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Into The Void

Linda becomes pregnant, loses her job as a stripper, and has an abortion. Alex is forced into hiding on the streets after Oscar's dealer Bruno breaks up the drug ring. Linda wishes she had gotten involved with Alex instead of Mario as Oscar wanted. On one occasion, Linda wishes that Oscar would come back to life; Oscar then enters Linda's head and experiences her dream in which he wakes up at the morgue, from which his body is taken to be cremated. Meanwhile, Victor argues with his mother over her involvement with Oscar, and he is thrown from the house. He visits Linda to apologize for his role in Oscar's death. However, when Victor accuses Linda of complicity in her brother's death, she angrily chases Victor away, demanding that he kill himself.

Into The Void

Oscar hovers over Tokyo and lands on a plane, in which Oscar's mother breast-feeds a baby Oscar. Linda and Alex take a taxi to a Tokyo love hotel and have sex. Oscar moves among hotel rooms and observes several other couples having sex in various positions. Each couple emanates flashes of light from their genitals. Oscar enters Alex's head and witnesses the sex with Linda from Alex's perspective. He then travels inside Linda's vagina to witness Alex's thrusting, then observes his ejaculation and follows the semen into the fertilization of his sister's ovum. The final scene is shot from the perspective of a baby being born to Oscar's mother.[a]

The film was mainly shot on Kodak Vision3 250D film stock. Scenes where Oscar is alive were shot in the super 35 format with Arricam LT cameras, and the rest in super 16 with an Aaton XTR Prod.[31] The cinematographer was Benoît Debie, who also shot Irréversible. As in Irréversible, Noé was reluctant to use artificial lighting that would destroy the illusion if the camera was turned around. Thanks to Tokyo's many neon signs, very little additional lighting was required for the exterior scenes, despite the fact that many were shot late at night. For the interior scenes Debie mainly used practical, in-frame light sources. Some exceptions were made. One was that the moods of the characters were meant to be indicated by different colours, ranging from orange to purple with occasional greens. For this, Debie used a set of red, green, and blue programmable disco lights, which allowed for all different hues. The disco lights were easy to hide. They were also used for simulation of neon flashes, and to add a tint of red to the dressing-room scenes. Another exception was the use of strobe lights, which were programmed together with the coloured lights. Blue colour was avoided throughout, since the filmmakers did not associate it with dreams.[31] Noé was the film's camera operator, except for a few shots of Oscar running in the streets, as they required a taller cameraman. In those scenes, the camera was held by Debie.[32]

A 163-minute version of the film competed in the main competition of the 2009 Cannes Film Festival.[36] The Cannes cut lacked much of the finished film's sound design, and some visual effects were not fully in place.[37] Noé said about the version: "the film was like a baby of three months. I took it out of my belly to show it, flattered by [festival general] Thierry Frémaux's invitation, but it was still in gestation. So I had to put it back into my belly, that is to say to tweak many details."[38]

Festival screenings of subsequent versions followed throughout the year, including the Toronto, Sitges, London, and Stockholm international film festivals.[39] The final 154-minute cut premiered at the 2010 Sundance Film Festival.[18] At the Cannes premiere, the film had alternatively been listed with the French title Soudain le vide, which means "Suddenly the void".[37]

Thomas Sotinel of Le Monde started his review by recalling the irritation the film caused upon its world premiere in Cannes, and compared the cut he had seen there to the final version: "In all honesty, the difference does not jump to my eyes. Of course, the film seems more consistent, but that may be because we've already traveled this maze once. While leaving, we might remain calmer, but still amazed by the mixture of exuberant invention and puerility."[49] A positive review came from L'Express, written by Laurent Djian, who compared the film to 2001: A Space Odyssey. He applauded how he found the strobe lights hypnotising in a way that influenced the perception of time. "In 2010, no other filmmaker [in France] than Gaspar Noé can shoot with such mastery, nor draw us into a vortex of sensations as vertiginous."[50] Ouest-France's critic, on the other hand, was immensely bored by the film, and called it "a padding of simple ideas, stereotypes and cliches in a heap of contrived and vain images which think they're technical prowess. Soporific cinema."[51]

Geezer is the third member of the original SABBATH lineup to release an autobiography. Ozzy's memoir, "I Am Ozzy", debuted at No. 2 on the New York Times' "Hardcover Nonfiction" best-seller list. The book was published on January 25, 2010 in the U.S., nearly two years after it was first expected to arrive. "I Am Ozzy" chronicled the legendary metal icon's life from his working-class beginnings in Birmingham, England to his initial fame with BLACK SABBATH to his massive solo career and forays into television.

"I felt myself getting sucked into feedback loops where I would read something, I would feel outraged about it, [and] I would feel compelled to share it with my friends," says Yale psychologist Molly Crockett. "I would then be sort of obsessively checking to see whether people had responded, how they had responded, you know, lather, rinse, repeat."

I saw this like 3 months ago...still thinking about it...almost everyday...definitely every week. Do you understand how special that is? Do you understand how rare it is that a movie does that? That it gets into your brain, sets up it's little space and refuses to leave without paying rent (which by the way costs a lot for a mind as fucking clean as mine). DO YOU UNDERSTAND???

One of my latest self portraits, taken a couple months ago. My partner Kris and I wandered the foggy beaches of Pacific Rim National Park for hours, looking for the perfect drift wood/log/root system I had in mind for this creative vision. I think Kris was slightly annoyed every time he triumphantly found a big tree or tangle of roots, only for me to comment "still not big enough" and kept trudging onward into the foggy abyss. ? But alas! The search paid off - after a few miles of walking seemingly nowhere, as we couldn't see more than a few meters ahead through the fog, I finally saw these towering tree roots reaching toward us out of the void. It was perfect. After a few test climbs to make sure the old roots would hold, I set up my camera, put on the red dress, and climbed up to mimic the old gnarled roots, reaching into the void.

Each build server drives, via automation, a standard git checkout ofthe void-packages repo.This in turn results in built binary packages ready for installationin the path /hostdir/binpkgs on each of the build machines. Toactually be useful, however, the packages need to be aggregated andthen signed, then copied out to servers near to end users such thatpackages are quick to download and install whenever required. 041b061a72


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