Percepção

Anabark, Perceptions (AGO2012)

"The truth is a battle of perceptions, people only see what they are willing to confront. It's not what you look at that matters but what you see, and when different perceptions battle against one another the truth has a way of getting lost and the monsters find a way of getting out."

In «Revenge» (ABC series, 2011)

Anatomia do coração

Porque às vezes na ficção encontramos palavras certas, cheias de sentido exacto que explicam a verdadeira anatomia do Amor:
"(...) Burke: Cristina...I could promise...to hold you...and to cherish you. I could promise to be there in sickness and in health. I could say...till death do us part. But I won't. Those vows are for...optimistic couples, the ones full of hope. And I do not stand here on my wedding day optimistic or full of hope. I am not optimistic. I am not hopeful. I am sure. I am steady. And I know. I am a heart man. I take 'em apart. I put 'em back together. I hold them in my hands. I am a heart man. So of this I am sure...you are my partner...my lover...my very best friend. My heart, my heart...beats for you. And on this day, the day of our wedding, I promise you this...I promise you to lay my heart in the palm of your hands. I promise you... me. (...)"

Votos de casamento do Dr. Preston Burke de "Anatomia de Grey" (Serie 3, Epis. 25)

Mercy

Peta Wilson e Ellen Barkin em

MERCY
Real: Damien Harris (2000, EUA)

Para ajudar a passar a chatice de ser domingo!

Imagina, como no cinema

IMAGINE YOU AND ME

Real. Ol Parker - GB, 2006

Lembrei-me...
Angell, a culpa é tua... :D

Aconteceu?

Inês, Derivações, 2007

DARK CITY

Real: Alex Proyas (EUA, 1998)

John Murdoch (Rufus Sewell): I know this is gonna sound crazy, but what if we never knew each other before now... and everything you remember, and everything that I'm supposed to remember, never really happened, someone just wants us to think it did?

Emma Murdoch (Jennifer Connelly): But how can that be true? I so vividly remember meeting you. I remember falling in love with you. I remember losing you.

Emma Murdoch: I love you John, you can't fake something like that.

John Murdoch: Yes, you can.

Encontrar-te

Steven Price,untitled, 2006

Desculpa se fico a olhar-te e se os meus olhos sorriem a olhar para ti. Não sei ser de outra maneira quando te vejo, não preciso explicar-te porquê. Desculpa por sentir coisas que não queres que sinta, se te escrevo sem saberes, se te quero perto, ouvir-te a voz. Desculpa ter-te comigo em pensamento a todas as horas do dia, ainda não aprendi a existir à margem do que sinto. Mas aprendi muitas coisas entretanto. Aprendi a guardar para mim o que gostava que soubesses. Aprendi a ficar longe para deixar-te ser feliz. O que faço por amor nunca irás compreender. A única dor que me resta é o que foges de mim, mesmo quando sabes que não te vou impôr palavras de amor que não queres ouvir. Doi-me sentir-te prisioneira, encurralada no teu próprio medo, escudada numa aparente vontade própria esvaziada de vida. Deves gostar muito mais da pessoa que escolheste do que de ti mesma e isso é triste. Não tenho esperança de coisa nenhuma, mas gostava que, de vez em quando e sem medo, me deixasses saber que estás viva.

-------------------------

A propósito de medo, «LOST», Série 1- episódio 1:

KATE: You don't seem afraid at all. I don't understand that.
JACK: Well, fear's sort of an odd thing. When I was in residency my first solo procedure was a spinal surgery on a 16 year old kid, a girl. And at the end, after 13 hours, I was closing her up and I, I accidentally ripped her dural sac, shredded the base of the spine where all the nerves come together, membrane as thin as tissue. And so it ripped open and the nerves just spilled out of her like angel hair pasta, spinal fluid flowing out of her and I... and the terror was just so crazy. So real. And I knew I had to deal with it. [He's crying]. So I just made a choice. I'd let the fear in, let it take over, let it do its thing, but only for 5 seconds, that's all I was going to give it. So I started to count, 1, 2, 3, 4, 5. Then it was gone. I went back to work, sewed her up and she was fine.
KATE: If that had been me, I think I would have run for the door.
JACK: No, I don't think that's true. You're not running now.

Paris, je t'aime

Anabark, Paris, aos pés de Eiffel (FEV03)

«Paris, je t'aime»* (França, 2006) é o melhor filme que vi nos últimos meses. Dezenas de actores de várias nacionalidades, algumas estrelas e outros desconhecidos, vão passeando num filme que fala de Paris sem ter uma história definida. «Paris, je t'aime» é feito de muitas histórias breves, que acontecem na cidade-luz onde tudo é possível e onde tudo tem um charme irresistível. Umas são felizes, outras não, umas fazem-nos rir, outras não, umas falam de amor, outras não, umas são reais, quase todas são. Todas elas acontecem em Paris, poque a ideia de partida era filmar em Paris. Vinte realizadores internacionais aceitaram o desafio e filmaram histórias em vinte bairros diferentes. Podiam tê-lo feito noutra cidade qualquer, porque as suas histórias falam de pessoas, encontros e desencontros, vidas e não-vidas que acontecem em toda a parte. Mas é Paris que amamos, é Paris que nos transforma e que nos faz olhar para os personagens como especiais e únicos. Mas não são. Somos nós numa cidade qualquer a tentar viver, construindo a nossa própria história, singela, curta, à procura de um final feliz.

Aqui fica um pedaço da história ("Pigalle") interpretada por Fanny Ardant e Bob Hoskins:

Fanny: Que fazes tu por amor?
Bob: Sofro.
Fanny: Sofres?!
Bob: Sofro o que nós fomos.
----------------------------
* Em exibição no Cinema Quarteto, Lisboa

Ter e Não Ter

Humphrey Bogart e Lauren Bacall, To have and Have Not (EUA, 1944)

Imagino a sedução a preto e branco, como uma cena perfeita num fime antigo, assim, como Howard Hawks filmou em «To Have And Have Not» (Ter e Não Ter), a partir do que Hemingway escreveu. Imortais Humphrey Bogart (Steve) e Lauren Bacall (Slim), na melhor cena de sedução de sempre. As palavras ficam aqui, o resto puxem pela imaginação ou vejam (e revejam) o filme que vale sempre a pena:

Slim sits on Steve's lap. Before kissing the seated man for the first time, she acts the aggressor role as they engage in flirtatious sexual repartee:

Slim: You know, Steve, you're not very hard to figure. Only at times. Sometimes I know exactly what you're going to say - most of the time. The other times (She sits in his lap), the other times you're just a stinker. (She plants a kiss on his lips.)
Steve: What'd you do that for?
Slim: Been wondering whether I'd like it.
Steve: What's the decision?
Slim: I don't know yet.

Her verdict of his kissing talent requires a second kiss. Then, after kissing him again, he appears baffled. She suggests to her passive partner as she stands:

- It's even better when you help.

When this remark doesn't work and produce a satisfactory reaction, she propositions him midway from leaving his room with other famous lines, delivered with a purring, warm voice:

Slim: (She holds up the bills again.) Uh, sure you won't change your mind about this?
Steve: (affirmatively) Uh-huh.
Slim: This belongs to me and so do my lips. I don't see any difference.
Steve: Well, I do.Slim: Okay. You know you don't have to act with me, Steve. You don't have to say anything and you don't have to do anything. Not a thing. Oh, maybe just whistle. (She opens his door and pauses.) You know how to whistle, don't you, Steve? You just put your lips together and blow.

Perdidos

Bruce Berrien, Lost, 2004

Excerto de "Uma História de Sobrevivência", o episodio-resumo da série 3 de «LOST»:

"...Once upon a time, there was an island. Some said it was in the South Pacific. But you wouldn’t find it on any map. Many people have been drawn to the island throughout time… lost in their travels, lost in their lives.

Oceanic 815 was a flight like any other… a plane full of strangers, bound from Sydney to Los Angeles. Among them, the doctor who lost his father … and lost his way. The girl next door, turned fugitive; the con man out for revenge, who killed the wrong man. The couple, whose marriage was slipping, the soldier, the rock star, the lottery winner, the single mother-to-be and, of course, the man whose faith was lost, and whose body had failed him…

These were just a few of the many who were brought together high over the ocean, but something they could not understand at the time… something that caused their plane to split apart and fall from the sky… they could not imagine how they survived such a crash… but then again they could never have imagined the power of this island and the tests it would provide. Two groups of passengers survived. They would be separated for a time. And before they united, would experience with the island in very different ways..."

The LWord - Série 4, Episódio 1

Katherine Moenning ('Shane')

Para quem quiser ver o primeiro episódio completo da última série aqui ficam os links:
The L Word - S4, Epis. 1 - Part 1
The L Word - S4, Epis. 1 - Part 2
The L Word - S4, Epis. 1 - Part 3
The L Word - S4, Epis. 1 - Part 4
The L Word - S4, Epis. 1 - Part 5
The L Word - S4, Epis. 1 - Part 6

Salada: The L Word (Series 4 - Epis 1)

Só mais este bocadinho de Marina antes da refeição chegar à mesa.

Aperitivo: The L Word (Series 4 - Epis 1)

Para quem está à espera do regresso de Marina Ferrer...

Lost in time like tears in the rain

Do filme «Blade Runner», real. Ridley Scott, 1982, EUA

[Deckard does some amazing climbing, then jumps to next building. Roy follows, holding a white dove.]

Roy: Quite an experience to live in fear, isn't it? That's what it is to be a slave.

[Deckard spits at Roy as he falls; Roy catches him with one hand.]

Roy: I've seen things you people wouldn't believe. Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the darkness at Tannhäuser Gate. All those moments will be lost in time like tears in rain. Time to die.

[the white dove flies off from his hand...]

Deckard: I don't know why he saved my life. Maybe in those last moments he loved life more than he ever had before. Not just his life, anybody's life, my life. All he'd wanted were the same answers the rest of us want. Where did I come from? Where am I going? How long have I got? All I could do was sit there and watch him die.

A resposta certa àcerca do amor

Peter Elköf, 2006

Do filme «THE MEXICAN» (A Mexicana, Real: Gore Verbinski, 2001, EUA):

LEROY (James Gandolfini): I wanna ask you a question. It's a good one, so think about it. If two people love each other... but they just can't seem to get it together... when do you get to that point of enough is enough?

JERRY (Brad Pitt): Never.

Destroços

Anabark - Fosso (2006)

ROBERT

(desperately):

Francesca, listen to me. You think what's happened to us happens to just anybody? What we feel for each other? How much we feel? We're not even two separate people anymore. Some people search their whole lives for it and wind up alone -- most people don't even think it exists and you're going to tell me that giving it up is the right thing to do? That staying here alone in a marriage, alone in a town you hate, in a house you don't feel apart of anymore -- you're telling me that's the right thing to do!?
Clint Eastwood em «As Pontes de Madison County»

Não percebo quando me impões silêncio e distância e a seguir falas de um caminho até ti. Não há caminho até ti. Como é possível percorrer um caminho que tornaste inviável? A 'luz e o amor' que evocas de nada valem quando deitas abaixo as poucas pontes que restam.

Consegues viver sem mim e eu vou aprendendo, aos poucos, a fazer o mesmo, tenho de querer-te também longe do corpo e do coração. Não tenho outra escolha, foste tu que partiste.