ESC Congress - Chronicles preatenienses - I
Wednesday, March 30, 2011
Dog's Days Of Summer Comic
16 to 19 next May, the European Confederation Confederation (ETUC) welcomed the Congress. The former was in Seville, on the occasion of that I started this blog with what I called "Chronicles Seville", of which I posted one each day of Congress. Now back to Congress again in the delegation of the European Federation of Textile, Garment and Leather, and I intend to repeat the experience.
something to improve the method, this time will be at least two "preatenienses" one, which, with the basic document for discussion in Congress, entitled "Mobilization for SOCIAL EUROPE - STRATEGY AND PLAN OF ACTION 2011-2014 "and another, within a few days, with some considerations about it, for which reference the documents adopted at Seville, then amendments submitted and formally assumed, and the ideas that emerged in the seminar last fall in our Observatory of Globalization and Labor in which we place under the title "European Social Model - European Trade Unionism."
The base document for the Congress of the ESC is located at:
http://www.fiteqa.ccoo.es/comunes/temp/recursos/29/858831.pdf
Monday, March 28, 2011
Andy Honda Cody Fisher
Arab unionism can play what role in the transition to democracy? Bolivia
http:/ / www.fiteqa.ccoo.es/comunes/temp/recursos/29/856425.pdf 
Carles Navales's friend asked me some opinions on the interesting, and especially important, revolutionary process that is taking place in the Arab world, with leading experience in Tunisia and Egypt, but with a tidal wave background that covers all countries of North Africa and Middle East. And it is having the great virtue of cornering the problem of Islamist extremism to put in the foreground the perennial cry of freedom.
Based on my specific experiencoia unionism relations with these countries in recent years, and another transition of a few more, our own, but enormously rich and distinct at all stages of high social tension collective, I sent for the online magazine handling, THE FACTORY, the article attachment:
Watch Nightmare Campus 1
Poticha
(Ramon also knows how to do Poticha (vases) beautiful)
If we put in a shaker a few drops of Jacques Demy's musical, but a good drink of milk bad Chabrol, shake it and finally add a dash of romanticism of Truffaut and a small dust of the Godard class struggle, we get ... film by François Ozon. All this together produces a result that being indebted to his predecessors is entirely personal. Ozon only with permission of Demy, you can dare to dance and sing to Catherine Deneuve and Gerard Depardieu, just a director without complexes, can depict the bourgeoisie in the provinces with the same pungency of Chabrol and touch child's private artsy, only someone without fear can dare to film Truffaut's romantic scenes with the addition of sex, and finally you need to have things very clear to raise the Godard class struggle from the perspective of a woman median provincial bourgeoisie who almost inadvertently becomes a bearer of feminism, (do not forget that we are in 1977).
In order to say this is a delight Poticha. Catherine Deneuve is a candidate worthy of a civilized French PP, with their hair combed, furs and jewels and his utter lack of prejudice, that if keeping up appearances. The film is it. She and Depardieu with his vast humanity melted no love for the icy blonde running through the field in sweats, talk to the animals and write poems. She and Luchini, intolerant husband plan on completely overcome by the circumstances. She and her two children, the boy handed over to the colorful umbrella and young blondes, the girl handed over to the convention and pregnancy. There is nothing politically correct in this fun film, but in the end, everything is absolutely endearing. 
(Ramon also knows how to do Poticha (vases) beautiful)
If we put in a shaker a few drops of Jacques Demy's musical, but a good drink of milk bad Chabrol, shake it and finally add a dash of romanticism of Truffaut and a small dust of the Godard class struggle, we get ... film by François Ozon. All this together produces a result that being indebted to his predecessors is entirely personal. Ozon only with permission of Demy, you can dare to dance and sing to Catherine Deneuve and Gerard Depardieu, just a director without complexes, can depict the bourgeoisie in the provinces with the same pungency of Chabrol and touch child's private artsy, only someone without fear can dare to film Truffaut's romantic scenes with the addition of sex, and finally you need to have things very clear to raise the Godard class struggle from the perspective of a woman median provincial bourgeoisie who almost inadvertently becomes a bearer of feminism, (do not forget that we are in 1977).
In order to say this is a delight Poticha. Catherine Deneuve is a candidate worthy of a civilized French PP, with their hair combed, furs and jewels and his utter lack of prejudice, that if keeping up appearances. The film is it. She and Depardieu with his vast humanity melted no love for the icy blonde running through the field in sweats, talk to the animals and write poems. She and Luchini, intolerant husband plan on completely overcome by the circumstances. She and her two children, the boy handed over to the colorful umbrella and young blondes, the girl handed over to the convention and pregnancy. There is nothing politically correct in this fun film, but in the end, everything is absolutely endearing.
Thursday, March 24, 2011
Mount And Blade Sword Of Damocles Cheats
Agreement between the Guarani People's Assembly and REPSOL
Pick the note as stated below, on agreement between the Indian Guaraní and Repsol, because from the Secretariat RSC (integrated into the International Trade Union Action and Cooperation) of FITEQA-CCOO are working on problems for the livelihoods of indigenous communities resulting from industrial activity oil companies, Repsol in this case. The underlying approach is the discussion (ie processes, resources, time limits) of what is called "life plan", which means establishing a process for the emergence of "civilzación" posed to those communities in industrial activity areas where there are or are assumed to be deposits of hydrocarbons, not essentially translate into prostitution, alcohol and drugs as well as the destruction of their ancestral forms of life with no alternative. The agreement in Bolivia is certainly a good reference.
After a first approach in Colombia (2008) and Peru (2010), this year I have planned this acercarmne issue in June in Bolivia (Guarani people in the Margarita project) and in September in Peru (Loreto-Iquitos area) in MABOS cases accompanied by organized labor in both countries.
The note on the aforementioned agreement in Bolivia can be found at
http://www.fiteqa.ccoo.es/fiteqa/menu.do?Internacional_y_RSC:Actualidad:148638 
Pick the note as stated below, on agreement between the Indian Guaraní and Repsol, because from the Secretariat RSC (integrated into the International Trade Union Action and Cooperation) of FITEQA-CCOO are working on problems for the livelihoods of indigenous communities resulting from industrial activity oil companies, Repsol in this case. The underlying approach is the discussion (ie processes, resources, time limits) of what is called "life plan", which means establishing a process for the emergence of "civilzación" posed to those communities in industrial activity areas where there are or are assumed to be deposits of hydrocarbons, not essentially translate into prostitution, alcohol and drugs as well as the destruction of their ancestral forms of life with no alternative. The agreement in Bolivia is certainly a good reference.
After a first approach in Colombia (2008) and Peru (2010), this year I have planned this acercarmne issue in June in Bolivia (Guarani people in the Margarita project) and in September in Peru (Loreto-Iquitos area) in MABOS cases accompanied by organized labor in both countries.
The note on the aforementioned agreement in Bolivia can be found at
http://www.fiteqa.ccoo.es/fiteqa/menu.do?Internacional_y_RSC:Actualidad:148638
Wednesday, March 23, 2011
Mature Sticky Nickers
36 VIEWS OF PICO ST.LOUP
(a mountain of Ramon could be the Pic St Loup)
premieres Friday Rivette's new film in Spain has been translated as The Last Summer. I do not like this title. It has nothing to do original with the suggestive title, 36 vues du Pic St. Loup, nor have anything to do with what happens in the story. Rather it should be called the first summer, as Kate, the protagonist, this is the first summer of a new life. Rivette is all the directors have emerged from the Nouvelle Vague, the lightest and at the same time the most intellectual. Facing the stiff language of Godard, Rivette shows a subtle lightness stories floating, against the apparent simplicity of the tales of Rohmer, Rivette influences their narratives an intellectual background. It is the perfect blend of both worlds. True to its actors, Jane Birkin Rivette uses the twenty years that rolled noiseuse La belle in these scenarios where he now is back. Birkin and its stylized silhouette of eternal teenager is key in this film. His face lined with beautiful wrinkles is the best scenery on the passage of time. Also returning to Sergio Castellitto, and returns to give the role of the prince that wakes the princess in a scenario dominated by the bright areas of the Languedoc Pic St Loup in the background. And here comes the mysterious and evocative title of the film. Much is said about the role of the circus in this film, the relationship with the theater, Rivette constant concern in all his films. But while the circus, with the imprint of a tragedy in its circular track and the empty stands, seems to be the vital center of the narrative, actually the real landscape on which history moves is what determines this incredible mountain seen from different points of view as if to draw a circle of 360 º which contains a track imaginary where Vittorio is the master of ceremonies and Kate always on the trapeze wire. This film is a little gift on the card, an exquisite delicacy to be enjoyed with the pleasure of delicate things. At age 80, Rivette is still able to thrill with its images.
(I have not put any text in the other blog. Now I like to hang the article I wrote in 1992 on La belle noiseuse. I think it still applies). 
(a mountain of Ramon could be the Pic St Loup)
premieres Friday Rivette's new film in Spain has been translated as The Last Summer. I do not like this title. It has nothing to do original with the suggestive title, 36 vues du Pic St. Loup, nor have anything to do with what happens in the story. Rather it should be called the first summer, as Kate, the protagonist, this is the first summer of a new life. Rivette is all the directors have emerged from the Nouvelle Vague, the lightest and at the same time the most intellectual. Facing the stiff language of Godard, Rivette shows a subtle lightness stories floating, against the apparent simplicity of the tales of Rohmer, Rivette influences their narratives an intellectual background. It is the perfect blend of both worlds. True to its actors, Jane Birkin Rivette uses the twenty years that rolled noiseuse La belle in these scenarios where he now is back. Birkin and its stylized silhouette of eternal teenager is key in this film. His face lined with beautiful wrinkles is the best scenery on the passage of time. Also returning to Sergio Castellitto, and returns to give the role of the prince that wakes the princess in a scenario dominated by the bright areas of the Languedoc Pic St Loup in the background. And here comes the mysterious and evocative title of the film. Much is said about the role of the circus in this film, the relationship with the theater, Rivette constant concern in all his films. But while the circus, with the imprint of a tragedy in its circular track and the empty stands, seems to be the vital center of the narrative, actually the real landscape on which history moves is what determines this incredible mountain seen from different points of view as if to draw a circle of 360 º which contains a track imaginary where Vittorio is the master of ceremonies and Kate always on the trapeze wire. This film is a little gift on the card, an exquisite delicacy to be enjoyed with the pleasure of delicate things. At age 80, Rivette is still able to thrill with its images.
(I have not put any text in the other blog. Now I like to hang the article I wrote in 1992 on La belle noiseuse. I think it still applies).
Tuesday, March 22, 2011
Tattoo Designs For Thin Males
The new unionism Egypt after the departure of Hosni Mubarak CC.OO.
With this title partner Alejandra Ortega, CCOO Confederal responsible for Asia and Africa, has visited Egypt with a delegation from the CSI after the coordination meeting of the Arab Association held in Amman. The interesting result report this trip can be found at
http://www.fiteqa.ccoo.es/comunes/temp/recursos/29/847407.pdf 
With this title partner Alejandra Ortega, CCOO Confederal responsible for Asia and Africa, has visited Egypt with a delegation from the CSI after the coordination meeting of the Arab Association held in Amman. The interesting result report this trip can be found at
http://www.fiteqa.ccoo.es/comunes/temp/recursos/29/847407.pdf
Friday, March 18, 2011
Green Green Episode 13 Uncensored Dubbed
BACK TO LISBON TORRENTE MYSTERY
(an image that could be of any Torrente) I have not seen
Torrente 4, and saw the 3 or 2. I had enough with the first and the number of problems that brought me to write a negative critique of the film frames. That was one of the few times (there have been any more) that a director told the magazine called to ask for explanations of why makes it a bad review. Are ways of being certainly different upbringings. The truth is I did not want to talk about Torrente, but given the success of the film, I felt a slight shudder, a shiver of what it means. So I reproduce here the criticism that I did the first Torrente in 1998. Not if Torrente is valid for 4, but I imagine so. TORRENTE
ARM OF THE LAW TONTO
I must confess that I was very curious to see what Santiago Segura had faced for his first feature since his shorts had seemed quite interesting. Maybe that's why I was disappointed Torrente silly arm of the law was much higher than I expected, especially because, contrary to what is apparent from their statements, I find a very reactionary film.
And here I must clarify that Torrente is not a reactionary and conservative film because its hero is a policeman fascist, racist, fat and dirty. There are many such characters in movies - remember the Quinlan-Welles Touch of Evil? - not the films are so reactionary. There are arguments that make the film whether right or left. What makes a film is placed on either side of that imaginary line that is the ideology is the way things account.
Violence, for example in itself is not bad, depending on how you use: Tarantino exaggerates and takes to the field of comics, Stone, the sublime and the investigation becomes formal, Haneke the dissection as a scientist, the McNaughton placed in an area of \u200b\u200bcold unbearable, Azcona, whether Berlanga, Ferreri and Garcia Sanchez, becomes hollow. All these authors have stories that are not far from this torrent, but the difference is that Santiago Segura makes no distance between their images and the viewer: no irony, humor, cynicism or criticism. There is an immediate impression of reality that leads to the identification. And that's what makes it reactionary.
Another thing. When dealing with the grotesque characters that border the national cutrez or dandruff, you need to know to use them: Buñuel's Viridiana, or closer, Almodóvar on What Have I Done to Deserve This?, Or even closer, Alex Church on the day of the beast. You can get a blind and lame, The Forgotten, without losing respect for the viewer, you can not, however, use a character as the daughter of Chus Lampreave subnormal.
And yet I have a third argument: This popular has nothing to do with the trash. It is in our country, a curious phenomenon that Torrente is the tip of the iceberg, which is identified as popular with the trash. Popular culture is an asset, that has nothing to do with raising the level of cultural garbage. Not only I have nothing against reading the Viper or the more extravagant fanzines, many of them authentic remnants of transgression, but if you think I am against all that is modern, all valid and all young. Intelligence is shown in the balance. As you rightly said Tarantino, there to do Z-movies, but if you do not know John Ford or Godard, you got it wrong. Knowing only trash culture produces more trash culture. And that, gentlemen, is very dangerous. Nuria Vidal
Thursday, March 17, 2011
Windows 7 Csr Bluetooth Driver Issues
a new movie by Raul Ruiz! This alone is great news. If the film also takes 4 hours and 26 minutes, the story rises to the level of film and fiction, does anyone dare to propose to the public an experience so risky? For if anyone has dared and we welcome this.
But nobody panic. This is a film by Raul Ruiz of the kind that we consider not only its length does not damage, but plays in favor of letting go and wrapped up the stories as they slowly spiral into each other up close in an unexpected ending.
Ruiz has always loved the theatrical film (not the theater, that's another thing) and liked to play with the time factor, dragging their feet cinematically or narrating the tale. The three elements are combined perfectly in this nineteenth-century melodrama written by Camilo Castelo Branco which returns the air from the serial and serial novels.
Joao orphan's life and his search for the identity of their parents, opens in a multitude of stories in the stories, not like Russian dolls, but rather as a serpentine tangle the more you extend it. Without becoming detached Brechtian, with exquisite care in the way (clothes, atmosphere, space), this melodrama without drama can be exciting if you come into your game. Worth doing. Worth abandoned in the hands of Father Dinis to go untangling the incredible web of life of Joao, also known as Pedro Da Silva, in his cross to investigate the most mysterious Lisbon, Paris noblest, the most beautiful and Venice Brazil is not seen but dreamy.
This is a rare pearl in the billboard. Do not let her escape.
Friday, March 11, 2011
Cheesey Wedding Sayings
THREATENED KING KONG
I have been without a phone. I have been dead and under warranty as I have been repair. I have borrowed one, but it does photos. So for a few days there will be pictures of me in this blog. If there will be pictures of Ramon when you think help to understand the input. Not if I'm writing. This just might be a picture of King Kong fighting with planes of intolerance. The complaint against Angel Sala, director of the Festival of Sitges, having programmed in the festival last year a film, I find intolerable. A few days ago in La Vanguardia, María Dolores García commented already a front page of the April 7, 1974 seemed a highly topical today: Gaddafi as a threat; speed limits by the oil crisis; the English economy in the eaves of the Great Depression. Just missing in the article discuss the allegation of the prosecution to Angel Hall to finish during the season of the cave, not caves, eye. The prehistoric trying to advance the evolution of civilization, while the cave is determined to return to stage obscurantist wipe out all the freedoms acquired in the almost forty years. That is the most dangerous in this situation. See how individual freedoms are slowly eroding in the name of supposed collective freedoms. For ten years the world has been losing ground for independence in all areas and those living in control However, each time extending its claws to land but so far conquered freedom. Do not confuse the defense of children with the Inquisition intolerant of any behavior that may seem offensive to someone. I've heard parents complain that they dare not play with their children on the beach in case the complain! This is terrible, that establishing a culture of fear. How terrible is that you take a movie for the fact that extrapolating a filmed image a real image, which applies a murky look to a cultural product. For this rule of three would not have universal art or film or anything. The cave again. Scary. 
I have been without a phone. I have been dead and under warranty as I have been repair. I have borrowed one, but it does photos. So for a few days there will be pictures of me in this blog. If there will be pictures of Ramon when you think help to understand the input. Not if I'm writing. This just might be a picture of King Kong fighting with planes of intolerance. The complaint against Angel Sala, director of the Festival of Sitges, having programmed in the festival last year a film, I find intolerable. A few days ago in La Vanguardia, María Dolores García commented already a front page of the April 7, 1974 seemed a highly topical today: Gaddafi as a threat; speed limits by the oil crisis; the English economy in the eaves of the Great Depression. Just missing in the article discuss the allegation of the prosecution to Angel Hall to finish during the season of the cave, not caves, eye. The prehistoric trying to advance the evolution of civilization, while the cave is determined to return to stage obscurantist wipe out all the freedoms acquired in the almost forty years. That is the most dangerous in this situation. See how individual freedoms are slowly eroding in the name of supposed collective freedoms. For ten years the world has been losing ground for independence in all areas and those living in control However, each time extending its claws to land but so far conquered freedom. Do not confuse the defense of children with the Inquisition intolerant of any behavior that may seem offensive to someone. I've heard parents complain that they dare not play with their children on the beach in case the complain! This is terrible, that establishing a culture of fear. How terrible is that you take a movie for the fact that extrapolating a filmed image a real image, which applies a murky look to a cultural product. For this rule of three would not have universal art or film or anything. The cave again. Scary.
Saturday, March 5, 2011
Where Can U Catch Pikachu In Crystal
A LIFE OR DEATH
(the rose is a fundamental element in the film by Powell, the rope is a good symbol of the mess that lives Matt Damon)
hidden destination is based on a story by Philip K. Dick published in 1954, during the Cold War, in an age of conspiracies, with the witch hunt in full swing. Adapt to the reality of our days required a great deal of retraining. You could not keep that "adjustment company" as it works in the story. Had to Angelized. And history, could not rely on a matter of "personal maladjustment," had to invent something else. And that's where Nolfi, the screenwriter and director, found the vein of romanticism. Sergi Sánchez Nolfi claims that had not been more inspired in fou love movies and surreal as the dream of eternal love Hathaway. I however, think that in fact what inspired the writer is a film of Crossed Destinies deeply romantic, A life and death of Michael Powell. In Powell's film, shot in 1947 in a beautiful color and black and white, David Niven is Peter, a British driver in a burning plane in 1945. Peter has no parachute and his last conversation with a young American, June, which has a control tower trying to help save. Niven vacuum is pulled and .... appears on a beach. Not dead. We will soon know why. The angel in charge of picked up and driven to heaven, he lost in the fog. Niven has a gift hours which did not count and in those hours worked falls madly in June to recognizing as he sees it. That love was not destined to happen. That love overturned everything. This love, which is above life and death, makes the great judge of heaven (sky deliciously historicist where Powell takes to make an adjustment of accounts between England and America), decides to give it another chance with Peter. Does that sound argument? Is it like Target or not hidden? Saving all distances, of course, between an unclassified film in its artificiality and a movie that plays to metaphysical realism, with hat included. 
(the rose is a fundamental element in the film by Powell, the rope is a good symbol of the mess that lives Matt Damon)
hidden destination is based on a story by Philip K. Dick published in 1954, during the Cold War, in an age of conspiracies, with the witch hunt in full swing. Adapt to the reality of our days required a great deal of retraining. You could not keep that "adjustment company" as it works in the story. Had to Angelized. And history, could not rely on a matter of "personal maladjustment," had to invent something else. And that's where Nolfi, the screenwriter and director, found the vein of romanticism. Sergi Sánchez Nolfi claims that had not been more inspired in fou love movies and surreal as the dream of eternal love Hathaway. I however, think that in fact what inspired the writer is a film of Crossed Destinies deeply romantic, A life and death of Michael Powell. In Powell's film, shot in 1947 in a beautiful color and black and white, David Niven is Peter, a British driver in a burning plane in 1945. Peter has no parachute and his last conversation with a young American, June, which has a control tower trying to help save. Niven vacuum is pulled and .... appears on a beach. Not dead. We will soon know why. The angel in charge of picked up and driven to heaven, he lost in the fog. Niven has a gift hours which did not count and in those hours worked falls madly in June to recognizing as he sees it. That love was not destined to happen. That love overturned everything. This love, which is above life and death, makes the great judge of heaven (sky deliciously historicist where Powell takes to make an adjustment of accounts between England and America), decides to give it another chance with Peter. Does that sound argument? Is it like Target or not hidden? Saving all distances, of course, between an unclassified film in its artificiality and a movie that plays to metaphysical realism, with hat included.
Tuesday, March 1, 2011
Hiding Herpes With Make Up
Delegation Tunisia: Report of association from within the transition to democracy
14 to February 17 a delegation visited Tunisia DC . OO. led by the International Confederal Secretary, Javier Doz, in which the responsible participating Arab countries, Africa and Asia of the Ministry of Interbnacional, Alejandra Ortega, and the head of the Office of Peace and Solidarity Foundation in Tunisia Ofeila Vicente.
CCOO delegation was the first by a European Union that has come to know about the revolutionary process Tunisian soil. He has met with the UGTT (Secrearía General, Ministry of International Women's Committee), USTMA (Union of Arab Maghreb Workers), CGTT (General Confederation of Labor Tunisia), AFTURD (Tunisian Women's Association), Committee on Political Reform, Front January 14, Committee for the Safeguarding of the Revolution, the Committee of Freedoms in Tunisia, Embassy of Spain and the EU Delegation.
With all these organizations were able to take the pulse of a process even INCAB that highlights the intense participation of the population, all Tunisian citizens, and the important and unique role of organized labor. One of the agreements made with partners Tunisia is organizing a seminar in the coming weeks as we prepare to UGT on our experience in the English transition, and which is intended my participation in the delegation of CC.OO.
The comprehensive and interesting report of this visit can be found at
http://www.fiteqa.ccoo.es/comunes/temp/recursos/29/821104.pdf 
14 to February 17 a delegation visited Tunisia DC . OO. led by the International Confederal Secretary, Javier Doz, in which the responsible participating Arab countries, Africa and Asia of the Ministry of Interbnacional, Alejandra Ortega, and the head of the Office of Peace and Solidarity Foundation in Tunisia Ofeila Vicente.
CCOO delegation was the first by a European Union that has come to know about the revolutionary process Tunisian soil. He has met with the UGTT (Secrearía General, Ministry of International Women's Committee), USTMA (Union of Arab Maghreb Workers), CGTT (General Confederation of Labor Tunisia), AFTURD (Tunisian Women's Association), Committee on Political Reform, Front January 14, Committee for the Safeguarding of the Revolution, the Committee of Freedoms in Tunisia, Embassy of Spain and the EU Delegation.
With all these organizations were able to take the pulse of a process even INCAB that highlights the intense participation of the population, all Tunisian citizens, and the important and unique role of organized labor. One of the agreements made with partners Tunisia is organizing a seminar in the coming weeks as we prepare to UGT on our experience in the English transition, and which is intended my participation in the delegation of CC.OO.
The comprehensive and interesting report of this visit can be found at
http://www.fiteqa.ccoo.es/comunes/temp/recursos/29/821104.pdf
Locally Aggressive Colon Cancer
IMMERSED
(the clean river always invited to everything that we do not like in life)
Two drawings of a river open and close the (fake) documentary I'm Still Here were running together Casey Affleck and Joaquin Phoenix, one in the role of a (fake) filmmaker, the other on the role of a (fake) actor who leaves everything to pursue music. I will not extend to the game of reality mirrors fiction in this genre that has produced excellent products throughout history. Nor do I speak here of the network jumps without giving Phoenix to accept this game that forced him to become a be undesirable for an entire year. What I like to emphasize is the fact the film begins and ends in a river in the same river many years later.
In the foreground we see, shot in Super 8, a boy tries to jump into a backwater of the river from a rock. The landscape is idyllic: a waterfall, clear water, heat. An elderly man who encouraged him and watching him. But the child is afraid and doubt. At the end jumps and dives into the water.
the end of the film, after following Phoenix's fatal leap into the murky waters of undigested fame and everything that crawls, we see the actor as he is at that time, after a year of living another life, walk on the same river, slowly sinking into the water. It is an image to recover the innocence of a child who jumped into the Super 8 in the foreground, now with an urgent need to clean the (fake) life has represented throughout the time of the film footage. Both in one and the other plane, it represents the way to achieve the objective: the value of jumping, the ability to clean.
Besides all his other qualities, just for those two planes and am interested in this film. Recovery 
(the clean river always invited to everything that we do not like in life)
Two drawings of a river open and close the (fake) documentary I'm Still Here were running together Casey Affleck and Joaquin Phoenix, one in the role of a (fake) filmmaker, the other on the role of a (fake) actor who leaves everything to pursue music. I will not extend to the game of reality mirrors fiction in this genre that has produced excellent products throughout history. Nor do I speak here of the network jumps without giving Phoenix to accept this game that forced him to become a be undesirable for an entire year. What I like to emphasize is the fact the film begins and ends in a river in the same river many years later.
In the foreground we see, shot in Super 8, a boy tries to jump into a backwater of the river from a rock. The landscape is idyllic: a waterfall, clear water, heat. An elderly man who encouraged him and watching him. But the child is afraid and doubt. At the end jumps and dives into the water.
the end of the film, after following Phoenix's fatal leap into the murky waters of undigested fame and everything that crawls, we see the actor as he is at that time, after a year of living another life, walk on the same river, slowly sinking into the water. It is an image to recover the innocence of a child who jumped into the Super 8 in the foreground, now with an urgent need to clean the (fake) life has represented throughout the time of the film footage. Both in one and the other plane, it represents the way to achieve the objective: the value of jumping, the ability to clean.
Besides all his other qualities, just for those two planes and am interested in this film. Recovery
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