ACT UP: Ashes Action 1992 – (USA, 1996)


ACT UP ACTION: ASHES ACTION (Acţiunea organizaţiei ACT UP: Cenuşa iubiţilor, amicilor, vecinilor noştri morţi de SIDA…pe gazonul Casei Albe – 11 octombrie 1992)

FDA_wojnarowiczI worry that friends will slowly become professional pallbearers, waiting for each death, of their lovers, friends and neighbors, and polishing their funeral speeches; perfecting their rituals of death rather th404161_4230572078794_2086016053_nan a relatively simple ritual of life such as screaming in the streets.” -David Wojnarowicz

act_up_01ACT UP (AIDS Coalition to Unleash Power) took the cremated human remains of friends, lovers, and family members who were murdered by AIDS (killed by government neglect) and threw the ashes onto the White House lawn in Washington DC in protest on October 11, 1992.

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Rock and Roll Heart – Lou Reed Documentary (American Masters) – (USA, 1998)


Inimă din Rock and Roll + Un documentar despre Lou Reed

lou-reedVULou Reed (n. 2 martie 1942) este un muzician cunoscut ca fiind chitaristul și vocalistul formației The Velvet Underground. Ca principal textier în formația Velvet Underground, Reed a scris versuri care nu prea au fost folosite în muzica rock, abordând subiecte precum sexul, consumul de droguri, homosexualitatea, prostituţia masculină, etc.

Ca chitarist, a fost pionierul multor efecte (incluzând distorsionare, feedback) și acordarea chitarei într-un mod ,,nonconvențional pentru a obţine sunete neobișnuite.  Piesele Sweet JaneVenus In FursHeroin, Take a walk on the wild side l-au făcut cunoscut atât în SUA cât şi pe plan internaţional. Împreună cu formația Velvet Underground, Lou Reed este considerat unul dintre inventatorii genului punk.

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Lou-Reed-lou-reed-24175451-384-350501403698_MI0001403698Rock and Roll Heart traces Lou Reed’s career from the formation of the Velvet Underground to rock icon to his more recent artistic endeavors. Includes lots of rare and vintage footage along with interviews with David Bowie, John Cale, Patti Smith, Thurston Moore, David Byrne, Jim Carroll, Maureen Tucker, Suzanne Vega, Dave Stewart and Philip Glass. An excellent documentary (and the only one) about this hugely influential and uncompromising American artist. Directed by Timothy Greenfield-Sanders for American Masters and screened at the Sundance Film Festival in 1998.

For those who aren’t aware, Lou Reed is known as the Godfather of Punk. It’s a monicker he’s avoided at all costs since punk music first hit the scene in the mid-`70s. Lou always considered himself too literate, too intelligent to be called the progenitor of a music scene known more for its style than its substance (whether it deserved it or not).

lou_reed-street_hassleStreet Hassle was Lou’s bitch-slap to the punk scene. It was a reminder that in order to talk the talk you better fuckin’ walk the walk. Anyone who grew up in the `80s (I was born in `73) may not know that Lou put himself at the front of the gay movement in the `70s. He claimed that he was what mainstream America feared: A gay man who won’t take shit. A gay man who’ll stand there onstage and inject heroin, tying the mic chord around his upper arm. A gay man who dated a transsexual for much of the mid-`70s (and to whom the title track of Street Hassle is dedicated). Hell, the first track opens with Lou having a conversation with himself, calling himself a „fuckin’ faggot.” 

If you are new to Lou, this album may take a few spins for you to truly appreciate its value. Always the quintessential New York poet, the album oozes with his very personal, very disturbing portraits of the city’s darkened alleys and streets.

(This is meant for non-profit commentary and educational purposes. No copyright infringement intended. Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for „fair use” for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.) Damian Lopez-Gaston

Wie de Waarheid Zegt Moet Dood – (Holland, 1981)


Acela care va spune adevărul va muri: Viaţa, Moartea şi Filosofia lui Pier Paolo Pasolini

pasolini filmWhoever says the truth shall die: The Life, Death, and Philosophy of Pier Paolo Pasolini

The filmmaker Pier Paolo Pasolini did die, and under grim criminal circumstances at that, back in 1970. But did he say the truth? Pasolini fans, usually the liveliest bunch among all Italian cinephiles, might consider looking for answers in Whoever Says the Truth Shall Die. The hour-long Dutch documentary appeared in 1981, six years after Pasolini’s untimely passing. Director Philo Bregstein looks backward from the point of Pasolini’s death, attempting to analyze his subject’s life, especially its end. He does this by looking closely — and, given its often-unpleasant imagery, most famously in Salò, or the 120 Days of Sodom, looking unflinchingly —at his body of work, cinematic and otherwise.

Bregstein also talks to Pasolini’s fellow Italian creators, like writer Alberto Moravia, actress Laura Betti, journalist-politician Maria Antonietta Macciocch, and director Bernardo Bertolucci. The word “creator” may suit Pasolini himself better than any other title: in a 53-year-long life, he managed to leave his mark on not just film but poetry, literature, journalism, philosophy, theater, visual art, and politics. Bresgstein also examines the ever-shifting sets of ideas that drove Pasolini to enter so many cultural fields, including a kind of atheistic world-worship and a criticism of how our forms of expression deform our thoughts. We may think of him as a tireless provocateur, but a great deal of Pasolini’s motivation to shake us all up came out of his infatuation with the philosophy of language, whether applied to Italian, English, or cinema itself.

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Les travestis pleurent aussi – (France, 2007)


Transvestites Also Cry (Travestiţii plâng şi ei)

0 miasemaquille-300x240Paris. In a small side street, seconds away from the Place the Clichy, two dirty and dingy hotels face one another. Behind their facades, the lives of marginal transsexuals from Ecuador take place. They all work as prostitutes in the Bois de Boulogne.

Among them, we meet „Mujeron”, (the „Big Woman”, in Spanish), a former boxer who chose prostitution and a solitary life in order to survive and help his family back home. We also meet the exuberant and ironic „Romina”, who seems to have made her dreams come true thanks to prostitution: a woman’s body, a housewife’s routine, a small flat and some money. Two parallel existences that are apparently poles apart but will in fact unite in one tragic ending. Both light-hearted and tragic, switching from flirtatiousness to misery, from optimism to fatalism, the story of Romina and Mia balances between joyful complicity and solitary distress.

Dans une petite impasse près de la Place de Clichy, se dressent face à face deux hôtels glauques comme tant d’autres dans ce quartier. Derrière ces façades anonymes, se cachent les vies marginales de plusieurs transsexuels d’origine équatorienne qui se prostituent au Bois de Boulogne, dont Romina et Mujeron. Entre optimisme et fatalisme, légèreté et souffrance, culpabilité et fierté, le parcours de Mujeron et Romina passe de la complicité joyeuse à la détresse solitaire.

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Harsh Beauty – (India, 2005)


88160276_59c25ab8a5_m HARSH BEAUTY (Hindi and Tamil w/English subtitles) – Existing as they have for centuries, the Eunuchs (or Hijra) are considered the third gender, neither men nor women.Harsh Beauty follows over a period of 3 years the lives of Jyothi, Usha and hira bai, three Eunuchs who live openly as women, and want to be accepted as their true selves.

This one hour documentary uses a verite approach, creating intimate and personal accounts of their lives, without presenting an anthropological perspective. Set against the vibrant energy of the Indian metropolis, Harsh Beauty takes a glance into a society rarely seen and often misunderstood.

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