Adolfo Suárez. Entrevistas. (Spanish Edition)

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Only in the late s would he start producing work in Spain again, when he was commissioned an episode Kiki of the series Delirios de amor for Spanish national television TVE. Many other experimental filmmakers and video artists who came of age in the s developed much of their careers outside of Spain, escaping from the repressive military dictatorship and early transition governments, and looking for more favorable artistic and social milieus.

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Arrietta evidently found such a milieu in Paris. For his next two titles—my main interest here— Les Intrigues de Sylvia Couski and Tam-Tam Arrietta enlisted a different cast: a group of friends without filmmaking experience, except for Howard Vernon, a B-series actor with a leading role in Les Intrigues , and Moretti, who appears fleetingly in both films. Most of them would enjoy long careers as journalists Hazera and Molyneux , scene-makers Paquin , and performers Marie-France.

The film catches them at the start of their careers, when they were still unknown outside of the relative circumscribed circles of sexual liberation and far-left activism.

Arcadie pursued assimilation and respectability, focused exclusively on sexual discrimination, and steered clear of broader political issues. The Front was formally established immediately after this event. The publication was criticized in the National Assembly by a conservative deputy that demanded censorship, was sued by the conservative mayor of Tour, and was eventually sequestered.

Gerard Pique y Suarez entrevista completa: Habla sobre Chiellini, selección..

The films capture instead other aspects of their radicalism: their corporeal and gender fluidity, their refusal to limit the sexual revolution to sexuality alone, and their attempts to redefine relationality and community. These qualities are never verbalized, but subtly impregnate the action in the films.

Their minimal plots provide a loose frame for unstructured situations that give performers ample chance to display their charm, wit, beauty, sartorial flair, and creative accessorizing. The action was largely improvised on the basis of minimal directions, as is often the case in Arrietta, who tended to film without a script and preferred to conceive his films as successions of atmospheres rather than clearly worked-out plots. Still, there is a story in Les Intrigues : the revenge of the eponymous Sylvia Couski on her former husband Howard Vernon , a well-known artist.

When he discovers the theft, he asks Carmen to replace the statue at the opening with her physical presence, which she accepts.

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There are moments of quiet contemplation, when characters sit alone at a bar in an immigrant neighborhood, walk down a lonely street, watch the view from their window, or water their plants. The film pits the lightness and congeniality of the queer world against the vindictiveness of the Couskis.

During the gallery opening, the central scene in the film, the graceful movement and lively socializing of queens and transgender people contrast with the rigid, nearly motionless Couskis, who vent out their differences in an aside filmed in close, static shots. But there are other differences between the two worlds.

Through the opposition of these two worlds, the film seems to suggest that the anti-normal rebellion that queerness embodies is not limited to the body, appearance, or sexuality, but spreads to other aspects of life—to leisure, to the parsing of time, to a disregard for calculation or profit. Tam-Tam is both tighter and dreamier than Les Intrigues.

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  • The action is more compact and confined—a party in honor of a writer who never arrives—and the conversions and interactions between characters are often absurd. Everyone seems about to leave or to have just returned from a holiday in Andalusia, and conversations constantly veer to an impending unspecified cataclysm and to a love filter made by the gypsies in Southern Spain.

    Adolfo Suárez: Recuerdos prestados / Borrowed Memories (Spanish Edition)

    If in Les Intrigues , queens, trans people, and sexual outsiders stand amiably together in counterpoint to the predatory Couskis, in Tam-Tam they are on their own, without external counterpart, but the good vibes are streaked with tension. Yet despite the strife, the group stays together in disunion.

    Politics seems to have stopped and begun on the limit posed by difference at the FHAR. Ediciones del Laberinto, Tapa dura de editorial ilustrada. Isbn: Condition: New.

    Penella's Zarzuela La malquerida at the Palau de Les Arts, Valencia

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