arquivo do mês: [02, 2011]


transporte de vinho, douro 1920 / porto

fantasporto {1}

ponte d. luís, 1886 /porto

a nossa tristeza é uma imensa alegria

sombras / ricardo pais / tnsj


CASTRO: Rege tu, minha ama, este meu peito.
O súbito prazer engana, e erra.
AMA: Encobre teu segredo.
CASTRO: N’alma o tenho.

castro, antónio ferreira

os meus olhos

meus olhos que por alguém
deram lágrimas sem fim
já não choram por ninguém
– basta que chorem por mim

arrependidos e olhando
a vida como ela é
meus olhos vão conquistando
mais fadiga e menos fé

sempre cheios de amargura
mas se a vida é mesmo assim
chorar alguém – que loucura
– basta que chorem por mim

antónio botto

black swan

your mission is destruction through seduction.

[black swan ~ darren aronofsky, 2011]

i never see you lose yourself

If Black Swan is Aronofsky’s claim to creative genius, it’s one that is undermined by an overcooked finale and the film’s own dual nature.

One half is a hugely effective psychological horror in which the scares arise from a perfectly calibrated balance between the mind and body. Make no mistake – Black Swan isn’t for the squeamish. Aronofsky viciously portrays the frailty of the human body – the stretch and creak of fragile bones and the gashes and grazes that cut deep into the viewer’s imagination.

But the film’s own evil twin is a clichéd slapstick shocker of crash-bang sound cues and age-old sight gags. Here, the brooding tone slips into melodrama, and you begin to notice the things that don’t work – like the over-literal costumes (black for Lily; pastels for Nina), or the casting of Vincent Cassel. So charismatic in recent films, here he plays Leroy as a cartoon villain, lacking only a moustache to twirl.

Perhaps its fitting that a film about duality should succumb to its own Jungian schism. But for all that Black Swan is an uneven experience, it’s a ferocious combination of intelligence and adrenalin. It is dark and deep and complex. It is aggravating, ambitious and arrogant. After all, how many films fade to white as the director’s name appears to a soundtrack of thunderous applause?

But then, how many directors have earned the indulgence? Black Swan may or may not see him at his imperious best, but Aronofsky has.

matt bochenski, little white lies
the black swan issue page 006

o amor como por de sol

horizonte visível
exactamente onde começa e termina.
quando começámos o fim?

infinito visível
exactamente onde começa e termina.
quando começámos o fim?

[versão livre de love like sunset, phoenix]

versão livre #31: one for you, one for me

1. the heron and the fox, little scream
2. i hope you die, wye oak
3. isles, fleet foxes
4. without you, junip
5. blue eyes, destroyer
6. sun it never comes, spokes
7. the other side of your face, twin sister
8. shouting distance, benoit pioulard
9. in the dirt, s. carey
10. does not suffice, joanna newsom
11. limit to your love, james blake
12. if its true, anais mitchell ft. justin vernon
13. lost cause, beck
14. where does the love go, julia stone
15. i have nothing, noah and the whale

15 músicas, 124mb, 60min  [download / ouvir em 8tracks.com]
hanging onto every heartbeat


há uma inquietante aceitação da vida incomportável naquele amor.

[never let me go ~ mark romanek, 2010]

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