Svetozar cvetkovic biography of michaels

Faint but discernible echoes of Hitchcock and Antonioni abound throughout “You Go to My Head,” a coolly affected yet ineffably captivating drama that builds interest and sustains tension by teasingly frustrating audience expectations at almost every turn. At first, it appears that director Dimitri de Clercq, along with co-writers Pierre Bourdy and Rosemary Ricchio, have concocted the blueprint for a psychological thriller. Only gradually does it become clear that the filmmakers are more interested in charting a map of the human heart.

The narrative begins in a desolate stretch of the Sahara Desert, as a beautiful young woman (Delfine Bafort) extracts herself from a wrecked car and wanders, dazed and lost, across the sand. But these opening scenes are far less melodramatic than that description sounds. Indeed, it’s all too easy to be distracted by the artful frame compositions and color contrasts to fret too much about where this survivor is going, or how she expects to get there. There’s a lengthily held shot of the woman clad in red as she trudges up a sand dune — not the last image in “You Go to My Head” that appears ready-made for inclusion in a coffee-table book.

The plot doesn’t kick in until the woman, dehydrated and barely conscious, is discovered by Jake (Sevetozar Cvetkovic), a reclusive and conspicuously older architect of some renown. He beckons a doctor (Abdul Jalil Zerououl) who assumes the woman is Jake’s wife, diagnoses her condition — she’s suffering from trauma-induced and quite possibly permanent amnesia — and indirectly offers a temptation that Jake is unable to resist.

Jake brings his “wife” back to his remote desert home, a spectacularly spare architectural marvel of his own design, and attentively nurses her back to health. (That home, which ends up being, for all practical purposes, a supporting character, is the

Literary work

God of Carnage (originally in FrenchLe Dieu du carnage) is a play by Yasmina Reza that was first published in 2008. It is about two sets of parents; the son of one couple has hurt the son of the other couple at a public park. The parents meet to discuss the matter in a civilized manner. However, as the evening goes on, the parents become increasingly childish and the meeting devolves into chaos. Originally written in French, the play was translated into English by translator Christopher Hampton, and has enjoyed acclaim in productions in both London and New York.

Plot

Before the play begins, two 11-year-old children, Ferdinand Reille and Bruno Vallon (Benjamin and Henry in the Broadway production), get involved in an argument because Bruno refuses to let Ferdinand join his 'gang'. Ferdinand knocks out two of Bruno's teeth with a stick. That night, the parents of both children meet to discuss the matter. Ferdinand's father, Alain (Alan in the Broadway production), is a lawyer who is never off his mobile phone. Ferdinand's mother, Annette is in "wealth management" (her husband's wealth, to be precise), and consistently wears good shoes. Bruno's father, Michel (Michael in the Broadway production), is a self-made wholesaler with an unwell mother. Michel's wife, Véronique (Veronica in the Broadway production), is writing a book about Darfur. As the evening goes on, the meeting degenerates into the four getting into irrational arguments, and thei

Contributed by Jonathan Stevenson / Not every filmmaker can emulate Alfred Hitchcock and cue Chet Baker in a feature debut shot on a shoestring budget and avoid appearing shamelessly trite or derivative, but Belgian director and co-writer Dimitri de Clercq pulls it off with his captivatingly twisted, noirish romance You Go To My Head. The set-up is close to Costanzan in the squalid prurience of its instigator: a beautiful woman emerges slightly injured from a car wreck that killed her male companion and starts wandering in the Moroccan desert. Jake, an expatriate European architect of late-middle age, comes upon her and discovers that she has amnesia. He nurses her back to health, tells her he’s her husband, calls her Kitty, and feeds her a purposefully skeletal story about their life together, taking care to isolate her from anyone or anything that might contradict it. Shorn of options and presented with an elegantly minimalist house that Jake designed and built (and Donald Judd could have), she buys the scenario and settles in for some idyllic skinny-dipping and gentle pampering.

Jake — a flawless Svetozar Cvetkovic, appearing by turns evil and feckless — is emotionally clever, consolidating his good will by initially abstaining from sexual advances in deference to Kitty’s delicate mental state. Eventually they do it, and he begins to seem less the predator and more the supplicant. Meanwhile, Kitty — Delfine Bafort, in a nicely pitched regal-punk mode — discovers that she is not helpless, and has capabilities, curiosity, and a sharp mind. She can not only swim but also dance, draw, and deduce. Jake yearns for a normal life — good luck with that — and takes the calculated risk of desert outings. While they are driving, Kitty subconsciously registers some familiar sights and sketches them in a notebook. She finds she speaks Flemish as well as English and French, and learns her real name is Dafne. When a

Miss Scarlet and The Duke 3×04 “Bloodline” Spoilers Ahead

Welcome, readers! We’re more than halfway through Season 3 of Miss Scarlet and The Duke, but we’ve still got a lot to cover. Like last week’s episode, “Hotel St. Marc,” we don’t get much of Detective Inspector Wellington but rest assured, we get to delve a little more into the personal lives of other characters. And, of course, Rachael New and Co. have managed to provide a fresh mystery for Eliza to solve. Let’s begin dissecting “Bloodline,” shall we? 

With William departing to the north for a case, Detective Phelps (Tim Chipping) is left in charge. As you can imagine, it doesn’t look like it will bode well for dear old Fitzroy, who finally laid a nice right hook on Phelps’ face the night before. (He had it coming!) Sure enough, Phelps is enjoying his little reign of power, from preventing Eliza from assisting on a case to making Fitzroy do menial tasks.

The case in Miss Scarlet and The Duke 3×03 “Bloodline” involves a string of robberies in Bloomsbury. Phelps has Fitzroy accompany him to a possible suspect for the thefts, Michael Galanis (Alex Bhat), who is the nephew of the head of the Galanis crime family, Nikos (Stavros Demetraki). Phelps plants a stolen watch on Michael Galanis and arrests him for the robberies. Feeling stuck, Fitzroy turns to Eliza to help prove Galanis’ innocence. With the aid of Moses and Fitzroy, Eliza uncovers the involvement of Phelps’ cousin, Logan Cooper (Matt Concannon), and, ultimately, the truth of the robberies. However, Michael’s innocence may cost him his life; should he be freed, he’d be forced to take Cooper’s life. Michael’s grandfather Andreas (Svetozar Cvetkovic) pleads with Eliza to ensure his grandson remains in prison, as he argues that Michael does not belong in their life of crime. Luckily