Friday, December 24, 2010

African Dance Makossa

THE ROAD (J. Hillcoat, 2009) are all well

In an apocalyptic future in which the inexorable nature of glaciation dies, a father (Viggo Mortensen) and son (Kodi Smit-McPhee) traveling on foot to the south in the hope to find a warmer climate, struggle to survive hunger and attacks by cannibals.

Based on the novel by Cormac McCarthy, The Road looks like a horror. Defined too depressing to be deployed, arrived very late in Italian cinemas. Draws on more fears based ecological to emerge in an experiment nightmare. It would potentially have seen everything, except that John Hillcoat deliberately renounces the fast-paced horror, to a soundtrack bulky, buxom women running at breakneck speed with his shirt torn to seize the pretext of "gender", tilt, and make it even more distressing and agoraphobic.

An incipit enigmatic foreshadows the disaster, without explaining the cause nor the manner in which the destruction began. The voice of the protagonist mentions the clock stopped after a light in the sky. And then the nightmare. A father and son in a way. Abandoned in an area without horizons, where the traces of memories appear as a single item of punctuation (the wonderful flashbacks in which it appears Charlize Theron as the mother committed suicide), when it seems the camera has forgotten about them. The time and space boundaries are invisible, and the world, painting has no rule. The living are dead and the dead are the fragment of life that was once bright.

Viggo Mortensen is the father. Tried and credible in the metamorphosis physical and emotional expressiveness and rude, it protects the child in the apparent absurdity of being able to be rescued. Although it seems still unable to feel the feelings, lives a modest and religious suffocated. It seems want to declare that in a world that still can be as pure as giving birth to a son, can not but be the hope of finding salvation.

Surely you can label in the vein of "post-apocalyptic," but frighteningly real to make this film is the absence of filters to soften the harshness. The father apologized to his son why the sea is not blue but gray, aware of the guilt of man over nature, can not be expiated. A horror film that has its roots in the sins of mankind, and do not care at all times to distort the narrative in a structure that speaks to the real-time which is coming destruction.

RECIPE
forget that this is an apocalyptic film in which the search for food, heat and petrol are the main engine. Tonight's focus on something completely different. E 'on Christmas Eve. Whether you are Catholic or not, the opportunity to meet with friends and family are always welcome. So, forget the tragedies and a Christmas cake concediamoci Calabria (not the recipe, handed down in my house, because it is a "secret", but that's okay!).
I CANNARICOLI
1 cup extra virgin olive oil
1 / 2 cup white wine
1 / 2 cup sugar
a pinch of cinnamon
white flour as needed
honey jar

Boil all the ingredients except the farina.Lasciare then cool and add enough flour to form a dough hard enough can be laid out with sticks in their hands. Cut as to make the dumplings, a bit bigger and get away with using your fingers to support the bottom of a wicker basket in order not to imprint the pattern on the biscuit decorativo.Friggere in plenty of oil and once drained, preserved, one by one honey just scaldato.Per jam of cannaricoli traditionally used in addition to honey bees also honey, figs or a gelatin obtained from fresh fruit prepared in the summer and preserved until Christmas because of the cannaricoli.

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