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Ispansi, a beautiful love poem must

Supported by a script and excellent direction, Ispansi, the second film by Carlos Iglesias put it, in my opinion, one of the highlights of today's cinema. There are many things to highlight about this film, but especially one above the rest: the courage to face for the first time in fiction, children's story of war, those English children who were sent fleeing to Russia of a war, not knowing that there would be found reaching fully tucked in another.

is remarkable how the story is told with love over sides and ideologies. That is Ispansi: a beautiful love story and necessary, a story of true love lived through a life marked by brutality and barbarity of war, hatred and misunderstanding.

Carlos Iglesias, possibly one of the last great humanist left in this country and moved us with his first film A free, fourteen pesetas for the so personally address issues that remain vivid in our collective memory (that of English migration to Switzerland in that case).

With Ispansi, a film based on hechos reales, da un paso más en esa dirección, poniendo frente a nosotros uno de los temas que más fuertemente marcaron la historia de una generación de este país y la de todos los que vinimos detrás: el de la Guerra Civil y sus consecuencias. Y no lo hace para abrir viejas heridas, como siempre se achaca a quienes defienden la necesidad de recuperar la memoria histórica y hacer justicia con esos más de cien mil desaparecidos que todavía hoy están enterrados en cunetas de y fosas comunes, con los miles que murieron en el exilio, con todos los que sufrieron la represión de la dictadura, con todos los que tuvieron que dejar su país para ir al exilio...

Ispansi está dedicada a los que perdieron y especially to those who did not
Ispansi not want to open old wounds, but teach the way they can be closed in truth and justice once and for all. It is dedicated to those who lost, who lost all, but especially "to those who did not."

To make this work, Carlos Iglesias was documented in books, documentaries and review of files, but the most important documentary work were the numerous interviews he held for over a year with some of the survivors of the war children , old as he spoke with nostalgia of the world that was and could have been.

comment I remember hearing that one of interviews that most impressed him was that of an old Spaniard who told how he tried to return, having spent most of his life in the Soviet Union to Spain to meet his people and his family. He felt an unbearable sense of rejection by her family and the certainty of not belonging to that world he had left so many years (until Stalin's death were not allowed to return to Spain). A few days later began the journey back to the Soviet Union. Never returned to Spain. Never saw his family. Empathy


The way scenes are interspersed, how linking will smooth flow in which all frames are closed in due time, the subtle touches of humor in pain - as real as life itself and the flash backs that allow us to live all that is happening the characters from the subjectivity of their stories, make the viewer feel part of it, like an exile rather than going on the trip to nowhere.

The voice-over, the enemy of so many films, is here masterfully used, making the audience have the feeling of being children from a prodigious storytelling that, like the Arabian Nights, tells a story that from the first sentence, takes over completely oneself.

Ispansi is a beautiful carousel of feelings and emotions that lead us to laugh, smile and choked to tears
Another Ispansi struts is without doubt his wonderful photography. Each frame is a true picture. They can see all the colors from the vast white emptiness of the steppe Soviet more autumnal forest where the last green to miss playing with the reds, browns and yellows. The golden light of the interior conveys an overwhelming sense of peace and privacy, and its contrast with the cold blue of the external causes, while the characters live their story on screen, viewers literally stuck on the armchairs, live as if it were our own.

The sharp contrast between the blue and cold photograph used for scenes that happen in the Soviet Union and the warm and bright scenes used for Madrid and Seville is a lesson on the correct use of photography in the service of a story. The camera movements, provided timely and subtle, contributes to the poetic air Ispansi has at all times. The special effects, many high quality, serve the story, as it should be, not as so often happens, in which the story is just an excuse to show off those effects. Banda


Composite score by Mario de Benito, is breathtakingly beautiful. Perfect companion at all times in history and surrounds us, takes us from the depths to live the story we're seeing on the screen. The version of Santa Barbara, the miners' hymn, which begins with a piano solo is memorable and helps create one of the most beautiful emotional climax of the film. Because that, Ispansi is a beautiful carousel of feelings and emotions that lead us to smile and laugh choked to tears, those tears that everything is clean and we like when we really let the love and fall beauty to the depths of us.

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The relationship between the target and the construction of one's life is a central political issue. One of the ways that we can escape from a fixed destination is to try by all means do not end up speaking the language of the proposed something we do not want. I'm almost tempted to think that the thought of democracy could be simplified in this formula. One question that emerged in the discussion with commentators QUILT, which has been around me, creating a sensation as annoying as difficult to locate. The question is, analyzing Argentina's political scene, the next, Is a civil society and some form of community attachment outside the political omnipotence-client?

My answer is yes and, moreover, find no impediment or epistemological or political for that to happen. I would almost say that the existence of our society outside of those ties that populism patronage presented as an inevitable destination, opens the door to the health of democracy. At this point, it seems prudent to speak the dialect populist who is not ashamed to summarize all social activity in politics. So think about politics in terms of generating exclusivist takes collective belittle the idea of \u200b\u200bcivil society and, moreover, gives rise to the practice of politics itself additional weight that turns against itself and asphyxiation. Just imagine a society that does not need to talk politics and does not require the State to exist. As far as I'm concerned is excellent. Are we up to all these people are fairly happy and spend some free time to look at public affairs, the life of democracy can only improve.

The persistence in the justification of social ties and the community in terms of machine politics prepared, sometimes inadvertently, the way to arribar a la idea de que es deseable una sociedad de militantes. Y aquí creo que hay un punto muy fuerte. La política argentina, las más de las veces por pereza intelectual, fracasa al apelar a viejas soluciones para encarar los nuevos problemas. A la evidente falta de solidaridad que vive la Argentina, a la indisimulable fractura que sufrimos como sociedad, los políticos argentinos, todos, los buenos y los malos, le responden con la necesidad de "compromiso militante" o con apelaciones del tipo "milito, luego existo". Estos enunciado están destinados al vacío, muy poca gente se siente hoy interpelada por semejante invocación al renunciamiento subjetivo. En las sociedades abiertas el lazo social y comunitario se genera por fuera policy. These forms of association, then with a bit of luck, get involved with public issues under the formula Rorty, ie, from Thursday to Sunday, leaving the rest of the week to look after their private affairs. And the pragmatists know it's all right, though in practice we freeze the soul can not speak anything we wanted.

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The strange case of Epogen Kirchner Daily

The Epogen, in short, involves the temporary suspension of the trial. This would enable, in principle, an object access to rigorous, more thorough and free of interpretations prejudices and intentions.

The Baldwin, defined as the fraction of the ruling Peronist but also the myriad of voices that make their symbolic universe, has launched an uncanny way of understanding the Epogen that means: All the facts, policies, decisions, statements, proposals and statements are the work of government must be suspended when looking at the reality of the country.

Under the rule of such a philosophical and political nonsense, the Kirchner obstinately to speak of without mentioning its use of the State and forces us all to participate in any way from its relentless fight against the "media device" while leaving out the analysis with state management holding company that resulted from the State.

For the Government the current state of affairs does not include their own actions. Things are as they are by the work of the past, corporations, power and media. The assertion of the enormous power of corporations deserve what they call democratic discussion, but it is essential to carry it out also considering the enormous material and symbolic power in our country has set state. This should be especially to strengthen and put in its rightful place in an unequal society, which is the site of the weakest, who suffer the cruelty of the powerful, even the state itself.

Similarly, when holding a hypothetical permanent government asserted identity construction in the fight against corporations struck by the invisibility of the discussion on union power. The government minimizes its complicity in the excesses of economic and political power of the unions hoarse while speaking out against factional powers. Menting the hangman's rope in the house, insists that the problem the SRA (which may be true), Clarín and some judges but sits with Moyano and regardless Pedraza and his ethical stature and the damage to its huge share of power they have for democracy in Argentina. If the government is so busy defending themselves from the onslaught partisan, you can start working out what to do with union power rather than become complicit in their business and their inexplicable tightening authoritarian. This will not be possible if the government insists escape himself in the characterization of the problems.

Epogen The capricious government assumes its highest point in the discussion and demonstration on the media and their relationship with politics. The government insists it is in an uncompromising battle against what its adherents have called "the media devices." This appeal seeks to delineate dudosísima media space working for the failure of national policies and popular. At this point not much interested in the historical treatment of the subject or probability, it is certain that one of the flags of the government for a while is their "struggle" against the power of the media that are not related. No one can argue that the relationship between media and democratic political experience growing recognition complexities and thoughtful treatment is almost an imposition of this. Incredibly, the Kirchner insists on giving importance to this debate so fiercely as they used to refuse to include the group of media companies that have been created or purchased to "defend" the "model." The question is powerfully conveyed in both the government claiming ranks to become a cultural phenomenon mythical struggle for hegemony, how can intellectually hold a deep discussion about the question of the relationship between democratic politics and the media without take into account cases such as Time Argentine media group generated by the government?

There are several ways to answer this question, one is that the government has misread Husserl and Schultz, the other is that the wicked game of misrepresentation and impersonation that is Kirchnerism forces us all to consume one serving of cynicism frankly preventable. And on top of the bottle comes in popular demand.

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The scythe Franco at full capacity

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Zambrano 'The voice asleep' in the streets of Madrid

The huge barracks Madrid's Camp, doned waiting for a real estate transaction that prop up its ruins, have suddenly become a strange time warp. Soldiers with yoke and arrows on the front watch a group of people huddle in front of a post office. Graffiti on the wall ensures that all of them: "Fatherland, bread and justice" slogan created by Ramiro Ledesma Falangist and popularized by José Antonio Primo de Rivera in a speech in January 1936. Homeland yes, of course, but not so much bread and justice, judging by the faces of sadness and malnutrition of those unfortunates who saved the tail to deliver their packages and envelopes.

The feeling of being in the harsh winter of 1940 hit fades when you see a nun there frantically typing next generation mobile. Welcome to the filming of The Voice asleep, adapted from the novel by Dulce Chacón directed by Benito Zambrano.

"The regime exterminated all opposition meant"

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"The film takes place between November 1940 and May 1941. A terrible moment in history. The Franco regime, aided by German fascism boom, had no mercy. exterminated in a brutal a everything sounded left opposition or simple difference. The national Catholic movement was characterized by inhumane behavior, by his total lack of compassion, "says Zambrano (Lebrija, 1965) during a shooting break, while eating with the rest of the team on a ship abandoned and plastic covering the windows precariously .
asleep
The voice is the classic novel that I recommended a friend and five minutes of beginning to read it and you're hooked, "says the director. The book, published by Alfaguara (2002), code-fiction narrated the plight of several women reprisals during the war. Fatal incidents such as Hortensia, sentenced to death during pregnancy and shot after the birth of his son. "The book grew out of personal need to know the history of Spain that I had been told. We focused on women because they were the protagonists of history that never was. That is the voice silenced," he said after releasing the Dulce Chacón novel. The writer, born in Badajoz in 1954, died in 2003.

"will be a crude film, but also tender and poetic"

"The film is crude and hard component, but also tender and poetic," says the director of Andalusia, who does not want to bury the cries 'dignity' of their heroines. "I like films that make you laugh and mourn. The sleepy voice is a story of pain, but also of love. Love between two sisters. Mutual love between partners in prison. And love, too, an ideology. Dignity and love prevail over the pain and repression, "Zambrano ditch. Conclusion: do not look here smiles and tears, but dignity and tears.