O poema apresenta uma imagem paradoxal e inquietante: a
«cela» encontra-se dentro da própria mão, sugerindo que a prisão e a liberdade
dependem do indivíduo. A chave simboliza a possibilidade de libertação, mas
também a responsabilidade de agir. Com linguagem extremamente concisa, o poema
questiona os limites entre aprisionamento exterior e interior, convidando à
reflexão sobre medos, escolhas e autonomia pessoal.
The painting transforms
a recognisable Spanish landscape into a vivid Surrealist vision. Dominated by
fiery reds, oranges and yellows, the painting presents rocky forms, hills and
the village in a dreamlike, almost organic composition. Two striking roosters
emerge from the foreground, blending mysteriously with the terrain. Masson
creates double images, including a crocodile-like form among the rocks. The
result is a dramatic landscape where nature, imagination and symbolism merge.
apalpar
os colhões de uma equipa inteira de futebol
chupar
pilas em troca
de
rosas
pastilhas
100
frases.
Desenhar
o inferno só com uma linha,
com
a voz mais porca e mais doce.
Sim,
eu queria ser como Marilyn
E
como tu e tu
Como
a porteira
Até
a minha mãe.
Mas
definitivamente,
é
claro,
algo
correu
mal.
Tradução
de A.M.
O poema parte da figura icónica de Marilyn Monroe para
explorar o desejo de ser outra pessoa e a distância entre aparência e
identidade. A admiração pela atriz transforma-se numa reflexão sobre beleza,
fama e reconhecimento, mas também sobre a fragilidade escondida por detrás do
mito. O tom é simultaneamente confessional e irónico, revelando uma consciência
crítica dos modelos femininos impostos pela sociedade.
Every hull in this harbor was towed
out for scrap,
Stamped and forgotten and left off
the map.
But the rope found the rope and the
board found the nail,
And a town grew up out of everything
that failed.
Now there's smoke in the morning,
there's bread on the line,
And a door that still opens at a
quarter past nine.
The paint's coming off, well, so is
mine.
We're getting along just fine.
Rust don't mean ruined, old don't
mean done,
The tide still lifts us, every last
one.
They wrote us off, but the water
never did.
Rust don't mean ruined, old don't
mean done.
Miss Ada came out here at sixty-five
or so,
Said the world quit waving, so she
let the waving go.
She's mending the same coat she's
mended for years,
One brass button still on from her
wedding day.
And she'll tell you a patch is just a
place that held on,
And she'll pour you a cup before you
ask.
We don't throw much away out here,
Not a coat, not a boat, not a year.
Somebody asked me, don't it hurt,
being left behind?
I said, friend... we weren't left.
We were let go. There's a difference.
I used to think growing old meant
learning what to leave.
Turns out it's learning what's worth
carrying.
And every light in this town is still
on.
Rust don't mean ruined, old don't
mean done,
The tide still lifts us, every last
one.
If your hands look older, if your
days run long,
Rust don't mean ruined. Come on. Sing
along.
Rust don't mean ruined... old don't
mean done.
They towed us out here to be sold for
scrap...
and we built a town instead.
"The Floating Town is a surreal AI film and music
video series set far out on the open water - an imaginary settlement made from
about a hundred old ships that had finished their working lives. Ferries,
trawlers, coal barges, tugboats, one great listing passenger liner. Out here
they found each other. Rope to rope, board to nail, until they were something
new: a home inside a rusted hull, a garden growing out of an old lifeboat, a
warm window in the fog.
Everyone here is past sixty. Their coats are
patched wool and oilskin, mended for decades, with brass buttons and rope worn
as jewelry. Nobody hurries, because nobody is being timed. They're the kind of
neighbours who know exactly when to knock and when to just leave a chair
waiting.
They share their decks with gentle animals every
bit as old and as odd - woolly sea-cows, long-eared seabirds, a plump dragon
the size of a house cat, one enormous sleepy snail who will not be rushed. It's
all graded like a faded 35mm feature: burnt orange, tobacco brown, oxidized
teal, sea fog grey. A peaceful, fictional world about community, craftsmanship
and things worth taking care of.
Somewhere in the second verse of the song, a
woman walked in that I hadn't planned for. Her name is Miss Ada. She's still
wearing the coat she's been mending for years - with one brass button left on
it from her wedding day. She'll tell you a patch is just a place that held on.
She'll pour you a cup before you ask."
Emil Nolde’s Frisian
Houses II presents a vivid, expressive view of traditional houses in the
Frisian landscape. Bold colours, strong contrasts and simplified forms
transform the rural scene into an almost dreamlike composition. The intense
reds, yellows, blues and greens create emotional energy rather than
naturalistic description. Nolde’s vigorous brushwork and distorted perspectives
emphasise the primitive, atmospheric character of the architecture.
E
hei-de partir com o sol, quaando a tarde morrer..."
conste
porém que a tarde não morre,
é a
noite que a mata,
e eu
empresto-lhe a faca.
Tradução
de A.M.
Original:
"Entonces
yo darée la meedia vuelta.
Me
irée con el sol cuaando muera la tarde..."
pero
que conste que la tarde no se muere,
siempre
la asesina la noche,
y yo
le presto el cuchillo.
O poema apresenta o amor como experiência intensa, inquieta e
simultaneamente vulnerável. A linguagem poética aproxima o sentimento do eterno e da traição. "a tarde não morre" e deveria morrer. Há amores, assim!
Invoking the sound of
the Dubliners and the Pogues with a touch of the Dead Kennedys is the Irish
folk group The Mary Wallopers. As a three-piece ballad group, they travelled
Ireland singing and collecting songs. Frost Is All Over is their first
single from their debut album, coming this autumn, and is a traditional Irish
song about taking everything in your stride and not caring about what everyone
says you should care about.
The painting portrays
an elderly woman seated beside a road, carrying a large bundle on her back.
Wrapped in a shawl, she appears weary and resigned, her posture conveying the
weight of age, poverty and hardship. A distant Scottish landscape stretches
beneath a subdued, cloudy sky, intensifying her isolation.
O poema apresenta o amor como força capaz de transformar e
fazer crescer o indivíduo. O sujeito poético estabelece uma relação simbólica
entre o desenvolvimento pessoal e o movimento de um rio: enquanto o amor é
apenas dirigido para si próprio, existe estagnação; quando surge o desejo de
amar e ser amado, a corrente começa a fluir. A linguagem simples e depurada
reforça a clareza da mensagem, enquanto a metáfora do rio traduz a passagem da
solidão para a abertura ao outro, sugerindo que amar é também começar
verdadeiramente a viver.
Os versos exprimem a dor de um amor marcado pela
impossibilidade e pela renúncia. O sujeito poético reconhece que a presença da
mulher amada ilumina a sua existência, mas sente-se incapaz de lhe oferecer
mais do que sofrimento. A «exaustão» simboliza o desgaste emocional provocado
pelo desejo, pela ausência e pela consciência da perda. A linguagem é
intensamente lírica, recorrendo a imagens de luz, noite, mar e natureza. Assim,
o amor transforma-se simultaneamente em esperança, memória e profunda solidão.
Richard Linklater’s Before Midnight revisits Jesse and Céline almost two decades after their
initial encounter, exploring the complexities of long-term partnership. The
film delves into the challenges of sustaining intimacy and individuality within
a marriage, examining how past romantic ideals confront present-day realities
and disillusionments. It asks whether love, in its mature form, can reconcile
the dreams of youth with the demands of an evolving life together.
Shot by Christos
Voudouris with a naturalistic aesthetic that mirrors the raw honesty of its
dialogue, the film often employs long takes, allowing conversations to unfold
in real time. This unvarnished style grounds the philosophical discussions in a
tangible reality, with the sun-drenched Peloponnesian landscape providing a
poignant counterpoint to the characters' internal struggles and the shifting
light reflecting the changing moods of their exchanges.
La Famille LeBlanc est
un groupe de musique traditionnelle originaire de Tétagouche-Nord (Bathurst) au
Nouveau-Brunswick, au Canada. Composé de parents et de leurs trois filles, la
famille LeBlanc interprète des airs du 19e siècle profondément enracinés dans
les traditions acadiennes et celtiques — des trésors musicaux souvent méconnus
des autres nations celtiques comme l’Irlande, l’Écosse et la Bretagne.
The painting presents
an intimate domestic scene in a Cornish interior, where three women examine
drawings and artworks around a table. Flowers, fruit, teacups and scattered
papers create a lively yet harmonious composition. The women’s contrasting
poses suggest concentration, curiosity and gentle criticism.
Da
pequena tigela de cobre com pedacinhos de gelo ‒
Abre
os olhos sob a água, lava-os ‒
Enxuga-te
com a toalha áspera e lança
Um
olhar num livro que amas.
Começa
assim
Um
dia belo e útil.
Bertolt Brecht apresenta um conselho simultaneamente simples
e profundo: começar o dia com cuidado, lucidez e contacto com a leitura. O
gesto de lavar os olhos e consultar um livro simboliza uma preparação para ver
o mundo com maior clareza. A atriz deve cultivar não apenas o corpo e a
técnica, mas também a inteligência e a sensibilidade.
O poema apresenta a árvore como símbolo de quietude, silêncio
e equilíbrio. O sujeito poético imagina uma árvore larga, alheia ao movimento
dos pássaros, dos animais e da inquietação, que cresce não apenas em altura e
espessura, mas sobretudo em serenidade. A intenção de plantar uma «árvore de
silêncio» traduz o desejo de encontrar um espaço interior de paz e
contemplação. Os frutos tornam-se promessa de uma recompensa futura, recebida
através da espera paciente e da aceitação do tempo.
On a remote island,
Andreas Winkelman lives in solitude, nursing the wounds of a broken life. His
quiet isolation is interrupted by three disillusioned neighbours, each
concealing their own private misery. The film interrogates the fragility of
human identity, observing how individuals project their internal fragmentation
onto one another. It is a rigorous examination of the impossibility of
achieving true intimacy when one is fundamentally estranged from the self.
The grave of Ingmar and
Ingrid von Rosen Bergman, Ingmar’s wife, is located on the picturesque island
of Fårö, located in the Baltic Sea, a few kilometers north of the Swedish
island of Gotland.
The renowned filmmaker
Ingmar Bergman chose Fårö as his home, where he directed his iconic films:
Vargtimmen (Hour of the Wolf), Skammen (Shame), Persona and En Passion (The
Passion of Anna). He also filmed parts of Scenes from a Marriage on the island.
Ingmar Bergman passed away on Fårö on July 30,
2007.
It’s time for holidays,
15 days to rest as in this painting. Krouthén presents three women resting and
reading peacefully beneath the trees. Sunlight filters through the foliage,
creating delicate contrasts between luminous grass and cool patches of shade.
The relaxed poses and intimate setting convey tranquillity, leisure and quiet
companionship. Harmonious celebration of nature, reading and contemplative
simplicity are also waiting for me in Sesimbra, near Lisbon. Bye.
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