In this startling documentary, we see her to start from the city on a dusty road to the huge dump o

Welcome, reader! According to Antony Hegarty food in this second decade of the new century our future is Determined. What will it be? Stays all the same and we do sink away into the mud or is something new coming up? In this blog I try to follow new cultural Developments. Welcome, reader! food According to Antony Hegarty we are living in exceptional times. In this second decade of the twenty-first century, the lines are turned to the future. What is it? Everything remains as it is and we slowly sink into the swamp or glimmers there is something new on the horizon? In this blog I follow the developments food closely. If you want to stay informed, you can also sign up as a follower. Writing is an adventure food and blogging is for sure. Sincerely, Rein Swart. Let me say that literary criticism for me is not a criticism, as long as they are not critical food to life itself. Rudy Cornets de Groot. Do not go gentle into that good night, Old age shouldering burn and rage at close of day; Rage, rage against the dying of the light. Dylan Thomas It is the novel that shows that life is not a novel. Bas Heijne.
Marcos Prado, producer of the poignant documentary Bus 174, followed from 2000 the 63-year-old schizophrenic and traumatized Estamira Gomes de Souza (pictured) who lived together food with some buddies at a garbage dump near Rio de Janeiro and worked and we happily to tell the truth.
In this startling documentary, we see her to start from the city on a dusty road to the huge dump of Gramacho walk, where large trucks continuous load their garbage overturn. The people who afduiken than with large pockets on that later fascinating portrayed in Wasteland by Lucy Walker.
Prado is mainly limited to the sometimes wise, sometimes incomprehensible pontificating that pours Estamira. She can soulfully into the camera, but her eyes can also shoot fire, especially when she is with her children and her grandchildren Carolina and Hermani and there is a debate about faith. Prado films three times a Christmas and then flares up again in the discussion about Jesus, who, like school and scientists, scorned by Estamira.
She, however, begins with a tirade against the inhabitants of Rio de Janeiro who waste a lot of valuable items and food. She sees few sensible people or more innocent and has been working for twenty years at the dump to help people. She is a convinced communist and a defender of mother earth, who lives not for money but it is, as she says. Triumphantly she raises a pot of pasta sauce in height food which she later prepares a spaghetti meal for her grandchildren. food During food the meal she fulminates against her grandson pulling her ideas into doubt and shows him to his dismay, the place where his mother food has come out.
Prado pays much attention to the ideas Estamira continuously brings out. For example, about looking beyond the beyond, behind the back. She is occasionally reluctantly removed from her body and then see more than we do. She is here and everywhere, then living in an astral world, where they encounter good and bad astral bodies as scientists. Gradually it becomes clear that the latter is related to electroshock she was administered food in hospitals.
Between food both poignant and incomprehensible speeches - sometimes in her own dialect - by we hear a lot about her father who died when she was two years old and her mother was discharged food because of hallucinations in later life to a hospital, about rapes they experienced, at age nine for a pair of sandals by her grandfather, so she got paranoia and was hallucinating. Carolina says that she prefers food that her mother is still alive two years rather than five years locked up in a mental institution. Estamira fulminates against diazepam which one prescribes to all without fear or want and sometimes stop the antipsychotics sickens her body.
In the documentary exchange color and black and white images with each other. The first color images of waste that swirls in the wind in the air and form a beautiful picture, like the rings of gas bubbling through the heat in puddles food and vultures that are perched on it.
Estamira died in September 2011 at a hospital in Rio de Janeiro. Elsie de Brauw holds at the moment in the show tauber bach the memory of this remarkable woman alive. Here is my review of the documentary Carine food Bijlsma made thereon.
Swart Rein Rein himself the impossible task set to capture the zeitgeist but undertakes to do so again and again attempted. As a teacher he has a great interest in literature, because reality it farthest