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A pair of elders, in apparent peregrination, decides to encamp to clean his gabbeh. It is in this moment where there appears the one that will be, of now in more narrating delegate of the statement: Gabbeh, he to be told to the pair by the incidents for which it had to cross to obtain the love of his dear rider since his father was opposed to the marriage. With an epic structure, to the way brechtiana, the speech is displeased behind in the time, the film shows the different anecdotes that, we suppose, the pair of old men had to cross to be able to anchor in the present that gives beginning to the film. Across the direct cut and stopping I go on to a voice over, we accede to the life of this community from the point of view of the protagonist.The portrait, which allows the narrator to raise the image to the statute of the documentary - we see how the men shear the sheeps, how the women tinen the wool, how the carpets are woven across the different episodes - also it allows him to articulate, across the images, a history while such.The film tries to be placed in this moment from which those dispersed impressions get up-to-date in a structure that he them supports and that can realize of one exist. In this moment in which all that that was appearing as weak capture forms, in this specific case the instant in which this pair is recognized, but that can assimilate the moment in which a community registers as such. To realize of this - and here it would enter axis of oppositions with certain narrative models and theories that realize of the same ones - the accent is not put in the orality but in the images. And not only in the images while possibility of reproducing them of the cinematographic device, but in these images that have remained come down to a remaining place like, for example, the motives of the gabbeh.Appealing to the cinematographic thing, to turn this one it restores the question for that one that, in his worry for the technological development and his zeal to transform in an interchangeable object in the logic of the consumption, the cinema is leaving behind: the possibility of possessing blocks of movement - duration.Far from the melancholy, near Achilles` paradox and the tortoise, the accent puts in the resources that come given in the device as such: the possibility of the setting, of the size and the duration of the planes, of the lights and the shades and, fundamentally, the colors.If in The Silence (1998) the worry was happening for the expressive possibilities of the sound and therefore of the ear while sensitive faculty,here the emphasis is put in the visual thing.Across a putting in austere scene, which leases are natural spaces and the integral actors of the same tribe, the film reinforces that one of which still there is possible a cinema that moves away from the way of narrating of the overproductions. Possible neither in the measurement in which presupposed millionaires do not need, nor the last model of chamber to count. In this respect, it is enough to remember the sequence in which the uncle of Gabbeh teaches to the boys of the tribe the primary colors and his combinatorial possibilities: Blue as that of the sky, yellow as that of the sunflowers.Blue with yellow is equal to green, as that of the pastures. Since in a spectacle of magic, the teacher seizes a piece of sky, of pasture, of flower and of out of field the color brings them over to his pupils: we. The invitation, more that to the didactismo, is to the surprise and to the honoring. Since for example to Melies, and the allusion would not become exhausted there to the origins of the cinema.The images, specially across the long shots of landscapes - together with with the phrases that float on the text: " the life is a color ", " the man is a color ", " the love is a color " ... and the death also is a color, but negro - they fascinate. And this fascination does not exclude the narrator.As in The Passenger (1975) of Antonioni, the chamber settles in these landscapes that while they cannot be awarded reference to a point of view to any personage of the history, and attentive it remains there.In words of the head cameraman of the film: It was this nature the one that was inviting us to place the chamber to such or such a setting, without mattering where! " To end, since we come insisting respect of this New Second Iranian Cinema, every new film enriches to the world. It extends it in the measurement in which it realizes of that in the age of the overproductions and of the apocalyptic predictions I concern of the future of the cinema, still there are images to explore. As he(she) says, floating on the film, an old Iranian proverb: " Seeing is the same thing at that to look ". Una pareja de ancianos, en aparente peregrinacion, decide acampar para limpiar su gabbeh. Es en ese momento donde aparece la que sera, de ahora en mas narradora delegada del relato: Gabbeh, para contarle a la paOneal Christmas 2008
New smaller rug (100% wool - $50!), and all of the furniture steam cleaned. Wow! Santa Patsy also brought us a few new rugs for Christmas! Ho! Ho! HO! This year, instead of doing my normal decorating for Christmas, we did a deep clean of the house, including having the carpets and furniture cleaned. I like to take pictures of the hosue every year so that I can see how things change. Santa Patsy also brought us a few new rugs for Christmas! Ho! Ho! HO! This year, instead of doing my normal decorating for Christmas, we did a deep clean of the house, including having the carpets and furniture cleaned. I like to take pictures of the hosue every year so that I can see how things change. Santa Patsy also brought us a few new rugs for Christmas! Ho! Ho! HO!
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