El anuncio cuelga en Beirut y los sentimientos son encontrados; con dificultad se contiene la ira cuando ya no hay nada. Nada queda entre el polvo. Polvo eres ya, y sirves para los titulares; fuiste el propósito del odio. Es odio y es simple y es odio y es impotencia. Impotentes ahí, todos menos el artista... y ¿el publicista?

En vigilancia a la licencia poética nada oportuna, este es el texto a propósito de haber descubierto la imagen vía | Blogging Beirut.

I was able to watch, for the first time the 2002 and 2004 films of Reine Mitri.

I am absolutely dazzled for many reasons. The first and less important, is that I was the only one at the Reggio di Calabria Festival of Film Societies who had not seen them all; therefore I was missing an important trait of brotherhood at the place.

But second (and mainly), due to the fact I was left speechless after this terrific doze of intimacy and outbursting depiction of community energies; a set of radical film essays about sweet and fierce inner thoughts that confront their surroundings. Invisible vexations?

One of the most amazing facts and factors that I should point, is how much energy could a DV film making device can bear at the right hands. I am not commenting much at this blog, specially because I am totally comitted to write something longer someday; but I will like to sketch a note about the film The sound of footsteps on the pavement:

contemporary revolutions not only in the middle east but at every transitional and non transitional economy, will be won by the ones behind the lenses, the sounds and the words. Thank you Ms. Mitri for this freshness and energy, bringing back life to the genre.

--- Watching Querido on board of a coaster train heading north, to Naples, was obviously impossible... landscape stole me two things: attention, and the steadiness to enjoy... two little tears this short film got from me... I watched them lots of times thereafter.