- ISBN13: 9780800793173
- Condition: New
- Notes: BRAND NEW FROM PUBLISHER! BUY WITH CONFIDENCE, Over one million books sold! 98% Positive feedback. Compare our books, prices and service to the competition. 100% Satisfaction Guaranteed
Marcos (Marcos Hernandez) is the middle-aged chauffeur of Ana (Anapola Mushkadiz), daughter of a Mexican general who amuses herself by working as a prostitute in a high-end brothel. Marcos and his wife (Berta Ruiz) have kidnapped a baby for ransom but it went tragically wrong when the infant died. When he confesses his guilt to Ana, a bond of secrecy consecrated by the flesh unites them. As the police draw closer, she urges him to turn himself in but instead he seeks redemption from a higher power.
Battle In Heaven, Carlos Reygadas’ follow-up to
Japón, opens with a controversial oral sex scene involving beauty, Ana (Anapola Mushkadiz),! and the beast, Marcos (Marcos Hernández). Marcos is Ana’s chauffeur, who has kidnapped and accidentally killed a baby. Ana, a general’s daughter by day and a prostitute by night, confides in Marcos and performs sexual favors for him in order to persuade him to turn himself in. She is too young, however, to understand Marcos’s confused mental state, and her sensitive position with him puts her in peril. Set in Mexico City, this tragic drama is as much about failed intimacy as it is about Mexican class structure, as Ana and Marcos attempt to bridge the class gap. A few explicit sex scenes show Marcos in bed with Ana or his wife (Bertha Ruiz), thus garnering it reviews that compare it to
The Brown Bunny. In fact, the slow pacing and artsy, self-consciously composed shots do remind one of
The Brown Bunny, in that both films are initially interesting but grow dull as their plots take forever to unfold. An intriguing plot is buried under seemingly eternal pa! noramic shots of the city, painfully slow conversation between! charact ers, and constant close-ups of Marcos’ face that are meant to capture his angst but only deter narrative. Nevertheless, this film’s merit is based in its experimental energy, and any director who follows up a graphic sex scene with a cut to the waving of the country’s flag (in this case Mexico’s) has my respect.
--Trinie DaltonMARCOS, EL CHOFER DE UNA FAMILIA DE DINERO, PIERDE EL CONTROL TRAS EL RESULTADO TRÃGICO DEL SECUESTRO DE UN BEBÉ PERPETRADO CON SU MUJER. BUSCANDO LIBERARSE, CONFIESA EL CRIMEN A LA HIJA DE SU PATRÃ"N, UNA NIÃ'A FRÃVOLA QUE SE PROSTITUYE POR DIVERSIÃ"N. PERO LA SITUACIÃ"N NO MEJORA Y MARCOS CONTINUA CAYENDO POR UNA ESPIRAL SIN FIN...Spain released, PAL/Region 0 DVD: it WILL NOT play on standard US DVD player. You need multi-region PAL/NTSC DVD player to view it in USA/Canada: LANGUAGES: Spanish ( Dolby Digital 5.1 ), English ( Subtitles ), WIDESCREEN (1.85:1), SPECIAL FEATURES: Biographies, Deleted Scenes, Film Credits, Interactive Me! nu, SYNOPSIS: Marcos and his wife kidnap a baby for ransom money, but it goes tragically wrong when the infant dies. In another world is Ana, the daughter of the general he drives for, who prostitutes herself for pleasure. Marcos confesses his guilt to her in his troubled search for relief. And then finds himself on his knees amidst the multitude of believers moving slowly towards the Basilica in honor of the Lady of Guadalupe. SCREENED/AWARDED AT: Cannes Film Festival, European Film Awards, ...Battle in Heaven ( Batalla en el cielo )The Brown Bunny is both a love story and a haunting portrait of a lost soul unable to forget his past. After finishing a motorcycle race in New Hampshire, Bud Clay (Vincent Gallo) loads his racing bike into the back of his van and begins a cross-country odyssey to Los Angeles, where he is to compete in another race. During his trip, he meets three very different women: Violet, a wholesome all-American gas station attendant; Lilly (Cheryl Tiegs)! , a fellow lost soul he connects with at a highway rest stop; ! and Rose , a Las Vegas prostitute. Throughout his journey, Bud can never escape his intense feelings for the love of his life, Daisy (Chloë Sevigny), so he plans to reconcile with her when he reaches Los Angeles. Arriving in Los Angeles, Bud checks into a motel before visiting the abandoned home he once shared with Daisy. He leaves a note, hoping she will turn up at his motel room . . .Building to a notorious climax, the film presents one of the frankest portrayals of male sexuality ever seen in American cinema.After its scandalous screening at the 2004 Cannes film festival, Vincent Gallo's
The Brown Bunny was cut from 118 to 92 minutes, and that made all the difference. The film that critic and long-time Cannes attendee Roger Ebert originally called "the worst film in the history of the festival" was transformed, by Gallo's judicious editing, into a perfectly acceptable if not universally respected art-house curio, widely criticized yet ripe for cult status, able to stand be! side Gallo's
Buffalo 66 as the work of a genuine artist with a singular vision. Yes, that vision is self-indulgent, narcissistic, and likely to turn off a majority of viewers with its glacial pace and endless shots of Gallo driving, driving, and driving some more. But in portraying a melancholy motorcycle racer who drives cross-country while mourning a private loss that remains secret until the final scenes, Gallo gives us a character, and a film, that feels spiritually akin to such early '70s classics as
Five Easy Pieces and
Two-Lane Blacktop. It's a flawed yet ultimately moving example of maverick, unconventional cinema, and while Chloe Sevigny's explicit oral sex scene with Gallo is completely unnecessary, it's just one more element that places
The Brown Bunny firmly, and refreshingly, out of the mainstream.
--Jeff ShannonMatt, a young glaciologist, soars across the vast, silent, icebound immensities of the South Pole as he recalls his ! love affair with Lisa. They meet at a mobbed rock concert in a! vast mu sic hall - London's Brixton Academy. They are in bed at night's end. Together, over a period of several months, they pursue a mutual sexual passion whose stages unfold in counterpoint to nine live-concert songs. Featuring nine live concert performances not available anywhere else by Black Rebel Motorcycle Club, The Von Bondies, Elbow, Primal Scream, The Dandy Warhols, Super Furry Animals, Franz Ferdinand and Michael Nyman.
Maverick director Michael Winterbottom wondered about the double standard of why novels can have explicit sex scenes and be legit and films could not. So his short film of a relationship based solely on sex and a love for music is the result of that thought. If the definition of a porn film is to shoot actors performing graphic sex scenes for real, then
9 Songs qualifies. It certainly doesn't feel or look like your standard whoopdee-do XXX feature. It's as glossy and low-budget arty as Winterbottom's
24 Hour Party People or
I Want Y! ou. But yeah, Matt and Lisa do everything to each other, and the actors are not "just acting" in some of the sex scenes. No matter how landmark the movie might be, there is not much story here (at least a book with hot sex often has a good story to it). Lisa is an American drifter in London who hooks up with Matt, a scientist who studies glaciers in Antarctica. They have sex and visit nine rock concerts including Franz Ferdinand and The Dandy Warhols. As advertised, you can't find these musical performances anywhere else, but we just see them from way back in the crowd. The film has an essence of how someone can find bliss in another person's body, and the emotional, magical weight that can hold over you. But that spell doesn't last. Since the sex is real, Winterbottom had to cast unknown actors, and they really don't make an impression, especially with the lack of story.
--Doug ThomasWhy is our world a scene of conflict? Is this conflict restricted to earth? Wha! t happens in the three "levels" of heaven? Does Satan really r! oam free ly throughout the universe? Do Christians have any role in the conflict in the spiritual realm?
Prolific author and Bible teacher Derek Prince addresses these questions and more in this carefully researched and superbly written book. Although focusing almost exclusively on the pre-Adamic era, Prince also explains that the Bible is primarily a record of Adam's race rather than a history of the world. He discusses the creation of man, as well as angels, particularly addressing the fall of Lucifer and the angels who joined him in his rebellion against God. Prince concludes that pride, which fueled rebellion, is the root of all sin, and he explains God's eternal plan of salvation.
Written with clarity and simplicity, this fascinating book offers readers biblical answers to fundamental questions and reassurance for the future.
