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luís soares

Blog do escritor Luís Soares

I Am a Poor Wayfaring Stranger

The folk song "I Am a Poor Wayfaring Stranger" was performed by Jos Slovick in the film 1917, directed by Sam Mendes. The a cappella version of the song was recorded by Jos and filmed at Abbey Road Studios in London.

"I Am a Poor Wayfaring Stranger" arrives in the wake of Thomas Newman’s critically acclaimed score for 1917. Towards the end of the film, actor Jos Slovick appears as a British soldier singing the song to his fellow troops prior to battle. Of the release, Slovick says, “1917 is an incredible film to be part of. It felt like a special moment when we filmed that scene, and I’m so pleased it’s resonating with people. Recording the song at Abbey Road Studios was a dream come true.”

I am a poor wayfaring stranger
Travelling through this world alone
There is no sickness, toil nor danger
In that fair land to which I go

I'm going home to see my mother
I'm going home, no more to roam
I am onlygoing over Jordan
I am only going over home

I know dark clouds will hover o'er me
I know my pathway is rough and steep
But golden fields lie out before me
Where weary eyes no more will weep

I'm going home to see my father
I'm going home, no more to roam
I am only going over Jordan
I am only going over home

The View from Here, by Tilda Swinton


Cinema is limitless.
And she isn’t going anywhere

These things we know

We have over a century’s worth of bounty from all corners of this globe to savour and learn from, fresh as the dayThere’s no such thing as a foreign film
There’s no such thing as an old film
The idea of any national cinema is missing the point

And the wide, wide screen can hold every possible thing we throw at it

We have filmmakers everywhere – of every possible description – with films in their heads and hearts and fingers
All on their way
Some of them are producers’ PAs or cine-passionate stand-by props boys or even film students
Some of them just sold us our coffee or bus ticket or insurance
They have cameras in their back pockets, every one
They have a wide-eyed intergalactic audience open to and eager for new fellowships and new horizons

Hooray for the multiplex and the spandex zam-fests and whoosh- athons, the gargantuan one-stop big-top bunker-cathedrals, the cardboard nosebag of unspeakably toxic phosphorescent worms and the quadruple-flavoured American ice cream

We leave our world and gallivant, ricochet’d with mythic abandon in the deafening surround-sound pinball playpen

We love it
From time to time.



We love other stuff too, stuff of all shapes and sizes, stuff of the planet and all of us on it
We want to see ourselves and others and recognise how magnificently, mind-glowingly similar/different we are
We want to travel, through time and space and into other people’s shoes and behind their eyes
And we like not knowing what’s going to happen

And so

We would love more screens to see all this on: big rickety ones currently in great old ramshackle cine-palaces now furniture showrooms, dinky ones in niche rooms with comfy seats, inflatable ones in parks, sheets tied to two broomsticks in village halls

We would love all the above and more

We want to watch film together in the dark
We want to watch things we’ve never heard of in languages we cannot understand
We want new faces, new places, new shapes, new sizes, new stories, new rhythms

We want to get lost

We want long immersions
We have the stamina
We have the lust
Trained up by the box-set: imagine the
binge cinema three-day plunge…

We love all this, too


Some time, imagine this:

We get to know a film at the end of our bed – even in our hand, even on our wrist on the Tube – and when it comes to town, we LOVE to see it live large
Like knowing an album inside out and just craving the band’s live gig


And so

We would very much love the mighty streaming services to feel galvanised to restore, support or build great big screens from the beginning to the end of the territory their reach touches: to make good their stated commitment to filmmakers interested in making films for the wild, wide screen, the experience of communal exhibition and the honest diversity of the canon of cinema history.

Wouldn’t that be grand?

WON’T that be grand and right?


We would love to stop squabbling over the idea that cinema cannot be more than one thing

Because then we can also stop whispering and mouthing about cinema as if she is a fragile invalid that needs quiet, vacant and sterile surroundings lest she break, an endangered and diminishing ice floe that has any limits whatsoever

When, in fact, she simply doesn’t. End of

Cinema rocks and rolls

And bounces and stretches

We love cinema for her elasticity, her inventiveness, her resilience, her limber and undauntable roots and her eternally supersonic evolution

As it says on the bottom of the studio credit roll: throughout the universe in perpetuity

Vive la différence

Film Forever


Hair Love

Hair Love, an Oscar®-winning animated short film from Matthew A. Cherry, tells the heartfelt story of an African American father learning to do his daughter’s hair for the first time.

Matthew A. Cherry (Executive Producer, “BlacKkKlansman”)
Everett Downing Jr. (Animator, "Up")
Bruce W. Smith (Creator, “The Proud Family,” Animator, “The Princess and the Frog”)

Karen Rupert Toliver
Stacey Newton
Monica A. Young
Matthew A. Cherry
David Steward II
Carl Reed

Executive Producers:
Peter Ramsey (“Spider-Man: Into the Spider-Verse”)
Frank Abney (Animator, “Toy Story 4”)

Issa Rae (“Insecure”) as Zuri's mother

Co-Executive Producers:
Jordan Peele
Andrew Hawkins
Harrison Barnes
Yara and Keri Shahidi

Associate Producers:
N’Dambi Gillespie
Gabrielle Union-Wade
Dwayne Wade Jr.
Gabourey Sidibe
Stephanie Fredric
Claude Kelly

Music Composers:
Paul Mounsey
Daniel D. Crawford

Additional Composer:
Taylor Graves

Production Partners:
Lion Forge Animation
Chasing Miles
Matthew A. Cherry Entertainment

The project is a collaboration with Sony Pictures Animation that was launched as a Kickstarter campaign in 2017 with a fundraising goal of $75,000. Strong support led to the campaign amassing nearly $300,000, making it the most highly-funded short film campaign in Kickstarter history.

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The picture book “Hair Love” was released by Kokila Books/Penguin Random House on May 14, 2019, and became a New York Times Bestseller.

Too Marvelous For Words

"Too Marvelous for Words" is a popular song written in 1937. Johnny Mercer wrote the lyrics for music composed by Richard Whiting. It was featured in the 1937 Warner Brothers film "Ready, Willing and Able," as well as a production number in a musical revue on Broadway. It then became the love theme in the 1947 film noir "Dark Passage" directed by Delmer Daves, first in a version sung by Jo Stafford, then just instrumental as the love that finally reunites Lauren Bacall and Humphrey Bogart is Too Marvelous for Words indeed.

Palabras de Lucrecia Martel a Pedro Almodóvar

Discurso de la realizadora argentina Lucrecia Martel durante el homenaje y entrega de un León de Oro al director, productor y guionista español Pedro Almodóvar en el Festival Internacional de Cine de Venecia, 30/8/2019.


“Estamos hoy reunidos para celebrar a Pedro Almodóvar.

Uso estas palabras que son las mismas de la misa católica.

El cine es su religión, lo ha dicho muchas veces.

El cine corregía lo que la escuela humillaba en él y en muchos niñas y niños.

Su parroquia fue la sala de cine de barrio.

En ese altar de luces, de canciones pegadizas, danzaron las divas de todos los tiempos que lo protegieron de la inutilidad moral, como debieran hacer los santos.

En un reportaje dijiste que seguramente fuiste un niño muy fuerte para soportar la mirada de incomprensión.

El más fuerte de los niños.

Almodóvar fue causa y consecuencia de La Movida, la contracultura que desempolvó a España del largo letargo del franquismo.

Combatieron con las mejores armas: películas, revistas, libros, música, fiestas.

Digo esto con nostalgia de aquellos años 80 en que el deseo estaba mucho menos organizado.

La salud no era un bien necesario. Y la ciudad era la aventura a la que había que lanzarse.

Era más importante aventurarse en ciertas calles que tener un home theater 5.1 para ver tres seasons de 11 capítulos.

Una década con muchísimo menos miedo que ahora.

En 45 años ha dirigido y escrito más de treinta películas y cortos.

Sus invenciones forman parte de la memoria de la humanidad.

Desde una bolsa de almacén en México a un pastillero en Tokio.

Todos sabemos que hizo cine sin ir a una escuela de cine, y festejamos esa carencia.

Afinó sus oídos en los chismes de peluquerías, con las lavanderas en el rio, en callejones de adictos insomnes, en el cotilleo de los vecinos.

Para varias generaciones de directores latinoamericanos su cine fue una reconciliación con el castellano. Tus diálogos nos iluminaron el lenguaje de nuestras propias familias.

Nos señaló el exquisito camino que las cantantes populares como Chavela, la Lupe, Mina, abren en la banda sonora.

Coleccionó en su infancia cromos o figuritas de divas del cine, impresos en colores chirriantes que , dice, inspiraron su extravagante paleta de colores.

Pero es imposible ver la obra de Almodóvar sin reconciliarse con los rincones de nuestras casas donde naufraga la moda.

Los fondos que pueblan nuestras fotos familiares.

Nuestras fiestas de quince, y sus peinados.

Almodóvar inundó nuestra memoria con invenciones que no necesitan de gran presupuesto, sino de honestidad provinciana.

Esos livings de empapelados desquiciados, los enfermeros amantes, esas alfombras de animal print, los peinados con spray, las mujeres asimétricas, los aros de cafetera nos hicieron más libres.

Nos liberaron del buen gusto, de la buena educación, de la moral mezquina de los que se llaman a sí mismos normales.

Nos liberaron de la claridad de los lazos familiares.

Nos reconciliaron con la estupidez, con los refranes incomprensibles, con los malentendidos.

Mucho antes de que las mujeres, los homosexuales, las trans, nos hartáramos en masa del miserable lugar que teníamos en la historia, Pedro ya nos había hecho heroínas.

Ya había reivindicado el derecho a inventarnos a nosotras mismas.

Ya había puesto las prótesis de mamas, los dildos, al lado de un cucharón, o una olla de vapor, al mismo nivel que cualquier cosa útil.

Ahora se está ocupando de los hombres. Fundamental. Gracias Pedro!

No hay deber ser en la ética de Almodóvar, hay obligación de crearse. Obligación de inventarse.

Desbarató la moralina que esconden los géneros del cine, los mezcló, elevó el melodrama por encima del thriller.

Abrazó el ridículo para hacer un arma sin precedentes contra el maltrato.

Si aceptamos que el cine expande el mundo que conocemos, el mundo ha crecido mucho desde que Pedro lanzó sus cortos a mediados de los años 70.

Sus películas inauguraron territorios donde se puede vivir mejor.

Pedro, ahora que la ultra derecha se levanta en el mundo como si nada hubiera pasado, ahora más que nunca lo necesitamos. Porque seguimos mojando nuestras bikinis en un mar de muertos.

Señores, Pedro Almodóvar.”