(J. Dayton, V. Faris, 2006) DONNIE DARKO 
The Hoover live in Albuquerque, New Mexico. Olive, the youngest of the family, has just received the news to the competition of Little Miss Sunshine in California. The whole family away games to accompany it. There is nothing strange if it was not a heroin sniffer grandfather, an uncle just returned from an attempted suicide, a father of mad motivator, a brother who makes a vow of silence to enter aviation, quiet and a mother struggling with all a yellow Volkswagen van and bad.
The sheer wildness of genius is embodied in the grandfather (Alan Arkin). Lively and out of the choir, a spokesman for a scathing and personal wisdom, antithetical to his son, systematic and tedious. Theoretical a manual for success, but absolutely bankrupt, Richard (Greg Kinnear) does not understand the sacrifices that you absolutely submit the son Dwayne (Paul Dano) who has a remarkable strength of character (and an implacable hatred towards anyone), is a friend of her uncle (Steve Carell), a fascinating scholar, but just as SFOR
tunato. In all this, to make the glue is small, sweet, Olive (Abigail Breslin), coccolatissimo flagship of the family, and his mother Sheryl (Toni Collette), with an admirable restraint.
The directors Jonathan Dayton and Valerie Faris, best known for directing music videos (one on all the fantastic video for
Tonight Tonight Smashing Pumpkins the group for not list the numerous collaborations with Red Hot Chili Peppers, REM and many others) and collaboration in television series debut with a first feature film triumphs at the Sundance Film Festival
. Mix together perfectly the eccentricities of the characters, leaving the shadowy connotations overly dramatic, without sinking to their diseases. As in a video (the soundtrack is just perfect and could not be otherwise) the rhythm feed the feelings of the characters voice and harangues, and the horn of the van also became part of the ego
monia general. And life is painted just like that, grotesque, unpredictable, sad, funny, self-centered.
Although many have found an open complaint America climber, always the first in the standings and haunted by the anxiety of failure, I suppose the opposite. The film breaks down America's facade to reveal, on balance, a genuine background
that lurks on the other side of the show but even more bizarre and brilliant. The final dance is an illustration of Olives. Breaking all expectations, attracts the attention of the audience and in front of the screen, a time when all traces back scattered along the path in a diegetic liberating dance for the nice family around her. Everything back in place, and forget in a moment of misfortune just survived, and ultimately, morality is and can be summed up with a phrase that gives a few decades before Gene Wilder in the role of Willy Wonka (
Willy Wonka & the Chocolate Factory , M. Stuart 1971):
"something foolish from time to time helps man to live by magic"
RECIPE
This time the connection between the recipe and the film is less subtle, and you'll understand why.
FRIED CHICKEN 1 chicken
beaten egg Salt Pepper
Breadcrumbs
Olive Oil
leaves 2 bay leaves
1 sprig rosemary Cut the chicken into pieces (not too thick), dipped in beaten egg with salt and pepper and then in bread crumbs, then fry in oil when you put two bay leaves and a sprig of rosemary .
http://www.ricetteamericane.com/
This is a recipe taken from the site BOOK OF RECIPES 
Mark Zuckerberg (Jesse Eisenberg) is studying at Harvard, labeled a nerd, does not have many friends. When his girlfriend leaves him, in spite of her writing on her blog and create a site, Facemash , which publishes pictures of girls stolen archives university and invited to vote for the most sexually attractive. In just two hours of hits that gets miliaia will cost you a fine university, but an immediate reputation on campus. Approached by two wealthy students with the proposal to create a social network elitist, Zuckerberg had the idea to create one open to all. Thefacebook is a quick success, but it will cost Mark a long process for the allocation of rights and will be gradually enriched by the employment of many donors and collaborators (among them, absolutely worthy of praise, Justin Timberlake in the role of Sean Parker, creator of Napster ). But will invent a site where you connect to friends, to have friends?! 
Engine facebook comes from the desire to know everything (or at least everything that is on the surface) of friends and acquaintances. A fictitious reality that becomes the only knowable. Zuckerberg is a voyeuristic desire to rein in the name of a channel of social assumptions. Fincher built the first film to put in the middle of internet history. prefers a visual narrative on the basis of the characters, a centripetal force gradually leads Zuckerberg and the apex of the spiral structure, as employees are not, her picture takes shape becoming more ambiguous. Flash back to real life fit into the plot of a tight and finely articulated process in the script Aaron Sorkin, and as the story reaches its climax, the investigation of the character delves deeper and deeper until the last image of Zuckerberg, who is only that of a boy: waiting for Erica accept his friend request, when it would be more correct to apologize. 
Potiche (F. Ozon, 2010). 
a gaudy color photography enhances everything about the existence of saccharine Suzanne. 
ion on why they chose "philological" to respect the original time setting. 
to, at most steals the master to teach him a lesson. But in the world sugar and bourgeois Madame Pujol workers have no access. Even the political victory of the lady is too absurd to be taken into account. A woman win municipal elections in the seventies, is a good message. But this, dressed in mink patent leather shoes, say do not worry because all of France become like me, then the initial high hopes that this consideration is not bitter. Suzanne embodies all the way middle-class hypocrisy that throughout the film pretends to denounce. 
n-transposition embarrassing builds on the story "Baster," the Pulitzer Prize writer Jeffrey Eugenides. Played on the principles of the usual romantic comedy, it comfortably while still in midair moments of takeoff potential. 
Enda paths potentially hilarious, maintains always an aura of correctness that may not fall into the vulgar. In a comedy packed in such a linear way, though, the lack of improvement of situation comedies, born in the comparison of the salient features of the characters taken to extremes, leaves her in a sympathetic limbo, where they spoke nothing but lies to impress however, in a feeling of pleasure. Whether or not the happy ending, the latest developments of the story leave you unharmed who has penetrated. 
tunato. In all this, to make the glue is small, sweet, Olive (Abigail Breslin), coccolatissimo flagship of the family, and his mother Sheryl (Toni Collette), with an admirable restraint. 
monia general. And life is painted just like that, grotesque, unpredictable, sad, funny, self-centered. 
that lurks on the other side of the show but even more bizarre and brilliant. The final dance is an illustration of Olives. Breaking all expectations, attracts the attention of the audience and in front of the screen, a time when all traces back scattered along the path in a diegetic liberating dance for the nice family around her. Everything back in place, and forget in a moment of misfortune just survived, and ultimately, morality is and can be summed up with a phrase that gives a few decades before Gene Wilder in the role of Willy Wonka ( Willy Wonka & the Chocolate Factory , M. Stuart 1971): 
