Word: marshes
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Dates: during 2000-2009
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...that her body is enduring are starting to affect Rusch's mind. "You start hallucinating and falling asleep while on the bike," she says. "I've had vitamins in my hand and had them all turn into squirming bugs. In New Zealand one time, we were walking through a marsh in the middle of the night, and I saw a Vietnamese woman selling fruit at a little stand. I asked a teammate for some money to buy mangoes as I started to change course and walk toward the stand. My teammate just grabbed my arm and pulled me back. There...
...their abandoned sons. The need for parental closure drove the characters played by Bill Murray in Jim Jarmusch's Broken Flowers (which took the runner-up Grand Prix), Sam Shepard in Wim Wenders' Don't Come Knocking, and William Hurt in James Marsh's The King. A similar theme, of past sins haunting and tainting the present, was the preoccupation of several other biggies: ancient murders in David Cronenberg's A History of Violence, boyhood betrayal in Michael Haneke's Hidden, slavery in the American South in Lars Von Trier's Manderlay. The Grand Palais screen was streaked with guilty...
...whim of the Zeitgeist. It is certainly a boon for critics looking for (or inventing) common threads in important films. But all three directors -and British director James Marsh, who has a much-noted feature shown out of competition -are investigating the pull of the raucous past on the calmer present. The films ask: What is identity? Are we the people we were or the ones we become? Can we ever escape our past, or can we only learn to live with...
...quiet Midwestern family man (Viggo Mortsensen) is accused by some visiting gangsters of having been a hit man in Philly. In Jarmusch's Broken Flowers, a retired computer mogul (Bill Murray) learns that 20 years ago he fathered a child who is now trying to find him. In Marsh's The King, a preacher (William Hurt) who a generation earlier fathered and abandoned a child out of wedlock must pay for his age-old sin when the son (Gael Garcia Bernal) shows up. And in Von Trier's Manderlay, set in Alabama in the 1930s, an idealistic young woman (Bruce...
...goal was to make Nationals,” said Marsh. “We’re not just going and thinking that we’re going to lose. If we play our hardest and play well, we have a good shot against any team...