Un 32 août sur terre (August 32nd on Earth)

A near death experience regenerates instincts to daringly embark on the path of motherhood, a coveted model having barely survived after falling asleep at the treacherous wheel (Pascale Bussières as Simone). 

To suddenly go about the definitive business of engaging in acts which will lead to pregnancy, she relies on the dedication of a trusted friend who has been obsessed for many a year (Alexis Martin as Philippe).

He's somewhat uncertain as to how to proceed and his closest friend recommends refusal, yet even though he's found a new loving partner, he maddeningly can't find the guts to say no.

So it's off to peaceful Utah to accomplish the deed in the heralded salt flats, but they're unable to rent a car and must depend on a suspicious cab driver.

Unfortunately, the offbeat romantic isolation fails to inspire spry animate parlay, the shocking nature of the surprise interconnection leaving studious Philippe shaken not stirred.

The cab driver returns and ups the price, they refuse to pay and are left in the wild.

With nothing but time on their hands.

Incarnate impromptu fascination.

An unorthodox take on romantic true love clad in crazed cheeky carbonite crucible, habitual discussions regarding procreation generally absconded in abstentia.

What lengths will anyone go to if their compulsive daydreaming miraculously matriculates, and a conducive schematic instantaneously materializes out of thin air ze reified rapscallion?

'Tis a tantamount tale for romantic young adults perhaps too prone to radical reverie, highly charged through amorous immediacy the inherent amusement disenchanting fact.

Although to engage in random speculation, I would wager that at least 60% of newborns emerge by accident, and that such an off-putting yet versatile possibility keeps the gene pool rich in non-determination. 

So many thoughtful reasonable people sterilize particularity through prudent planning, and even though they resonate lucidity, lack the wild random vivacities of life.

Do these vivacities produce more novelty than steady reflection and scientific trial and error, I've never heard anyone who lives that way complain, in fact pointing out discrepancies is anathema. 

But why worry about what might have been?, it serves no useful productive purpose.

The present is much more interesting. 

Just have to stay constructively active. 

My Brilliant Career

Ill-equipped for traditional confined pastoral life, an independent headstrong maiden habitually engenders conflict, composed in daydream resilient reverie off-kilter audacious autumnal resolve, she challenges presumed propriety through bold recourse to undaunted vigour (Judy Davis as Sybylla Melvyn).

Warning signs abound and she's critiqued with chagrined austerity, the counsel sympathetic yet hardhearted clad in strict coattail admonishment. 

She listens with feisty disbelief somewhat respectful, rather dismissive, her determined insurmountable spirit soulful sprightly stern and striking.

Ill-amused with worldly prejudice concerning sedate superficial aesthetics, she excites through rapt improvisation and presents provocative enticing gambits.

Two men fall for her inspired enchantments even though she's aloof, uninterested, radiating tantalizing unconcern with natural grace and uncanny dignity. 

She likes one of them, however (Sam Neill as Harry Beecham), yet still can't respond to his sincere affection, her dreams far too intense and enlivening to settle for domestic rations.

Yet frontier economics destabilize her multifaceted salient repose, and unfortunate concrete necessity leads to unexpected unnerving circumstances.

The dream perseveres throughout, as she adjusts to working life.

Her awestruck suitor doesn't forget her.

As she contends in the startling Outback.

Who's to say what path to follow how things will end up what will pass along the way?, Sybylla finds literary success as do many others the world loves good books.

If you aren't that concerned with recognition it's easy not to be disappointed, if you're happy with the material you come up with and aren't consumed by envy, you should be fine.

In Search of Lost Time offers ample support for any artist who likes doing their own thing, manifold praise for uncelebrated artistic endeavour can be found peppered throughout the different volumes.

I diligently tried to follow the conflicting advice I was presented with in my youth, but could never really make sense of it, always knew I didn't posses the right psychology.

Perhaps it's better if you aren't consistently bombarded with different compelling visions, Sybylla doesn't have online access, she just has books to read in the country.

I've always liked the chaos though, the general wide-eyed spontaneous diversity.

Frenetic flux frenzied fixation.

A wonderful film.

An animate must see.

The Heiress

An innocent artist, unconcerned with the world at large, is encouraged to take an active role, in environs she's ill-equipped to comprehend, but still willing to cautiously explore (Olivia de Havilland as Ms. Sloper).

Her mother was a dazzling sight, in possession of coveted social perspicuity, akin to Oriane de Guermantes, in terms of wit and incisive observation.

Her husband genuinely admired her, and was crushed by her untimely passing, resigned in the following years to focus intently on the practice of medicine.

Unfortunately, he's quite the snob, and even applies his pretensions to his family, so weighed down by the maintenance of ideals, that he dismisses everything that doesn't add up (Ralph Richardson as Dr. Austin Sloper).

His daughter's fascinated by embroidery and has developed enviable skill, and wants to make her father happy, but lacks multilateral bearing.

Nevertheless, she sets out one evening to attend a social gathering, wherein she's courted by a brazen upstart, who's familiar with what she stands to inherit, his candour as fluent as his resolve (Montgomery Clift as Morris Townsend).

Shortly thereafter he's asked her to marry and she's gleefully and passionately accepted, in the belief that she'll make her father happy, and perhaps find some joy of her own. 

But her father is rather suspicious of her fiancé's amorous feeling, and poses unsettling questions to ascertain its authenticity. 

The result is the tragic transformation of well-preserved sequestered peculiarity, which attempts to suddenly adjust to age old rapacious cunning.

She comprehends with the resplendent grace casually borne by the unsuspecting, and perhaps would have been content if she had met an honest person.

Neither heartfelt nor harlequin, The Heiress proceeds to interrogate innocence, its manifestation of purest true love, tragically destined to swoon unrequited.

The results much more traditional than the romantic setting suggests.

Traditional in the withdrawn sense. 

Calculated hesitant gravity.

Rebelle (War Witch)

Calmly passing through a series of tumultuous events, Kim Nguyen's Rebelle (War Witch) follows  Komona's (Rachel Mwanza) path as she's forced to serve as a child soldier.

Viciously separated from her family, she despondently acquiesces to her chaotic surroundings, inductively developing psychological survival strategies which enable her to tactically trudge through her wartorn environment.

The film placidly displays the bitter helpless wanton affects her predicament necessitates before accentuating their terror by transferring them to a supportive realm wherein their sublimation proves perplexing.

It's not emotive or sentimental, just a raw exemplification of debilitating dissonance which presents a reality the victims of organized violent insurgencies must endure.

Under the guise of their best interests.

How one suddenly returns to a constructive life after suffering under such hardships without occasionally expressing themselves with fits of irrepressible anger is beyond me.

Complete with contextual symbolic sabotage.