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Saumit's Cloud Diary Group

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William Hall
William Hall

Enter The Void EXCLUSIVE

Linda becomes pregnant, loses her job as a stripper, and has an abortion. Alex is forced into hiding on the streets after Oscar's dealer Bruno breaks up the drug ring. Linda wishes she had gotten involved with Alex instead of Mario as Oscar wanted. On one occasion, Linda wishes that Oscar would come back to life; Oscar then enters Linda's head and experiences her dream in which he wakes up at the morgue, from which his body is taken to be cremated. Meanwhile, Victor argues with his mother over her involvement with Oscar, and he is thrown from the house. He visits Linda to apologize for his role in Oscar's death. However, when Victor accuses Linda of complicity in her brother's death, she angrily chases Victor away, demanding that he kill himself.

Enter the Void

Oscar hovers over Tokyo and lands on a plane, in which Oscar's mother breast-feeds a baby Oscar. Linda and Alex take a taxi to a Tokyo love hotel and have sex. Oscar moves among hotel rooms and observes several other couples having sex in various positions. Each couple emanates flashes of light from their genitals. Oscar enters Alex's head and witnesses the sex with Linda from Alex's perspective. He then travels inside Linda's vagina to witness Alex's thrusting, then observes his ejaculation and follows the semen into the fertilization of his sister's ovum. The final scene is shot from the perspective of a baby being born to Oscar's mother.[a]

The thought of acting in a film had never even entered their minds. They're easy-going people, they have a good time in front of the camera and I don't think there was a single moment where either of them felt they were working. Paz, however, was definitely conscious of the fact that she was interpreting a role.[9]

The film was mainly shot on Kodak Vision3 250D film stock. Scenes where Oscar is alive were shot in the super 35 format with Arricam LT cameras, and the rest in super 16 with an Aaton XTR Prod.[31] The cinematographer was Benoît Debie, who also shot Irréversible. As in Irréversible, Noé was reluctant to use artificial lighting that would destroy the illusion if the camera was turned around. Thanks to Tokyo's many neon signs, very little additional lighting was required for the exterior scenes, despite the fact that many were shot late at night. For the interior scenes Debie mainly used practical, in-frame light sources. Some exceptions were made. One was that the moods of the characters were meant to be indicated by different colours, ranging from orange to purple with occasional greens. For this, Debie used a set of red, green, and blue programmable disco lights, which allowed for all different hues. The disco lights were easy to hide. They were also used for simulation of neon flashes, and to add a tint of red to the dressing-room scenes. Another exception was the use of strobe lights, which were programmed together with the coloured lights. Blue colour was avoided throughout, since the filmmakers did not associate it with dreams.[31] Noé was the film's camera operator, except for a few shots of Oscar running in the streets, as they required a taller cameraman. In those scenes, the camera was held by Debie.[32]

Festival screenings of subsequent versions followed throughout the year, including the Toronto, Sitges, London, and Stockholm international film festivals.[39] The final 154-minute cut premiered at the 2010 Sundance Film Festival.[18] At the Cannes premiere, the film had alternatively been listed with the French title Soudain le vide, which means "Suddenly the void".[37]

Each build server drives, via automation, a standard git checkout ofthe void-packages repo.This in turn results in built binary packages ready for installationin the path /hostdir/binpkgs on each of the build machines. Toactually be useful, however, the packages need to be aggregated andthen signed, then copied out to servers near to end users such thatpackages are quick to download and install whenever required.

As the film enters its third hour, the plot goes out of focus as the film starts to explore sexuality and the creation of new life. A lengthy final sequence tracks couples having sex in Love Hotel (a studio creation based on the Japanese concept of love hotels) and new life is created. Indeed Noe actually shows us the penis ejaculating into the vagina in full frame glory.

"Enter the Void" is now playing at the IFC Center in New York, the Music Box in Chicago and the Nuart in Los Angeles. It opens Oct. 1 in Philadelphia; Oct. 8 in San Francisco and Seattle; and Oct. 22 in Denver, Minneapolis, Nashville, Salt Lake City and San Diego, with more cities to follow. Beginning Sept. 29, it will be available on-demand via IFC In Theaters, from various cable and satellite providers.

Niquet: It would have been difficult to work with storyboards or a previz. The director really needed to see all of the possibilities for a shot before deciding which direction to take it. What we did instead was present many proposals for images within the continuity of the shot. Our interaction with Gaspar was centered on the exchange of the shots. On his side, he nourished the imagination of the team by providing many references from experimental cinema.

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Organized around three core components: See Youth, Hear Youth, and Protect Youth, this report weaves an existing analysis of protections across the county with multi-disciplinary recommendations and approaches. Finally, there is a curriculum developed by expert Antonio Thomas, to help jurisdictions work directly in partnership with youth to develop youth-centered grievance protections.

The purpose of this report is not to offer an answer, a model, or a template for grievance protection. Instead, the history, state statutory and regulatory review, and curriculum aim to supply the resources necessary for policy-makers and advocates to empower and include local youth with lived experience in imagining and implementing effective youth-centered grievance protections.

Are we stuck into this suffocating binary, somewhere between being quick-response call center operators and valorous food couriers? Are we entrapped in the multitasking, efficiency, on-demand, game? Are we condemned to be switchers and bikers without having our own switchboard, our own bike?

And so, you give up on everything. From the special background to that perfect camera angle. One ends up doing a solo performance to the screen; forsaking your face for the bright PowerPoint, now simply speaking into the void. 041b061a72


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