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ESTE ES EL PORQUE DEL VIAJE A MEXICO “Claudia Sheinbaum da en el clavo, Ayuso va a México porque forma parte de una nueva internacional reaccionaria trumpista, de la que también forman parte Milei y Netanyahu”. Manu Levin en TVE #MalasLenguas Video publicado por Canal Red @CanalRed_TV Carabanchel . net
Ida Pedanda / Sulinggih Persiapan Sebelum Upacara Ngaben / Pelebon Bali Pelebon adalah istilah halus (hinggil) dalam bahasa Bali yang merujuk pada upacara pembakaran jenazah atau kremasi bagi umat Hindu di Bali, khususnya untuk golongan bangsawan atau keluarga kerajaan (Tri Wangsa). #IdaPedanda #Pelebon #Ngaben #Sulinggih #Bali Youtube Channel: Ngurah Surya Kusuma Ida Pedanda / Sulinggih Persiapan Sebelum Upacara Ngaben / Pelebon Bali
American Experience Ida B. Wells: A Passion for Justice 1989 This documentary for the television series American Experience depicts a portrait of the Reconstruction era told through a profile of crusading journalist Ida B. Wells, with Wells’ memoir excerpts read by Toni Morrison. Rated TV-PG
Ida Pedanda Pemimpin Upacara Adat Bali Ida Pedanda adalah gelar kehormatan bagi pendeta atau pemuka agama Hindu di Bali yang berasal dari golongan brahmana. Mereka merupakan pemimpin spiritual tertinggi yang telah melalui proses upacara penyucian diri yang sangat sakral, yang disebut dengan Diksa. Sebagai seorang Sulinggih (orang suci), Ida Pedanda memiliki wewenang penuh untuk memimpin upacara keagamaan besar (Yadnya), mulai dari… Ida Pedanda Pemimpin Upacara Adat Bali
She has been rejected 4 fucking times (2 of those by rose)….WHY DOES NOBODY ON THIS ISLAND WANT THIS STONE BUTCH?? ?
Ida (Pawel Pawlikowski, 2013) Agata Trzebuchowska in Ida Cast : Agata Kulezsa, Agata Trzebuchowska, Dawid Ogrodnik, Adam Szyszkowski, Jerzy Trela, Joanna Kulig. Screenplay : Pawel Pawlikowski, Rebecca Lenkiewicz, Cinematography : Ryszard Lenczewski, Lukasz Zal. Production design : Marcel Slawinski, Katarzyna Sobanska. Film editing : Jaroslaw Kaminski. Music : Kristian Eidnes Andersen. A successful film needs the correct balance of story and style, and when the story is as straightforward as Ida ’s, there’s a great risk of overwhelming it with stylistic tricks. A novice called Anna (Agata Trzebuchowska) is about to take her vows to become a nun when she learns that she has an aunt, Wanda Gruz (Agata Kulesza), who wants to meet her. It is the 1960s, and Wanda is a judge in the courts of the communist government with a reputation for having for having presided brutally over the show trials of the 1950s that solidified communist power. She tells Anna, who was raised in an orphanage, that she was born to Jewish parents, one of whom was Wanda’s sister, and that her birth name was Ida Lebenstein. Anna goes with Wanda in search of the graves of her parents and the son whom Wanda left with them when she joined the resistance during the war. Along the way, the tough, hard-drinking, sexually liberated Wanda, determined to provoke Anna out of her ascetic, devout ways, picks up a handsome young hitchhiker named Lis (Dawid Ogrodnik), a jazz saxophonist on his way to a gig. The story that director Pawel Pawlikowski and co-screenwriter Rebecca Lenkiewicz develop from this situation is told in an austerely beautiful manner. Two cinematographers are credited: Lukasz Zal took over as director of photography after Ryszard Lenczewski became ill during filming; both were deservedly nominated for cinematography Oscars. Pawlikowski chose to film in black-and-white to evoke the Polish films of the 1960s, the era of the young Roman Polanski, Jerzy Skolimowski, and Andrzej Wajda, although it’s more accurate to refer to the cinematography as monochrome because the use of the many shades of gray and the emphasis on the textures of walls and skies and landscapes is extraordinary. The images are also strikingly framed: Characters rarely appear in the direct center of the screen, but are shifted toward the bottom or the corner of images. (The film also sometimes moves the subtitles from the bottom to the top of the frame to accommodate this placement.) Such manipulations could be seen as mannered, but I think it works to suggest that the lives of the characters themselves have been placed somewhere slightly off-center.
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