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Based on the Margaret Edson play, Vivian Bearing is a literal, hardnosed English professor who has been diagnosed with terminal ovarian cancer. During the story, she reflects on her reactions to the cycle the cancer takes, the treatments, and significant events in her life. The people that watch over her are Jason Posner, who only finds faith in being a doctor; Susie Monahan, a nurse with a human side that is the only one in the hospital that cares for Vivian’s condition; and Dr. Kelekian, the head doctor who just wants results no matter what they are. (imdb)
Emma Thompson delivers a brave, heartfelt, and punishing performance in this poignant film, chosen as the closing night gala at this year’s Edinburgh Film Festival. The role of Professor Vivian Bearing, a renowned lecturer diagnosed with advanced ovarian cancer, requires Thompson to sacrifice her hair, and her dignity, for a role most actors would give much more than that for. But while this faithful adaptation of Margaret Edson’s off-Broadway play is an ideal vehicle for its star’s dramatic and comedic talents, its main preoccupations – poetry and death – make it a tough slog for viewers.
Edson’s primary conceit is to have Thompson’s rigid spinster academic – a woman who has dedicated her life to the mysteries of John Donne’s sonnets – placed at the mercy of an efficient but unfeeling medical establishment. Advised by her physician (Christopher Lloyd) to endure crippling bouts of chemotherapy, Vivian finds her formidable intellect counts for nothing in an environment that regards her merely as a research tool. Too late perhaps, Vivian realises a little kindness goes a long way.
Director Mike Nichols makes few attempts to open out Edson’s original play: most of the action takes place around Vivian’s hospital bed, with Thompson speaking directly to camera in an overtly theatrical fashion. In some cases this might be a weakness, but here it seems fitting for such an intimate piece. Sadly the film’s admirable restraint eventually gives way to a lachrymose mawkishness which will have one half of the audience wiping their eyes and the other reaching for the sickbag.
After two years in London following the dramatic death of his best friend, Hache (played by Spanish heartthrob Mario Casas) returns home to Madrid to start a new life. When he meets the independent, no-nonsense and ambitious Gin (Clara Lago), Hache finally believes he can fall in love again. When Hache starts work on a television production that Gin is dancing in, their romance blossoms and their sexual tension is palpable!
However, forgetting his first love Babi (María Valverde, Madrid, 1987 – SFF2012) won’t be easy, and when he meets Babi again by chance, everything falls apart. Temptation leads to dramatic consequences and Hache will be forced to make a decision that may not be the right one.
The very handsome audience favourite Mario Casas reprises his role of the dashing young man in love, this time with just a little more melancholy behind his soulful eyes. Clara Lago brings a welcome fresh spirit to the franchise as the no-nonsense and ambitious Gin, and director Fernando González Molina keeps the story of rebellion and romance in top gear.
Birkaç seneliğine Londra’ya taşınan Hache, Barcelona’ya döndüğünde hiçbir şeyi bıraktığı gibi bulamaz. Kendisi de dahil olmak üzere birçok şey değişirken, aynı kalan tek şey Babi’ye duyduğu aşktır. Ne var ki Babi bu süreçte hayatını yeniden inşa etmeye koyulmuş ve başka biriyle nişanlanmıştır. Bunu öğrenen Hache de böyle bir karar alır ve arkadaşları, işi ve çevresi olmak üzere her şeyi değiştirmeye başlar. Gin isimli kendine oldukça benzeyen bir kadınla tanışır ve aralarında uyumlu bir ilişki başlar. Ancak bir partide karşılaştığı Babi, onu şaşkına çevirir ve aklını karıştırır. Hache artık hiçbir şeye ya da hiç kimseye inanmadığı bir döneme girmiş; zamanını ise güçlü olmaya çalışarak geçirmeye başlamıştır…
Richard O’Barry was the man who captured and trained the dolphins for the television showFlipper. O’Barry’s view of cetaceans in captivity changed from that experience when as the last straw he saw that one of the dolphins playing Flipper – her name being Kathy – basically committed suicide in his arms because of the stress of being in captivity. Since that time, he has become one of the leading advocates against cetaceans in captivity and for the preservation of cetaceans in the wild. O’Barry and filmmaker ‘Louie Psihoyos (I)’ go about trying to expose one of what they see as the most cruel acts against wild dolphins in the world in Taiji, Japan, where dolphins are routinely corralled, either to be sold alive to aquariums and marine parks, or slaughtered for meat. The primary secluded cove where this activity is taking place is heavily guarded. O’Barry and Psihoyos are well known as enemies by the authorities in Taiji, the authorities who will use whatever tactic to expel the two …(Imdb)
The Cove begins in Taiji, Japan, where former dolphin trainer Ric O’arry has come to set things right after a long search for redemption. In the 1960s, it was O’Barry who captured and trained the 5 dolphins who played the title character in the international television sensation “flipper.”
But his close relationship with those dolphins – the very dolphins who sparked a global fascination with trained sea mammals that continues to this day — led O’Barry to a radical change of heart. One fateful day, a heartbroken Barry came to realize that these deeply sensitive, highly intelligent and self-aware creatures so beautifully adapted to life in the open ocean must never be subjected to human captivity again. This mission has brought him to Taiji, a town that appears to be devoted to the wonders and mysteries of the sleek, playful dolphins and whales that swim off their coast.
But in a remote, glistening cove, surrounded by barbed wire and “Keep Out” signs, lies a dark reality. It is here, under cover of night, that the fishermen of Taiji, driven by a multi-billion dollar dolphin entertainment industry and an underhanded market for mercury-tainted dolphin meat, engage in an unseen hunt. The nature of what they do is so chilling — and the consequences are so dangerous to human health — they will go to great lengths to halt anyone from seeing it.(Mubi)