of the evening. Enters with a smile dell'Avon promoter, with the usual dress Oscar night 1958 edition already raised in Milan and Rome's past, and a medieval headdress, a cross between Barbara Alberti and Rita Levi Montalcini. But enough of that first note comes out of his mouth (after countless attempts to posture), so that we understand that we are truly in the presence of an angel.
"Win a few" (from "Camera Obscura", 1985) sung by Mark Lenegan. Mark Lenegan for physical posture, voice, musical aptitude in my opinion, embodies the "masculine", even more than Bruce Springsteen. And it's moving like a man like that to come to terms with a piece, with an aesthetic, with a universe so blatantly feminine such as Nico and his own life. It 's like all men who have done wrong (by their very nature "male") I ask "excuse", with the deep voice of Mark and his sharp eyes.
I have not really liked the performance of Mercury Rev and Carmen .... Since it did not appear despite being mentioned among the cast in the poster.

rating: 5 stars (out of five). See yourself

the final piece of the video sung by all the artists on stage together:
http://www.youtube.com/watch?v=Xd9fQp9qh3Y