Again My Life (2022) English Subtitles |TOP|

Spanish w/ English subtitles. Cary Fukonagua (Honduras, Mexico, USA), 2009. >>> Honduran teenager, Sayra, reunites with her father. seeing an opportunity for her to realize her dream of a life in the U.S., Moving to Mexico is the first...

Again My Life (2022) English subtitles

THE STORY rippled across social media, setting off guffaws from art critics and journalists, an eyebrow-raising international headline with precious little real information attached: Investigation ordered over movie with sex scene at Acropolis. The film was called \u039E\u03B5\u03C0\u03B1\u03C1\u03B8\u03B5\u03BD\u03CE\u03BD (Departhenon), a pun on the \u201Cdeflowering\u201D of the parthenon, in Athens - the original etymology of the storied structure\u2019s name being a reference to the virginity of the goddess Athena. There, somehow, an anonymous artist collective managed a feat which was logistically and politically impossible: filming a real-life sex scene at one of the most treasured still-standing historic sites in the world. The AP article quoted the collective, but only insofar as describing the Parthenon as representing \"nationalism, the cult of Antiquity\" and \"patriarchy\", and the footage as \u201Ca political act\". I had questions. Was Departhenon any good? Was the intention for the movie to be banned and thus gain attention online? I was not yet aware that Departhenon was more \u201Cvideo project\u201D than \u201Cmovie\u201D. None of the press coverage indicated that the filmmakers had a wordpress or, indeed, that the full Departhenon was free to view on the open-source site archive.org, complete with English subtitles. Was it a conspiracy to downplay the actual film, or just old-fashioned journalistic oversight? Likelier that, for editors and social media managers, the headline was more interesting than the controversy (to say nothing of the artwork beneath it all.) The phrase \u201Csex scene\u201D usually implies a plotline, a story, a narrative mostly comprised of non-sex scenes\u2026 and/or some level of production value. (One of a great many films I was devastated to miss at this year\u2019s TriBeCa Film Festival was Kristy Guevara Flanagan\u2019s\u2019s Body Parts, which appears to be a deep dive into sex scenes - their ethics and repercussions for actors and actresses, but also how they actually get choreographed and shot.) Then there\u2019s the issue of location shooting: film crews\u2019 takeovers of iconic sites often sees the Heisenberg principle taken to its most extreme logical conclusion, capturing images of famous national/religious symbols at risk of destroying, or at least culturally eroding, the spectacle in question. I enjoyed Paul Benedict Rowan\u2019s recent book about the beleaguered shooting of David Lean\u2019s Ryan\u2019s Daughter, in Dingle, Ireland, a years-long process that turned the island hamlet into a satellite of Hollywood debauchery. In my essay about The Godfather movies I made passing reference to Francis Ford Coppola\u2019s de facto occupation of the Philippines during the making of Apocalypse Now. And my colleague Kevin B. Lee\u2019s astonishing \u201Cdesktop documentary\u201D Transformers: The Premake carefully contextualized the culture shock of Michael Bay\u2019s military-grade occupation of China and Hong Kong during the making of 2014\u2019s Transformers: Age of Extinction, including the infamous incident when two brothers attempted to first extort, then sabotage, the production. Heroes!

Here, the traditional far-right has been fighting against all progressive development. The traditional far-right promotes an anti-feminist, anti-migrant, anti-LGBTQIA+, Christian Orthodox, pro-capitalist agenda. The present government made school classes about Orthodox Christianity compulsory again, yet also seems willing to legislate in favor of rights for women and those who identify as LGBTQIA+. Of course there is a lot of tension, both on social media and within everyday life. A few days ago, at Thessaloniki Pride, some extremist teenagers attacked the parade. It\u2019s important to note that this kind of conservative homophobia is not exclusive to fascists. Personally, I do not like categorizations like \u201Cright\u201D and \u201Cleft\u201D that much, but I find myself using them. The Greek Communist Party does not allow outed gay men to participate in it, and has not voted in favor of same-sex parents. People of all political tendencies, but mostly men, still react to women's emancipation by using some of the well-known terms of the cultural wars you mentioned: mansplaining, body-shaming, slut-shaming, the denial of the term femicide, and so on. Despite all this, I would like to keep in mind a place\u2019s politics are not defined as much by parties as by its people. And there is a strong progressive movement that is gaining ground even if it is constantly attacked.

I care deeply about humanity and the rest of the living organisms of course. It is important that all members of our society are included in it as long as they are not toxic. The more we are and the more diversity we have, if we achieve a level of coordination, the better are the chances for life to continue. Unfortunately, many are marginalized and suffer violence because they do not comply with social rules and norms, even if they harm nobody. This doesn\u2019t apply exclusively to the LGBTQIA+ community, but to all people: women, immigrants, people with disabilities, charismatic people and so on. It is important to understand that the oppressed should not care only about their own particular group but about all the oppressed; otherwise, the fight against oppression will fail. It\u2019s also a matter of rationality; you cannot advocate inclusivity and diversity only in favor of your own group. How can we solve our big issues when we have to argue whether two men can raise a child or not, for example?

As for the second part of the dedication\u2026 It is my principle that I need to focus on what I want, what is my vision, rather than what I am against. We need to fight oppression not just for the sake of reaction, but to make space so that we can live the lives we want. Otherwise we are defined by others, we are not autonomous and we cannot create. And here comes eros. At some point in The Symposium one of the participants talks about the noblest deity Eros, in contrast to the carnal Eros, son of the goddess of love, Aphrodite - a primordial deity who brings all into being. In that sense, eros is the driving force to everything that is important to us: reading a book, shooting a film, having a conversation, sex, whatever. This is how I define eros. We need to have things in which we find joy and meaning - our own meaning - things to fall in love with and to go for. There is no life without eros.Special thanks to , Jez Fielder, Athina Rachel Tsangari, Giampaolo Bianconi and Laurence Bond. Current Mood: Contemplative\u2026 \uD83E\uDD2FCurrent Music: Rage Against The Machine - Freedom 041b061a72