May 6, 2016
Lad mig sejle i dine øjnes oceaner Lad mig plukke af din ø's bananer Aberne plukker sig Bølgerne klukker dig Og jeg elsker dig langt højere end du aner
Itsi Bitsi, Steppeulvene
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Lad mig sejle i dine øjnes oceaner Lad mig plukke af din ø's bananer Aberne plukker sig Bølgerne klukker dig Og jeg elsker dig langt højere end du aner
Itsi Bitsi, Steppeulvene
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Itsi Bitsi (2014)
34. İstanbul Film Festivali’nin ‘Uluslararası Yarışma’ kategorisinde Türkiye’de gösterilen Itsi Bitsi, Ateş ve Citroen (2008) ve Prag (2006) gibi övgüler toplayan filmlerin yönetmeni olan Ole Christian Madsen tarafından yönetilmiş, 2014 yapımı bir Danimarka filmidir. 60’lı yıllar, bir neslin her gününü son günü gibi yaşadığı yıllardır. Kahramanımız Eik Skaløe (Joachim Fjelstrup), aktivist bir…
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Teoman - Yollar
söz - müzik: teoman albüm: teoman (yaş 7)
yitirilmiş, tutsak olmuş, düşman olmuş, milyon defa tekrarlanan hayatımsa.
en zoru da çocukluk aşkım teoman için yazmakmış. (yazamadı.)
herkesin yolu kendine nasılsa, zaten bitmiyor da. iyi dinlemeler.
* serbest çağrışım parçacığı: itsi bitsi (2014)
Joachim Fjelstrup and Marie Tourell Søderberg as Eik Skaløe and Iben Nagel Rasmussen in Itsi Bitsi (2015)
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Free to watch • No registration required • HD streaming
The source of tension in Madsen’s movies is almost always loss, usually involving the collapse of a world the protagonist previously saw as permanent, intractable. When things implode, the protagonist is inevitably caught unawares and left to deal with a world where he or she can see the same reference points, but they no longer point in the same direction as before. More often than not, the collapse is something that’s been long gestating, and the hero has simply been too complacent or rigid to realize it. ...
...much of Itsi Bitsi is about the adrenalin generated by collapse. Things fall apart, characters become junkies and lose their way, but, really until the last section of the film, Eik is practically gleeful, optimistic, willing to duke it out with an army of suitors and gurus who want to haul Iben away from him. It’s only in the latter stages when reality sinks in that he begins to doubt himself. In his own way, he’s as rigid as his predecessors in Prague, Flame & Citron and Superclásico, the only difference being that the others feared or ignored change; here Eik adores chaos as long as he has an anchor, and when he loses that, chaos is far less appealing.