lost update

ok. fanático y ansiosos en el hemisferio sur. Acá pueden ver los trailers y las famosas missing pieces de lost que hay que ver antes de hoy. Sugiero ver los trailers (por fecha) primero.

lost

mientras rh+ espera signos de vida de su futura visitantes (entre escribiendo más y más párrafos, leyendo Emerson, y labores domésticas), se contenta con que la maldita huelga aminorará sus efectos con el inicio de la cuarta temporada de lost (ABC 8:00 pm ET). Ayer hubo un recap del último episodio con una especie de cliff notes... y aunque todos dicen que la estrategia era captar seguidores que no han visto la serie, rh+ revivió y recordó cosas que los meses había relegado a rincones escondidos de su memoria... SE que los primeros capítulos son haaaarto más fomes de lo que uno espera, pero si el final me hace gritar y sufrir como la última vez, no tengo ningún problema en pasar por esto. seriously.

cada vez más cerca!

aleurzua ya está empezando a saborear su viaje. su salida inminente a vacaciones, teniendo más o menos todo bajo control, le permitió un minuto de ocio y descubrir esta interesantísima exposición.

susto: para esto no sirven los paraguas!!!

rh+, si es Ud. paranoica, prepárese para leer esta noticia.

rh+ está en otra...

así que perdona aleurzua si no comento mucho pero hemos recibido con Xime confirmación para ir a esto!!!!!

You’re invited! Recently, you requested tickets to see THE MARTHA STEWART SHOW, and your date has been selected. Show Date and Time Tuesday, February 19th 2008 – 2 p.m. show (you must RSVP to validate this invitation-see below).  

SPECIAL AUDIENCE THEME:  Latin Chef Show!

What to wear:  Please dress to impress. Everyone in the studio audience should be prepared to be photographed on camera.

Women: Dress to impress. Dressy and fun— a chic dress, dressy jeans, or trendy and fashionable outfits are suggested.  Bright colors photograph best. Recommended:  Dress shoes/heels. DO NOT WEAR: T-shirts, large printed logos on shirts or pants, white shirts, or wild prints. No hats, sleeveless tops, gym sneakers.

la contraparte de los SAG Awards

rh+ es mejor persona que yo. Bardem está bien, no lo niego... pero me entretiene más comentar lo horrendo que lo bello de este evento.

1. Debra Messing: no sabrá a estas alturas que a la red carpet no se va con las ventanas del auto abiertas? y que tampoco hay que meter los dedos al enchufe en los instantes previos a un evento como este? me dificultó mucho apreciar objetivamente lo lindo de su oscar de la renta...

2. Viggo Mortensen: triste evolución, no? o es solo el horrendo outfit que eligió? mmm.... Por suerte esa escena, esa única escena que recuerdo del Señor de los Anillos permanece indeleble en mi memoria...

3. Sandra Oh, Oh, Oh... OH MY GOD! qué hace con ese lazo, que incluía gratis un vestido??? horror de horrores... soy la única persona que agradece que los '80 hayan pa-sa-do???

sintonizando a Bardem

guapo-guapo-guapo. 

no necesita más palabras. 

seriously.

Mountain broken

Murió Heath Ledger. Recién estoy leyendo. Sobredosis de pastillas para dormir. Que pena. "10 Things I hate about you" queda como clásico. Más aquí.

aca la lista. predicciones cuando vea Juno y Sweeney Todd

80th Academy Awards
Announced Categories
Performance by an actor in a leading role
George Clooney in “Michael Clayton” (Warner Bros.)
Daniel Day-Lewis in “There Will Be Blood” (Paramount Vantage and Miramax)
Johnny Depp in “Sweeney Todd The Demon Barber of Fleet Street” (DreamWorks and Warner Bros., Distributed by DreamWorks/Paramount)
Tommy Lee Jones in “In the Valley of Elah” (Warner Independent)
Viggo Mortensen in “Eastern Promises” (Focus Features)

Performance by an actor in a supporting role
Casey Affleck in “The Assassination of Jesse James by the Coward Robert Ford” (Warner Bros.)
Javier Bardem in “No Country for Old Men” (Miramax and Paramount Vantage)
Philip Seymour Hoffman in “Charlie Wilson’s War” (Universal)
Hal Holbrook in “Into the Wild” (Paramount Vantage and River Road Entertainment)
Tom Wilkinson in “Michael Clayton” (Warner Bros.)

Performance by an actress in a leading role
Cate Blanchett in “Elizabeth: The Golden Age” (Universal)
Julie Christie in “Away from Her” (Lionsgate)
Marion Cotillard in “La Vie en Rose” (Picturehouse)
Laura Linney in “The Savages” (Fox Searchlight)
Ellen Page in “Juno” (Fox Searchlight)

Performance by an actress in a supporting role
Cate Blanchett in “I’m Not There” (The Weinstein Company)
Ruby Dee in “American Gangster” (Universal)
Saoirse Ronan in “Atonement” (Focus Features)
Amy Ryan in “Gone Baby Gone” (Miramax)
Tilda Swinton in “Michael Clayton” (Warner Bros.)

Best animated feature film of the year
“Persepolis” (Sony Pictures Classics): Marjane Satrapi and Vincent Paronnaud
“Ratatouille” (Walt Disney): Brad Bird
“Surf’s Up” (Sony Pictures Releasing): Ash Brannon and Chris Buck

Achievement in art direction
“American Gangster” (Universal): Art Direction: Arthur Max; Set Decoration: Beth A. Rubino
“Atonement” (Focus Features): Art Direction: Sarah Greenwood; Set Decoration: Katie Spencer
“The Golden Compass” (New Line in association with Ingenious Film Partners): Art Direction: Dennis Gassner; Set Decoration: Anna Pinnock
“Sweeney Todd The Demon Barber of Fleet Street” (DreamWorks and Warner Bros., Distributed by DreamWorks/Paramount): Art Direction: Dante Ferretti; Set Decoration: Francesca Lo Schiavo
“There Will Be Blood” (Paramount Vantage and Miramax): Art Direction: Jack Fisk; Set Decoration: Jim Erickson

Achievement in cinematography
“The Assassination of Jesse James by the Coward Robert Ford” (Warner Bros.): Roger Deakins
“Atonement” (Focus Features): Seamus McGarvey
“The Diving Bell and the Butterfly” (Miramax/Pathé Renn): Janusz Kaminski
“No Country for Old Men” (Miramax and Paramount Vantage): Roger Deakins
“There Will Be Blood” (Paramount Vantage and Miramax): Robert Elswit

Achievement in costume design
“Across the Universe” (Sony Pictures Releasing) Albert Wolsky
“Atonement” (Focus Features) Jacqueline Durran
“Elizabeth: The Golden Age” (Universal) Alexandra Byrne
“La Vie en Rose” (Picturehouse) Marit Allen
“Sweeney Todd The Demon Barber of Fleet Street” (DreamWorks and Warner Bros., Distributed by DreamWorks/Paramount) Colleen Atwood

Achievement in directing
“The Diving Bell and the Butterfly” (Miramax/Pathé Renn), Julian Schnabel
“Juno” (Fox Searchlight), Jason Reitman
“Michael Clayton” (Warner Bros.), Tony Gilroy
“No Country for Old Men” (Miramax and Paramount Vantage), Joel Coen and Ethan Coen
“There Will Be Blood” (Paramount Vantage and Miramax), Paul Thomas Anderson

Best documentary feature
“No End in Sight” (Magnolia Pictures) A Representational Pictures Production: Charles Ferguson and Audrey Marrs
“Operation Homecoming: Writing the Wartime Experience” (The Documentary Group) A Documentary Group Production: Richard E. Robbins
“Sicko” (Lionsgate and The Weinstein Company) A Dog Eat Dog Films Production: Michael Moore and Meghan O’Hara
“Taxi to the Dark Side” (THINKFilm) An X-Ray Production: Alex Gibney and Eva Orner
“War/Dance” (THINKFilm) A Shine Global and Fine Films Production: Andrea Nix Fine and Sean Fine

Best documentary short subject
“Freeheld” A Lieutenant Films Production: Cynthia Wade and Vanessa Roth
“La Corona (The Crown)” A Runaway Films and Vega Films Production: Amanda Micheli and Isabel Vega
“Salim Baba” A Ropa Vieja Films and Paradox Smoke Production: Tim Sternberg and Francisco Bello
“Sari’s Mother” (Cinema Guild) A Daylight Factory Production: James Longley

Achievement in film editing
“The Bourne Ultimatum” (Universal): Christopher Rouse
“The Diving Bell and the Butterfly” (Miramax/Pathé Renn): Juliette Welfling
“Into the Wild” (Paramount Vantage and River Road Entertainment): Jay Cassidy
“No Country for Old Men” (Miramax and Paramount Vantage) Roderick Jaynes
“There Will Be Blood” (Paramount Vantage and Miramax): Dylan Tichenor

Best foreign language film of the year
“Beaufort” Israel
“The Counterfeiters” Austria
“Katyn” Poland
“Mongol” Kazakhstan
“12″ Russia

Achievement in makeup
“La Vie en Rose” (Picturehouse) Didier Lavergne and Jan Archibald
“Norbit” (DreamWorks, Distributed by Paramount): Rick Baker and Kazuhiro Tsuji
“Pirates of the Caribbean: At World’s End” (Walt Disney): Ve Neill and Martin Samuel

Achievement in music written for motion pictures (Original score)
“Atonement” (Focus Features) Dario Marianelli
“The Kite Runner” (DreamWorks, Sidney Kimmel Entertainment and Participant Productions, Distributed by Paramount Classics): Alberto Iglesias
“Michael Clayton” (Warner Bros.) James Newton Howard
“Ratatouille” (Walt Disney) Michael Giacchino
“3:10 to Yuma” (Lionsgate) Marco Beltrami

Achievement in music written for motion pictures (Original song)
“Falling Slowly” from “Once” (Fox Searchlight) Music and Lyric by Glen Hansard and: Marketa Irglova
“Happy Working Song” from “Enchanted” (Walt Disney): Music by Alan Menken; Lyric by Stephen Schwartz
“Raise It Up” from “August Rush” (Warner Bros.): Nominees to be determined
“So Close” from “Enchanted” (Walt Disney): Music by Alan Menken; Lyric by Stephen Schwartz
“That’s How You Know” from “Enchanted” (Walt Disney): Music by Alan Menken; Lyric by Stephen Schwartz

Best motion picture of the year
“Atonement” (Focus Features) A Working Title Production: Tim Bevan, Eric Fellner and Paul Webster, Producers
“Juno” (Fox Searchlight) A Dancing Elk Pictures, LLC Production: Lianne Halfon, Mason Novick and Russell Smith, Producers
“Michael Clayton” (Warner Bros.) A Clayton Productions, LLC Production: Sydney Pollack, Jennifer Fox and Kerry Orent, Producers
“No Country for Old Men” (Miramax and Paramount Vantage) A Scott Rudin/Mike Zoss Production: Scott Rudin, Ethan Coen and Joel Coen, Producers
“There Will Be Blood” (Paramount Vantage and Miramax) A JoAnne Sellar/Ghoulardi Film Company Production: JoAnne Sellar, Paul Thomas Anderson and Daniel Lupi, Producers

Best animated short film
“I Met the Walrus” A Kids & Explosions Production: Josh Raskin
“Madame Tutli-Putli” (National Film Board of Canada) A National Film Board of Canada Production Chris Lavis and Maciek Szczerbowski “Même Les Pigeons Vont au Paradis (Even Pigeons Go to Heaven)” (Premium Films) A BUF Compagnie Production Samuel Tourneux and Simon Vanesse
“My Love (Moya Lyubov)” (Channel One Russia) A Dago-Film Studio, Channel One Russia and Dentsu Tec Production Alexander Petrov
“Peter & the Wolf” (BreakThru Films) A BreakThru Films/Se-ma-for Studios Production Suzie Templeton and Hugh Welchman

Best live action short film
“At Night” A Zentropa Entertainments 10 Production: Christian E. Christiansen and Louise Vesth
“Il Supplente (The Substitute)” (Sky Cinema Italia) A Frame by Frame Italia Production: Andrea Jublin
“Le Mozart des Pickpockets (The Mozart of Pickpockets)” (Premium Films) A Karé Production: Philippe Pollet-Villard
“Tanghi Argentini” (Premium Films) An Another Dimension of an Idea Production: Guido Thys and Anja Daelemans
“The Tonto Woman” A Knucklehead, Little Mo and Rose Hackney Barber Production: Daniel Barber and Matthew Brown

Achievement in sound editing
“The Bourne Ultimatum” (Universal): Karen Baker Landers and Per Hallberg
“No Country for Old Men” (Miramax and Paramount Vantage): Skip Lievsay
“Ratatouille” (Walt Disney): Randy Thom and Michael Silvers
“There Will Be Blood” (Paramount Vantage and Miramax): Matthew Wood
“Transformers” (DreamWorks and Paramount in association with Hasbro): Ethan Van der Ryn and Mike Hopkins

Achievement in sound mixing
“The Bourne Ultimatum” (Universal) Scott Millan, David Parker and Kirk Francis
“No Country for Old Men” (Miramax and Paramount Vantage): Skip Lievsay, Craig Berkey, Greg Orloff and Peter Kurland
“Ratatouille” (Walt Disney): Randy Thom, Michael Semanick and Doc Kane
“3:10 to Yuma” (Lionsgate): Paul Massey, David Giammarco and Jim Stuebe
“Transformers” (DreamWorks and Paramount in association with Hasbro): Kevin O’Connell, Greg P. Russell and Peter J. Devlin

Achievement in visual effects
“The Golden Compass” (New Line in association with Ingenious Film Partners): Michael Fink, Bill Westenhofer, Ben Morris and Trevor Wood
“Pirates of the Caribbean: At World’s End” (Walt Disney): John Knoll, Hal Hickel, Charles Gibson and John Frazier
“Transformers” (DreamWorks and Paramount in association with Hasbro): Scott Farrar, Scott Benza, Russell Earl and John Frazier

Adapted screenplay
“Atonement” (Focus Features), Screenplay by Christopher Hampton
“Away from Her” (Lionsgate), Written by Sarah Polley
“The Diving Bell and the Butterfly” (Miramax/Pathé Renn), Screenplay by Ronald Harwood
“No Country for Old Men” (Miramax and Paramount Vantage), Written for the screen by Joel Coen & Ethan Coen
“There Will Be Blood” (Paramount Vantage and Miramax), Written for the screen by Paul Thomas Anderson

Original screenplay
“Juno” (Fox Searchlight), Written by Diablo Cody
“Lars and the Real Girl” (MGM), Written by Nancy Oliver
“Michael Clayton” (Warner Bros.), Written by Tony Gilroy
“Ratatouille” (Walt Disney), Screenplay by Brad Bird; Story by Jan Pinkava, Jim Capobianco, Brad Bird
“The Savages” (Fox Searchlight), Written by Tamara Jenkins

Oscars!!!!!!!

Anuncio de los nominados en vivo aquí y ahora!

LE QUEREMOS!

ya no sé qué más esperar, me siento vieja recordando cuando recién empecé a usar internet, cuando trabajaba tan feliz con el purple-imac, cuando me llegó mi ipod o lo que me sorprendió la aparición del iphone....
ahora, no puedo creer que aleurzua pueda eventualmente tener algún día este increíble nuevo mac que queremos SI o SI!!! ¿Ha visto rh+ algo más lindo y perfecto? Si todavía no quieres poseerlo, seguramente es porque no has entendido bien todas sus virtudes, las que puedes apreciar –en menos de 60 segundos– aquí.

The Singing Bee vs. Hit, la fiebre del karaoke

aleurzua ya ha visto un par de veces al hiperventilado sergio lagos en la esperada versión chilena de The Singing Bee, ese confesado placer culpable de rh+. y bueno, lo reconozco, es bastante adictivo. y como dura media hora, es más fácil de ver aun. aleurzua se pregunta, eso sí, qué tan similar al original es esta versión, y si los gringuitos tienen que soportar como una el infaltable y demasiado siútico ballet que invade siempre la tv chilena, esta vez enchuladas de abejitas...

carnaval... ¿cultural?

este año, en el marco del Teatro a Mil que inunda Santiago en enero, se presenta un Carnaval. El "tema" eran supuestamente mitos chilenos de la cultura popular: dos ballenas y un dragón marino, un Pillán, seres mitológicos... La verdad? un desfile de monstruos sin ningun sentido, coherencia ni mensaje, con unos hombres vestidos supuestamente de Selknam saltando a lo tarzán entre los seres "fantásticos".
Entretenido como fenómeno si se ve por primera vez algo parecido en medio de Apoquindo inundado de gente, pero triste espectáculo para alguien de insoportable espíritu crítico como yo y que, sobre todo, tuvo el privilegio de gozar hace un año de la versión catalana original. De hecho, da para pensar que también haya sido el mar la "inspiración" de la compañía chilena, no? parecía una pobre copia en cuanto a recursos pero sobre todo, y lo que es más imperdonable, en cuanto a creatividad. ¿farrearse la oportunidad, y la plata, de hacer algo original, con alguna unidad conceptual y que dejara realmente algo? una pena.

freaking strike!

La huelga de los escritores cobra su víctima más importante a la fecha: se suspendieron los Golden Globes como evento (los permios serán anunciados en una suerte de conferencia de prensa) y con ello la alfombra roja que rh+ tanto añora comentar. Por qué no se ponen de acuerdo de una vez antes que suspendan los Oscar, ah??

En el intertanto GRACIAS A DIOS pasó algo bueno en la tv: anoche volvieron Stewart & Colbert. He aquí los highlights según Mr. Tuned In y que rh+ apoya:

"Jon Stewart:
* Last week, I'd complained that, for all David Letterman's solidarity with his writers, they were doing a lousy job of actually explaining the issues in the strike. (With, I worry, the unanticipated result of making the writers seem like whiny axe-grinders.) Being funny while actually imparting information is what The Daily Show is about, and Stewart did not disappoint here. His faux rationalization of why the corporations don't want to pay the writers for Internet downloads was the funniest strike routine I've heard yet: the iTunes fee, he said, is not for content; it's a shipping and handling charge. "That $1.99 goes to fuel for tiny trucks."
* Likewise, he used his interview with a labor-relations professor to dig at his bosses for poormouthing themselves about the Internet while boasting of new-media money to shareholders. "I guess the phrase Sumner [Redstone] used at the Viacom meeting was, 'You'll all be dipping your balls in gold.'"
* Interesting to see that, while he lined up on the writers' side, Stewart was willing to criticize their tactics--in particular, choosing not to make a side deal with his show even though he said he had persuaded his bosses to make one. On the other hand, making the picket outside his own show The Moment of Zen was classy.

Stephen Colbert:
* Both more and less vulnerable to the strike. On the one hand, The Colbert Report is a language-besotted show, and The Word (sorry, I'm not up on my diacritical marks) was noticable by its absence. On the other hand, Colbert's putting on a jacket and arching his eyebrows is an act of writing in itself, and from the second Stewart threw to him--catching his rabbinical "strike beard" in a paper shredder--he was up to the improv challenge.
* Immediately proved how much these shows were missed during the election, from the silly ("HuckColbert-ry '08. Think about it, Ben and Jerry. That'd be a hell of a flavor") to the incisive (the best one-liner about Hillary on stage in Iowa with a sea of old Clinton Administration hands: "Look at that haunted mansion behind her!").
* The Colbert Report had become increasingly worth watching for the interviews, so I'm glad he--by necessity--did two of them, and I hope he keeps this up until the strike's over."

you had me at hello

“They said this day would never come. They said our sights were set too high. They said this country was too divided, too disillusioned to ever come together. But on this January night at this defining moment in history, you have done what the cynics said we couldn’t do.”
- Barack Obama, parte del discurso admitiendo su victoria en Iowa, Enero 3, 2008 -

{i like barack}

justicia divina

Julio Martínez 1923-2008