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pollonegro666 · 1 year

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2023/01/21 Mi amiguita quiso visitar algunas tiendas de moda. Una de ellas pertenece a una legendaria discoteca española. La otra es una firma española de ropa de vanguardia que es referencia en la moda más rompedora e impactante.

My girlfriend wanted to visit some fashion stores. One of them belongs to a legendary Spanish nightclub. The other is a Spanish avant-garde clothing firm that is a reference in the most groundbreaking and impressive fashion.

Google translation into Italian: La mia ragazza voleva visitare alcuni negozi di moda. Uno di loro appartiene a una leggendaria discoteca spagnola. L'altro è un'azienda di abbigliamento d'avanguardia spagnola che è un riferimento nella moda più innovativa e impressionante.

Google Translation into French: Ma copine voulait visiter des magasins de mode. L'un d'eux appartient à une boîte de nuit espagnole légendaire. L'autre est une entreprise espagnole de vêtements d'avant-garde qui est une référence dans la mode la plus révolutionnaire et la plus impressionnante.

Google Translation into Portuguese: Minha namorada queria visitar lojas de moda. Um deles pertence a uma lendária boate espanhola. A outra é uma empresa espanhola de confecções vanguardista, referência na moda mais revolucionária e impactante.

Google Translation into Arabic: أرادت صديقتي زيارة متاجر الأزياء. ينتمي أحدهم إلى ملهى ليلي إسباني أسطوري. الشركة الأخرى هي شركة ملابس إسبانية رائدة وهي مرجع في الموضة الأكثر ثورية وإثارة للإعجاب.

Google Translation into German: Meine Freundin wollte Modegeschäfte besuchen. Einer von ihnen gehört zu einem legendären spanischen Nachtclub. Das andere ist ein avantgardistisches spanisches Bekleidungsunternehmen, das auf revolutionäre und beeindruckende Weise eine Referenz darstellt.

Google Translation into Albanisch: E dashura ime donte të vizitonte dyqanet e modës. Njëri prej tyre i përket një klubi nate legjendar spanjoll. Tjetra është një kompani veshjesh spanjolle avangarde që është një referencë në një mënyrë revolucionare dhe mbresëlënëse.

Google Translation into Armenian: Իմ ընկերուհին ցանկանում էր այցելել նորաձեւության խանութներ: Նրանցից մեկը պատկանում է լեգենդար իսպանական գիշերային ակումբին։ Մյուսը ավանգարդ իսպանական հագուստի ընկերություն է, որը հեղափոխական և տպավորիչ կերպով հղում է:

Google Translation into Bulgarian: Моята приятелка искаше да посети модни магазини. Един от тях принадлежи на легендарен испански нощен клуб. Другата е авангардна испанска компания за облекла, която е референция по революционен и впечатляващ начин.

Google Translation into Czech: Moje přítelkyně chtěla navštívit módní obchody. Jeden z nich patří legendárnímu španělskému nočnímu klubu. Druhým je avantgardní španělská oděvní společnost, která je referencí revolučním a působivým způsobem.

Google Translation into Croatian: Moja je djevojka htjela posjetiti modne trgovine. Jedan od njih pripada legendarnom španjolskom noćnom klubu. Druga je avangardna španjolska odjevna tvrtka koja je referenca na revolucionaran i impresivan način.

Google Translation into Slovak: Moja priateľka chcela navštíviť módne obchody. Jeden z nich patrí legendárnemu španielskemu nočnému klubu. Druhou je avantgardná španielska odevná spoločnosť, ktorá je referenciou revolučným a pôsobivým spôsobom.

Google Translation into Slovenian: Moja punca je želela obiskati modne trgovine. Eden izmed njih pripada legendarnemu španskemu nočnemu klubu. Drugo je avantgardno špansko oblačilno podjetje, ki je referenca na revolucionaren in impresiven način.

Google Translation into Estonian: Mu tüdruksõber tahtis moepoode külastada. Üks neist kuulub legendaarsele Hispaania ööklubile. Teine on avangardistlik Hispaania rõivafirma, mis on revolutsioonilisel ja muljetavaldaval viisil viide.

Google Translation into Suomi: Tyttöystäväni halusi vierailla muotiliikkeissä. Yksi heistä kuuluu legendaariselle espanjalaiselle yökerholle. Toinen on avantgardistinen espanjalainen vaateyritys, joka on referenssi vallankumouksellisella ja vaikuttavalla tavalla.

Google Translation into Greek: Η κοπέλα μου ήθελε να επισκεφτεί καταστήματα μόδας. Ένα από αυτά ανήκει σε ένα θρυλικό ισπανικό νυχτερινό κέντρ��. Η άλλη είναι μια avant-garde ισπανική εταιρεία ρούχων που αποτελεί αναφορά με επαναστατικό και εντυπωσιακό τρόπο.

Google Translation into Dutch: Mijn vriendin wilde modewinkels bezoeken. Een van hen behoort tot een legendarische Spaanse nachtclub. De andere is een avant-gardistisch Spaans kledingbedrijf dat op een revolutionaire en indrukwekkende manier een referentie is.

Google Translation into Norwegian: Kjæresten min ville besøke motebutikker. En av dem tilhører en legendarisk spansk nattklubb. Den andre er et avantgarde spansk klesselskap som er en referanse på en revolusjonerende og imponerende måte.

Google Translation into Polish: Moja dziewczyna chciała odwiedzić sklepy z modą. Jeden z nich należy do legendarnego hiszpańskiego klubu nocnego. Drugi to awangardowa hiszpańska firma odzieżowa, która jest punktem odniesienia w rewolucyjny i imponujący sposób.

Google Translation into Romanian: Prietena mea a vrut să viziteze magazine de modă. Unul dintre ei aparține unui legendar club de noapte spaniol. Celălalt este o companie de îmbrăcăminte spaniolă de avangardă, care este o referință într-un mod revoluționar și impresionant.

Google Translation into Russian: Моя девушка хотела посетить модные магазины. Один из них принадлежит легендарному испанскому ночному клубу. Другая — авангардная испанская компания по производству одежды, революционная и впечатляющая.

Google Translation into Serbian: Моја девојка је желела да посети модне продавнице. Један од њих припада легендарном шпанском ноћном клубу. Друга је авангардна шпанска компанија за одећу која је референца на револуционаран и импресиван начин.

Google Translation into Swedish: Min flickvän ville besöka modebutiker. En av dem tillhör en legendarisk spansk nattklubb. Den andra är ett avantgardistiskt spanskt klädföretag som är en referens på ett revolutionerande och imponerande sätt.

Google Translation into Turkish: Kız arkadaşım moda mağazalarını ziyaret etmek istedi. Bunlardan biri efsanevi bir İspanyol gece kulübüne ait. Diğeri ise devrim niteliğinde ve etkileyici bir şekilde referans olan avangart bir İspanyol giyim firması.

Google Translation into Ukrainian: Моя дівчина хотіла відвідати модні магазини. Один з них належить легендарному іспанському нічному клубу. Інша – це авангардна іспанська компанія одягу, яка є еталонною в революційний і вражаючий спосіб.

Google Translation into Bengali: আমার বান্ধবী ফ্যাশন স্টোর পরিদর্শন করতে চেয়েছিলেন. তাদের মধ্যে একজন কিংবদন্তি স্প্যানিশ নাইটক্লাবের অন্তর্গত। অন্যটি একটি avant-garde স্প্যানিশ পোশাক কোম্পানি যা একটি বিপ্লবী এবং চিত্তাকর্ষক উপায়ে একটি রেফারেন্স।

Google Translation into Simplified Chinese: 我的女朋友想参观时装店。其中一个属于一家传奇的西班牙夜总会。另一家是一家前卫的西班牙服装公司，它以一种革命性和令人印象深刻的方式成为典范。

Google Translation into Traditional Chinese: 我的女朋友想參觀時裝店。其中一個屬於一家傳奇的西班牙夜總會。另一家是一家前衛的西班牙服裝公司，它以一種革命性的、令人印象深刻的方式成為典範。

Google Translation into Korean: 내 여자 친구는 패션 매장을 방문하고 싶어했습니다. 그들 중 하나는 전설적인 스페인 나이트 클럽에 속해 있습니다. 다른 하나는 혁신적이고 인상적인 방식으로 레퍼런스가 되는 아방가르드 스페인 의류 회사입니다.

Google Translation into Hebrew: חברה שלי רצתה לבקר בחנויות אופנה. אחד מהם שייך למועדון לילה ספרדי אגדי. השנייה היא חברת בגדים ספרדית אוונגרדית המהווה אסמכתא בצורה מהפכנית ומרשימה.

Google Translation into Hindi: मेरी प्रेमिका फैशन स्टोर जाना चाहती थी। उनमें से एक प्रसिद्ध स्पेनिश नाइट क्लब का है। दूसरी एक अवंत-गार्डे स्पेनिश कपड़ों की कंपनी है जो एक क्रांतिकारी और प्रभावशाली तरीके से एक संदर्भ है।

Google Translation into Indonesian: Pacar saya ingin mengunjungi toko fashion. Salah satunya milik klub malam legendaris Spanyol. Yang lainnya adalah perusahaan pakaian Spanyol avant-garde yang menjadi referensi dengan cara yang revolusioner dan mengesankan.

Google Translation into Japanese: 私のガールフレンドはファッション店に行きたがっていました。そのうちの 1 つは伝説的なスペインのナイトクラブに属しています。もう 1 つは、革命的かつ印象的な方法で参考となる前衛的なスペインの衣料品会社です。

Google Translation into Kyrgyz: Менин сүйлөшкөн кызым мода дүкөндөрүнө баргысы келген. Алардын бири легендарлуу испан түнкү клубуна таандык. Экинчиси - революциялык жана таасирдүү жол менен шилтеме болгон авангарддык испан кийим компаниясы.

Google Translation into Malay: Teman wanita saya mahu melawat kedai fesyen. Salah seorang daripada mereka adalah milik kelab malam Sepanyol yang legenda. Yang lain ialah syarikat pakaian Sepanyol avant-garde yang menjadi rujukan dengan cara yang revolusioner dan mengagumkan.

Google Translation into Panjabi: ਮੇਰੀ ਪ੍ਰੇਮਿਕਾ ਫੈਸ਼ਨ ਸਟੋਰਾਂ 'ਤੇ ਜਾਣਾ ਚਾਹੁੰਦੀ ਸੀ। ਉਨ੍ਹਾਂ ਵਿੱਚੋਂ ਇੱਕ ਮਹਾਨ ਸਪੈਨਿਸ਼ ਨਾਈਟ ਕਲੱਬ ਨਾਲ ਸਬੰਧਤ ਹੈ। ਦੂਜੀ ਇੱਕ ਅਵਾਂਟ-ਗਾਰਡ ਸਪੈਨਿਸ਼ ਕੱਪੜੇ ਦੀ ਕੰਪਨੀ ਹੈ ਜੋ ਇੱਕ ਕ੍ਰਾਂਤੀਕਾਰੀ ਅਤੇ ਪ੍ਰਭਾਵਸ਼ਾਲੀ ਤਰੀਕੇ ਨਾਲ ਇੱਕ ਹਵਾਲਾ ਹੈ.

Google Translation into Pashtun: زما ملګرې غوښتل چې د فیشن پلورنځیو څخه لیدنه وکړي. یو یې د افسانوي هسپانوي نایټ کلب پورې اړه لري. بل د avant-garde هسپانوي جامو شرکت دی چې په انقلابي او اغیزمن ډول حواله ده.

Google Translation into Persian: دوست دخترم می خواست از فروشگاه های مد بازدید کند. یکی از آنها متعلق به یک کلوپ شبانه افسانه ای اسپانیایی است. دیگری یک شرکت لباس اسپانیایی آوانگارد است که مرجعی انقلابی و چشمگیر است.

Google Translation into Tagalog: Nais ng aking kasintahan na bisitahin ang mga tindahan ng fashion. Isa sa kanila ay kabilang sa isang maalamat na Spanish nightclub. Ang isa ay isang avant-garde Spanish clothing company na isang sanggunian sa isang rebolusyonaryo at kahanga-hangang paraan.

Google Translation into Thai: แฟนของฉันต้องการไปที่ร้านแฟชั่น หนึ่งในนั้นเป็นของไนต์คลับสเปนในตำนาน อีกบริษัทหนึ่งคือบริษัทเสื้อผ้าแนวหน้าของสเปนที่มีการอ้างอิงในรูปแบบที่ปฏิวัติวงการและน่าประทับใจ

Google Translation into Urdu: میری گرل فرینڈ فیشن اسٹورز کا دورہ کرنا چاہتی تھی۔ ان میں سے ایک کا تعلق ایک مشہور ہسپانوی نائٹ کلب سے ہے۔ دوسری ایک avant-garde ہسپانوی لباس کمپنی ہے جو ایک انقلابی اور متاثر کن انداز میں ایک حوالہ ہے۔

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themichaellamcollection-blog · 1 year

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Sons of Stribog

Sons of Stribog A black and White image from Lusignan, ECD, Guyana

For most people who have followed my photography for any time, they know that I have a penchant for seascapes, and especially for high contrast black and white images of those scenes. This one falls right in to those. As a matter of fact this one is the latest addition to the ongoing Oniabo series of such images. This was taken with the Canon 60D using a Sigma 10-20 ultra-wide angle lens, this…

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wheelsgoroundincircles · 6 months

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Danny Koker – 1966 Mustang GT350

Koker’s 1966 Mustang GT350 has raised some eyebrows due to its unconventional body modifications and questionable choice of black and gray rims. The custom body effects added to this classic muscle car have often been seen as odd and discordant, straying from the original design’s sleek look (via Hot Cars).

In addition to the peculiar body effects, the decision to equip the vehicle with black and gray rims has been met with criticism. These rims, while potentially intended to lend a modern touch, appear drab and lack the finesse associated with such a legendary car.

#Mustang GT350 #mustang #gt350 #car #cars #muscle car #american muscle #ford #Danny Koker

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thunderstruck9 · 5 months

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Azade Köker (Turkish, 1949), Green and the sky, 2015. Mixed media on canvas, 130 x 200 cm.

#azade köker #azade koker #turkish art #trees #f

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funzige-gedachten · 1 month

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Bojan pre umazane misli antwerp (he does not know what is coming)

#joker out #bojan cvjetićanin #umazane misli #joker out antwerp #joker out trix #koker bout #my videos

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cloudgirlsinfo · 5 months

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POLIEN De Koker

#POLIEN De Koker

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fitsofgloom · 11 months

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Rider of The Storm: Count Cool Rider -- as essayed by Danny Koker -- the Elvis-adoring, chopper-riding host of "Saturday Fright At The Movies" on KFBT, Channel 33, Las Vegas, Nevada.

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#count cool rider #danny koker #saturday fright at the movies #horror host #kfbt-tv #las vegas #late late show

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whileiamdying · 2 years

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On the Life and Work of Acclaimed Iranian Filmmaker Abbas Kiarostami

Speaking to critic and scholar Godfrey Cheshire ahead of the Belcourt’s Abbas Kiarostami: A Retrospective

CRAIG D. LINDSEY OCT 10, 2019

Where Is the Friend’s Home?

On Oct. 11, the Belcourt will host a two-week retrospective dedicated to the features and shorts of late Iranian filmmaker Abbas Kiarostami. This traveling tribute will feature 2K and 4K restorations of Kiarostami’s most poignant, most enigmatic, most essential work, including his acclaimed Koker Trilogy (Where Is the Friend’s Home?, And Life Goes On and Through the Olive Trees) and Taste of Cherry, the latter of which was awarded the Palme d’Or at the 1997 Cannes Film Festival.

And who better to talk with about Kiarostami than Godfrey Cheshire, the film critic/writer/filmmaker who knew him best? Quite possibly the foremost stateside authority on Iranian cinema, Cheshire (who has written for The New York Times, New York Press, Film Comment and RogerEbert.com) had a bond with the filmmaker that began back in the ’90s. The interviews they did over the years have now been collected in a new book, Conversations With Kiarostami. (He has another book, In the Time of Kiarostami: Writings on Iranian Cinema, scheduled for release next year.) Cheshire also served as a consultant on the retrospective, which — before coming to Nashville — showed in Los Angeles, New York City and elsewhere. He answered our questions via email.

OK, this retrospective. How did it come about, and how did you get roped into it?

In 2017, following Kiarostami’s death the previous year, the French company mk2 acquired the rights to almost all of his films and embarked on a two-year restoration project in collaboration with the U.S. company Janus Films/Criterion Collection. Ahmad Kiarostami, the director’s son, told Janus/Criterion that they should work with me because I’m virtually the only person in the U.S. who knows about the many films in the first third of Kiarostami’s career. That’s partly due to the interviews I did with him that are in my book. I have worked with Criterion on the DVD releases of Close-Up, Taste of Cherry, Certified Copy and the new Koker Trilogy box set.

Taste of Cherry

While I was reading your book, I was taken aback by how serious he was as an artist — but it seemed he could take or leave filmmaking. He said he wasn’t a big cinephile. There’s that story where he won the Palme d’Or at Cannes for Taste of Cherry and said he felt “nothing.” Considering his love for poetry and photography, what can you say is the thing that drove him to be a filmmaker?

I think filmmaking was his primary focus because it combined all of the qualities of the other arts and interests he had. It was visual and auditory, but also could be poetic, psychological, dramatic, philosophical and so on.

Kiarostami said there are Iranian filmmakers far more successful than he. In your opinion, what is it about Kiarostami that makes him such an emblematic figure in Iranian cinema?

When I first visited Iran in the late ’90s, I learned that many Iranians didn’t consider him their greatest director. I think he gradually became recognized as such when critics and audiences in other parts of the world embraced the films of his middle period, due to their very subtle and psychologically astute stories and distinctively poetic film language.

In the book, you break down his career into three periods: his work with the Institute for Intellectual Development of Children and Young Adults (better known as Kanoon), his Koker Trilogy/Masterworks period, and his experimental later-years period. What are the essentials from each period?

In the first period, you see an artist who has a very strong sense of a poetic kind of cinema (evident in his first four films, the shorts “The Bread and Alley” and “Breaktime,” the short feature The Experience and the feature The Traveler) and one who is also experimenting in various ways while mainly making films about children and teenagers. In the second period, he demonstrates a kind of mastery that has emerged from his earlier work while making films, mostly about adults, that continued to make artistic leaps. In the third period, it’s like he ceased to care about making masterpieces and returned to the more personal, low-key and experimental aspects of his first period. The experimentation here included making films in other countries and languages, Certified Copy (Italy) and Like Someone in Love (Japan).

And Life Goes On

As you continued to explore Iranian cinema and continued your relationship with Kiarostami, did it start to become a kindred-spirit thing where both of you had the same mission — to show the most ambitious cinema Iran has to offer?

I think our friendship, which began in 1994 and continued until his death, was a kind of kindred-spirits relationship. It had to do with the fact that he realized that I’d studied his films in detail, but it also was just personal — I liked him and he liked me. I would say that I had (and have) a mission to tell people about the genius of Iranian cinema and culture, while his only mission was to continue doing work that he considered challenging and meaningful.

What would you like people to take with them after attending this retrospective?

Recently in New Orleans, I spoke with a renowned art curator who said: “In the art world, Warhol was the last giant. In cinema, Kiarostami is the last giant.” I think you can certainly say that he was the last cinematic titan of the 20th century, the century of cinema. At the beginning of the 1990s, probably no American critic had ever heard of him; at the end of the ’90s, American critics polled by Film Comment voted him the decade’s most important filmmaker. I think people attending the retrospective will see the evidence of a multifaceted artist whose distinctively poetic way of filmmaking places him in the company of such figures as Chaplin, Welles, Rossellini, Bergman and Kurosawa.

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dgf2099 · 6 months

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The Driver Suit Blog-The Final Paint Scheme Tracker of 2023

By David G. Firestone TRACKHOUSE RACING #1 Ross Chastain #1 Kubota/Onx Homes Chevy Camaro–No change. B Ross Chastain #1 Jockey Chevy Camaro–No change. A Ross Chastain #1 Worldwide Express/Advent Health Chevy Camaro–No change. F Ross Chastain #1 Advent Health Chevy Camaro–No change. F Ross Chastain #1 Moose Fraternity Chevy Camaro–New scheme for 2023, some design changes. A Ross Chastain #1…

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madeliefkrans · 9 months

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hoe je het zo speelde dat je die persoon op die dag op die locatie zou zien, en hoe je liep door de tunnel, onderweg, de wind rond je enkels, het galmen tegen het beton, en daar al die persoon tegen het lijf liep. dat die persoon nooit van plan was om naar die locatie te gaan, dat je die persoon daar nooit was tegengekomen. maar dat je alsnog die persoon had gedwongen om jou aan te kijken, in die tunnel. je herinnert je zijn schaapachtige lach. je deed je onschuldig voor. net als onder de lantaarnpaal in de vlaamse toren.

#persoonlijk #heb mijn heksenkrachten van mijn moeder #wat een sukkel was het toch #ik net zo erg #bedrieglijk #een naïef waanbeeld #zijn poster gaat eindelijk de koker in #het is mooi geweest

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denimbex1986 · 9 months

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'In his 1987 Nobel lecture, Joseph Brodsky said, anthropologically speaking, a human being is primarily a creature of aesthetics, and only after, an ethical one.

This assertion sounds true in the case of J. Robert Oppenheimer. The scientific leaps in the field of quantum physics fascinated Oppenheimer. He was driven to follow the path of Niels Bohr and Werner Heisenberg. Returning from Cambridge to expand his research in Berkeley, he fell into the arms of the American state and became part of the Manhattan Project to develop an atomic bomb.

It is comic irony that Lewis Strauss, who secretly plotted against Oppenheimer, was forced to work as a shoe salesman during the recession, while Oppenheimer achieved the distinction of Edward Teller calling him, “the great salesman of science.” This explains the moral turn in the life of Oppenheimer. Christopher Nolan likened his character to the titan Prometheus, though midway he seemed to metamorphose into Frankenstein. The hamartia of Oppenheimer’s life, Aristotle’s term for the Greek tragic hero’s fatal flaw, turned into a modern horror story.

The poet Joseph Brodsky’s distinction becomes relevant at this point: Oppenheimer abandoned the moral for the aesthetic. My scholar friend (who wishes to remain unnamed) shared the opinion that Oppenheimer, initially lost in the beauty of pure theory, transforms that aesthetic obsession into a monstrous one. She added the sharp insight: “Oppenheimer tells himself a lie. That the bomb has a moral end.” The act of lying to oneself produced a psychic wound within Oppenheimer. He lost sight of the moral aspect within his aesthetic pursuit. The lie made the transformation possible. The sublime beauty of studying quantum physics was ruined the moment Oppenheimer decided to use his expertise for a detrimental cause.

The sale of his scientific skills to the American state for making the bomb had a clear political objective for Oppenheimer: to finish off Hitler. This logic led him to overcome the moral dilemma behind his job. Any force that can destroy evil is legitimate. The destructive power of science was a seductive option to nullify the power of fascism. The Jewish Oppenheimer did not have his revenge over the Nazis (who were already defeated when the bomb was ready). The American state used it against a weakened Japan to declare its omnipotence.

Young Oppenheimer’s interest in T.S. Eliot’s ‘The Wasteland’ and the Gita has a deep connection: Eliot’s poem ends by evoking the Upanishad, “Shantih shantih shantih”, a peace of the grave that fell upon a world torn apart by the end of World War I and the flu epidemic. Oppenheimer’s translation of the line from the Gita, “I am become Death, destroyer of worlds” was what Krishna said about his divinity being time itself that destroys the world at will. It was meant to exhort a weak-kneed Arjuna (who did not want to kill his cousins, seniors and kinsmen), reminding him of his duty as a warrior to prepare him for battle. The figure of divine incarnation and warrior-prince got fused into the scientist who invented a weapon that could kill millions.

Oppenheimer’s interest in the evocative moments in the two texts shows a certain death wish he carried within himself. When you are hell-bent to destroy the enemy, you are also out to kill a part of yourself through the act of retributive justice.

Oppenheimer was not able to distinguish between the ethical difference between annihilating a system of power and annihilating people. This failure, however, is an intimate part of the modern West’s history. It produced ideas of the state – fascism, communism and imperial democracies – where the other within and outside one’s ideological fold was demonised as the absolute enemy and was meant to be exterminated. Making the bomb to be used for war, Oppenheimer not just used science as a tool for destruction, but created an ideology of science as divine power that could kill uncountable numbers of people as much as it could heal the world.

It has been acknowledged that Nolan did not glorify war by not showing the bomb being dropped on the two Japanese cities. Still, as my scholar friend pointed out, Nolan could not prevent himself from indulging in Hollywood’s fetish for spectacle. There was a clear lack of self-restraint. The slow-motion explosion of the bomb that filled the screen numbed the audience, and engulfed it into the terror of its silence.

Contrast it with Abbas Kiarostami, who did not display the earthquakes that rocked Iran in Koker Trilogy in order to portray its psycho-social repercussion on the lives of residents who suffered its impact. Kiarostami’s art of filmmaking is deeply informed by his ethical hesitation.

Nolan had more reasons to hold back from depicting the technological grandeur of an instrument of death. The temptation to recreate the spectacle is not simply an aesthetic flaw.

The euphoria of the scientific feat was viscerally exhibited by bodies of people stomping the floor of the hall celebrating Oppenheimer. It announced the coming of a new crowd in world history that took nationalist pride in mass destruction of other people. Oppenheimer looked conflicted, remorseful and eaten by guilt. But there were no indications to suggest he completely regretted his success. Truman, embodying the masculine pragmatism of the American state, lampooned Oppenheimer as “crybaby”. No one cared about the real babies in Hiroshima and Nagasaki. Such is the moral indifference of war. It causes deafness of the soul.'

#Abbas Kiarostami #Koker Trilogy #Christopher Nolan #J. Robert Oppenheimer #T.S Eliot #The Waste Land #Bhagavad Gita #Niels Bohr #Lewis Strauss #Werner Heisenberg #The Manhattan Project #Hiroshima #Nagasaki

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