She...
She looks.
She looks at me.
She smiles, embraces me.
She is past, present, future.
She raises a glass of wine. Elixir.
She is fermented grapes in my head; mouth.
She talks about life, a crazy first meeting. Laughter.
She is part of the zoo, and her unique Mondo makes me joy.
She is the most expected kiss, forbidden sex, unconditional love.
She walks aside me; part of the city beauty, rediscovering places together.
She is fascinated with the argentine afternoon in the Central Park; I don't need more.
I always want more, and the afternoon becomes night, and my bed is empty again... why?
I forget about other things. I remember places, moments, smelling together.
I am the most unexpected kiss thief, free sex, unconditional love.
I am part of the zoo, and my new Mondo inspires her again.
I talk about destiny, unforgettable meeting. Laughter.
I fly between fermented grapes in the air; lips.
I raise a glass of wine. A Wish.
I am steak, caramel, Sunday.
I smile, hold her.
I feel her.
I miss.
I...
Mar 27, 2005
Mar 16, 2005
Better Alone
Today I have no date. I enter the theater to see The Wedding Date, with a chocolate that promises me love. This love comes cheap for me but not for Kat Ellis (Debra Messing), an anxious and girlish New Yorker. To avoid shame with her family and start revenge on her ex-fiancé, she hires escort Nick Mercer (Delmot Mulroney) to be her boyfriend in her sister's wedding.
In her first role after acting in Hollywood Ending and Along Came Polly, Messing can't shine, although sometimes Kat’s innocence and tenderness intake us smile. Mulroney again plays an accurate wedding man, as in My Best Friend's Wedding and About Schmidt, but he can't shine either. Even the supporting roles commonly overwhelming in romantic comedies can't be fully developed.
Clare Kilner again directs young women who refuse to believe in true love -until the unavoidable happy ending, like in How To Deal and Janice Beard. She cleverly handles a hook for teenage fantasies and identifications. Reversing the battle of sexes, Dana Fox turns the modest screenplay into something a little more attractive than without this idea.
Some wonderful English landscapes try to save the story of Kat and Nick suddenly falling in love. "How do you know so much about women?", asks the groom to Nick. "Because I'm a hooker", he replies, in one of the few funny moments of the film. A parental advisory should recommend discussion of the ending at home. In my case, I don't have anybody to discuss it, because today I have no date. But with this example of a wedding, better alone.
In her first role after acting in Hollywood Ending and Along Came Polly, Messing can't shine, although sometimes Kat’s innocence and tenderness intake us smile. Mulroney again plays an accurate wedding man, as in My Best Friend's Wedding and About Schmidt, but he can't shine either. Even the supporting roles commonly overwhelming in romantic comedies can't be fully developed.
Clare Kilner again directs young women who refuse to believe in true love -until the unavoidable happy ending, like in How To Deal and Janice Beard. She cleverly handles a hook for teenage fantasies and identifications. Reversing the battle of sexes, Dana Fox turns the modest screenplay into something a little more attractive than without this idea.
Some wonderful English landscapes try to save the story of Kat and Nick suddenly falling in love. "How do you know so much about women?", asks the groom to Nick. "Because I'm a hooker", he replies, in one of the few funny moments of the film. A parental advisory should recommend discussion of the ending at home. In my case, I don't have anybody to discuss it, because today I have no date. But with this example of a wedding, better alone.
Mejor Solo
Hoy no tengo cita. Entro a la sala de cine a ver Amores, Enredos Y Una Boda (The Wedding Date), con un chocolate que me promete amor. Un amor que es barato para mí, pero no para Kat Ellis (Debra Messing), una chica ansiosa y aniñada de New York. Para evitar pasar verguenza con su familia y vengarse de su ex-novio, ella contrata al acompañante Nick Mercer (Delmot Mulroney) para hacerlo pasar por su novio en la boda de su hermana.
En su primer rol después de actuar en La Mirada De Los Otros (Hollywood Ending) y Mi Novia Polly (Along Came Polly), Messing no brilla, aunque algunas veces su inocencia y ternura nos arrancan una sonrisa. Mulroney actúa otra vez un preciso hombre de bodas, como hizo en La Boda De Mi Mejor Amigo (My Best Friend's Wedding) y en Las Confesiones Del Sr. Schmidt (About Schmidt), pero el tampoco puede brillar. Incluso los roles secundarios que generalmente sobresalen en comedias románticas no pueden ser totalmente desarrollados aquí.
Clare Kilner dirige una vez más a jóvenes mujeres que se resisten a creer en el verdadero amor--hasta el inevitable final feliz--como hizo en Enamórate (How To Deal) y Janice Beard. Inteligentemente ella maneja el gancho para las fantasías adolescentes y sus identificaciones con los personajes. Revirtiendo la batalla de los sexos, Dana Fox convierte un modesto guión en algo un poco más atractivo de lo que hubiese sido sin esta idea.
Algunos maravillosos paisajes intentan salvar la historia de Kat y Nick enamorándose repentinamente. "¿Cómo sabes tanto de mujeres?", le pregunta el novio a Nick. "Porque soy un acompañante", confiesa Nick, en uno de los pocos momentos graciosos de la película. Una advertencia a los padres debería recomendar discusión del final al llegar a sus casas. En mi caso, yo no tengo a nadie con quién discutirlo, porque hoy no tengo cita. Pero con estos ejemplos de bodas... mejor solo.
En su primer rol después de actuar en La Mirada De Los Otros (Hollywood Ending) y Mi Novia Polly (Along Came Polly), Messing no brilla, aunque algunas veces su inocencia y ternura nos arrancan una sonrisa. Mulroney actúa otra vez un preciso hombre de bodas, como hizo en La Boda De Mi Mejor Amigo (My Best Friend's Wedding) y en Las Confesiones Del Sr. Schmidt (About Schmidt), pero el tampoco puede brillar. Incluso los roles secundarios que generalmente sobresalen en comedias románticas no pueden ser totalmente desarrollados aquí.
Clare Kilner dirige una vez más a jóvenes mujeres que se resisten a creer en el verdadero amor--hasta el inevitable final feliz--como hizo en Enamórate (How To Deal) y Janice Beard. Inteligentemente ella maneja el gancho para las fantasías adolescentes y sus identificaciones con los personajes. Revirtiendo la batalla de los sexos, Dana Fox convierte un modesto guión en algo un poco más atractivo de lo que hubiese sido sin esta idea.
Algunos maravillosos paisajes intentan salvar la historia de Kat y Nick enamorándose repentinamente. "¿Cómo sabes tanto de mujeres?", le pregunta el novio a Nick. "Porque soy un acompañante", confiesa Nick, en uno de los pocos momentos graciosos de la película. Una advertencia a los padres debería recomendar discusión del final al llegar a sus casas. En mi caso, yo no tengo a nadie con quién discutirlo, porque hoy no tengo cita. Pero con estos ejemplos de bodas... mejor solo.
Mar 14, 2005
Painting Her Painting
I look at you, you look at me. Smile, big smile. Little almond eyes, big cherry mouth. People, music, heat, smoke, them, us. I want you, since the beginning... of the trip. I was searching in the streets. I was searching in the shops. I was searching behind garbage cans. I was looking for you high, very high in the skyscrapers. I was looking for you in that woman sleeping in the subway, in this girl talking with her friend. I was... desiring, imaging, dreaming. SHOT! I look at you, you look at me. SHOT! Smile, big smile. SHOT! Almond and cherry splattered in a painting... SHOT.
I want her belly in my hand. Her ear in my tongue. Provoking natural. Which other thing could she be? Nothing else than a painting. She is color. She is bright. She is surrealism. She is passion. She is wall. She is gallery. She is leaning on the couch. SHOT! Red paint from her chest. SHOT! Red paint from my leg. SHOT! I walk through the people with difficulty, and I lean on the couch with her... SHOT.
We talk deeply in an empty place full of people, music, heat, smoke. We fill each other. We want more. We promise. We can't say good bye. We say it. SHOT! My mind flying faster than hers. SHOT! Killing her and saving me on September 23rd. SHOT! Bullets in the sky, flashes in the air, sixteen millimeters in the pressure plate. I know that I will loose her, but I shoot anyway...
... SHOT.
I want her belly in my hand. Her ear in my tongue. Provoking natural. Which other thing could she be? Nothing else than a painting. She is color. She is bright. She is surrealism. She is passion. She is wall. She is gallery. She is leaning on the couch. SHOT! Red paint from her chest. SHOT! Red paint from my leg. SHOT! I walk through the people with difficulty, and I lean on the couch with her... SHOT.
We talk deeply in an empty place full of people, music, heat, smoke. We fill each other. We want more. We promise. We can't say good bye. We say it. SHOT! My mind flying faster than hers. SHOT! Killing her and saving me on September 23rd. SHOT! Bullets in the sky, flashes in the air, sixteen millimeters in the pressure plate. I know that I will loose her, but I shoot anyway...
... SHOT.
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