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Chynna Highsted

 

Painting

 

Fictional body horror media awoke existential fascination and anxieties regarding mortality within me. These emotions are translated into narratives in my paintings.

The horror genre shows the event of death by excessive violence and bodily destruction and my work explores both of these themes. My comprises self-portraits which combine my love for horror with my own image but also reflect myself and humanity’s inevitable end. Much like death itself this body of work is neutral, I don’t intend for the viewer to feel anything in particular. Instead, this work is a reflection of my emotions and an invitation for the viewer to contemplate theirs.

Historical and contemporary body horror media has resulted in unease over our own bodies. My intention with this project is to explore this discomfort and the bluntness of death and decomposition. Our bodies will eventually betray ourselves through their inability to avoid death and this is the cruel fact of life my paintings represent.

   

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👨‍👩‍👧‍👦 Interpersonal Intelligence

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️ Verbal-linguistic

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️ eXploration / Corsica - Corse (South)

🌟 Corsica - Corse (South)

💫 United States of America/America World

🌌 City/Nature Galaxy

✨ eXploration Universe (️)

📝 Type : Ground eXploration

🎨 Style : eXploration Corsica - Corse (South)

🔊 Language : International (🇬🇧 description in English, but comprehensible by the whole world)

 

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❓ WHY : eXplore South Corsica (Le sud de la Corse)

 

📍 WHERE : South Corsica (Le sud de la Corse) (🇫🇷France)

 

🕓 WHEN : July 2017

 

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My view is that there are three modes of being. I hold that we can directly observe them in elements of whatever is at any time before the mind in any way. They are the being of positive qualitative possibility, the being of actual fact, and the being of law that will govern facts in the future.

 

Let us begin with considering actuality, and try to make out just what it consists in. If I ask you what the actuality of an event consists in, you will tell me that it consists in its happening then and there. The specifications then and there involve all its relations to other existents. The actuality of the event seems to be in its relations to the universe of existents. A court may issue injunctions and judgments against me & I care not a snap of my finger for them & I may think them idle paper.

My second daughter - She was three weeks old here and likely marveling at color/patterns once she could focus.

The pillow she's lying on is on my stomach, so there wasn't much room to position the shot, it was just lucky that it came out OK with the sun coming in through a gap in the blinds.

via Instagram ift.tt/1NlSuHZ

 

Now for Thirdness. Five minutes of our waking life will hardly pass without our making some kind of prediction; and in the majority of cases these predictions are fulfilled in the event. Yet a prediction is essentially of a general nature, and cannot ever be completely fulfilled. To say that a prediction has a decided tendency to be fulfilled, is to say that the future events are in a measure really governed by a law. If a pair of dice turns up sixes five... times running, that is a mere uniformity. The dice might happen fortuitously to turn up sixes a thousand times running. But that would not afford the slightest security for a prediction that they would turn up sixes the next time. If the prediction has a tendency to be fulfilled, it must be that future events have a tendency to conform to a general rule. ‘Oh,’ but say the Nominalists, ‘this general rule is nothing but a mere word or complex of words!’

DINARD is a commune in the Ille-et-Vilaine department in Brittany in northwestern France.

 

Dinard is on the Côte d'Émeraude of Brittany. Its beaches and mild climate make it a popular holiday destination, and this has resulted in the town having a variety of famous visitors and residents. The towns of Pleurtuit and Saint-Malo are nearby and the Dinard Pleurtuit Saint-Malo airport is about 4 km south of Dinard.

 

The Wales national football team used Dinard as its base during UEFA Euro 2016.

 

SAINT MALO is a historic walled port city and commune (with the commune expanded beyond the walls in 1968), in Brittany on the English Channel coastline of northwestern France. It is a sub-prefecture of the Ille-et-Vilaine.

 

Traditionally known for its independent streak, Saint-Malo was in the past notorious for privateering (the "cité corsaire").

Today the city is a major tourist destination, with many ancient structures.

 

👑 Senses : 👀 Vision 👆 To Touch 💃 Proprioception 👂 Hearing Equilibrioception 👃 Smell ♨️ Thermoception

⚡ Intelligences : ️ Spatial Intelligence

⛹️ Kinesthetic Body Intelligence

👨‍👩‍👧‍👦 Interpersonal Intelligence

🌲 Ecologicalist Naturalist Intelligence

🔭 Existential Intelligence

 

📋 WHAT :

️ eXploration (15) Dinard & Saint Malo

🌟 Dinard & Saint Malo

💫 France/Europe World

🌌 City/Monument

✨ eXploration Universe (️)

📝 Type : Ground eXploration

🎨 Style : eXploration Dinard & Saint Malo

🔊 Language : International (🇬🇧 description in English, but comprehensible by the whole world)

 

️ You can use your playlists as filters, to find what you're looking for exactly : www.youtube.com/channel/UCpvj7oecmX3AsJT6R0JP2pQ/playlists?

 

⚠ The items are sorted by the most appropriate categories. But can not be completely exhaustive on social networks. You can use our site or our application. If you want total exhaustiveness and much more.

 

📏 HOW MUCH :

👑 7 Senses

⚡ 5 Intelligences

 

WHO :

🎥 Filmed by LG

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📼 Video made by LG (Windows Movie Maker 2017)

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❓ WHY : To eXplore Dinard & Saint Malo

 

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🕓 WHEN : January 4, 2018

 

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Zio Ziegler says of his work. “My paintings begin with an existential journey, and can only end with an absurdist conclusion—the rest is just a vehicle for conveying this.” (Bay Area artist)

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Still from A Clean, Well-lighted Place by Peter Hastie.

 

www.striplight.org

Read ‘Freeze!’ on the Eye blog.

objects in existential graphs.

 

Representation, by which I mean the function of a sign in general, is a combinant, or trifile, relation; since it subsists between the sign, the object represented, and the interpretant or sign of the same object determined by the sign in the mind of the person addressed, or in other field of signification. The object is something external to and independent of the sign which determines in the sign an element corresponding to itself; so that we have to distinguish the quasi-real object from the presented object; or some may say, the external from the internal object, and the extrous object as it is in itself is to be distinguished from the feature of the external object that is represented. The interpretant is created by the sign; and since the sign as such determines the interpretant, it is in some sense represented in the sign, that is, it is called up by the sign. While in itself it is acted on by the sign, it is so acted upon as to represent the sign to be a sign of the object. Thus, while the object is bifiss, the

Thanks to stock pillock for the screaming man

stockpillock.deviantart.com/gallery/#/d2h0u1a

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OTTAWA—Should all Supreme Court of Canada judges — or at least the next one — be bilingual? Should the next vacancy go to a Black, brown or Indigenous jurist, joinlive77.com whether they are bilingual or not, to reflect Canada’s population in all its diversity?

 

It’s a legal dilemma wrapped up in a language debate, tinged with electoral politics, and an existential question about what kind of country Canada is.

 

The Trudeau government has kicked off both.

 

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On the same day it announced the launch of a search for an Ontario jurist to take the seat of soon-to-retire Justice Rosalie Abella, the Liberal government said it plans to put into law Prime Minister Justin Trudeau’s practice of appointing only “functionally bilingual” judges to the top court.

 

It was a campaign commitment, and with a whiff of a possible election in the air, Trudeau is ticking off political boxes.

 

But the “how?” he proposes to do it is less clear. And advocates of greater diversity say mandatory bilingualism will block many qualified candidates from being elevated to the Supreme Court.

 

Six months ago the Canadian Association of Black Lawyers wrote an open letter to the Trudeau government urging swifter action to address systemic anti-Black racism throughout the justice system and noting “only three Black judges have been appointed under the Trudeau-led government.”

 

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Raphael Tachie, senior counsel for TD Financial Group and president of the association, in an interview said the top court should be a bilingual institution but the requirement “that each individual justice be bilingual disqualifies a lot of really qualified Black and racialized jurists that we think would be great appointments to the court.”

 

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Many practising outside Quebec have not been exposed to French language or training, or “come to the language later on in life and might not always be as proficient as they ought to be. That’s the challenge,” he said, adding “I think the court can compensate for that,” using translators and interpretation. He urges Trudeau to look beyond the Ontario Court of Appeal to lower courts and the bar: “You need to elevate your talent,” he said.

 

Brad Regehr, the first Indigenous lawyer to lead the Canadian Bar Association, says the same is true for Indigenous candidates who “already face systemic barriers in terms of achieving that proficiency in official languages.” Regehr says it’s time for Trudeau to name someone who is Black, Indigenous or a person of colour to the Supreme Court.

 

A member of the Peter Ballantyne Cree Nation in Saskatchewan who lives and practices law in Winnipeg, Regehr argues that Canada is “not just a bijuridical state where there’s English common law and French civil law; Indigenous legal traditions form part of the law of Canada and that seems to be forgotten or ignored and the only way you’re going to get any perspective on that is by having an Indigenous judge.”https://joinlive77.com

 

Both want Trudeau to walk his progressive talk, and do something concrete to promote reconciliation and diversity.

 

Right now, the Supreme Court of Canada is the only federally-appointed court that is exempt from the Official Languages Act which says all Canadians must be able to access services in federal courts in either English or French. In other words, it puts the onus on federal courts to provide bilingual services, not on prime ministers to appoint only bilingual judges. The Liberals propose to drop the exception.

 

Trudeau does not intend to change the Supreme Court Act which sets out the eligibility criteria for judicial appointments to the top court.

 

Rachel Rappaport, a spokesperson for Justice Minister David Lametti, says the bilingual services exemption for the Supreme Court “was never intended to be permanent.”

 

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In 1988 Conservative justice minister Ray Hnatyshyn said during debates on the Official Languages Act that, “It is probably in the national interest at this time that we not put any constraints on the court in the way in which it does its business.” He said that “until we reach a more developed stage of bilingualism across the country,” governments should be able pick from among “the best people who are unilingual, in both languages.”

 

There have been at least 10 bills introduced over the past 10 years to require top judges be bilingual, according to Jean-Christophe Bédard-Rubin, a doctoral candidate at University of Toronto’s faculty of law. None has passed.

 

But unilingualism has had an impact, says Bédard-Rubin, who with a colleague has done the first empirical study of the impact of unilingualism on the Supreme Court’s operations. They analyzed cases from 1969 to 2013. In an interview, he said, “There tends to be a linguistic separation of labour at the Supreme Court.”

 

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Gautama Buddha, also known as Siddhārtha Gautama,[note 3] Shakyamuni,[note 4] or simply the Buddha, was a sage[3] on whose teachings Buddhism was founded.[web 2] He is believed to have lived and taught mostly in eastern India sometime between the sixth and fourth centuries BCE.[4][note 5]

 

The word Buddha means "awakened one" or "the enlightened one". "Buddha" is also used as a title for the first awakened being in an era. In most Buddhist traditions, Siddhartha Gautama is regarded as the Supreme Buddha (Pali sammāsambuddha, Sanskrit samyaksaṃbuddha) of our age.[note 6] Gautama taught a Middle Way between sensual indulgence and the severe asceticism found in the Sramana (renunciation) movement[5] common in his region. He later taught throughout regions of eastern India such as Magadha and Kośala.[4][6]

 

Gautama is the primary figure in Buddhism and accounts of his life, discourses, and monastic rules are believed by Buddhists to have been summarized after his death and memorized by his followers. Various collections of teachings attributed to him were passed down by oral tradition and first committed to writing about 400 years later.Scholars are hesitant to make unqualified claims about the historical facts of the Buddha's life. Most accept that he lived, taught and founded a monastic order during the Mahajanapada era in India during the reign of Bimbisara, the ruler of the Magadha empire, and died during the early years of the reign of Ajatshatru who was the successor of Bimbisara, thus making him a younger contemporary of Mahavira, the Jain teacher.[7] Apart from the Vedic Brahmins, Buddha's lifetime coincided with the flourishing of other influential sramana schools of thoughts like Ājīvika, Cārvāka, Jain, and Ajñana. It was also the age of influential thinkers like Mahāvīra, Pūraṇa Kassapa , Makkhali Gosāla, Ajita Kesakambalī, Pakudha Kaccāyana, and Sañjaya Belaṭṭhaputta, whose viewpoints Buddha most certainly must have been acquainted with and influenced by.[8][9][note 7] There is also evidence to suggest that the two masters, Alara Kalama and Udaka Ramaputta, were indeed historical figures and they most probably taught Buddha two different forms of meditative techniques.[10] While the most general outline of "birth, maturity, renunciation, search, awakening and liberation, teaching, death" must be true,[11] most scholars do not consistently accept all of the details contained in traditional biographies.[12][13]

 

The times of Gautama's birth and death are uncertain. Most historians in the early 20th century dated his lifetime as circa 563 BCE to 483 BCE.[1][14] More recently his death is dated later, between 411 and 400 BCE, while at a symposium on this question held in 1988, the majority of those who presented definite opinions gave dates within 20 years either side of 400 BCE for the Buddha's death.[1][15][note 5] These alternative chronologies, however, have not yet been accepted by all historians.[20][21][note 9]

 

The evidence of the early texts suggests that Siddhārtha Gautama was born into the Shakya clan, a community that was on the periphery, both geographically and culturally, of the northeastern Indian subcontinent in the 5th century BCE.[23] It was either a small republic, in which case his father was an elected chieftain, or an oligarchy, in which case his father was an oligarch.[23] According to the Buddhist tradition, Gautama was born in Lumbini, nowadays in modern-day Nepal, and raised in Kapilavastu, which may either be in present day Tilaurakot, Nepal or Piprahwa, India.[note 1] He obtained his enlightenment in Bodh Gaya, gave his first sermon in Sarnath, and died in Kushinagara.

 

No written records about Gautama have been found from his lifetime or some centuries thereafter. One edict of Emperor Ashoka, who reigned from circa 269 BCE to 232 BCE, commemorates the Emperor's pilgrimage to the Buddha's birthplace in Lumbini. Another one of his edict mentions several Dhamma texts, establishing the existence of a written Buddhist tradition at least by the time of the Mauryan era and which may be the precursors of the Pāli Canon.[34][note 11] The oldest surviving Buddhist manuscripts are the Gandhāran Buddhist texts, reported to have been found in or around Haḍḍa near Jalalabad in eastern Afghanistan and now preserved in the British Library. They are written in the Kharoṣṭhī script and the Gāndhārī language on twenty-seven birch bark scrolls, and they date from the first century BCE to the third century CE.[web 10]The sources for the life of Siddhārtha Gautama are a variety of different, and sometimes conflicting, traditional biographies. These include the Buddhacarita, Lalitavistara Sūtra, Mahāvastu, and the Nidānakathā.[35] Of these, the Buddhacarita[36][37][38] is the earliest full biography, an epic poem written by the poet Aśvaghoṣa, and dating around the beginning of the 2nd century CE.[35] The Lalitavistara Sūtra is the next oldest biography, a Mahāyāna/Sarvāstivāda biography dating to the 3rd century CE.[39] The Mahāvastu from the Mahāsāṃghika Lokottaravāda tradition is another major biography, composed incrementally until perhaps the 4th century CE.[39] The Dharmaguptaka biography of the Buddha is the most exhaustive, and is entitled the Abhiniṣkramaṇa Sūtra,[40] and various Chinese translations of this date between the 3rd and 6th century CE. Lastly, the Nidānakathā is from the Theravāda tradition in Sri Lanka and was composed in the 5th century CE by Buddhaghoṣa.[41]

 

From canonical sources, the Jātakas, the Mahapadana Sutta (DN 14), and the Achariyabhuta Sutta (MN 123) which include selective accounts that may be older, but are not full biographies. The Jātakas retell previous lives of Gautama as a bodhisattva, and the first collection of these can be dated among the earliest Buddhist texts.[42] The Mahāpadāna Sutta and Achariyabhuta Sutta both recount miraculous events surrounding Gautama's birth, such as the bodhisattva's descent from Tuṣita Heaven into his mother's womb.Traditional biographies of Gautama generally include numerous miracles, omens, and supernatural events. The character of the Buddha in these traditional biographies is often that of a fully transcendent (Skt. lokottara) and perfected being who is unencumbered by the mundane world. In the Mahāvastu, over the course of many lives, Gautama is said to have developed supramundane abilities including: a painless birth conceived without intercourse; no need for sleep, food, medicine, or bathing, although engaging in such "in conformity with the world"; omniscience, and the ability to "suppress karma".[43][44][45] Nevertheless, some of the more ordinary details of his life have been gathered from these traditional sources. In modern times there has been an attempt to form a secular understanding of Siddhārtha Gautama's life by omitting the traditional supernatural elements of his early biographies.

 

Andrew Skilton writes that the Buddha was never historically regarded by Buddhist traditions as being merely human:[46]

 

It is important to stress that, despite modern Theravada teachings to the contrary (often a sop to skeptical Western pupils), he was never seen as being merely human. For instance, he is often described as having the thirty-two major and eighty minor marks or signs of a mahāpuruṣa, "superman"; the Buddha himself denied that he was either a man or a god; and in the Mahāparinibbāna Sutta he states that he could live for an aeon were he asked to do so.

 

The ancient Indians were generally unconcerned with chronologies, being more focused on philosophy. Buddhist texts reflect this tendency, providing a clearer picture of what Gautama may have taught than of the dates of the events in his life. These texts contain descriptions of the culture and daily life of ancient India which can be corroborated from the Jain scriptures, and make the Buddha's time the earliest period in Indian history for which significant accounts exist.[47] British author Karen Armstrong writes that although there is very little information that can be considered historically sound, we can be reasonably confident that Siddhārtha Gautama did exist as a historical figure.[48] Michael Carrithers goes a bit further by stating that the most general outline of "birth, maturity, renunciation, search, awakening and liberation, teaching, death" must be true.[11]The Buddhist tradition regards Lumbini, present-day Nepal, to be the birthplace of the Buddha.[49][note 1] He grew up in Kapilavastu.[note 1] The exact site of ancient Kapilavastu is unknown. It may have been either Piprahwa, Uttar Pradesh, present-day India,[32] or Tilaurakot, present-day Nepal.[50] Both places belonged to the Sakya territory, and are located only 15 miles apart from each other.[50]

 

Siddharta Gautama was born as a Kshatriya,[51][note 13] the son of Śuddhodana, "an elected chief of the Shakya clan",[4] whose capital was Kapilavastu, and who were later annexed by the growing Kingdom of Kosala during the Buddha's lifetime. Gautama was the family name. His mother, Queen Maha Maya (Māyādevī) and Suddhodana's wife, was a Koliyan princess. Legend has it that, on the night Siddhartha was conceived, Queen Maya dreamt that a white elephant with six white tusks entered her right side,[53][54] and ten months later[55] Siddhartha was born. As was the Shakya tradition, when his mother Queen Maya became pregnant, she left Kapilvastu for her father's kingdom to give birth. However, her son is said to have been born on the way, at Lumbini, in a garden beneath a sal tree.

 

The day of the Buddha's birth is widely celebrated in Theravada countries as Vesak.[56] Buddha's birth anniversary holiday is called "Buddha Purnima" in Nepal and India as Buddha is believed to have been born on a full moon day. Various sources hold that the Buddha's mother died at his birth, a few days or seven days later. The infant was given the name Siddhartha (Pāli: Siddhattha), meaning "he who achieves his aim". During the birth celebrations, the hermit seer Asita journeyed from his mountain abode and announced that the child would either become a great king (chakravartin) or a great holy man.[57] By traditional account,[which?] this occurred after Siddhartha placed his feet in Asita's hair and Asita examined the birthmarks. Suddhodana held a naming ceremony on the fifth day, and invited eight Brahmin scholars to read the future. All gave a dual prediction that the baby would either become a great king or a great holy man.[57] Kaundinya (Pali: Kondañña), the youngest, and later to be the first arahant other than the Buddha, was reputed to be the only one who unequivocally predicted that Siddhartha would become a Buddha.[58]

 

While later tradition and legend characterized Śuddhodana as a hereditary monarch, the descendant of the Solar Dynasty of Ikṣvāku (Pāli: Okkāka), many scholars think that Śuddhodana was the elected chief of a tribal confederacy.

 

Early texts suggest that Gautama was not familiar with the dominant religious teachings of his time until he left on his religious quest, which is said to have been motivated by existential concern for the human condition.[59] The state of the Shakya clan was not a monarchy, and seems to have been structured either as an oligarchy, or as a form of republic.[60] The more egalitarian gana-sangha form of government, as a political alternative to the strongly hierarchical kingdoms, may have influenced the development of the Shramana-type Jain and Buddhist sanghas, where monarchies tended toward Vedic Brahmanism.[61]Siddhartha was brought up by his mother's younger sister, Maha Pajapati.[62] By tradition, he is said to have been destined by birth to the life of a prince, and had three palaces (for seasonal occupation) built for him. Although more recent scholarship doubts this status, his father, said to be King Śuddhodana, wishing for his son to be a great king, is said to have shielded him from religious teachings and from knowledge of human suffering.

 

When he reached the age of 16, his father reputedly arranged his marriage to a cousin of the same age named Yaśodharā (Pāli: Yasodharā). According to the traditional account,[which?] she gave birth to a son, named Rāhula. Siddhartha is said to have spent 29 years as a prince in Kapilavastu. Although his father ensured that Siddhartha was provided with everything he could want or need, Buddhist scriptures say that the future Buddha felt that material wealth was not life's ultimate goal.[62]According to the early Buddhist texts,[web 11] after realizing that meditative dhyana was the right path to awakening, but that extreme asceticism didn't work, Gautama discovered what Buddhists call the Middle Way[web 11]—a path of moderation away from the extremes of self-indulgence and self-mortification, or the Noble Eightfold Path, as was identified and described by the Buddha in his first discourse, the Dhammacakkappavattana Sutta.[web 11] In a famous incident, after becoming starved and weakened, he is said to have accepted milk and rice pudding from a village girl named Sujata.[web 12] Such was his emaciated appearance that she wrongly believed him to be a spirit that had granted her a wish.[web 12]

 

Following this incident, Gautama was famously seated under a pipal tree—now known as the Bodhi tree—in Bodh Gaya, India, when he vowed never to arise until he had found the truth.[70] Kaundinya and four other companions, believing that he had abandoned his search and become undisciplined, left. After a reputed 49 days of meditation, at the age of 35, he is said to have attained Enlightenment.[70][web 13] According to some traditions, this occurred in approximately the fifth lunar month, while, according to others, it was in the twelfth month. From that time, Gautama was known to his followers as the Buddha or "Awakened One" ("Buddha" is also sometimes translated as "The Enlightened One").

 

According to Buddhism, at the time of his awakening he realized complete insight into the cause of suffering, and the steps necessary to eliminate it. These discoveries became known as the "Four Noble Truths",[web 13] which are at the heart of Buddhist teaching. Through mastery of these truths, a state of supreme liberation, or Nirvana, is believed to be possible for any being. The Buddha described Nirvāna as the perfect peace of a mind that's free from ignorance, greed, hatred and other afflictive states,[web 13] or "defilements" (kilesas). Nirvana is also regarded as the "end of the world", in that no personal identity or boundaries of the mind remain. In such a state, a being is said to possess the Ten Characteristics, belonging to every Buddha.

 

According to a story in the Āyācana Sutta (Samyutta Nikaya VI.1) — a scripture found in the Pāli and other canons — immediately after his awakening, the Buddha debated whether or not he should teach the Dharma to others. He was concerned that humans were so overpowered by ignorance, greed and hatred that they could never recognise the path, which is subtle, deep and hard to grasp. However, in the story, Brahmā Sahampati convinced him, arguing that at least some will understand it. The Buddha relented, and agreed to teach.After his awakening, the Buddha met Taphussa and Bhallika — two merchant brothers from the city of Balkh in what is currently Afghanistan — who became his first lay disciples. It is said that each was given hairs from his head, which are now claimed to be enshrined as relics in the Shwe Dagon Temple in Rangoon, Burma. The Buddha intended to visit Asita, and his former teachers, Alara Kalama and Udaka Ramaputta, to explain his findings, but they had already died.

 

He then travelled to the Deer Park near Varanasi (Benares) in northern India, where he set in motion what Buddhists call the Wheel of Dharma by delivering his first sermon to the five companions with whom he had sought enlightenment. Together with him, they formed the first saṅgha: the company of Buddhist monks.

 

All five become arahants, and within the first two months, with the conversion of Yasa and fifty four of his friends, the number of such arahants is said to have grown to 60. The conversion of three brothers named Kassapa followed, with their reputed 200, 300 and 500 disciples, respectively. This swelled the sangha to more than 1,000.For the remaining 45 years of his life, the Buddha is said to have traveled in the Gangetic Plain, in what is now Uttar Pradesh, Bihar and southern Nepal, teaching a diverse range of people: from nobles to servants, murderers such as Angulimala, and cannibals such as Alavaka. Although the Buddha's language remains unknown, it's likely that he taught in one or more of a variety of closely related Middle Indo-Aryan dialects, of which Pali may be a standardization.

 

The sangha traveled through the subcontinent, expounding the dharma. This continued throughout the year, except during the four months of the Vāsanā rainy season when ascetics of all religions rarely traveled. One reason was that it was more difficult to do so without causing harm to animal life. At this time of year, the sangha would retreat to monasteries, public parks or forests, where people would come to them.The first vassana was spent at Varanasi when the sangha was formed. After this, the Buddha kept a promise to travel to Rajagaha, capital of Magadha, to visit King Bimbisara. During this visit, Sariputta and Maudgalyayana were converted by Assaji, one of the first five disciples, after which they were to become the Buddha's two foremost followers. The Buddha spent the next three seasons at Veluvana Bamboo Grove monastery in Rajagaha, capital of Magadha.

 

Upon hearing of his son's awakening, Suddhodana sent, over a period, ten delegations to ask him to return to Kapilavastu. On the first nine occasions, the delegates failed to deliver the message, and instead joined the sangha to become arahants. The tenth delegation, led by Kaludayi, a childhood friend of Gautama's (who also became an arahant), however, delivered the message.

 

Now two years after his awakening, the Buddha agreed to return, and made a two-month journey by foot to Kapilavastu, teaching the dharma as he went. At his return, the royal palace prepared a midday meal, but the sangha was making an alms round in Kapilavastu. Hearing this, Suddhodana approached his son, the Buddha, saying:

 

"Ours is the warrior lineage of Mahamassata, and not a single warrior has gone seeking alms."

 

The Buddha is said to have replied:

 

"That is not the custom of your royal lineage. But it is the custom of my Buddha lineage. Several thousands of Buddhas have gone by seeking alms."

 

Buddhist texts say that Suddhodana invited the sangha into the palace for the meal, followed by a dharma talk. After this he is said to have become a sotapanna. During the visit, many members of the royal family joined the sangha. The Buddha's cousins Ananda and Anuruddha became two of his five chief disciples. At the age of seven, his son Rahula also joined, and became one of his ten chief disciples. His half-brother Nanda also joined and became an arahant.

 

Of the Buddha's disciples, Sariputta, Maudgalyayana, Mahakasyapa, Ananda and Anuruddha are believed to have been the five closest to him. His ten foremost disciples were reputedly completed by the quintet of Upali, Subhoti, Rahula, Mahakaccana and Punna.

 

In the fifth vassana, the Buddha was staying at Mahavana near Vesali when he heard news of the impending death of his father. He is said to have gone to Suddhodana and taught the dharma, after which his father became an arahant.

 

The king's death and cremation was to inspire the creation of an order of nuns. Buddhist texts record that the Buddha was reluctant to ordain women. His foster mother Maha Pajapati, for example, approached him, asking to join the sangha, but he refused. Maha Pajapati, however, was so intent on the path of awakening that she led a group of royal Sakyan and Koliyan ladies, which followed the sangha on a long journey to Rajagaha. In time, after Ananda championed their cause, the Buddha is said to have reconsidered and, five years after the formation of the sangha, agreed to the ordination of women as nuns. He reasoned that males and females had an equal capacity for awakening. But he gave women additional rules (Vinaya) to follow.Dhyana and insight[edit]

A core problem in the study of early Buddhism is the relation between dhyana and insight.[82][95][84] Schmithausen, in his often-cited article On some Aspects of Descriptions or Theories of 'Liberating Insight' and 'Enlightenment' in Early Buddhism notes that the mention of the four noble truths as constituting "liberating insight", which is attained after mastering the Rupa Jhanas, is a later addition to texts such as Majjhima Nikaya 36.[85][81][82]

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Chynna Highsted

 

Painting

 

Fictional body horror media awoke existential fascination and anxieties regarding mortality within me. These emotions are translated into narratives in my paintings.

The horror genre shows the event of death by excessive violence and bodily destruction and my work explores both of these themes. My comprises self-portraits which combine my love for horror with my own image but also reflect myself and humanity’s inevitable end. Much like death itself this body of work is neutral, I don’t intend for the viewer to feel anything in particular. Instead, this work is a reflection of my emotions and an invitation for the viewer to contemplate theirs.

Historical and contemporary body horror media has resulted in unease over our own bodies. My intention with this project is to explore this discomfort and the bluntness of death and decomposition. Our bodies will eventually betray ourselves through their inability to avoid death and this is the cruel fact of life my paintings represent.

A statue of Sigmund Freud on a rooftop in Prague, looking like it is getting ready to jump. Perhaps in the city that produced Franz Kafka, even the statues face existential crises?

 

Taken somewhere in the Old Town part of Prague, Czech Republic.

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Religion is cancer

Moustakas, C. (1994). Existential psychotherapy and the interpretation of dreams. Northvale, NJ: Jason Aronson.

 

👑 Senses : 👀 Vision 👆 To Touch 💃 Proprioception 👂 Hearing Equilibrioception 👃 Smell ♨️ Thermoception 👅 Taste

⚡ Intelligences : ️ Spatial Intelligence

⛹️ Kinesthetic Body Intelligence

👨‍👩‍👧‍👦 Interpersonal Intelligence

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️ Verbal-linguistic

🔭 Existential Intelligence

 

📋 WHAT :

️ eXploration (1) West Coast {USA}

🌟 West Coast {USA}

💫 United States of America/America World

🌌 City/Nature Galaxy

✨ eXploration Universe (️)

📝 Type : Ground eXploration

🎨 Style : eXploration of the west coast of the united states

🔊 Language : International (🇬🇧 description in English, but comprehensible by the whole world)

 

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⚠ The items are sorted by the most appropriate categories. But can not be completely exhaustive on social networks. You can use our site or our application. If you want total exhaustiveness and much more.

 

📏 HOW MUCH :

👑 8 Senses

⚡ 6 Intelligences

 

WHO :

🎥 Filmed by LG

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© Etoile Copyright

 

⚠ The description may no longer be up to date. Due to human discoveries and improvements. Pay attention to the date of publication and creation. Even works of art suffer the outrages of time

 

❓ WHY : To eXplore the west coast of the united states

 

📍 WHERE : West Coast (🇺🇸 United States of America)

 

🕓 WHEN : 12 June 2011

 

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Those questions that I have faced from myself, inescapably, for decades

That silent tumult they cause at the very core of existence

The answers that I search in every turn of life

A Meaning that forever seems to elude.

Recently I’ve been experiencing one of those existential photo crises. Low motivation, cliché results, slumping Instagram likes. When I get bummed about my photography I do what any self-respecting unprofessional photographer would do – put on some soft jazz, pour...

 

telcellservice.com/nikon-16-80mm-f2-8-4e-vr-review/

A strangely philosophical find in the middle of the road toward the end of the brutal Josephine/Arlington Street climb at the start of Pittsburgh's Pedal PGH ride.

 

via Instagram ift.tt/2bJCJSh

Alain Delon 🇲🇫

(8 November 1935 – 18 August 2024)

 

Прощай легенда!

 

Не так много я смотрел с ним (что понравилось):

 

Бассейн / La Piscine / The Swimming Pool, 1969

На ярком солнце / Plein Soleil / Purple Noon, 1960

Затмение / L'eclisse / The Eclipse, 1962

Шпик / Полицейский / Un Flic / Dirty Money, 1972

Три шага в бреду / Tre Passi Nel Delirio / Spirits of the Dead, 1968

Леопард / Il Gattopardo / The Leopard, 1963

Смерть негодяя / Mort d'un pourri / Death of a Corrupt Man, 1977

Красный круг / Le Cercle Rouge / The Red Circle, 1970

Прощай, друг / Adieu l'ami / Farewell Friend, 1968

Девушка на мотоцикле / La Motocyclette / The Girl on a Motorcycle, 1968

Полицейская история / Flic Story / Cop Story, 1975

Красное солнце / Soleil rouge / Red Sun, 1971

Шок / Le Choc / The Shock, 1982

Двое в городе / Deux Hommes Dans La Ville / Two Men in Town, 1973

Искатели приключений / Les Aventuriers / The Last Adventure, 1967

За шкуру полицейского / Pour la peau d'un flic / For a Cop's Hide, 1981

 

Кроме того, он снялся в неплохом советском детективе «Тегеран-43» (1980) (Ален Делон, Наталия Белохвостикова, Игорь Костолевский, Армен Джигарханян) об истории любви советского разведчика и француженки русского происхождения, переводчицы с персидского языка.

 

...

 

Среди его лучших фильмов обычно фигурируют (не забыть посмотреть):

 

L’Eclisse [The Eclipse] (Michelangelo Antonioni, 1962)

Alain Delon, Monica Vitti, Francisco Rabal, Louis Seigner, Lilla Brignone, Rossana Rory, Mirella Ricciardi

 

La Piscine [The Swimming Pool] (Jacques Deray, 1969)

Alain Delon, Romy Schneider, Maurice Ronet, Jane Birkin

 

Plein soleil [Purple Noon] (René Clément, 1960)

Alain Delon, Marie Laforêt, Maurice Ronet, Elvire Popesco

 

Un Flic [A Cop / Dirty Money] (Jean-Pierre Melville, 1972)

Alain Delon, Richard Crenna, Catherine Deneuve, Riccardo Cucciolla, Michael Conrad, Paul Crauchet, Simone Valère, André Pousse, Jean Desailly

 

Le Samouraï [The Samurai] (Jean-Pierre Melville, 1967)

Alain Delon, François Périer, Nathalie Delon, Cathy Rosier

 

Le Cercle Rouge [The Red Circle] (Jean-Pierre Melville, 1970)

Alain Delon, Bourvil, Yves Montand, Gian Maria Volonté, Mireille Darc

 

Rocco e i suoi fratelli [Rocco and His Brothers] (Luchino Visconti, 1960)

Alain Delon, Renato Salvatori, Annie Girardot, Katina Paxinou, Roger Hanin, Spiros Focás, Paolo Stoppa, Suzy Delair, Claudia Cardinale

 

Le battant [The Fighter] (Alain Delon, 1983)

Alain Delon, François Périer, Anne Parillaud, Andréa Ferréol

 

Monsieur Klein [Mr. Klein] (Joseph Losey, 1976)

Alain Delon, Jeanne Moreau, Michael Lonsdale, Francine Bergé, Juliet Berto, Massimo Girotti, Suzanne Flon

 

Il Gattopardo [The Leopard] (Luchino Visconti, 1963)

Burt Lancaster, Claudia Cardinale, Alain Delon, Paolo Stoppa, Rina Morelli, Romolo Valli, Serge Reggiani, Terence Hill, Ida Galli, Lucilla Morlacchi, Anna Maria Bottini

 

Mort d'un pourri [Death of a Corrupt Man] (Georges Lautner, 1977)

Alain Delon, Ornella Muti, Stéphane Audran, Mireille Darc, Klaus Kinski

 

Deux hommes dans la ville [Two Men in Town] (José Giovanni, 1973)

Jean Gabin, Alain Delon, Mimsy Farmer, Victor Lanoux, Cécile Vassort, Ilaria Occhini, Guido Alberti, Malka Ribowska, Christine Fabréga, Gérard Depardieu, Robert Castel, Bernard Giraudeau, Michel Bouquet

 

Le clan des Siciliens [The Sicilian Clan] (Henri Verneuil, 1969)

Jean Gabin, Alain Delon, Lino Ventura, Irina Demick, Elisa Cegani, Sabine Sun

 

Borsalino (Jacques Deray, 1970)

Alain Delon, Jean-Paul Belmondo, Catherine Rouvel, Michel Bouquet, Daniel Ivernel, Hélène Rémy, Odette Piquet, Mireille Darc, Laura Adani

 

Boomerang (Arthur Penn, 1976)

Alain Delon, Carla Gravina, Charles Vanel, Louis Julien, Dora Doll, Pierre Maguelon, Suzanne Flon

 

Mélodie en sous-sol, lit [Any Number Can Win] (Henri Verneuil, 1963)

Jean Gabin, Alain Delon, Claude Cerval, Viviane Romance, Carla Marlier, Dora Doll, Rita Cadillac, Dominique Davray

 

La veuve Couderc [The Widow Couderc] (Pierre Granier-Deferre, 1971)

Simone Signoret, Alain Delon, Ottavia Piccolo, Jean Tissier, Monique Chaumette, Boby Lapointe, Pierre Collet, François Valorbe, Jean-Pierre Castaldi

 

Parole de flic [Cop’s Honor] (Jospeh C. Hanwright, 1985)

Alain Delon, Jacques Perrin, Fiona Gélin, Éva Darlan, Jean-François Stévenin, Stéphane Ferrara, Vincent Lindon, Dominique Valera

 

Tony Arzenta [Big Guns / No Way Out] (Joseph L. Mankiewicz, 1973)

Alain Delon, Richard Conte, Carla Gravina, Marc Porel, Roger Hanin, Nicoletta Machiavelli, Lino Troisi, Silvano Tranquilli, Corrado Gaipa, Umberto Orsini, Giancarlo Sbragia, Erika Blanc, Ettore Manni, Loredana Nusciak, Rosalba Neri, Maria Pia Conte

 

Les Félins [Joy House] (René Clément, 1964)

Jane Fonda, Alain Delon, Lola Albright, Carl Studer

 

Teheran 43 [Тегеран-43] (Alexander Alov, Vladimir Naumov, 1981)

Natalya Belokhvostikova, Igor Kostolevsky, Armen Dzhigarkhanyan, Alain Delon, Claude Jade

 

Le Passage [The Passage] (René Manzor, 1986)

Alain Delon, Christine Boisson, Jean-Luc Moreau, Alain Musy, Alberto Lomeo, Jean-Pierre Levasseur, Daniel Emilfork

 

Le retour de Casanova (Édouard Niermans, 1992)

Alain Delon, Elsa Lunghini, Fabrice Luchini, Wadeck Stanczak, Delia Boccardo, Gilles Arbona, Violetta Sanchez, Jacques Boudet, Philippe Leroy, Alain Cuny, Yveline Ailhaud, Sarah Bertrand, Rachel Bizet, Sandrine Blancke, Sophie Bouilloux

 

La Tulipe noire [The Black Tulip] (Christian-Jaque, 1964)

Alain Delon, Virna Lisi, Adolfo Marsillach, Dawn Addams, Akim Tamiroff, Laura Valenzuela, George Rigaud, Francis Blanche, José Jaspe, Robert Manuel

 

...

 

Некоторые обзоры на его главные фильмы из сети:

 

L’Eclisse [The Eclipse] (Michelangelo Antonioni, 1962)

 

Alain Delon, Monica Vitti, Francisco Rabal, Louis Seigner, Lilla Brignone, Rossana Rory, Mirella Ricciardi

 

A seminal masterpiece made by a true pioneer of European cinema, Michelangelo Antonioni‘s 1962 drama stars Delon and the iconic Monica Vitti. Antonioni conducts an examination of humanity’s fundamental existential despair by telling a story about a young translator (Vitti) who falls in love with a mesmerising stockbroker (Delon). Antonioni’s 1962 masterpiece ended up winning the Special Jury Prize at Cannes and was nominated for the Palme d’Or. Martin Scorsese has listed L’Eclisse as one of the films that had a profound impact on him, stating that it was a “step forward in storytelling… felt less like a story and more like a poem.”

 

"L'Éclipse" is a meditative and visually stunning film directed by Michelangelo Antonioni. Alain Delon stars opposite Monica Vitti in this exploration of alienation and existential ennui. Delon plays Piero, a young stockbroker who becomes romantically involved with Vittoria (Vitti), a woman recently out of a tumultuous relationship. The film's narrative is secondary to its exploration of mood and atmosphere. Antonioni uses the modernist landscapes of Rome to reflect the characters' emotional states. "L'Éclipse" was acclaimed for its innovative cinematography and Antonioni's direction. It won the Special Jury Prize at the Cannes Film Festival and is considered a landmark in arthouse cinema. Delon's work in the film further established him as an actor capable of profound and introspective roles.

 

The film is set in Rome and tells the story of a young woman named Vittoria (Monica Vitti) who is experiencing a sense of disillusionment with her life and her relationship with her boyfriend, Riccardo (Francisco Rabal). When Vittoria meets a stockbroker named Piero (Alain Delon), the two begin a passionate and intense affair. As the story unfolds, Vittoria and Piero are shown wandering through the empty and alienating streets of Rome, searching for meaning and connection in a world that seems to be increasingly fragmented and disconnected.

 

Eventually, the couple’s relationship begins to falter, leading to a poignant and bittersweet conclusion. “L’Eclisse” is widely regarded as one of Antonioni’s masterpieces and is considered a classic of Italian cinema. The film is notable for its innovative and influential cinematography, which makes extensive use of long takes, wide shots, and striking compositions to create a sense of emptiness and alienation. The performances by Vitti, Delon, and Rabal are also widely praised, with each actor bringing a unique intensity and depth to their characters. Overall, “L’Eclisse” is a powerful and haunting meditation on the human condition, and a must-see for fans of Italian cinema.

 

...

 

Plein soleil [Purple Noon] (René Clément, 1960)

 

Alain Delon, Marie Laforêt, Maurice Ronet, Elvire Popesco

 

Now remembered as Alain Delon’s first major project, Purple Noon is a brilliant thriller that borrowed inspiration from the famous Patricia Highsmith novel The Talented Mr. Ripley. Although the 1999 adaptation starring Matt Damon is naturally more famous, René Clément’s interpretation is more masterful. Delon features as the effortlessly charming con artist Tom Ripley, a criminal who would go to any lengths to maintain his lifestyle. Many talented actors have taken this role and some cite Damon’s work as the definitive Tom Ripley but Delon’s unique take on the fascinating character is practically immortalised in the minds of those who have had the joy of experiencing it.

 

"Purple Noon" is a gripping psychological thriller that catapulted Alain Delon to international fame. Directed by René Clément, this film is an adaptation of Patricia Highsmith's novel "The Talented Mr. Ripley." Delon stars as Tom Ripley, a young man sent to Europe to retrieve a wealthy industrialist's son, Philippe Greenleaf (Maurice Ronet). As the plot unfolds, Ripley becomes enamored with Greenleaf's luxurious lifestyle and decides to take it for himself, leading to a series of deceitful and murderous events. Delon's portrayal of Ripley is both chilling and mesmerizing, capturing the character's charm and malevolence with subtlety and intensity. "Purple Noon" received critical acclaim for its taut direction, lush cinematography, and Delon's standout performance. The film won the Edgar Allan Poe Award for Best Foreign Film and remains a classic in the thriller genre.

 

...

 

La Piscine [The Swimming Pool] (Jacques Deray, 1969)

 

Alain Delon, Romy Schneider, Maurice Ronet, Jane Birkin

 

In "La Piscine," Alain Delon reunites with Romy Schneider in a sultry and suspenseful drama directed by Jacques Deray. Delon plays Jean-Paul, a writer vacationing with his girlfriend Marianne (Schneider) at a luxurious villa in the South of France (French Riviera). Their idyllic getaway is disrupted by the arrival of Marianne's former lover, Harry (Maurice Ronet), and his daughter, Penelope (Jane Birkin). Tensions escalate as old rivalries and new attractions come to the surface. Delon's portrayal of Jean-Paul is simmering with jealousy and insecurity, making the film's climax all the more gripping. The film's lush setting and slow-burning tension have made it a classic of French cinema. "La Piscine" was a commercial success and received positive reviews for its performances and direction. Delon's chemistry with Schneider and the film's atmospheric style have contributed to its enduring appeal.

 

...

 

Le Samouraï [The Samurai] (Jean-Pierre Melville, 1967)

 

Alain Delon, François Périer, Nathalie Delon, Cathy Rosier

 

One of the finest neo-noir films ever made, Jean-Pierre Melville constructs a memorable examination of a life of crime that is laced with philosophical subtext. Alain Delon stars as an assassin who is pursued by the police as well as the organisation that hired him. Le Samouraï isn’t just Melville’s best work but it is also the crowning jewel of Delon’s oeuvre. It solidified his image in the mainstream consciousness as a dreamy spectre haunting an urban landscape which is completely devoid of morality.

 

In "Le Samouraï," Alain Delon delivers one of his most iconic performances as Jef Costello, a meticulous and stoic hitman navigating the criminal underworld of Paris. Directed by Jean-Pierre Melville, this film is a masterpiece of French noir, blending minimalist style with existential themes. Jef Costello's life is governed by a strict code of honor, reminiscent of the samurai warriors of ancient Japan. When a contract killing goes awry, Jef finds himself pursued by both the police and his employers. Delon's portrayal of Costello is hauntingly enigmatic, his silence and restraint speaking volumes. The film's stark visuals and moody atmosphere have made it a cult classic. "Le Samouraï" was well-received by critics and has since been regarded as a seminal work in the genre, influencing countless filmmakers.

 

...

 

Le Cercle Rouge [The Red Circle] (Jean-Pierre Melville, 1970)

 

Alain Delon, Bourvil, Yves Montand, Gian Maria Volonté, Mireille Darc

 

Another gem by Melville which features stellar acting work by Delon, The Red Circle is an enigmatic crime thriller is one of the most unconventional heist films ever made. Almost like a deconstruction of the genre, The Red Circle is a meticulously crafted masterpiece that curates an incredible experience for the audience. While explaining the film’s title, Melville came up with this epigraph: “Siddhartha Gautama, the Buddha, drew a circle with a piece of red chalk and said: ‘When men, even unknowingly, are to meet one day, whatever may befall each, whatever the diverging paths, on the said day, they will inevitably come together in the red circle.'”

 

"Le Cercle Rouge" is another collaboration between Alain Delon and director Jean-Pierre Melville, cementing their status as a formidable duo in French cinema. In this film, Delon plays Corey, a recently released convict who teams up with a fellow escapee, Vogel (Gian Maria Volonté), and an ex-police sharpshooter, Jansen (Yves Montand), to pull off a meticulously planned heist. The film's title refers to a Zen Buddhist proverb about fate bringing people together. Melville's signature style—cool, methodical, and visually striking—is evident throughout the film. Delon's portrayal of Corey is understated yet powerful, embodying the stoic professionalism of a seasoned criminal. "Le Cercle Rouge" was well-received by critics and is considered one of Melville's finest works. Its influence can be seen in numerous heist films that followed, and Delon's performance remains a benchmark for the genre.

 

The film follows the story of a recently released convict named Corey (Delon), who teams up with a former police officer named Jansen (Montand) and a sharpshooter named Vogel (Volontè) to pull off a daring jewelry heist. As the three men plan and execute the heist, they face a series of challenges and obstacles that test their loyalty and trust in each other.

 

The film explores themes of crime, justice, and morality, and is noted for its stylish cinematography, sparse dialogue, and minimalist approach to storytelling. Delon delivers a strong and charismatic performance as Corey, while Montand and Volontè bring depth and complexity to their respective roles. Melville’s direction is praised for its masterful use of suspense and tension, with the heist scene in particular considered a standout moment in the film. “Le Cercle Rouge” is widely regarded as one of the greatest crime films ever made and a classic of French cinema. It has influenced many subsequent films and remains a powerful and memorable work that continues to captivate audiences to this day.

 

...

 

Un Flic [A Cop / Dirty Money] (Jean-Pierre Melville, 1972)

 

Alain Delon, Richard Crenna, Catherine Deneuve, Riccardo Cucciolla, Michael Conrad, Paul Crauchet, Simone Valère, André Pousse, Jean Desailly

 

A Parisian police chief has an affair, but unbeknownst to him, the boyfriend of the woman he’s having an affair with is a bank robber planning a heist. Edouard spends his time chasing criminals. Nightclub owner Simon works with a small crew to execute daring heists with big payoffs. Meanwhile Cathy is torn between them. After a bank robbery in a small Riviera town goes wrong, a game of cat and mouse begins between Edouard and Simon’s gang. Late one rainy afternoon, four men rob a bank in the French coastal town of St.-Jean-de-Monts, not without deadly complications. The lead crook, Simon (Richard Crenna), leads a double life as the owner of a French nightclub. One of his regulars is a quiet police inspector named Coleman (Alain Delon). In time, their lines of work will shake their friendship like nothing else, not even Coleman's affair with Simon's wife, Cathy (Catherine Deneuve).

 

"Un flic" (A Cop), also known as "Dirty Money," is a film about the dehumanizing nature of police work. Coleman is suave but conflicted, willing to slap around a suspect or even a suspected suspect but not so hardened as not to be conflicted about that. "This job makes us skeptical," his deputy Morand (Paul Crauchet) notes as the pair leave a morgue. "Especially about skepticism," Coleman replies.

 

Director Jean-Pierre Melville was a leading light of the New Wave movement, and his commitment to impressionistic pure cinema is on strong display right at the outset. We open on the sound of crashing waves, filling the screen with blue. The car with Simon and the other robbers moves slowly into position. With rain crashing around them on an empty street, three of the four men wordlessly get out in turn to take their positions in the bank.

 

"Un Flic" marks the final collaboration between Alain Delon and Jean-Pierre Melville. In this film, Delon switches sides, playing police commissioner Edouard Coleman. The story follows Coleman's pursuit of a gang of bank robbers, one of whom is his close friend Simon (Richard Crenna). Delon's portrayal of Coleman is marked by a cool detachment and relentless determination. The film's opening heist sequence, set in a rain-soaked Paris, is a masterclass in tension and atmosphere. As Coleman closes in on the gang, the lines between right and wrong blur, leading to a morally ambiguous conclusion. Although "Un Flic" did not achieve the same level of acclaim as Melville's earlier works, it remains a compelling and stylish crime thriller. Delon's performance as a morally complex cop adds depth to the film, making it a worthy addition to his filmography.

 

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Rocco e i suoi fratelli [Rocco and His Brothers] (Luchino Visconti, 1960)

 

Alain Delon, Renato Salvatori, Annie Girardot, Katina Paxinou, Roger Hanin, Spiros Focás, Paolo Stoppa, Suzy Delair, Claudia Cardinale

 

One of Delon’s breakthrough performances which propelled him into proper stardom, Luchino Visconti’s 1960 crime drama chronicles the condition of Southern immigrants who moved to northern Italy for a better life. Delon stars as Rocco in an incredibly powerful film about the sociopolitical climate of that time. The film received glowing reviews at the time of its release and won several awards but its greatest achievement is standing the test of time. Even after all these years, Rocco and His Brothers is an essential part of the body of works of both Luchino Visconti and Alain Delon.

 

Directed by the legendary Luchino Visconti, "Rocco and His Brothers" is an epic family saga set against the backdrop of post-war Italy. The film tells the story of the Parondi family, who move from the impoverished south to the industrial north in search of a better life. Alain Delon plays Rocco Parondi, the second eldest brother, whose kindness and sense of duty contrast sharply with the brutality of his surroundings. Rocco's journey is marked by sacrifice and heartbreak as he navigates his complex relationships with his brothers, particularly Simone (Renato Salvatori), whose destructive path threatens to tear the family apart. Delon's performance is deeply affecting, showcasing his ability to convey vulnerability and strength. "Rocco and His Brothers" was critically acclaimed and won the Special Jury Prize at the Venice Film Festival. Delon's portrayal of Rocco is considered one of his finest, solidifying his reputation as a versatile and powerful actor.

 

The movie stars Alain Delon and Annie Girardot, among others, and tells the story of a family of five brothers who move from rural Southern Italy to the industrial North in search of a better life. The film follows the family as they struggle to adapt to the fast-paced, competitive city life. Rocco (Delon), the second eldest brother, is the most sensitive and vulnerable of the siblings, and becomes embroiled in a complicated love triangle with his brother’s girlfriend, Nadia (Girardot). “Rocco and His Brothers” is a powerful and emotionally charged drama that explores themes such as family, migration, and the challenges of urbanization.

 

The film is known for its vivid portrayal of the Italian landscape and society of the time, as well as its poignant performances and striking cinematography. The movie was highly acclaimed upon its release, and has since become a classic of Italian cinema. Its influence can be seen in the work of many subsequent filmmakers, both in Italy and around the world. “Rocco and His Brothers” is a must-watch for fans of Italian cinema and powerful family dramas.

 

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Le battant [The Fighter] (Alain Delon, 1983)

 

Alain Delon, François Périer, Anne Parillaud, Andréa Ferréol

 

“Le Battant” is a 1983 French crime-thriller film directed by Alain Delon and starring Delon himself in the lead role. The film tells the story of Jacques Darnay (Delon), a retired safecracker who is forced to come out of retirement when his friend is killed by a gang of criminals.

 

Darnay sets out to avenge his friend’s death and take down the criminal organization responsible, while also trying to protect his girlfriend (played by Carla Romanelli) and avoid being caught by the police. The film is known for its suspenseful plot, stylish cinematography, and Delon’s cool and suave performance as the charismatic anti-hero. It was a commercial success in France and helped further cement Delon’s status as a leading figure in French cinema.

 

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Monsieur Klein [Mr. Klein] (Joseph Losey, 1976)

 

Alain Delon, Jeanne Moreau, Michael Lonsdale, Francine Bergé, Juliet Berto, Massimo Girotti, Suzanne Flon

 

A mystery drama that was produced by Delon himself, Monsieur Klein stars Delon as the titular figure of an apathetic art dealer who exploits persecuted Jewish refugees in Nazi Germany. However, things get complicated when the fascist authorities start suspecting that he is Jewish as well. A brilliant film which indulges in poignant political commentary, Delon’s work in Monsieur Klein earned him the César Award for Best Actor. It almost won the coveted Palme d’Or at Cannes but was beaten to it by another masterpiece that came out in the same year – Martin Scorsese’s Taxi Driver.

 

The film is set in Nazi-occupied Paris during World War II and tells the story of Robert Klein (Alain Delon), a wealthy art dealer who becomes embroiled in a mystery when he receives a Jewish newspaper addressed to him. As Klein investigates the matter, he becomes increasingly paranoid and obsessed, convinced that he is being mistaken for a Jewish man with the same name who is wanted by the Gestapo.

 

...

 

Il Gattopardo [The Leopard] (Luchino Visconti, 1963)

 

Burt Lancaster, Claudia Cardinale, Alain Delon, Paolo Stoppa, Rina Morelli, Romolo Valli, Serge Reggiani, Terence Hill, Ida Galli, Lucilla Morlacchi, Anna Maria Bottini

 

In "The Leopard," Alain Delon reunites with director Luchino Visconti to create a historical epic based on Giuseppe Tomasi di Lampedusa's novel. Set during the Risorgimento, the film chronicles the decline of the Sicilian aristocracy and the rise of a new social order. Delon stars as Tancredi Falconeri, the dashing and ambitious nephew of Prince Don Fabrizio Salina (Burt Lancaster). Tancredi's charm and pragmatism contrast with his uncle's melancholic acceptance of change. Delon brings a vibrant energy to the role, capturing Tancredi's youthful exuberance and political savvy. The film's lavish production design and meticulous attention to historical detail contribute to its grandeur.

 

"The Leopard" won the Palme d'Or at the Cannes Film Festival and received widespread critical acclaim. Delon's performance, alongside those of Lancaster and Claudia Cardinale, helped make the film a timeless classic in Italian cinema.

 

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Les Félins [Joy House] (René Clément, 1964)

 

Jane Fonda, Alain Delon, Lola Albright, Carl Studer

 

Марк Морель, «манипулятор картами, теннисными ракетками и машинами», во время пребывания в США заводит роман с женой богатого американского гангстера МакКинга. Он возвращается во Францию, а по его стопам уже идут убийцы, которые должны привезти его голову их боссу. Его захватывают в гостинице в Монте-Карло и вывозят на пустынное побережье Средиземного моря. Марку удается бежать, угнав автомобиль и направив его к обрыву. В разорванной одежде и с кровоподтеками, он автостопом добирается до ближайшего города и прячется среди бездомных в церковном приюте. Там он привлекает к себе внимание гламурной пары американского происхождения: Барбары и Мелинды, совершающих регулярные благотворительные визиты. Женщины предлагают Maрку работу шофёром, проживание и питание, и он охотно соглашается, потому что убийцы проследили его до приюта. Барбара, богатая вдова, живёт в роскошном особняке в неоготическом стиле с её бедной двоюродной сестрой, Мелиндой, которую она использует как служанку. Очень быстро молодой человек начинает понимать, что является пешкой в какой-то игре. На самом деле на вилле находится ещё один обитатель: его зовут Венсан, и полиция разыскивает его за убийство мужа его любовницы, Барбары. Паспорт Марка нужен Венсану для новой идентичности и выезда из страны. Однако Марк преуспевает в соблазнении Барбары, и та решает предать бывшего возлюбленного. Со своей стороны, Мелинда влюбляется в Maрка и пытается оторвать его от Барбары. Для достижения этой цели она заставляет мужчин поверить, будто Барбара обманывает их обоих.

 

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Mort d'un pourri [Death of a Corrupt Man / To Kill a Rat] (Georges Lautner, 1977)

 

Alain Delon, Ornella Muti, Stéphane Audran, Mireille Darc, Klaus Kinski

 

Действие происходит во Франции в 1970-е годы. Ксавье Марешаль — друг депутата Филиппа Дюбая. Филипп попал в неприятную историю, его перебранка с другим депутатом Серрано закончилась дракой и смертью последнего. Причиной размолвки стала коррупция и попытки взаимного шантажа между политическими деятелями. В руки Филиппа попадает досье Серрано, его секретный дневник, содержащий компрометирующую сильных мира сего информацию. За дневником начинается охота. Филипп, пытаясь спасти досье, передаёт его Ксавье Марешалю и сам гибнет. Марешалю удаётся спрятать дневник. На него выходят представители некой организации, которая хочет использовать компромат, для того чтобы устранить неугодных ей политиков. Ищет его и полиция. Марешаль отказывается продать информацию, и теперь его жизнь в опасности. Ксавье готов отдать дневник только при условии, если ему сообщат имя убийцы Филиппа Дюбая. Им оказывается комиссар Адриен Моро, одержимый манией великой чистки верхов общества от непорядочных людей.

 

The film score was composed and arranged by Philippe Sarde and features saxophonist Stan Getz fronting the London Symphony Orchestra. Film director Georges Lautner, who worked with Philippe Sarde on a dozen films, said that he was always impressed by the composer's ability to find an original musical approach to each picture. This time, Sarde, who always closely follows the editing process, suggested that they needed a strong soloist, preferably a tenor saxophone player, who would serve as a musical counterpart for the actor Alain Delon's famous good looks. Being a perfectionist, he opted for Stan Getz, one of the all-time great tenor saxophonists. Watching Getz's performance, Lautner decided to find a way to put the musician in the picture.

 

He filmed Getz playing the opening theme, "Paris, Cinq Heures du Matin", solo, and it's the saxophonist's silhouette that appears during the credits sequence in the beginning of the film... The soundtrack turned out to be costly, but the director was pleased with the outcome. Sarde's instincts were right—Getz's saxophone gave the soundtrack a lyrical, nostalgic quality—fitting for Alain Delon's quest in the film for the sake of the past, to honor the memory of his dead friend".

 

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Deux hommes dans la ville [Two Men in Town] (José Giovanni, 1973)

 

Jean Gabin, Alain Delon, Mimsy Farmer, Victor Lanoux, Cécile Vassort, Ilaria Occhini, Guido Alberti, Malka Ribowska, Christine Fabréga, Gérard Depardieu, Robert Castel, Bernard Giraudeau, Michel Bouquet

 

“Two Men in Town” (original title: Deux hommes dans la ville) is a 1973 French-Algerian crime drama directed by José Giovanni. The movie stars Alain Delon and Jean Gabin in the lead roles, and tells the story of a former criminal, Gino (Delon), who is released from prison and tries to start a new life. However, he is constantly hounded by a police inspector, Germain (Gabin), who believes that Gino will inevitably return to a life of crime. The film explores themes such as redemption, justice, and the possibility of change. As Gino struggles to adjust to life outside of prison, he faces many challenges and setbacks, including pressure from his old criminal associates and a lack of support from society.

 

Germain, meanwhile, is torn between his duty as a police officer and his sympathy for Gino’s situation. “Two Men in Town” is a gritty and powerful crime drama that offers a nuanced and complex portrayal of its characters and themes. The movie is known for its strong performances, particularly from Delon and Gabin, as well as its intense and suspenseful sequences. While the film was not a commercial success upon its release, it has since gained a reputation as a classic of French cinema. Its influence can be seen in the work of many subsequent filmmakers, particularly those working in the crime and drama genres. “Two Men in Town” is a must-watch for fans of gritty crime dramas and powerful character studies.

 

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Le clan des Siciliens [The Sicilian Clan] (Henri Verneuil, 1969)

 

Jean Gabin, Alain Delon, Lino Ventura, Irina Demick, Elisa Cegani, Sabine Sun

 

"The Sicilian Clan" is a taut crime thriller that brings together three of France's biggest stars: Alain Delon, Jean Gabin, and Lino Ventura. Directed by Henri Verneuil, the film follows the elaborate heist orchestrated by a Sicilian crime family. Delon plays Roger Sartet, a suave and cunning jewel thief who escapes from prison with the help of the Manalese clan. As Sartet works with Vittorio Manalese (Jean Gabin) to steal a valuable diamond, tensions rise, leading to a gripping showdown. Delon's charisma and intensity drive the film, making Sartet a compelling anti-hero. The film's intricate plot and stylish direction make it a standout in the heist genre. "The Sicilian Clan" was a commercial success and praised for its performances and suspenseful narrative. Delon's collaboration with Gabin and Ventura is a highlight, showcasing the talents of three legendary actors.

 

The film also stars Jean Gabin and Lino Ventura and follows the story of a family of Sicilian gangsters who plan a daring heist on a jewelry store in Paris. Delon’s performance as Sartet is one of the highlights of the film, as he brings a sense of cool confidence and charisma to the role of a criminal mastermind.

 

His chemistry with the other members of the cast, particularly Gabin and Ventura, adds depth and nuance to the complex relationships between the characters. Overall, “The Sicilian Clan” is a classic heist film that showcases the talents of its talented cast and director. Delon’s appearance in the film helped cement his reputation as one of the most popular and talented actors of his generation, and the film remains a beloved work of French cinema to this day.

 

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Borsalino (Jacques Deray, 1970)

 

Alain Delon, Jean-Paul Belmondo, Catherine Rouvel, Michel Bouquet, Daniel Ivernel, Hélène Rémy, Odette Piquet, Mireille Darc, Laura Adani

 

"Borsalino" is a classic French gangster film directed by Jacques Deray, featuring Alain Delon alongside Jean-Paul Belmondo. Set in the vibrant and tumultuous world of 1930s Marseille, the film follows the story of two small-time crooks, Roch Siffredi (Delon) and François Capella (Belmondo), who join forces to climb the ranks of the local underworld. Delon's character, Roch, is suave, ambitious, and determined to make a name for himself. His partnership with the equally charismatic Capella leads to a series of daring exploits, including heists, confrontations with rival gangs, and run-ins with the law. Their bond and rivalry drive the narrative, making "Borsalino" as much a character study as it is a crime drama. The film was a box office hit and is noted for its stylish direction, period-accurate production design, and the dynamic chemistry between Delon and Belmondo. The two leading actors' star power drew significant attention, and their performances were widely praised. "Borsalino" has since become a cult favorite, remembered for its thrilling action sequences and the magnetic presence of its stars. The film's success led to a sequel, "Borsalino & Co.," further cementing its legacy in French cinema.

 

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Les Félins [Joy House] (René Clément, 1964)

 

Jane Fonda, Alain Delon, Lola Albright, Carl Studer

 

In Monte Carlo, Marc, a handsome card sharp, escapes American gangsters who have been ordered to kill him because he had an affair with the boss's wife. Marc hides in a mission for the poor where Barbara, a wealthy widow, finds him and hires him as her chauffeur.

 

At Barbara's chateau, her niece Melinda becomes attracted to Marc, and Marc discovers that Barbara is hiding her lover Vincent in the secret rooms and passageways of the chateau. Vincent is a bank robber sought by the police for murdering Barbara's husband. He and Barbara plan to murder Marc so that Vincent may use Marc's passport to escape to South America. Marc and Barbara begin an affair but are discovered by Vincent, who then kills Barbara but is also killed by the American gangsters who mistake him for Marc.

 

Marc and Melinda plan to dispose of the two bodies, but when Melinda learns that Marc is planning to leave without her, she tricks the police into believing that Marc is guilty and forces him to hide in the chateau's secret rooms. He is her prisoner, just as Vincent had been her aunt's.

 

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Teheran 43 [Тегеран-43] (Alexander Alov, Vladimir Naumov, 1980)

 

Natalya Belokhvostikova, Igor Kostolevsky, Armen Dzhigarkhanyan, Alain Delon, Claude Jade

 

Совместное производство «Мосфильм» (СССР), «Mediterranee Cinema» (Франция) и «Pro Dis Film» (Швейцария). В ролях снимались Игорь Костолевский, Наталья Белохвостикова, Армен Джигарханян и звёзды мирового кино (Ален Делон, Курд Юргенс, Клод Жад). Телеверсия фильма называется «Покушение»

 

По заданию гитлеровского руководства в Тегеран осенью 1943 накануне переговоров глав правительств трёх союзных держав проникает группа немецких террористов, возглавляемая агентом Шернером («Палач»). Официальный повод для приезда — сопровождение тела богатого иранца, умершего в Швейцарии. Смерть на самом деле является подстроенным убийством. Адвокат умершего — месье Симон везёт гроб в Тегеран в сопровождении нанятых переводчицы и агента похоронной конторы. Переводчица — Мари Луни — русская по происхождению, владеет французским, русским, английским и фарси. Под видом гробовщика скрывается убийца Макс Ришар, нанятый Шернером. В аэропорту Женевы Мари знакомится с Андрэ, не зная, что он советский разведчик, тайно следующий в Тегеран для обеспечения безопасности переговоров. После похорон тела иранца убивают адвоката Симона: накануне он делился подозрениями о том, что смерть его клиента не случайна. Убить должны и Мари, но её спасает Андрэ. В результате их усилий сложная террористическая операция со множеством отвлекающих ходов успешно предотвращается. Однако организатору покушения Шернеру и его главному подручному, наёмному убийце Максу Ришару, удаётся уйти от возмездия.

 

В 1970-е годы интерес к этой истории возрождается вновь в связи с тем, что неожиданно появилась считавшаяся утерянной плёнка с кинохроникой событий тех лет. Киноплёнку сохранил Макс Ришар, который решил её продать с аукциона вместе с написанными мемуарами о его собственном участии в покушении. Он смотрит фильм и в тоскливом одиночестве, и вместе с теми, кто пытается его продать или купить, и в компании Франсуаз — женщины, которую ему «подставили» нынешние террористы. Когда было объявлено об аукционе, Шернер и его приспешники — участники террористической организации, начинают охоту за плёнкой и за оставшимися в живых свидетелями...

 

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Boomerang (Arthur Penn, 1976)

 

Alain Delon, Carla Gravina, Charles Vanel, Louis Julien, Dora Doll, Pierre Maguelon, Suzanne Flon

 

Boomerang! is a 1976 American crime thriller film directed by Arthur Penn and starring a star-studded cast that includes Jane Fonda, Lee Grant, and Roy Scheider. The film is based on the true story of the murder of a priest in Bridgeport, Connecticut, and the subsequent investigation that led to the arrest and trial of a black man, who was falsely accused and later exonerated. Fonda plays Jenny, a public defender who is assigned to defend the accused man, played by Yaphet Kotto.

 

Despite the mounting evidence against him, Jenny becomes convinced of his innocence and begins to investigate the case on her own. As she uncovers new evidence and confronts corruption in the police department and the judicial system, she risks her career and her life to uncover the truth.

 

Boomerang! is a tense and suspenseful film that tackles issues of race, corruption, and justice in America. It is notable for its strong performances, particularly by Fonda and Kotto, and its nuanced portrayal of the complexities of the justice system. The film was well-received by critics and audiences, and is now considered a classic of 1970s American cinema. Boomerang! is a powerful and thought-provoking film that still resonates today, and its themes of racial injustice and corruption remain sadly relevant in modern society.

 

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Mélodie en sous-sol, lit [Any Number Can Win] (Henri Verneuil, 1963)

 

Jean Gabin, Alain Delon, Claude Cerval, Viviane Romance, Carla Marlier, Dora Doll, Rita Cadillac, Dominique Davray

 

“Any Number Can Win” (original title: “Mélodie en sous-sol”) is a 1963 French crime film directed by Henri Verneuil and starring Jean Gabin, Alain Delon, and Viviane Romance. The film follows Charles (Gabin), an aging thief who plans a heist on a casino with the help of a younger accomplice named Francis (Delon). The two men must navigate their differences in age, personality, and style, while also dealing with unexpected obstacles and the risk of getting caught by the police.

 

The film is known for its suspenseful plot, clever twists, and strong performances by its cast, particularly Gabin and Delon. It was a critical and commercial success in France and helped establish Delon as a rising star of French cinema. The film was later remade in Hollywood as “The Good Thief” (2002) starring Nick Nolte.

 

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La veuve Couderc [The Widow Couderc] (Pierre Granier-Deferre, 1971)

 

Simone Signoret, Alain Delon, Ottavia Piccolo, Jean Tissier, Monique Chaumette, Boby Lapointe, Pierre Collet, François Valorbe, Jean-Pierre Castaldi

 

“The Widow Couderc” is a 1971 French drama film directed by Pierre Granier-Deferre, in which Alain Delon plays the role of Jean Lavigne, a young man who becomes romantically involved with a much older woman, the widow Couderc (Simone Signoret). The film is set in the rural French countryside and explores themes of love, passion, and betrayal. Delon’s performance in the film is praised for its nuance and sensitivity, as he portrays a complex character who is torn between his desire for the widow Couderc and his loyalty to his own family. His chemistry with Simone Signoret, who won the Best Actress award at the Venice Film Festival for her performance, adds depth and emotion to the story. “The Widow Couderc” is considered one of the best films of Alain Delon’s career, showcasing his range as an actor and his ability to convey powerful emotions through subtle gestures and expressions. The film is a timeless classic of French cinema and a must-watch for fans of Delon and Signoret alike.

 

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Parole de flic [Cop’s Honor] (Jospeh C. Hanwright, 1985)

 

Alain Delon, Jacques Perrin, Fiona Gélin, Éva Darlan, Jean-François Stévenin, Stéphane Ferrara, Vincent Lindon, Dominique Valera

 

“Cop’s Honor” is a crime drama film released in 1985, directed by Jospeh C. Hanwright and written by Andrew J. Fenady. The movie stars Timothy Dalton, Anthony Edwards, and Beverly D’Angelo. The film tells the story of young police officer Tony Church (played by Anthony Edwards), who is eager to make a name for himself in the force. He is partnered with veteran cop John Kilpatrick (played by Timothy Dalton), who is known for his tough approach and unwavering commitment to justice. As the two men investigate a series of crimes in the city, they find themselves at odds over how to handle the cases, leading to a conflict that threatens to tear them apart. “Cop’s Honor” is known for its gripping storyline, tense action sequences, and strong performances, particularly from Timothy Dalton as the grizzled veteran cop. The movie has been praised for its realistic portrayal of police work, as well as its exploration of themes of loyalty, honor, and the price of justice. While the film was not a major commercial success, it has gained a cult following over the years for its compelling characters and engaging storyline. “Cop’s Honor” remains a solid entry in the crime drama genre, and it continues to be enjoyed by fans of gritty, hard-hitting cinema.

 

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Tony Arzenta [Big Guns / No Way Out] (Joseph L. Mankiewicz, 1973)

 

Alain Delon, Richard Conte, Carla Gravina, Marc Porel, Roger Hanin, Nicoletta Machiavelli, Lino Troisi, Silvano Tranquilli, Corrado Gaipa, Umberto Orsini, Giancarlo Sbragia, Erika Blanc, Ettore Manni, Loredana Nusciak, Rosalba Neri, Maria Pia Conte

 

“No Way Out” is a 1973 crime thriller directed by Joseph L. Mankiewicz and starring Sidney Poitier, Richard Widmark, and Stephen McNally. The film follows the story of a black police detective named Virgil Tibbs (Poitier) who is assigned to investigate the murder of a prostitute in San Francisco’s red-light district. As Tibbs delves deeper into the case, he uncovers a web of corruption and deceit that leads him to suspect a wealthy businessman named Bracken (Widmark) and his associates. Despite facing resistance from his superiors and racism from the community, Tibbs remains determined to solve the case and bring the perpetrators to justice. “No Way Out” is praised for its strong performances and taut direction, with Poitier delivering a compelling portrayal of a determined and resourceful detective. Widmark is also lauded for his portrayal of a morally ambiguous villain, while Mankiewicz’s direction is praised for its gritty and realistic depiction of the San Francisco underworld. The film is noted for its themes of racial tension and prejudice, with Tibbs facing discrimination and hostility from both the criminal underworld and the police force. “No Way Out” is considered a landmark film in the portrayal of African American characters in mainstream cinema, and remains a powerful and relevant work that continues to resonate with audiences today.

 

...

 

Le Passage [The Passage] (René Manzor, 1986)

 

Alain Delon, Christine Boisson, Jean-Luc Moreau, Alain Musy, Alberto Lomeo, Jean-Pierre Levasseur, Daniel Emilfork

 

Jean Diaz is a filmmaker working on an animated feature that would speak out against violence, when he is suddenly killed in an accident. Diaz comes around after death only to face Death personified, who wants to strike a bargain with him.

 

Известный художник работает над созданием мультипликационного фильма, направленного против самой идеи насилия. Но после случайной смерти он оказывается перед лицом воплощённой Смерти, желающей заключить с ним договор. Согласно этому договору, художник будет возвращён к жизни, но взамен должен будет закончить свой фильм уже по плану Смерти, желающей полного уничтожения человечества. Однако если договор будет нарушен, то сын героя, находящийся в коме, умрёт.

 

...

 

Le retour de Casanova (Édouard Niermans, 1992)

 

Alain Delon, Elsa Lunghini, Fabrice Luchini, Wadeck Stanczak, Delia Boccardo, Gilles Arbona, Violetta Sanchez, Jacques Boudet, Philippe Leroy, Alain Cuny, Yveline Ailhaud, Sarah Bertrand, Rachel Bizet, Sandrine Blancke, Sophie Bouilloux

 

“Le retour de Casanova” is a 1992 French-Italian romantic comedy film directed by Édouard Niermans and starring Alain Delon as the famous lover Giacomo Casanova. The film tells the story of Casanova, who, after being exiled from Venice, returns to Paris in search of a wealthy patron who can help him clear his debts and restore his reputation. Once in Paris, Casanova becomes embroiled in a series of romantic misadventures as he tries to woo a wealthy widow named Madame de Pompadour (Fabrice Luchini) while also reconnecting with an old flame named Marcolina (Francesca Dellera). As he navigates his complicated love life, Casanova also finds himself caught up in political intrigue and must use his wits and charm to stay ahead of his enemies.

 

“Le retour de Casanova” is notable for its lavish production design and costumes, which evoke the opulence and decadence of 18th-century France. Delon delivers a charming and charismatic performance as Casanova, while Luchini and Dellera provide strong support as his love interests. The film is also notable for its light-hearted tone and playful approach to the romantic comedy genre, with director Niermans infusing the story with a sense of whimsy and humor. While not as critically acclaimed as some of Delon’s other films, “Le retour de Casanova” remains an entertaining and enjoyable entry in the actor’s filmography.

 

...

 

La Tulipe noire [The Black Tulip] (Christian-Jaque, 1964)

 

Alain Delon, Virna Lisi, Adolfo Marsillach, Dawn Addams, Akim Tamiroff, Laura Valenzuela, George Rigaud, Francis Blanche, José Jaspe, Robert Manuel

 

“The Black Tulip” is a French adventure film released in 1964, directed by Christian-Jaque and starring Alain Delon, Virna Lisi, and Dawn Addams. The film is based on the novel of the same name by Alexandre Dumas. The movie is set in the Netherlands during the 17th century, and tells the story of two brothers, Cornelius (Alain Delon) and Johan de Witt, who are both passionate about horticulture. When the two brothers develop a new breed of black tulip, they enter a competition to win a prize offered by the city council. However, their political enemies, led by the corrupt nobleman Isaac Boxtel (George Rigaud), conspire to steal their invention and claim it as their own. The de Witt brothers are then falsely accused of plotting against the government, and they are forced to go into hiding to avoid being executed.

 

“Black Tulip” is a visually stunning film with a lush and vivid portrayal of the Dutch countryside. The movie’s themes of betrayal, intrigue, and political corruption are a hallmark of Dumas’ work, and the film does justice to the original novel. Alain Delon delivers a solid performance as Cornelius, bringing depth and emotional resonance to the character. Overall, “Black Tulip” is an engaging and thrilling adventure film that is sure to delight fans of Alexandre Dumas’ work.

 

...

 

Alain Delon @ Top-70 [kinopoisk]

 

Рокко и его братья / Rocco e i suoi fratelli, 1960

Двое в городе / Deux hommes dans la ville, 1973

Затмение / L'eclisse, 1962

Самурай / Le samouraï, 1967

Красный круг / Le cercle rouge, 1970

На ярком солнце / Plein soleil, 1960

Искатели приключений / Les aventuriers, 1967

Дьявол и десять заповедей / Le Diable et les Dix Commandements, 1962

Зорро / Zorro, 1975

Прощай, друг / Adieu l'ami, 1968

 

Леопард / Il gattopardo, 1963

Первая ночь покоя / La prima notte di quiete, 1972

Мелодия из подвала / Mélodie en sous-sol, 1963

Красное солнце / Soleil rouge, 1971

Мсье Кляйн / Mr. Klein, 1976

Хищники / Les félins, 1964

Бассейн / La piscine, 1969

Сицилийский клан / Le clan des Siciliens, 1969

Тегеран-43 / 1980

Черный тюльпан / La Tulipe Noire, 1963

 

Кристина / Christine, 1958

Вдова Кудер / La veuve Couderc, 1971

Смерть негодяя / Mort d'un pourri, 1977

Спешащий человек / L'homme pressé, 1977

Борсалино / Borsalino, 1970

Три шага в бреду / Histoires extraordinaires, 1968

Наша история / Notre histoire, 1984

Слабые женщины / Faibles femmes, 1959

За шкуру полицейского / Pour la peau d'un flic, 1981

Любовь у моря / L'amour à la mer, 1965

 

Полицейская история / Flic Story, 1975

Троих нужно убрать / 3 hommes à abattre, 1980

Неукротимый / Le battant, 1983

Непокоренный / L'insoumis, 1964

Жил-был вор / Once a Thief, 1965

Крупный калибр / Tony Arzenta (Big Guns), 1973

Как хорошо жить / Che gioia vivere, 1961

Пес / Le chien, 1962

Скорпион / Scorpio, 1973

Желтый роллс-ройс / The Yellow Rolls-Royce, 1964

 

Подозрение / Les granges brûlées, 1973

Слово полицейского / Parole de flic, 1985

Техас за рекой / Texas Across the River, 1966

Дьявольски ваш / Diaboliquement vôtre, 1967

Осторожно, смотрят дети / Attention, les enfants regardent, 1978

Борсалино и компания / Borsalino and Co., 1974

Не будите спящего полицейского / Ne réveillez pas un flic qui dort, 1988

Цыган / Le gitan, 1975

Любовь Свана / Un amour de Swann, 1983

Дорога школяров / Le chemin des écoliers, 1959

 

Горит ли Париж? / Paris brûle-t-il ?, 1966

Пропавший отряд / Lost Command, 1966

Шок / Le choc, 1982

Возвращение Казановы / Le Retour de Casanova, 1992

Будь красивой и молчи / Sois belle et tais-toi, 1958

Преступление / Un crime, 1993

Ледяная грудь / Les seins de glace, 1974

Банда / Le Gang, 1976

Джефф / Jeff, 1969

Знаменитые любовные истории / Amours célèbres, 1961

 

Военврач / Le toubib, 1979

Мэдли / Madly, 1970

Раса «господ» / La race des «seigneurs», 1974

Лечение шоком / Traitement de choc, 1972

Армагедон / Armaguedon, 1977

Девушка на мотоцикле / The Girl on a Motorcycle, 1968

Потише, басы! / Doucement les basses, 1971

Убийство Троцкого / The Assassination of Trotsky, 1972

Конкорд: Аэропорт-79 / The Concorde: Airport '79, 1979

Когда вмешивается женщина / Quand la femme s'en mêle, 1957

 

...

 

В апреле 1972 итальянская певица Минa и актёр Альберто Лупо (Mina & Alberto Lupo) вышли на сцену с песней - Parole, Parole: www.youtube.com/watch?v=O_GhN8wAAPI, она сразу же стала хитом и зазвучала по всей Европе.

 

Вскоре Минa выпустила пародию, которую она исполняла уже с Адриано Челентано. Adriano Celentano Mina e Alberto Lupo Parole parole Teatro 10 Puntata del 07.05.1972: www.youtube.com/watch?v=fOhuw7Qadrs

 

Осенью того же 1972 года Далида (французская певица и актриса итальянского происхождения - Iolanda Cristina Gigliotti) и Ален Делон встретились в студии (в далёкой юности между актёром и певицей был роман, о котором не знал даже брат певицы), чтобы записать французский вариант хита Alain Delon e Dalida - Paroles Paroles: www.youtube.com/watch?v=88JHI7IEHvc. Как это нередко бывает, копия оказалась куда успешнее оригинала, в наши дни все знают эту песню именно по дуэту бывших любовников Далиды и А.Делона.

 

В декабре 1996 Делон исполнил этот хит с Селин Дион (Céline Dion & Alain Delon - Paroles, paroles - Reprise de Dalida).

 

Paroles, Paroles (оригинал Dalida feat. Alain Delon)

Слова, слова (перевод Mickushka из Москвы)

 

C'est étrange,

Так странно...

Je n'sais pas ce qui m'arrive ce soir,

Что со мной такое этим вечером?..

Je te regarde comme pour la première fois.

Я вижу тебя как будто бы в первый раз...

 

Encore des mots toujours des mots

Опять слова, одни и те же,

Les mêmes mots

Снова слова да слова...

 

Je n'sais plus comment te dire,

Я не знаю, как сказать тебе...

 

Rien que des mots

И ничего кроме слов...

 

Mais tu es cette belle histoire d'amour...

Ты — самая красивая любовная история,

que je ne cesserai jamais de lire.

Которую я никогда не перестану читать...

 

Des mots faciles des mots fragiles

Лёгкие, хрупкие слова...

C'était trop beau

Слишком прекрасные...

 

Tu es d'hier et de demain

Ты — моё прошлое и моё грядущее...

 

Bien trop beau

Слишком прекрасные...

 

De toujours ma seule vérité.

Ты — моя вечная истина...

 

Mais c'est fini le temps des rêves

Но время мечтаний подходит к концу,

Les souvenirs se fanent aussi

А воспоминания исчезают,

quand on les oublie

Когда о них забывают.

 

Tu es comme le vent qui fait chanter les violons

Ты — ветер, играющий на струнах скрипки

et emporte au loin le parfum des roses.

И уносящий вдаль аромат роз...

 

Caramels, bonbons et chocolats

Все эти карамельки, конфетки, шоколадки...

 

Par moments, je ne te comprends pas.

Иногда я тебя не понимаю!..

 

Merci, pas pour moi

Благодарю, но это не по мне,

Mais tu peux bien les offrir une autre

Подари их той,

qui aime le vent et le parfum des roses

Которой нравятся ветер и аромат роз,

Moi, les mots tendres enrobés de douceur

А лично для меня все эти слова, окутанные нежностью,

se posent sur ma bouche mais jamais sur mon cœur

Услаждают мой слух, но не трогают сердце.

 

Une parole encore.

Ещё одно слово...

 

Parole, parole, parole

Слова, слова, слова...

 

Ecoute-moi.

Да послушай же меня!

 

Parole, parole, parole

Слова, слова, слова...

 

Je t'en prie.

Умоляю!

 

Parole, parole, parole

Слова, слова, слова...

 

Je te jure.

Клянусь!

 

Parole, parole, parole, parole, parole

Слова, слова, слова, слова, слова...

encore des paroles que tu sèmes au vent

Опять ты бросаешь слова на ветер...

 

Voil? mon destin te parler....

Это моя судьба — говорить о тебе,

te parler comme la première fois.

Говорить о тебе всегда, словно в первый раз...

 

Encore des mots toujours des mots

Всё те же слова, опять слова,

les mêmes mots

Те же самые слова...

 

Comme j'aimerais que tu me comprennes.

Как бы я хотел, что ты поняла меня...

 

Rien que des mots

Ничего, кроме слов...

 

Que tu m'écoutes au moins une fois.

Ну хоть раз выслушай же меня!

 

Des mots magiques des mots tactiques

Чарующие, тонко просчитанные речи...

qui sonnent faux

Какие же они фальшивые!..

 

Tu es mon rêve défendu.

Ты — моя сокровенная мечта...

 

Oui, tellement faux

Да, какая фальш...

 

Mon seul tourment et mon unique espérance.

Ты — мой тяжкий крест и моя надежда...

 

Rien ne t'arrête quand tu commences

Тебя не остановить, если начнёшь.

Si tu savais comme j'ai envie

Знал бы ты, как мне хочется иной раз

d'un peu de silence

Побыть в тишине...

 

Tu es pour moi la seule musique...

Ты — музыка, заставляющая звёзды танцевать

qui fit danser les étoiles sur les dunes

На песчаных дюнах...

 

Caramels, bonbons et chocolats

Карамельки, конфетки, шоколадки...

 

Si tu n'existais pas déj? je t'inventerais.

Если бы тебя не существовало, я бы выдумал тебя...

 

Merci, pas pour moi

Благодарю, но это не по мне,

Mais tu peux bien les offrir une autre

Можешь подарить их той,

qui aime les étoiles sur les dunes

Которой нравятся звёзды и дюны...

Moi, les mots tendres enrobés de douceur

А лично для меня все эти слова, окутанные нежностью,

se posent sur ma bouche mais jamais sur mon cœur

Услаждают мой слух, но не трогают сердце.

 

Encore un mot juste une parole

Ещё одно слово...

 

Parole, parole, parole

Слова, слова, слова...

 

Ecoute-moi.

Да послушай же меня!

 

Parole, parole, parole

Слова, слова, слова...

 

Je t'en prie.

Умоляю!

 

Parole, parole, parole

Слова, слова, слова...

 

Je te jure.

Клянусь!

 

Parole, parole, parole, parole, parole

Слова, слова, слова, слова, слова...

encore des paroles que tu sèmes au vent

Опять ты бросаешь слова на ветер...

 

Que tu es belle!

Ты так прекрасна"

 

Parole, parole, parole

Слова, слова, слова...

 

Que tu est belle!

Ты так прекрасна!

 

Parole, parole, parole

Слова, слова, слова...

 

Que tu es belle!

Ты так прекрасна!

 

Parole, parole, parole

Слова, слова, слова...

 

Que tu es belle!

Ты так прекрасна!

 

Parole, parole, parole, parole, parole

Слова, слова, слова, слова, слова...

Encore des paroles que tu sèmes au vent

Опять ты бросаешь слова на ветер...

 

#alaindelon #delon #france #films

See slideshow: www.flickr.com/photos/artedelares/sets/72157627480009287/...

 

La Boricua Goddess’s “Poetry and music in the Park” at Orchard Beach was a delightful tribal gathering of Puerto Rican artists in the process of creating a meaningful vision of life in the diaspora.

 

Through their art and poetry, grappling and coming to terms with a relevant world view that has political and spiritual meaning. A syncretic world view that finds meaning in its Taino, African and European roots in a challenging North American context that devalues cultural and spiritual diversity.

 

The drumming and chanting and breaking bread brought all those present into a circle of healing the existential breach of what it means to be a Latino in the US and as a cultural Puerto Rican in the diaspora.

 

This was truly a beautiful moment of friendship and community. Thanks to La Boricua Goddess for calling this beautiful meeting of the minds and hearts into order and thanks to all who participated for their generous sharing and love.

Meit Kamdar Avlanii was born in Mumbai in a Gujarati business family that had roots in Yemen. Textiles and cross-border trading was the mainstay of their business. Meit joined the family business at the age of 21 years in Uganda. After a few years, he faced existential angst when he asked himself if he was happy doing what he did and began contemplating on the bigger purpose in his life. Here’s what he revealed about his exciting journey.

 

How It All Began

 

The seed of designing was subconsciously planted in my mind at a very young age. My curiosity was aroused when I accompanied my mother one day to our family jeweller in Bandra. She wanted a special bespoke design and I watched wide-eyed as the jeweller spent time sketching, and during subsequent visits, saw the sketch turn into a captivating piece of jewellery. Then, I was oblivious that this instance would play a huge role in the next chapter of my life … but in hindsight, that steered me to my present vocation.

 

Cut to 2014, I discovered my designing abilities by chance when trying my hand at Photoshop. I had designed a few jewellery pieces for a girl who I wanted to marry. Unfortunately, the relationship did not progress further.

 

However, our family jeweller was impressed with the designs and with my permission submitted it for a jewellery design contest. The design was shortlisted and won an award.

 

Existential Crisis

 

Upset with the way things turned out in my personal life, I had a strong urge to find the purpose of my life. I sought advice from my family and started reading books on spirituality and got hooked on Bhagvad Gita. That’s when I got clarity. The words of wisdom that brought about a change in my thinking and have stayed with me ever since: Choose your work that is your passion, make that passion your life’s purpose and you will never have to work even for a day in your life.

 

While I accidentally discovered my latent design skills, I decided to hone my skills. I moved to GIA, London to study more about diamonds and gemstones, and post that I acquired a Masters degree in Luxury Brand Management from Regents University.

 

At Regents, I met Dr. Eric Chan, professor and life coach, who changed my life completely. He helped me identify my strengths, weaknesses and helped me find my calling in life.

 

I had made up my mind to pursue a career in jewellery, and returned to India and joined the Indian Academy of Jewelry and Design (IAJD).

 

Birth of the Brand

 

Armed with knowledge on the manufacturing side, I opened a retail outlet at an upscale location in Kala Ghoda, Mumbai, in January 2020.

 

Within three months all activities came to a standstill as the entire country was under a lockdown. I was stressed and decided to permanently close down the store.

 

Work from home became a way of life, and from my premier residential apartment in Lower Parel, Mumbai, I started reaching out to potential consumers for private viewing. I sent out personal invitations to each of the 300-plus residents and their relatives living within a radius of two kilometres. To my good luck, each of the invitees who attended the viewing, went home buying a piece of my jewellery. This boosted my confidence and in order to widen the customer base and generate volumes, I invested in an atelier on the same floor where I live.

To know more: gjepc.org/solitaire/meit-kamdaravlaniis-high-art/

  

👩‍🔬 Tallinn is the capital, primate and the most populous city of Estonia. Located in the northern part of the country, on the shore of the Gulf of Finland of the Baltic Sea, it has a population of 434,562. Administratively a part of Harju maakond (county), Tallinn is the main financial, industrial, cultural, educational and research centre of Estonia. Tallinn is located 80 kilometres (50 mi) south of Helsinki, Finland, 320 kilometres (200 mi) west of Saint Petersburg, Russia, 300 kilometres (190 mi) north of Riga, Latvia, and 380 kilometres (240 mi) east of Stockholm, Sweden. It has close historical ties with these four cities. From the 13th century until the first half of the 20th century Tallinn was known in most of the world by its historical German name Reval.

 

💡HOW ? 🔽

📋Licence : You are free to use this video in any of your projects.

(Copy and paste [---])

Music is also free of rights [More information in the description])

(⚠️ Attention however to the city, building, and any creation belonging to persons or third companies, it has a right on the photos with these elements.) :

 

✔️ Download VIDEO (1080p - MP4) : www.dropbox.com/s/ojv0f0d7ew8lb2w/31%20%7C%20Laurent%20Gu...

 

✔️ Download VIDEO (4K - MKV) : www.dropbox.com/s/fkmdwiipkhpgxiu/31%20%7C%20Laurent%20Gu...

 

✔️ Download PICTURES : www.dropbox.com/sh/cobrvmide504xcn/AACjbTNpNSMzcHxXkX2Oso...

 

👑 Senses : 👀 Vision 👆 To Touch 💃 Proprioception 👂 Hearing Equilibrioception 👃 Smell ♨️ Thermoception

⚡ Intelligences : ️ Spatial Intelligence

⛹️ Kinesthetic Body Intelligence

👨‍👩‍👧‍👦 Interpersonal Intelligence

🌲 Ecologicalist Naturalist Intelligence

🔭 Existential Intelligence

 

📋 WHAT :

️ eXploration 30

🌟 Tallinn

💫 Europe/Estonia/Baltic/Monument/History/City/Tallinn World

🌌 Monument/City Galaxy

✨ eXploration (️)

📝 Type : Ground eXploration

🎨 Style : eXploration of Tallinn City

🔊 Language : International (🇬🇧 description in English, but comprehensible by the whole world)

 

🎼Music promoted by eMotion (Kevin MacLeod)

📼Video Link : youtu.be/hwBlvjX2TEA

 

📏 HOW MUCH :

👑 7 Senses

⚡ 5 Intelligences

 

WHO :

🎥 Filmed by Laurent Guidali

📡 Posted by Laurent Guidali

📼 Video made by Laurent Guidali [Final Cut Pro]

📷 Camera - Panasonic Lumix GH4

- 4K - 30p

🔭 Lens - Panasonic G X VARIO 12-35mm f/2.8 II ASPH OIS :

- Power OIS (Activated)

📡Posted by Laurent Guidali

 

❓ WHY : To eXplore Tallinn

 

📍 WHERE : Tallinn [Estonia 🇪🇪]

 

🕓 WHEN : January, 2020

 

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ift.tt/1R2Dq1O

Of course, I couldn't just sit and do nothing.

 

I had my intern do this. Don't you wish you were my intern?

 

UPDATE: It disappeared after a week. Was it stolen by an adoring fan or removed by a humorless employee?

ift.tt/1VDfTY9

How existential is that?

A short campy video with a vivid retro, Cold War-era sci-fi vibe. Flying saucers were a staple of post-WWII alien invasion narratives, especially in the 1950s when UFO hysteria peaked. The lack of visible landmarks and the surreal sky suggest a desolate or symbolic battlefield, possibly a desert or remote outpost – classic settings for alien encounters. The military uniforms suggest Cold War anxieties – soldiers as defenders of Earth against unknown threats. Their retreat is a turning point—not just tactical, but existential. Exaggerated visuals reflect deeper cultural fears – nuclear war, loss of control, the unknown. Humanity overwhelmed by forces it cannot comprehend.

ift.tt/1Stx5Mo

To sleep or not to sleep: that is the question......

325/365

 

Today was a day filled with existential crisis. Mass Effect has gotten so deep into our heads that we have a very hard time turning it off, even after we turn it off. With tonight being a work night, it made a lot of sense to plan to switch from Mass Effect after dinner to a calming soupcon of 90210. You know, so we could fall asleep tonight. Buuuuuut... the galaxy! It needs to be saved! And there's been so much adventure and tragedy and seriously, we need to know how this is all going to end! (Also, we need to finish up so we can start our next playthrough. Garrus, we're going to save you this time!) We've come way too far now to stop.

 

(Oh, and our June edition of Maple Hoo In Moving Pictures is available for viewing now.)