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Making Off ? Diretores ? Península Ibérica ? Victor Erice

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[Hidef] La Morte Rouge (2006)
Criado por nandodijesus, Aug 29 2017 03:18 PM

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#1 [[Hidef] La Morte Rouge (2006): post #1] nandodijesus

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Título do Filme
La Morte Rouge
(La Morte Rouge)
La Morte Rouge.720p
Poster

Sinopse

O diretor Víctor Erice retraça sua primeira experiência como espectador de


cinema. Aos cinco anos de idade, ele assiste à projeção do filme "The Scarlet
Claw", com Basil Rathbone no papel de Sherlock Holmes. Um evento que, somado ao
franquismo e a experiência recente da guerra, marcará para sempre sua imaginação
e influenciará suas futuras experiências como diretor.
Screenshots (clique na imagem para ver em tamanho real)
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Informações sobre o filme

Informações sobre o release


Víctor Erice (narração) Gênero: Drama
Diretor: Víctor Erice
Duração: 34 minutos
Ano de Lançamento: 2006
País de Origem: Espanha
Idioma do Áudio: Espanhol
IMDB: http://www.imdb.com/title/tt0806125/
Qualidade de Vídeo: HD Rip
Vídeo Codec: AVC1
Vídeo Bitrate: 10 Mbps
Áudio Codec: AAC
Áudio Bitrate: 406 kbps 48 KHz
Resolução: 1280 x 720
Aspect Ratio: 16:9
Formato de Tela: Widescreen (16x9)
Frame Rate: 25.000 FPS
Tamanho: 1.85 GiB
Legendas: Em anexo
Crítica
A visita do Divino: o cinema de Víctor Erice

“On croit que les enfants ne savent rien (…) Et ce sont les enfants qui savent
Tout/
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Car ils savent l’innocence première

Qui est tout”.

Charles Péguy, Le mystère des saints innocents

“É preciso nos darmos conta de que a experiência imediata do tempo não consiste
na experiência tão fugaz, tão difícil, tão sábia, da duração, mas antes na
vivência despreocupada do instante, capturado sempre como imóvel”.

Gaston Bachelard, A intuição do instante

“Uma hora não é apenas uma hora. É um vaso cheio de perfumes, de sons, de
projetos e de climas”.

Marcel Proust, O tempo reencontrado

O cinema de Víctor Erice compraz-se na precipitação de prestidigitações


tamisadas pelo tempo e pela luz. A princípio, pode-se pensar que a sua grande
arte consiste numa percepção intensiva destinada às durações – não apenas aos
corpos humanos escarpados pela temporalidade mundana, mas aos corpos naturais
submetidos à temporalidade cíclica (O Sol de Marmelo, de 1992); só que aqui todo
o espectro do ser é chamado à ribalta, e não apenas os atuais (as epifanias, os
conciliábulos com a paisagem freqüentes em seus filmes). Pois o tempo também se
encarrega de burilar cristais figurativos virtuais, nos containers do
imaginário: a aparição de Frankenstein em O Espírito da Colméia (1973), a
percepção extática propiciada pela projeção de cinema em La Mort Rouge (2006);
ou os fondus acelerados de O Sol do Marmelo, através dos quais o processo de
maturação dos frutos adquire uma pátina alucinógena: a deliquescência de textura
propiciada pelo fade in leva o espectador a identificar muito mais facilmente o
marmeleiro à Idéia que o pintor Antonio Lopez carrega na cabeça que aos ciclos
de transição ontogenética. Mas trata-se sempre de um affaire de temps, invólucro
de milagre e vaticínio mágico: plano sequência ou fondu crepuscular, plano fixo
oracular ou hipnótico (o relógio do pai de Estrella em O Sul, de 1983); é
preciso sempre dar-se um tempo de espreita e de expectativa (a menina Anna e o
monstro no lago, presentificação “Noite e neblina” da cena do filme de Whale), é
preciso receber o “dom” do instante, adaptar-se e conformar-se ao papel que a
“contemplatio mundi” propicia ao personagem, para que enfim a percepção seja
presenteada com outros status quo, agora supra-fenomenológicos: a presciência, a
taumaturgia, a vidência. Os personagens de Erice devem antes de tudo voltar-se
para o mundo e contemplá-lo, longa e ardorosamente: a criança diante da janela
em Espírito da Colméia, aureolada pelo estio crepuscular, pode representar um
paradigma aqui de transitiva abertura ao que se manifesta, de coalescência ao
que se dá (à luz, ao ponto de vista, ao espaço enfim amplificante e agregador).

Esta onipresença do tempo às dimensões e flexões dos entes transforma cada


sequência em uma cerimônia de iniciação do mundo. O instante, primeiro e último,
é necessariamente revelador, pois ameaçado de desaparecimento. Como a poesia de
Rilke, o cinema de Erice é assombrado pela evanescência possível de tudo; o
instante seguinte já não nos pode encontrar: a tapera abandonada de onde o
soldado republicano foi arrastado em O Espírito da Colméia; os planos finais de
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O Sol do Marmelo, de onde desaparecem o pintor e sua máquina de figuração do
imponderável, dando lugar à empresa de uma outra técnica de captura
“amplificada” do ser, com a câmera e os holofotes; a mensagem engarrafada e
jogada no mar, em Sea-Mail (2007), dirigida a um impossível Abbas Kiarostami,
encastelado no fora de campo da memória feérica dos contos de fadas; ou esta
fatal explosão que arrebata os veraneantes niilistas no episódio de Los Desafios
(1969). A ausência é o grande plano de fundo destas aparições precárias, e elas
tornarão a se abrigar definitivamente sob o envoltório do fora de campo:
imaginário, memória.

Se o tempo é, em um mesmo ímpeto, um índex de plenitude da experiência e de


decrepitude, o seu cinema consistirá essencialmente em um “jogo” pendular e
ressoante entre estes domínios intermediários, os intervalos gratos a serem
aproveitados antes que o crepúsculo volte a cair: a criança crescerá, os pais
morrerão, o filme vai acabar (La Mort Rouge), os frutos apodrecerão (O Sol do
Marmelo), os instantes privilegiados da vida conjurada serão inevitavelmente
tragados, e finalmente embalsamados sob o Abracadabra do Era uma vez… É
justamente por isto que os filmes de Erice se cristalizam nestas colchas de
retalhos luminosos, nas quais o plano fulge mais do que a sequência e a
sequência se destaca, gloriosa e faustosamente (a comunhão de Estrella em El
Sur) contra o fundo grisâtre dos dias que se precipitam para o Nada. O episódico
e o fragmentário designam precisamente este intervalo precioso entre a Plenitude
e a Ruína: a pátina que os recobre nasce de uma confrontação dialética entre
estes in-extremis tão arquetipicamente relacionados.

Em um concentrado aurático de espaço-tempo, sintetizam-se os dados esparsos e


descontínuos da vida, equilibra-se e ordena-se o fluxo que oscila entre o acaso
e a Necessidade, “justificam-se” as intempéries da trajetória, sublimam-se as
anfractuosidades da existência. Se Erice privilegia a parte ao todo, é porque
reconhece no instante uma cápsula fenomenológica de irisação taumatúrgica do
Real: o que fica de um passeio à praia senão a quintessência, residualmente
incrustada nas flexões dos gestos e nos detalhes dos objetos, de uma diversidade
fenomênica impossível de ser totalmente apreendida pelo Eu? À afasia diante do
inacessível Todo, privilegia-se o balbucio tatibitati, maravilhado e
circunspecto, perante o detalhe icônico. Se o Divino para Hölderlin reside em
uma impressão íntegra ou reconciliada da realidade (reivindicada pelo pintor
Antonio López, ao lembrar da lição do professor de liceu: “É preciso alcançar
uma certa integridade”), na qual a presença expletiva da imagem e sua
significação ainda não foram separadas e opostas pela consciência mediadora,
então os seus filmes consistem em “séries” de ofertas ou visitas do Divino:
embora muda e opaca (Isabel fazendo-se de morta em O Espírito da Colméia, a
observação sazonal do metamorfismo dos frutos em O Sol do Marmelo), vacilante e
débil, a imagem é o termômetro ou sismógrafo mais extraordinariamente
significativo de uma atmosfera ou estado de espírito: coágulo da sensação em uma
escritura fina, trêmula e faiscante, urdida de tempo e de luz (meta-física em
certo sentido, pois composta de matérias translúcidas, diafanamente imateriais).
Se, cotejada com a palavra, revela-se menos vantajosa para o alcance de fins
cognitivos, compensa este déficit com uma porosidade tutelar aos coups de foudre
da aura; sobretudo a imagem cinematográfica, que vive e morre diante de nós (e
renasce tantas vezes, ao sermos revistos por um filme!).

Assim, as sequências de Erice são estes óbices inestimáveis lançados à percepção


Página 4
texto1 - Copia (2).txt
pelo tempo: um desafio, uma inspiração, mas igualmente a sagração de um luto
antecipado – o luto pelo presente perfeito, perseguido e infiltrado pelos modos
fantasmas do Verbo criador. Quando, ao fundo e ao fim de um plano fixo com
profundidade de campo, a menina Estrella “retorna” como a adolescente Estrella,
o pacto de conversão está firmado e consagrado: esta passagem, intersticial mas
decisiva, entre um ente mesmo e Outro dá-se de forma transparente; a distância
respeitosa da câmera, o velamento propiciado pela profundidade de campo: o
esforço técnico consiste justamente em desbastar o campo de qualquer intervenção
“deus ex machina” do diretor, manifestá-lo em sua limpidez e diafaneidade,
relegando unicamente à demiurgia do tempo o trabalho de metamorfose. O luto: em
um mesmo e frontal movimento, a emergência de um novo ser é contígua e implicada
pelo eclipse de outro.

Quando, em O Espírito da Colméia, a mãe de Anna dorme e a câmera se debruça


sobre seus pômulos, temos direito a um dos planos mais devastadoramente
quietistas da história do cinema: um plano fixo de cerca de dois minutos, no
qual o rosto se torna o revelateur dos vincos que a duração inscreve sobre o
planalto dos corpos – seus rastros. O comovente do plano é a possibilidade se
intuir, no rosto suavemente percutido pelas virações da alma, que se trata, a um
só tempo e pincelada, de um retrato mortuário da mãe irrecuperável e do estudo
aquarelado de uma banhista enfim liberta da labuta do divertissement. O mesmo
acontece nos marcos de giz sobre a derme das frutas em O Sol do Marmelo,
progressivamente retesados, emaciados e finalmente decompostos pela ação de
Cronos; são marcos metafísicos da investidura do visível pelo invisível,
demarcada cirurgicamente em fases pontuais: primeiro, a protuberância insolente,
a alacridade temporã, paulatinamente emasculadas pela intersecção dos minutos
implacáveis (recordemo-nos também deste retrato fictício do pintor em seu leito
de morte, pintado pela esposa ao final do filme). Indenidade e caduquice,
dinamismo da metamorfose e decrepitude do eixo, primeira e última vez
inextricavelmente implicadas. É impossível não lembrar aqui do insight de
Raymond Durgnat, que radicaliza o “Era uma vez” melancólico da aparição da aura
em Benjamin, insistindo sobre a conjugação particularmente vampiresca entre “uma
percepção e uma reminiscência”, na medida em que esta fórmula registra com
brilho impertinente a natureza diferida da presença, o seu estilhaçamento
constelacional em um passado inacessível e um futuro inalcançável: Nec plus
ultra!

Se um plano de cinema é necessariamente assombrado pelo fantasma da passagem do


tempo (inter planos), e se a película não passa de um ersatz “projetivo”
(material e psicológico) do mundo encarnado, nem por isto os filmes de Erice
deixam de encarecer, com uma força incomum, as texturas absolutamente físicas de
tudo – das fímbrias do gesto às intermitências vacantes da duração. Lembramo-nos
de Fernando, o pai da menina Ana, em O Espírito da Colméia, ou desta máscara
alienígena lavrada de negro contra o fundo chamejante e intumescido do amarelo
da colméia? Como em todo grande cinema, em Erice os significantes não são meros
suportes para significados exógenos e transcendentais, mas coágulos polpudos e
iridescentes de luz que o mundo impregna eroticamente. Contrapondo-se às
autópsias entomológicas empreendidas por Buñuel e Lang, a práxis vidente de
Víctor Erice se exercita em uma entomologia da carícia, na qual o fondu é a
mediação indispensável à ausculta dos veios secretos que se agitam sob as
superfícies presentemente apaziguadas. Se os embates camerísticos entre o
espaço, a luz e um corpo em gestação (ou transmutação), permeável às flutuações
Página 5
texto1 - Copia (2).txt
elegíacas do devir, são os leitmotiv mais caros à sua obra, é porque este
cadinho de condições permite-lhe exaltar as potências mediúnicas do cinema, este
engenho da analogia triunfante, onde tudo o que é vem a ver e ser visto.

Luiz Soares Júnior (Cinética)


Coopere, deixe semeando ao menos duas vezes o tamanho do arquivo que baixar.

Upgrade em HD de filme disponível no fórum, com release gentilmente


providenciado pelo amigo Kerniski.
Arquivo anexado La Morte Rouge.720p.torrent 19.48K 135 Downloads

A legenda em português, traduzida e anteriormente compartilhada pelo Kerouac,


com ajustes de revisão e sincronia.
Arquivo anexado La Morte Rouge.720p.rar 8.68K 105 Downloads

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#2 [[Hidef] La Morte Rouge (2006): post #2] kushimaru

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Postado 29 August 2017 - 04:23 PM

eita, deve ser interessante, hoje mesmo confiro

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#3 [[Hidef] La Morte Rouge (2006): post #3] franciscon

The Pirate Boy


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Postado 29 August 2017 - 05:44 PM


Este filme é maravilhoso.

Obrigado, Nando, Matheus e Felipe.

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#4 [[Hidef] La Morte Rouge (2006): post #4] Daniel Cassel

Zum letztenmal Psychologie!


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Postado 29 August 2017 - 07:59 PM

Uma pequena joia.

Erice é um dos maiores realizadores vivos.

Editado por Daniel Cassel, 29 August 2017 - 08:13 PM.

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#5 [[Hidef] La Morte Rouge (2006): post #5] Alexx

It's useless play lullabies for those who cannot sleep


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Postado 29 August 2017 - 08:09 PM

Tenho esse filme em dvd! É maravilhoso!

Obrigado caro Nando!

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#6 [[Hidef] La Morte Rouge (2006): post #6] oitavoceu

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Postado 29 August 2017 - 10:39 PM


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Que beleza! Obrigado, super nando.

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#7 [[Hidef] La Morte Rouge (2006): post #7] isalk

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Postado 30 August 2017 - 11:16 AM

O amor ao cinema é capturado na infância. Uma paixão para toda a vida. Obrigado
pelo belo post.

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#8 [[Hidef] La Morte Rouge (2006): post #8] HeltonPrado

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Postado 31 August 2017 - 04:14 PM

Os filmes de Victor Erice são pequenas pérolas, e frente a sua diminuta obra (de
extensão, claro), resta-nos sempre revistá-la. Só sinto falta no sub-fórum do
diretor do curta dele "Alumbramiento" feita na ocasião do filme coletivo "Ten
Minutes Older: Trumpet".

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#9 [[Hidef] La Morte Rouge (2006): post #9] julio42

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Cadastrado: 01-March 13

Postado 31 August 2017 - 04:24 PM

Nando vou assistir eastes dois curtas do Victor Erice. Muito obrigado

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Routledge Philosophy GuideBook toSpinoza and the


Ethics

¦ Genevieve Lloyd
LONDON AND NEW YORK
Página 23
texto1 - Copia (2).txt
-iii-First published 1996 by Routledge11 New Fetter LaneLondon EC4P
4EESimultaneously published in theUSA and Canada by Routledge29 West 35th
Street, New York, NY 10001© 1996 Genevieve LloydText design:
Barker/HilsdonTypeset in Times and Frutiger byFlorencetype Ltd, Stoodleigh,
DevonPrinted and bound in Great Britain byClays Ltd, St. Ives PLCAll rights
reserved. No part of this book may be reprinted or reproducedor utilized in any
form or by anyelectronic, mechanical, or other means,now known or hereafter
invented,including photocopying and recording,or in any information storage or
retrieval system, without permission inwriting from the publishers.
British Library Cataloguing in Publication Data
A catalogue record for this book isavailable from the British Library.
Library of Congress Cataloging in Publication Data
Lloyd, Genevieve

Routledge philosophy guidebook toSpinoza and the Ethics/Genevieve Lloyd. p. cm.


—(Routledge PhilosophyGuideBooks)1. Spinoza, Benedictus de,1632-1677. Ethica. 2.
Ethics—Earlyworks to 1800. I. Title II. SeriesB3974. L57 1996170-dc20
96-6392ISBN 0-415-10781-4 (hbk)ISBN 0-415-10782-2 (pbk)-iv-
Contents
Acknowledgments
ix
Abbreviations
x
1 Spinoza in his time and ours1
The outsider 1How many ‘Spinozas’?11Reading Spinoza18The text24
2 God, minds and bodies29
God and ‘his’ attributes31God and the world38The mind and will of God42The idea
of the body48Ways of knowing55-vii-
3 From bondage to freedom71
The emotions71Striving to persist: an ethic of joy83The ‘free man’98
4 Intuitive knowledge and the intellectual love of God109
The eternity of the mind114The self-knowledge of the ‘blessed’123
5 The way to wisdom133
Notes
145
Bibliography
151
Index
159-viii-

Acknowledgments
This book was completed with the assistance of an Australian Research Council
Small Grant.I am grateful also to Sandra Lynch for research assistance; to Moira
Gatens and AmélieOksenberg Rorty for helpful discussion of points of
interpretation; to Susan James andThomas Cook for constructive critical comments
on the manuscript; to the School of Philosophy and the Faculty of Arts and
Social Sciences at the University of New South Walesfor practical assistance; to
the Department of General Philosophy at the University of Sydneyfor a visiting
professorship during the first semester of 1994; and to students of the
Universityof New South Wales and the University of Sydney for their lively
engagement with Spinoza’s
Ethics,
Página 24
texto1 - Copia (2).txt
and their intelligent critical response to sections of this book which I tried
out in their courses.-ix-
Abbreviations
Abbreviated references to the
Ethics
follow the conventions introduced by Curley in theintroduction to
A Spinoza Reader
(Curley 1994: xxxv). Thus:E=
Ethics
A= AxiomP= PropositionD (following a Roman numeral)= DefinitionD (following
P+an arabic numeral)= the Demonstration of the propositionC= CorollaryS=
ScholiumExp= ExplanationL= LemmaPost= PostulatePref= PrefaceApp= AppendixDefAff=
the definition of the affects at the end of Part IIIRoman numerals before these
abbreviations refer to parts of the
Ethics.

-x-
Chapter 1Spinoza in his time and ours
The outsider
Cursed be he by day and cursed be he by night; cursed be he when he lies down,
and cursed be he when he rises up; cursed be he when he goes out, and cursed be
he when he comes in.The Lord will not pardon him; the anger and wrath of the
Lord will rage against this man, and bring upon him all the curses which are
written in the Book of the Law, and the Lord willdestroy his name from under the
Heavens…(Wolf 1927:146)Thus did the wardens of the Amsterdam synagogue
excommunicate the 24-year-old BaruchSpinoza, on 27 July 1656. The record of
excommunication mentions ‘horrible heresies whichhe practised and taught’ and
‘monstrous actions which he performed’. The content of the‘heresies’ can be
reconstructed from contemporary-1-reports of his beliefs and from his writings.
Spinoza held unorthodox views on the nature of God and of the human soul, on
immortality and on the status of prophecy. Spinoza’s early biographers make it
clear that his views were widely despised. The nature of the ‘monstrousdeeds’
mentioned in the record of excommunication is more difficult to determine.There
are two old biographies of Spinoza. One was written by a Lutheran clergyman,
JohanCohler—Latinized as ‘Colerus’—and first published in 1705. The other, by
Jean MaximilianLucas—a freethinking French refugee living in Holland—is thought
to have been writtensoon after Spinoza’s death in 1677, though not published
until 1719.
1
Colerus describesSpinoza’s physical appearance: ‘He was of a middle size, he
had good features in his Face,the Skin somewhat black, black curl’d Hair, long
Eye-brows, and of the same Colour, so thatone might easily know by his Looks
that he was descended from Portuguese Jews’ (Pollock 1899:394). Spinoza’s
doctrines are presented by Colerus as ‘impious’, ‘absurd’ and‘pernicious’; but
he grudgingly acknowledges the integrity and amiability of the character from
which they issued.The older biography makes the allegation of ‘monstrous
actions’ even less plausible. Lucas,who knew Spinoza personally, presents him as
a lover of solitude, enjoying nonetheless thecompany of the ‘real men of
learning’ who sought him out in The Hague, where he eventuallysettled. Lucas
offers a picture of a man given over to a passionate love of learning,
butdelighting too in the joys of sociability—a lover of company who was not
Página 25
texto1 - Copia (2).txt
dependent on theadmiration of others. His Spinoza is a man with a ‘well-
seasoned’ wit, whose misfortuneresulted not from monstrous deeds but from his
being ‘too good and too enlightened’. Lucasstresses Spinoza’s freedom from
concern with fame or appearances. When he was dyingSpinoza requested that his
name should not be put on the
Ethics,
saying that such affectationswere unworthy of a philosopher. Lucas reports, too,
that Spinoza consciously avoided the

cultivation of untidiness which is often the mark of the philosopher, quoting


him assuggesting that ‘such affectation of negligence is the mark of an inferior
mind’ (Wolf 1927:64). Colerus in contrast describes Spinoza as careless in
dress, to the point of slovenliness, quoting him as saying that ‘it
is-2-unreasonable to wrap up things of little or no value in a precious Cover’
(Pollock 1899:394).Whatever the facts of his appearance, we can take it that
Spinoza was not motivated by adesire to impress others.His excommunication was
clearly a significant event in the life of the young Spinoza; butLucas’s version
of the story presents him as anything but a passive victim. On hearing of the
ban, Spinoza responded: ‘All the better; they do not force me to do anything
that I would nothave done of my own accord if I did not dread scandal’ (Wolf
1927:51). It is true that theyoung heretic, who now called himself ‘Benedict de
Spinoza’, was condemned to exile. But,if Lucas is to be believed, the sentence,
‘very far from injuring Mr de Spinosa, favoured thelonging which he felt to
leave Amsterdam’. What was crucial for Spinoza was ‘the love of solitude in
which, he had no doubt, he would find Truth’ (Wolf 1927:56). The same
love,reinforced perhaps by a shrewd caution, later led Spinoza to refuse the
offer of a professorshipat Heidelberg, saying that the instruction of the young
would be an obstacle to his own studiesand indicating his discomfort about the
stipulated condition that he would not abuse hisfreedom of speech to ‘disturb
the established religion’. In the lack of any income from his philosophical
pursuits, Spinoza met his frugal needs—without sacrificing his independenceand
solitude—by making lenses for optical instruments. His vigorous intellectual
life was notmatched by physical robustness; and his work with glass contributed
to the consumptionwhich caused his early death. The cause of death prompted
Hegel, in his account of Spinoza’slife in the
Lectures on the History of Philosophy,
to engage in fanciful speculation on theconnections between Spinoza’s life and
his work:Spinoza died on the 21st February, 1677, in the forty-fourth year of
his age. The cause of hisdeath was consumption, from which he had long been a
sufferer. This was in harmony withhis system of philosophy, according to which
all particularity and individuality pass away inthe one substance.(Hegel
1840:254)Spinoza’s fatal choice of lens grinding as a livelihood was for Hegel
no more incidental thanhis resulting death; it expressed—whether -3-or not he
was aware of it—his philosophical commitment to the oneness of things. ‘It was
noarbitrary choice that led him to occupy himself with light, for it represents
in the materialsphere the absolute identity which forms the foundation of the
oriental view of things’ (Hegel1840:253).We may well be sceptical about Hegel’s
bold projections from the content of Spinoza’s philosophy to the details of his
life. But an understanding of some aspects of the life doesallow a richer
appreciation of what is distinctive about the philosophy. This is especially
true
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