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All Critics (131) | Top Critics (38) | Fresh (130) | Rotten (1) | DVD (2)
Dynamically shot and paced like a thriller, the film has the density and moral prickliness of a good novel.
These people seem so real they might live next door. And they probably do.
Very few movies capture as convincingly as A Separation does the ways in which seemingly honorable decisions can lead to interpersonal conflict -- even disaster.
To say the piercing Iranian film A Separation is about divorce is a bit like saying The Wizard of Oz is about a pair of slippers.
"A Separation" moves beyond one couple's sundering marriage to reveal growing rifts between generations, ideologies, religious mind-sets, genders and classes in contemporary Iran.
"A Separation" is a great movie, a look inside a world so foreign that it might as well be another planet, yet so universal that its observations are painfully familiar to anyone, anywhere.
If any one film can re-inject life into an entire national cinema, it's A Separation.
You may also find that some aspects of this very foreign story seem disturbingly not all that foreign.
An outsider could see these characters as misguided. That's not the reality however. Farhadi slips us into their shoes and we appreciate each of their perspectives.
Asghar Farhadi has written a superb screenplay and directs it with equal brilliance. He has managed to make a film that says something about the state of affairs in his Iran and weaves that message into an engrossing tapestry of mystery and drama.
The complex realities of human emotions and experience are more than sufficient to carry a film, and Farhadi doesn't let fussy direction or attempts to be overly clever get in the way of letting this brilliant, quietly insightful story unfold.
A clarion cry that cuts through the xenophobic clutter and the dense fog of war to show that not everyone "over there" is a boogeyman waiting to jump out of the closet. If that sounds terribly simplistic, just consider where we live.
A Separation is more than a character study; it's a deftly plotted drama that unfolds layer after layer and will leave you asking all kinds of questions about your beliefs and moral judgments. Fascinating stuff.
The story has no winners, and the daringly ambiguous ending defies simple conclusions. Even the title can be taken multiple ways.
The movie opens the door on a foreign culture, yet the people do not seem that dissimilar. .... They deal with some of the same struggles ... -- generational and class conflicts, ideological differences, and connecting and communicating emotionally.
A devastating portrait of two families in crisis, with their class differences representing the title's true 'separation.'
"A Separation" deals with some very murky issues, but it does so with astonishing clarity.
The movie is a singular mix of the foreign and the familiar, but is it the best 2011 film in the whole wide world? A 99? I can't say that I concur with my colleagues on that score.
A Separation explores how presumed social norms are extremely tenuous and how threats to these almost illusory ideas can threaten our sense of personal security.
Farhadi does not talk down to his viewer, and he trusts his audience to make their own decisions.
The performances and direction match the sharply observed screenplay, which is layered and nuanced, never settling for the pat answer. Indeed, it avoids answers as much as it can, giving audiences a far more interactive experience than most films
Thought provoking and powerful drama. One action becomes the trigger for the unravelling that filmmaker Asghar Farhadi explores: secrets, lies and truths are exposed
a brilliant, mesmerizing drama, incredibly well-acted by its ensemble cast
One of A Separation's many virtues is the way it gradually reveals, Rashomon-like, the complicated facts, half-truths, and lies that each character tells for perfectly legitimate reasons.
More Critic ReviewsSource: http://www.rottentomatoes.com/m/a_separation_2011/
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Marketing for non profits is a broad topic with room for many alternate approaches. Which approach to choose really depends on which marketing channel you are targeting, and you should adapt the message as well as the language you use to fit with the style of the media platform. Some of the tools you could use for marketing include social networking for business, email marketing and search engine marketing.
Another important tip is to make sure that your issue is clearly communicated in your marketing content, and that the issue you choose to focus on can attract a broad base of support. The best nonprofit marketing campaigns are cohesive rather than a haphazard series of unrelated communication attempts.
Your campaign should be structured in a way where each new channel and marketing piece adds a unique contribution to the overall theme. These tips and many more can be found in a new book called The Art & Science of Multichannel Fundraising.
Source: http://matthewalberto.com/2012/03/tips-on-marketing-for-non-profits/
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Different makeup brushes. There are lots of different makeup brushes that you have to acquire in order to complete your makeup kit. These brushes are usually categorized depending on the part of the face they would be applied to. Some of them would be the face brushes, the lip brushes, the eye brushes, and some are called special brushes.
What you can do with thin eyebrows. If you have thin eyebrows naturally or due to over plucking, you can make use of different types of eyebrow fillers for it. One example of it would be the eyebrow pencil, which you can use like you are drawing individual hairs, to compensate your lack of eyebrows. Don?t apply too much pressure though, since it would appear unnatural.
Applying a dark eyeliner properly. Applying a dark eyeliner can be tricky, since it can make your eyes look smaller if not done right. To make sure that you can emphasize the beauty of your eyes, the dark eyeliner should be applied on the lower lash line, instead of the inner rim of your eyes. Don?t extend it to the inner corner, since it would make your eyes shrink.
In shaping your eyebrows. One of the things that you need to remember about shaping your eyebrows is that, they don?t have to look like twins. They should look more like sisters, in which they should complement with each other. Aside from that, you should not over pluck since it can take some time to grow your eyebrows back.
If you want to hide some bad circles that are present under your eyes, then you want to make use of a liquid concealer. A liquid concealer is very easy to apply, since you can even use your fingers for it. Aside from that, it is very effective in hiding even the darker blemishes.
Wearing makeup at work. When you wear makeup at work, you should stick to neutral colors, when it comes to your eyes. Earth tone eye shadows would look great with your office attire. For your eyeliner, you can choose one that has a gray or brown color to achieve that beautiful and professional look.
Wearing a lip liner if you are a guy. There is nothing wrong if you wear a lip liner if you are a guy, especially if you perform on stage. In fact, there are even real men who wear lipstick on a regular basis. If you want to try it out though, one of the things that you need to take note of, when buying the lip liner, is to choose something that is a bit darker than your normal lip color.
Makeup for the bride. Since it is going to be one of your most memorable days, you want everything to be perfect, including your makeup. Therefore, for your bridal makeup, you should not follow the trends, since they usually come and go, and you may not be sure if it would suit you best. Go for a more classic look, so that you would smile every time you check out your photos years after.
Choosing the right eyeshadow for your eyes. When choosing the color of your eyeshadow, you should consider the color of your eyes. Thus, if you have blue eyes, then choosing the right shade of blue should help you enhance your beautiful eyes. To make sure that the shade perfectly matches your eye color, bring a friend with you when you shop for it.
All Natural Makeup Best All Natural Makeup
Source: http://newhealthandfitness.org/2012/03/06/natural-makeup-application/
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'Arthur Levine: Paintings and Drawings' Where: College of Staten Island Gallery, Center for the Arts 2800 Victory Blvd., Willowbrook; www.library.csi.cuny/edu/artgallery
When: Monday to Thursday, noon to 4 p.m; Saturday, noon to 3 p.m.
How much: Admission is free.
STATEN ISLAND, NY -- As one-man shows go, ?Arthur Levine: Paintings and Drawings,? up this month at the College of Staten Island Gallery, isn?t broad, although it is deep.The artist, a painter for 50-plus years now, is happy investigating a six-item to-do list: Ships, planes and castles, sea, sky and earth.
It gives him plenty of options. His modest-sized pictures are deceptively wide windows on a private realm of interactions and colorful dramas, space and light.
Levine is painter of some note. He is represented in the collections of the Museum of Modern Art, Art Institute of Chicago and Walker Art Center.
In a show of drawings and paintings, he comes off as two artists. One is a draftsman who draws very precisely from nature; the other a painter (acrylic on wood panel) with abstract expressionist tendencies and a predilection for imaginative, emotional presentations rather than real ones.
In his world of mostly European vistas, romantic chateaus cruise the dark countryside like battleships, and battleships, so bright they appear to be lit from within, ride seas so dark they almost look solid.
The surface of the paintings may well be more interesting than the subject matter. It?s a matter of textured layers with a intertwined patterns, strokes and colors. The palette is lush, saturated, almost gaudy at times.
In one small (8x13-inch) piece, ?Airplane? (1986), a small, gray vintage aircraft floats in an atmosphere made of jeweled dust motes, so bright with color and movement, it almost scintillates.
Elsewhere, a sky (or the sea) might have stretches of darkness alternating with flashes of light and bursts of colored. Lush, gilded greens pulse overhead in ?A Russian Buoy Tender.? Some Levine skies bring the first line of novelist Thomas Pyncheon?s ?The Crying of Lot 49? to mind: A screaming came across the sky.
The artist has a long history at CSI. He established the school?s original art department ? he was the sole faculty member ? in 1967, at the former Richmond College in St. George.
His fascination with boats and sea-going started nearly 20 years earlier. It was 1950 and he was crossing the Atlantic aboard the original HMS Queen Elizabeth.
?There was an announcement that in 20 minutes we?d be passing the Queen Mary (another liner),? he recalled last week. ?So, sure enough in a little while, I could see a dot on the horizon that got larger and larger.?
What he liked about ships, and later, castles, he came to realize, ?was the way the form builds up, to the funnel or the towers. It reminds me of a Rembrandt, the way the image builds to the apex. That?s the formal idea.?
Boats became too much of a good thing, eventually. ?I was getting fidgety and edgy, maybe it was too many boats,? the painter said last week.
Other imagery, planes and castles, began to recommend itself. He noticed at some point that castles inhabit the landscape in the same way that boats occupy the sea. His ?Alcazar,? (the huge Spanish medieval complex outside Sevilla) ?steams towards us, all the way from the horizon line,? writes Patricia Baum in the brochure that accompanies the exhibition.
Much of the time, ambiguity rules. In one painting, ?A Liberator Over the Western Desert,? a bombshell is exploding in the lower part of the panel, but you have to that to see it. Otherwise it might be just a whirling little sand devil.
People aren?t part of the Levine?s world, except for one airplane painting in which vague figures, a pilot and passenger, are discernible.
It?s a strategy. With no one in the picture, there?s room for the viewer.
FLORENCE AND RED HOOK
For his paintings, Levine may use photographs and/or projections to establish imagery. Painting takes place in the studio.
Drawings happen differently. He produces them in plein air (outdoors), looking at whatever he?s drawing. In his case that could mean a hillside above Florence, a high window overlooking Red Hook in Brooklyn, someplace outside the town of Autumn, France.
No matter the location, the drawings are finely done, precise and formal, without shading. Somehow, the artist manages to suggest light hitting the walls and roofs, a difficult trick in a world without shadows.
The license exercised in the paintings is absent. The works on paper draw their power from restraint and precision.
Source: http://www.silive.com/entertainment/arts/index.ssf/2012/03/arthur_levine_paintings_and_dr.html
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