Word: luisa
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Dates: during 1990-1999
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...Kris Kristofferson). Based on the memoirish novel by James Jones' daughter Kaylie, this beautifully observed film is a domestic epic in miniature: of precocious kids and stern teachers, of maids and their amours, of complex friendships ended by fate's whim. In an exemplary cast the standouts are Luisa Conlon and Leelee Sobieski as the daughter at seven and 14, and Anthony Roth Costanza as her brilliantly effeminate best friend. The Merchant-Ivory attention to period detail often seems like the movie equivalent of good penmanship. But here it accrues a kind of ethical eloquence. These are people...
Instead, the soloists were ringers: BSO cellist Martha Babcock, Boston Chamber Music Society violinist Lynn Chang, and pianist Luisa Vosgerchian, Harvard music professor emerita. The soloists were, of course, quite good, especially Babcock, whose lovely tone compensated for the poverty of her themes. Chang was, if anything, a bit too thin--though this effect may well have been due to Sanders' acoustics, which make it difficult to hear at the extreme edges of each tier of seats. Vosgerchian, meanwhile, was a beatific presence, smiling and swaying joyously throughout; even what appeared to be a nasty fall...
DIED. MARIA LUISA BEMBERG, 73, Latin America's foremost female film director; of stomach cancer; in Buenos Aires. Bemberg came to cinema relatively late in life, directing her first film at the age of 59. Typical of her feminist oeuvre was the Oscar-nominated Camila (1984), a melodrama of an aristocratic young woman who seeks romantic happiness with a Catholic priest...
...first thing to note about I Don't Want to Talk About It, Maria Luisa Bemberg's Argentine film (which she and screenwriter Jorge Goldenberg based on a short story by Julio Llinas) is that this is no freak show. It is a poignant, often funny fable, unfolding like a cautionary bedtime tale. It skips delicately among the ruins of passion, obsession and propriety. As in the novel and movie Like Water for Chocolate, family matters are treated in a mode balanced between magic realism and tragic surrealism...
Southward lies the dilapidated neighborhood known as La Vibora. There, a gaggle of elderly women cluster in a disintegrating foyer. Pointing to one in the group, they say, Talk to her. She is the anti-revolutionary. Asking to be called Luisa, the 66-year-old mother of an exile is glad President Bill Clinton cut off remittances, even if it means no more money from her son in California. "He pockets the money anyway," she says. Who? "Fidel. Who else?" Alarmed, her companions shush her, and she lowers her voice. "I'd rather suffer a little more than see this...