#Baillif

[jujuygrafico]

BAFICI Itinerante en San Salvador de Jujuy

#Jujuy #Cultura #Cine #CABA | #BAFICIItinerante en #SanSalvadordeJujuy

Organizada por el Ministerio de Cultura del Gobierno de la Ciudad de Buenos Aires y el Festival Internacional de Cine de las Alturas, comienza el BAFICI Itinerante del 28 de octubre (el 29 no habrá función) al 2 de noviembre, en San Salvador de Jujuy. Se proyectarán películas en el Cine Teatro Municipal Select, Gral. Alvear 665, de 17 a 20 horas. BAFICI Itinerante tiene como objetivo llevar parte…

[charlesoberonn]

Starship crew who cycles through many captains every year because the captains keep dying in increasingly bizarre plots.

The officers are on a first name basis with all the baillifs and guards in the court-martial building.

[cosmic-slop]

Got a client at work called BAILLIF and all I can think about is

[babbling-idiot2]

(I have found the show Night Court and it was a mistake on my mothers part. You'll lover it she said. A guy from the original IT movie is in it she said. Yes Harry Anderson is in it. But my god, Dan Fielding is so fine. I would use different a word but I'm trying to be calm. I will continue to write for this man. So please, Request for him. I beg of you! Enjoy!!)

Harry T. Stone, best friend, and court judge. He had been your best friend since you could remember. He was always there for you, and of course, you were always there for him. It was surprising to hear that he had finally gotten the job at Manhattan Criminal Court. You were very happy for him and even went out of your way to go and see him on his first day. Harry knew the chance of you making it slim. You lived so far away, and you even had a job of your own. He had no idea you were in the building and was in for a surprise, but little did you know, so we're you.

When you arrived in the court house, you asked for directions. When you were told the 8th floor, you were immediately on your way. After finding his office, you walked in and waited. Luckily, he wasn't there to greet you. It was a perfect time to surprise him.

Thankfully, you didn't have to wait long. Harry walked in, looking down at some mail in his hands. You were on his couch and silently watching him. He walked to his desk and around it. His hand grabbed the chair, and right before he could sit down, you spoke up.

"How's your first day on the job, Judge Stone?"

He lets out a short yelp and looks over at you. His eyes are wide, and a huge smile spreads over his face.

"Y/n? What in the world. I thought you were working?"

He says as he starts to round his desk towards you. When he gets to you, he pulls you into a bone crushing hug.

"What and miss my best friends' first day as a judge? Not in a million years."

You say as you hug back.

"So, tell me everything. I'm dying to hear all about your day."

He smiles wide and goes to start talking but stops when the door to his office opens. In walks two men and two women. One of the men and both of the women seems to immediately want to leave to give some privacy. But the other man is in a very nice suit, is looking at you. Pratically undressing you with his eyes.

"Hey, come on in. I'd like you to meet my best friend y/n. Y/n, meet Bull one of our baillifs. Lana, our court clerk. Liz, our public defender. And that is Dan, our public defender."

You smile at everyone. Nodding your head their way. Dan smiles as well and walks forward.

"Dan Fielding. It's nice to meet you. It's so rare that we get to meet new people here who don't have priors. Especially one as attractive as you."

Smiling, you look over to Harry before turning back to Dan.

"I'm flattered. It's nice to meet you, Dan."

His smile never falters.

"Would like to get drinks later tonight? I would be happy to take you on the town, show you things you haven't seen before."

"Lovely offer. I'd like to get drinks, but I grew up in this city, I've seen it all."

He shrugs his shoulder and reaches for your hand. He grasps it and leans forward, kissing the top of it.

"You may have grown up here, but there is one place you haven't seen before."

Raising your eye brow in question.

"Oh, and where would that be?"

Smirking, he steps closer.

"My bed."

Oh, so clever and cheesy at the same time. You smile in shock but also the fact that, besides the simple fact that he is very forward, he's so attractive. You might just let this take you wherever it may lead, even if it is to his bed. Harry steps forward and looks at Dan. Sending a warning glare his way.

"Dan, Y/n is not here to be harassed by you."

Dan throws his hands down to his sides, and his smiles drop slightly.

"He is correct. I'm not here to get asked out by any means. I'm here to see Harry work his magic in the courtroom. But that doesn't mean I don't accept the offer still. What time did you have in mind, Dan?"

Dan's head perks up, and he smiles yet again.

"When we are done here. I'm not sure what time that will be, but if you hang around, I'll definitely still be here."

Nodding your head, you turn back to Harry. Linking your arm with his, you point to the door.

"I think i am feeling a bit peckish. Lead the way, Judge Stone!"

Harry smiles and starts to walk towards the door, all the while sending Dan an angry look.

After you both have left and the others are still standing there. Dan sighs and sits on the couch.

"My god, did you see that?"

The others look at each other for a moment until Lana speaks up.

"You mean the way you oggled the poor thing? Yeah, we saw. You got to get ahold of yourself."

He shakes his head against the couch arm.

"If there's a god, he's taken pity on me."

He says as he looks up at the ceiling. After a few seconds, go by he mouths a silent 'Thank you.'

[b-g-m]

2023, Untitled, The engraving rocks from Plessis river (between Baillif and Vieux-Habitants, Guadeloupe): Arawak Petroglyphs from the I-VII century 

Chinese ink and river water on banana(cavendish) and cassava fiber paper engineering by LVDEV @projetvdb (Nicolas Verrès)

120x70cm (frame)

[kemetic-dreams]

Chevalier de Saint-Georges

Joseph Bologne, Chevalier de Saint-Georges(December 25, 1745 – June 10, 1799), was a FrenchCreolevirtuoso violinist and composer, who was conductor of the leading symphony orchestra in Paris.

Saint-Georges was born in the then French colony ofGuadeloupe, the son of Georges de Bologne Saint-Georges, a wealthy married planter, and an enslaved African woman named Nanon. At the age of seven he was taken to France, and at the age of thirteen educated asgendarmeto the King. He received music lessons from François-Joseph Gossec and likely violin lessons from Jean-Marie Leclair, while continuing to study fencing.

In 1764 Antonio Lolli dedicated two concertos to Saint-Georges. In 1769 he joined a new symphony orchestra; two years later he was appointed concert master and soon started composing. In 1773 he was appointed conductor of "Le Concert des Amateurs". In 1775 he introduced the symphonie concertante, using the possibilities offered by a newbow. In 1776 he was proposed as the next conductor of the Paris Opera, but was subsequently denied this role by a petition by the divas of the time to the Queen. This then put an end to any aspirations that Saint-Georges had to becoming the music director of the institution. In 1778 he lived for 2.5 months next to Mozart in the Chaussee d'Antinand stopped composing instrumental works in 1785. He knew many composers, including Salieri,Gossec,Gretry,Mozart and Gluck. He commissioned and performed the Paris Symphonies by Haydn and travelled to London where he met with the Prince of Wales and George IIIin 1787.

Following the 1789 outbreak of the French Revolution, the younger Saint-Georges served as a colonel of the Légion St.-Georges(established in 1792), the first all-African regiment in Europe, fighting on the side of the French First Republic. Today the Chevalier de Saint-Georges is best remembered as the first well-known classical composer of African ancestry. He composed numerous string quartets and other instrumental pieces, violin concertos as well as operas. Ludwig van Beethoven held his music and his views very highly.

Joseph Bologne was born in Baillif, Basse-Terre as the son of a planter and former councilor at the parliament of Metz, Georges de Bologne Saint-Georges (1711–1774) and Nanon, his wife's 16-year-old enslaved African servant of Senegalese origin, who served as her personal maid. Bologne was legally married to Elisabeth Mérican (1722–1801) but acknowledged his son by Nanon and gave him his surname

Starting in the 17th century, a Code Noir had been law in France and its colonial possessions. On April 5, 1762, King Louis XV decreed that "Nègres et gens de couleur" (Africans and people of color) must register with the clerk of the Admiralty within two months. Many leading Enlightenment thinkers like Voltaire argued that Africans and their descendants were inferior to White Europeans. These laws and racist attitudes towards mixed-race people made it impossible for Joseph Bologne to marry anybody at his level of society, though he did have at least one serious romantic relationship.

Musical life and career

François-Joseph Gossec

Nothing is known about Saint-Georges' early musical training. Given his prodigious technique as an adult, Saint-Georges must have practiced the violin seriously as a child. There has been no documentation found of him as a musician before 1764, when violinistAntonio Lollicomposed two concertos, Op. 2, for him,[note 1]and 1766, when composerFrançois-Joseph Gossecdedicated a set of six string trios, Op. 9,to Saint Georges. Lolli may have worked with Bologne on his violin technique and Gossec on compositions.

(Beauvoir's novel says that "Platon", a fictional whip-toting slave commander onSaint-Domingue, "taught little Saint-Georges" the violin.[note 2])

Historians have discountedFrançois-Joseph Fétis' claim that Saint-Georges studied violin withJean-Marie Leclair. Some of his technique was said to reveal influence byPierre Gaviniès. Other composers who later dedicated works to Saint-Georges wereCarl Stamitzin 1770, and Avolio in 1778.

In 1769, the Parisian public was amazed to see Saint-Georges, the great fencer, playing as a violinist in Gossec's new orchestra,Le Concert des Amateurs. Four years later he became its concertmaster/conductor. In 1772 Saint-Georges created a sensation with his debut as a soloist, playing his first two violin concertos, Op. II, with Gossec conducting the orchestra. "These concertos were performed last winter at a concert of theAmateursby the author himself, who received great applause as much for their performance as for their composition." According to another source, "The celebrated Saint-Georges,mulatto fencer [and] violinist, created a sensation in Paris ... [when] two years later ... at theConcert Spirituel, he was appreciated not as much for his compositions as for his performances, enrapturing especially the feminine members of his audience."

Young Saint-Georges in 1768, aged 22. The three roses on his lapel were a Masonic symbol.

Saint-Georges's first compositions, Op. I, were a set of six string quartets, among the first in France, published by famed French publisher, composer, and teacherAntoine Bailleux. They were inspired byHaydn's earliest quartets, brought from Vienna by Baron Bagge. Saint-Georges wrote two more sets of six string quartets, threeforte-pianoand violin sonatas, a sonata for harp and flute, and six violin duets. The music for three other known compositions was lost: a cello sonata, performed in Lille in 1792, a concerto for clarinet, and one for bassoon.

Saint-Georges wrote twelve additional violin concertos, two symphonies, and eightsymphonie-concertantes, a new, intrinsically Parisian genre of which he was one of the chief exponents. He wrote his instrumental works over a short span of time, and they were published between 1771 and 1779. He also wrote sixopéras comiquesand a number of songs in manuscript.

In 1773, when Gossec took over the direction of the prestigiousConcert Spirituel, he designated Saint-Georges as his successor as director of theConcert des Amateurs. After fewer than two years under the younger man's direction, the group was described[by whom?]as "Performing with great precision and delicate nuances [and] became the best orchestra for symphonies in Paris, and perhaps in all of Europe."

Palais de Soubise, venue of Saint-Georges' orchestra

In 1781, Saint Georges'sConcert des Amateurshad to be disbanded due to a lack of funding. Playwright andSecret du RoispyPierre Caron de Beaumarchaisbegan to collect funds from private contributors, including many of theConcert'spatrons, to sendmaterielaid for the American cause. The plan to send military aid via a fleet of fifty vessels and have those vessels return withAmerican rice, cotton, or tobacco ended up bankrupting the French contributors as theAmerican congressfailed to acknowledge its debt and the ships were sent back empty. Saint-Georges turned to his friend and admirer,Philippe D'Orléans, duc de Chartres, for help. In 1773 at the age of 26, Philippe had been elected Grand Master of the 'Grand Orient de France' after uniting all the Masonic organizations in France. Responding to Saint-Georges's plea, Philippe revived the orchestra as part of theLoge Olympique, an exclusive Freemason Lodge.

RenamedLe Concert Olympique, with practically the same personnel, it performed in the grand salon of thePalais Royal. In 1785, Count D'Ogny, grand master of the Lodge and a member of its cello section, authorized Saint-Georges to commissionHaydnto composesix new symphoniesfor the Concert Olympique. Conducted by Saint-Georges, Haydn's "Paris" symphonies were first performed at the Salle desGardes-Suissesof theTuileries, a much larger hall, in order to accommodate the huge public demand to hear Haydn's new works. QueenMarie Antoinetteattended some of Saint-Georges's concerts at the Palais de Soubise, arriving sometimes without notice, so the orchestra wore court attire for all its performances. "Dressed in rich velvet or damask with gold or silver braid and fine lace on their cuffs and collars and with their parade swords and plumed hats placed next to them on their benches, the combined effect was as pleasing to the eye as it was flattering to the ear." Saint-Georges played all his violin concertos as soloist with his orchestra.

[storeelinkstore]

DECATHLON promotions jusqu'à 60 % sur plus de 900 produits

DECATHLON promotions jusqu'à 60 % sur plus de 900 produits عروض ديكاتلون ترويجية تصل إلى 60٪ على أكثر من 900 منتج Les soldes sports d'hiver sont là, et nous en profitons pour vous présenter les dernières tendances. Pour ceux qui veulent en faire un peu plus, nous vous proposons une sélection de vêtements.

sur decathlon profitez promotions jusqu'à 60 % sur plus de 900 produits عروض ترويجية تصل إلى 60٪ على أكثر من 900 منتج

promotions jusqu'à 60 % sur plus de 900 produits عروض ترويجية تصل إلى 60٪ على أكثر من 900 منتج DECATHLON, le sport populaire inventé par Hervé "Caïman" Baillif, est un croisement entre le sport de la course à pied et le sport du cyclisme. Pendant les douze jours de course, la partie du sport de haut niveau consiste à courir 8 km en 2 heures. Le sport s'inscrit dans la tradition sportive d'hiver et d'été au gala de Bel Read the full article

[zambianobserver]

Stop The Demolition Of Houses In Bwana Mkubwa, Matambo Orders Court Baillifs

STOP THE DEMOLITION OF HOUSES IN BWANA MKUBWA, MATAMBO ORDERS COURT BAILLIFS By Correspondent Reporter WITH pending by-elections in Ndola and Kitwe, the UPND administration has felt the pressure now, that they have ordered for any further demolition of houses in Bwana Mkubwa despite the action being an order of the High Court. Copperbelt Minister Elisha Matambo has with immediate effect…

[infopresse]

Randonnée Guadeloupe : Trace des roches gravées de la Rivière du Plessis - Baillif

Randonnée Guadeloupe : Trace des roches gravées de la Rivière du Plessis – Baillif

#AlloCaraibes – La Guadeloupe, que l’on connaît aussi sous le nom de l’île Papillon, est une terre riche en reliefs. Véritable paradis des amoureux d’eau turquoise, l’île est également le lieu rêvé pour les adeptes de randonnée. Du Nord au Sud, nombreux sont les sentiers qui vous permettent d’explorer la Guadeloupe à pied. Entre montagnes, forêts, cascades et sentiers littoraux, l’île a beaucoup…

[deprotagonisten]

La Mif

Recensie La Mif ★★★★1/2 - vanaf 24-3 in de bioscoop Een film die je voelt, met dank aan het naturelle acteerwerk, de rauwe beelden en het persoonlijk leed. Een goed doordachte verhaallijn ook, met verschillende hoofdstukken en aangrijpend mooi!

De dramafilm La Mif gaat over zeven jonge vrouwen die samen, zij het ongewild, onder een dak wonen. Directrice Lora probeert de boel zo goed als mogelijk te blijven runnen. Wat wij van La Mif vinden, lees je in onze recensie. (more…)

[thepeoplesmovies]

Watch The UK Trailer For Swiss BFI Drama La Mif

Watch The UK Trailer For Swiss BFI Drama La Mif

The BFI have released the UK Trailer for Swiss filmmaker Fred Baillif’s La Mif (The Fam). After making big waves  at it’s world premiere  at last year’s Berlin Film Festival, BFI were quick to get the rights for this powerful, moving film. The film did pick up the Grand Prix for Best Film in the Generation 14plus competition at the festival. That success continued in various other festivals …

[histoireettralala]

The Medieval Forest

The face of Christian Europe was a great cloak of forests and moorlands perforated by relatively fertile cultivated clearings. It was rather like a photographic negative of the Muslim east which was a world of oases in the midst of deserts. In the near east timber was rare, in the west it was plentiful; in the east trees meant civilization, in the west barbarism. A religion born in the east under the shelter of palms made a way for itself in the west at the cost of trees, for these were a refuge of pagan spirits and were pitilessly attacked by monks, saints and missionaries. Any progress in medieval western Europe meant clearings, struggle and victory over brushwood and bushes, or, if it was necessary, and if tools and skill permitted, over standing trees, the virgin forest, the "gaste forêt" of Percival, or Dante's selva oscura. What in fact was striking about the medieval topography was that it was a collection of greater or smaller clearings. It was made up of economic, social and cultural cells. For long the medieval west remained a collection, juxtaposed, of manors, castles, and towns arising out of the midst of stretches of land which were uncultivated and deserted. Moreover the word 'desert' at this time meant forest. It was there that the practitioners of fuga mundi, willing or unwilling, took refuge: hermits, lovers, knights-errant, brigands and outlaws.

Thus we find St Bruno and his companions in the "desert" of the Grande Chartreuse and Robert of Molesmes and his disciples in the "desert" of Cîteaux, and Tristan and Iseult in the forest of Morois ('"We return to the forest which protects and guards us. Come, Iseult, my love!"… they went into the tall grass and the bracken, the trees closed their branches over them and they disappeared behind the foliage.') Similarly the adventurer Eustache le Moine, the precursor of and perhaps the model for Robin Hood, took refuge in the woods of the Boulonnais at the start of the thirteenth century. As a place of refuge, the forest had attractions. To the knight it was a world of hunting and adventure […]

For the peasants and a mass of poor working people it was a source of profit. Herds and flocks went there to feed. Above all pigs were fattened there in the autumn. They were a source of wealth to the poor peasant; after the acorns had fallen he would kill his pig, which was a promise of subsistence if not of plenty for the winter. In the forest wood could be cut which was indispensable to an economy that for a long time was short of stone, iron, and coal. Houses, tools, hearths, ovens, and forges, could not exist or operate without wood or charcoal. Wild berries could be picked in the forest; they were an essential contribution to the limited diet of the peasant, and were the main chance of survival in times of dearth. Oak bark could be stripped off for tanning and potash could be made for bleaching and dyeing. Above all, resinous products could be collected for torches and candles, and honey, so sought-after in a world for long deprived of sugar, could be taken from wild swarms. At the start of the twelth century, the anonymous French chronicler- Gallus Anonymus- who had settled in Poland, listed the advantages of that country, mentioning its silva melliflua or forests rich in honey immediately after the healthy air and the fertile soil. Thus a whole army of shepherds, wood-cutters, charcoal-burners (Eustache le Moine, the 'forest bandit', accomplished one of his most successful pieces of brigandage disguised as a charcoal-burner), and gatherers of wild honey, lived off the forest and provided for the sustenance of others. These poor people liked poaching too, but game was first and foremost a product of the chase, which was reserved for the lords. Thus, from the smallest to the greatest, the lords jealously defended their rights over the riches of the forest. The forest baillifs were always on the look out for scrounging villains. Kings were the greatest lords of forests in their realms and energetically endeavoured to remain so. For this reason the rebellious English barons imposed a special Forest Charter on King John in 1215 in addition to the political Great Charter. When, in 1328, Philip VI of France had an inventory drawn up of the rights and resources with which he wanted to constitute a dowry in the Gâtinais for Queen Jeanne of Burgundy, he had a valuation of the forests drawn up separately. Their profits made up a third of the whole of the income from this lordship.

Yet the forest was also full of menace and imaginary or real dangers. It formed the disquieting horizon of the medieval world. The forest encircled the medieval world, isolated it, and restricted it. It was a frontier, the no man's land par excellence between countries and lordships. Hungry wolves, brigands, and robber-knights could suddenly spring out of its notorious dark depths […]

It was easy for the medieval imagination, drawing on an immemorial folklore, to turn these devouring wolves into monsters. In how many hagiographies do we encounter the miracle of the wolf tamed by the saint, such as Francis of Assisi subjugating the savage beast of Gubbio […] Sometimes the forest harboured even more bloodthirsty monsters, which had been bequeathed to the middle ages by paganism, such as the Provençal tarasque subdued by St Martha […]

And yet, even if the horizon of most men in the medieval west, sometimes for the whole of their lives, was the edge of a forest, we must not imagine medieval society as a world of stay-at-homes and stick-in-the-muds who were attached to their patch of ground surrounded by wood. The mobility of men in the middle ages was extreme, even disconcerting, but it is easily explained.

Jacques Le Goff- Medieval Civilization, 400-1500 AD

[mikeseagull]

Baillif, hold that guy upside down and shake him around a little. See if his lunch money falls out. Ohhhhh hahaha nice it actuallylyt worked. Let's go buy Pokemons cards and menthol cigarettes

[rrrbailbonds]

You have to live the #baillife to truly understand it.... (at Arkansas) https://www.instagram.com/p/Bw05ZN6hAhi/?igshid=1nf5o2z5p1a8r

[virginlimbs]

On the film “Us” by Andrew Haworth

Us is the greatest movie of the decade and I have seen it five times so I figured I owed it a review.

When I saw Get Out, my audience was quiet and disturbed the entire runtime but cheered at the end. Us had people jumping and laughing the whole time, but when it got to the end: silence.

My sister turned to us and said, “I loved it until the ending.” I wasn’t sure what to think. The ending hit me like such a freight train that I was in denial. There was no way they were switched, that didn’t make any sense.

We talked for an hour outside the theater unpacking the implications of the ending. As we talked, we realized the ending not only worked, it made the movie even better.

The movie begged me to watch it again, and I obliged. I went to a different theater and saw it in Dolby Prime and told the person next to me to stop talking. I was not fucking around. This movie was a powerful object and it demanded respect and thought and patience.

Details that were cloudy the first time came into horrifying light on a rewatch. Red’s opening monologue, which at first seemed like scary gibberish, was now full of pathos and horror. I had seen what it was like down there. I knew the rules of the world. And now I had to picture a fully conscious woman performing her own C-section.

I saw the movie twice more in theaters. I was so drawn to it, like we were te-(glottal swallow)-ethered together. The week of its release, it was all I talked about with people. “Have you seen Us?” “It’s about capitalism.” “No, that theory’s bullshit.” There were people who were as shaken as I was, and as overjoyed that a movie this powerful and exciting and thought-provoking could exist and be released and make a bunch of money. And then there were people who wondered why there was an escalator in an amusement park.

None of their hole-poking diminished my enthusiasm for the movie. I knew I was being tested by God *looks up and cries* and it was their loss. But it was a frustrating and thankless task to try to convince them otherwise. We had seen the same movie. Unpacked the same ending. But they were hung up on details, questions left unanswered. They felt the movie was pretentious, alienating, and implied they were dumb for not getting it.

Us would only be condescending if it explained its world in full. Like Star Wars, it is so steeped in such a rich mythology that if you get on its wavelength, you will not worry about why certain things in the background are not explained. You will want to watch it again and again to figure it out, and the mystery will excite you. Us is ambiguous about certain things, but not others. The characters are clear. The family dynamic is clear. And the message is clear. For every “us”, there’s a “them”.

I get it. Us either REALLY works for you or it doesn’t. And I have no interest in trying to convince naysayers. I have a lot more fun talking with people who actually liked it. But when I turned it on this fifth time, wanting something I’d seen before as I digested a pint of ice cream after a long day of work, I was under its spell once more. And I couldn’t just sit there and let it wash over me. Every shot was full of meaning or an interesting idea and they bubbled up in my head until the idea of a relaxing evening was out the window and I was frantically taking notes on my phone. I’ve read a lot of articles about this movie. I’m in no way an expert, but I have a lot of thoughts about it and a lot of enthusiasm for it. It moves me and brings me so much joy and reminds me why I fell in love with making and watching movies.

On a technical level, it’s unsurpassable. Shots are poetic but never flashy, always in service of a story beat or character reveal. The shot compositions are in the tradition of classic Japanese movies, and the final shot even mirrors the ending of the great Sansho the Baillif (which I saw yesterday for the first time.)

There is not a score that is quite like the one in Us. The music feels like it has been around since the beginning of time. And the I Got Five on It remix? Come on.

I love every performance so much. Everyone understands their character so well. Everyone feels like a family member. You feel every awkward moment, every victory, every horrified stare. And Lupita Nyong’o gives the greatest performance(s) of all time.

The script is generous with its humor and its horror. And in any other movie, all of this would be plenty to make an enjoyable ride. But Us gives you so much more, so much you didn’t realize you needed. I’ll do my best to tie all of this together, but here’s what I noticed this time around.

Chronologically, Red and Adelaide meet as children. The tethered chokes her, pulls her down, handcuffs her to the bed, and waits for her to wake up so she can give an evil grin and rub it in her face that she gets to leave. This is not a quick, desperate act to get what she wants. It is malicious and sadistic.

Now Adelaide’s got a family. But she feels scared and maybe a little guilty, like most people who’ve committed a crime and have to keep running. She can only express this in half-truths to her husband, how she’s worried the “mirror girl” might come back. On our second viewing, we realize she’d be coming back for revenge.

Red’s parents were very lax with her which allowed her to wander off. Adelaide is protective and paranoid, like a drug dealer or the Irishman, someone who cannot enjoy to the fullest what she has fought so hard to win because she knows what’s out there. She knows what could happen to Jason if he gets curious about that funhouse.

Enter Red. Adelaide’s worst nightmare. The girl she trapped down there finally found a way out, and she’s pissed. She moves like a ballerina, calculated and efficient.

The Wilson family dynamic is so well expressed through their actions and teamwork and love for each other in this scene. Adelaide grabs her kids, yanking them out of frame away from their tethereds, keeping them safe. She cares so much for them and just wants to survive.

In comparison, Red is unfeeling and sadistic. Her husband and children are her pets. She has trained them like dogs to move at her command: a horrifying hand gesture and clicking of the tongue. She even pets Pluto as he stands on all fours by the fire. They are tools, like scissors.

She hates her family because they are not her choice. They are horrifying reminders of the world she was dragged down into. And Adelaide’s family is a reminder of what she could’ve had, so she resents them as well. She doesn’t care if they die, she doesn’t see them as surrogate children, they are a “fuck you.”

But her outlook makes total sense. She was taken from her normal world and trapped in a nightmare. Forced to have sex, give birth, mimic the privileged actions of the girl up above with whatever surrogate was available underground.

“The shadow hated the girl.”

Gabe interrupts her monologue. He thinks we’re still in a weird home invasion movie. These are random dopplegangers, the only ones, and they’re just crazy. But Adelaide knew this was going to happen all along.

“You want ME, right?”

The family is split up to fend for themselves. But apart from Red, the other tethereds are just under orders from up top. They have no personal stake in this, they just like killing. Red is the only one who has a score to settle. She wants to take her time, rub it in Adelaide’s face just like it was rubbed in hers.

Jason realizes early on in the closet that he can control Pluto, but Pluto cannot control him. Pluto has to move Jason’s arms up and down physically to mirror his. This is frustrating for Pluto. Jason saves this information for later.

Everyone escapes their tethereds, for now. They hop on the boat, their previous laughing stock, now their life raft, and head to the only other house they know. As the boat drives away, Jason is the one we hold on as Red stares at him. She is getting the idea to kidnap him to lure Adelaide to her. This is the advantage she has over Adelaide, how untethered she is to emotional baggage. Jason is just a tool for her to manipulate how much Adelaide cares for her children.

“They look like us.”

“They don’t even know that yet.”

Earlier in the film, Adelaide tells Zora to turn her phone off and go to bed. Zora waits for her mom to leave the room to secretly use her phone under the covers. Later, when Adelaide needs Zora’s phone to call the police, Zora pretends like she doesn’t have it to avoid getting in trouble, but Adelaide knows she does. Adelaide’s not dumb, she’s just a mom stuck between trying to raise her kid well and letting her have fun. These are sweet games we play with our parents and the subtext is “I love you.”

The white family, on the other hand, is full of hate. Their kids do not play these cute games. “Just because we’re in our rooms doesn’t mean we’re sleeping.” They are filthy rich with a backup generator and they are miserable and they die the quickest. This, even more so than Get Out, is perhaps Jordan Peele’s ultimate comment on white horror films. Their characters last for less than ten minutes while the Wilsons survive the whole movie. And when Elisabeth Moss asks Ophelia to call the police and it plays “Fuck Da Police” as her tethered slits her throat, it’s a master filmmaker taking back years of stereotypes and tropes, stomping on them and proclaiming that there is a new era of horror underway, horror so full of ideas that you (like me) will have to watch the movies 5 times.

The murder of the white family is the most hardcore scene in any horror movie of the decade. It is truly shocking how matter of fact it is.

The Wilsons arrive and Adelaide is taken captive. The kids go in to save their mom.

Jason puts on his mask as he grabs a weapon to make his first kill as if that will absolve him of what he is about to do, rather than accepting his ability to kill as part of himself. Zora, not wearing a mask, rolls her eyes. She’s accepting who she is. Jason immediately removes his mask after killing Elisabeth Moss.

Jason watches Zora kill the second twin and beat her way past being dead. She is her mother’s daughter. Jason’s arc is beginning to illuminate: he is slowly noticing how violent his family is. Could that be inside him as well?

“We’re Americans.”

Weapons used in the film:

Golf club

Baseball Bat

Flare gun

Scissors

Boat motor

Geode

The stick you use to move logs in fire

Once they’re in the fancy house, Gabe wants to settle down. They’ve made it. But Adelaide knows they have to keep running. Capitalism! But everyone’s excited to drive the fancy car.

Jason sees his mom kill one of the twins.

Umbrae hops on the car and Zora slams on the breaks, sending her flying into the trees. Adelaide leaves under the guise of making sure she’s dead. But when she sees defenseless Umbrae, hanging upside down from a tree, laughing but clearly bleeding to death, Adelaide does nothing.

She sees herself in Umbrae, ruthless, doing anything to survive and get ahead. But she also sees the daughter she would’ve had if she had stayed down there. This is also why she’s so upset about Pluto dying. They are all her children. She has grown up and matured in real society with real parents. She is a mother and her heart is full. But Red has the heart and mind and priorities of a 9 year old. She doesn’t want kids. She wants parents.

Jason backing up to kill Pluto is like in the Matrix Revolutions when it’s revealed that Neo has powers outside of the Matrix. It is a great, haunting, ambiguous moment that I’m sure made a lot of people frustrated in the theater, just like the Matrix Revolutions.

Then Red naps him. Her gamble worked, and Adelaide was distracted by caring about all these kids.

Adelaide goes after him. The shot on the beach when she sees the line for the first time? COME ON!!!

Us is very biblical. Abraham. 11:11. “God is testing me.” Jason holding up his arms like Jesus on the cross as he backs Pluto into the fire. Red becoming a religious figure to the tethereds. Red has CREATED a mythology for the tethered, but of course neither her nor Adelaide know what really created them. Humans play God in her theory about government experiments. And “God brought us together that night.”

Adelaide has spent her whole life trying to forget the tunnels. Red has been forced to spend her life trying to make sense of it. Her social learning ended at 9 years old. Her theories about government experiments seem based on sci fi movies she probably caught on TV as a kid, right before she was pulled down there.

No one was there to guide her. She became tethered long after the “experiment” had been abandoned. She believes in God because her parents probably took her to church and she’s latching onto any explanation. But the situation is unexplainable. Does it matter if it’s a government experiment? There are many aspects of the film that imply it might be supernatural. We can only see it how she sees it: God testing her as she becomes the savior of the tethereds.

But the important detail she skips past because she really doesn’t have any proof of it until this past night is that the tethereds are not monsters. They are products of a nightmarish environment. If given a chance in society, they can learn to talk and function normally and dance. The film doesn’t even imply that there is a good twin or a bad twin. Both are capable of violence and vulnerability.

Red steals the word “tethered” from the Hands Across America commercial at the beginning.

Cutting between the tethered stuff mirroring the above ground stuff? Pure cinema. Get the fuck out of here. Adelaide having a whole stage to dance on while Red is forced to run into walls is the perfect visual metaphor for every idea the movie is throwing at you.

“If it weren’t for you I never would’ve danced at all.”

Red hugs Adelaide as she plunges the stick into her.

You are forced to remember Red has the mind of a nine year old as she whistles a mouth-full-of-blood rendition of itsy bitsy spider. Then Adelaide strangles her to death.

Adelaide laughs with relief when Red is dead because now she is free to enjoy the life she had always imagined without looking over her shoulder. Their tethereds are all dead. Jason can run free.

“The itsy bitsy spider went up the water spout

Down came the rain and washed the spider out”

Jason puts on the mask at the end, keeping Adelaide’s secret. He’s horrified by the realization about his mother. Earlier she told him, “Stick with me and I’ll keep you safe.” Now she smiles. They’re driving through a post apocalyptic wasteland. He doesn’t really have a choice. He’s sticking with her.

[wianart]

Dans le cadre du programme développé par l’association Wi’anArt et ses partenaires, le parcours végétal sur les rimèd razyé a été inauguré le vendredi 17 juin 2022 par le Maire de Basse-Terre, M. ATALLAH, et en présence des acteurs et partenaires. Conçu et réalisé par Guy GABON (artiste de land-art), Katia KALI (architecture et infographiste) et Tatiana DEROCHE (agronome), le parcours intègre la sculpture en bois réalisé par Benoît-Gilles MICHEL (créateur et designer) et Jipé BIABIANY (artisan du bois). Situé le long de la Rivière aux herbes, cet aménagement végétal et artistique s'est fait avec la collaboration active des jeunes collégiens et lycéens : Joseph PITAT (dispositif ULIS), Jean JAURES de Baillif, Lycée Raoul-Georges NICOLO (ULIS et section arts appliqués) et Lycée Gerville REACHE (arts plastiques) également coorganisateur du programme Mobilités actives dans Basse-Terre avec l'association Wi'anArt. Sur ce parcours, figurent également une sélection de photographies prises par 5 élèves et étudiants. Un 6ème agrandissement photographique montre la "Guérisseuse et ses rimèd razyé", une déesse sculptée par les élèves du Collège Bois Rada de Sainte-Rose.