Alamar Film Blue

Oct 3, 2003 - Abstract. We show here the identity of Alamar Blue as resazurin. Resazurin (blue and nonfluorescent) is reduced to resorufin (pink and highly.

Chandramukhi serial menaka real name. 3 out of 4 stars Country USA Language English If nothing else, Alamar is the cheapest 73-minute Caribbean vacation you're likely to find near the end of February. This beautiful little documentary-fictional hybrid film, written, directed, edited and shot by Pedro Gonzalez-Rubio, tells the story of a father and son who bond over the course of a summer, fishing, boating and swimming in azure waters, sleeping in hammocks and living on an island hut on Mexico's Banco Chinchorro reef, just off the tip of the Yucatan Peninsula.

All the people in the film are essentially being themselves, though the filmmaker did create situations for them, and has shaped it, through editing, into a fable about passing on a love of nature from generation to generation. Natan (Natan Machado Palombini) is the beautiful five-year-old son of an Italian mother (Roberta Palombini) and a wiry, long-haired Mayan-Mexican tour guide (Jorge Machado), who separated after a brief relationship. 'Sometimes I think God made us meet so that Natan could be born,' says his mother. Once in Mexico, the father and son set off in a boat to an island in the Chinchorro reef. The boy is seasick during the crossing but soon he's settled into a shack, sleeping in a hammock and sharing space with a grandfatherly older fisherman, Matraca (Nestor Marin).

Over the summer, Jorge teaches Natan to reel in fish, to identify sea creatures and plants. Natan learns to snorkel, and watches his father and Matraca catch lobsters and barracudas, and to throw scraps to a crocodile that snaps up leftovers like a family dog. Along the way, the boy befriends a white cattle egret which they name Blanquita.

The bird becomes quasi-domesticated, walking into their hut, standing on their arms to snap bugs from their fingers. Then suddenly, inexplicably, it disappears. The bird's departure presages Natan's own journey back to civilization and home in Italy. In its simple portrait of three generations of men, living from the sea, Alamar has two agendas. The first one is in the final title cards, which announce that there is a movement to have Banco Chinchorro, the world's second-largest coral reef, recognized as a protected World Heritage Site. More subtly, it's an old-fashioned celebration of paternity and the world of men - work, hunting, friendship and, to a small degree, dealing with violence. The boy learns not only to hunt but to play-wrestle with his father.

When Natan accidentally gets hurt, the father checks if the boy is okay, then ends with a playful mock head-butt. At one point, Jorge lets his son touch the teeth of the barracuda they are about to eat for dinner.

What Gonzalez-Rubio brings to this non-narrative adventure is a quality that can probably be best described as holy. Every act, from cleaning a boat's hull to preparing a fish stew, is a stage in Natan's ritual transformation into self-sufficiency and manhood. At the end, Jorge promises Natan that he will always be watching out for him - it echoes Natan's mother's suggestion at the beginning of the film that God must have planned Natan's birth. In a more earthly sense, Jorge has given his son a set of psychological survival skills to face whatever future crocodiles and barracudas he may meet on the streets of Rome. Alamar.

Written and directed by Pedro Gonzalez-Rubio. Starring Jorge Machado, Natan Machado Palombini, Roberta Palombini and Nestor Marin. Classification: G. Welcome to The Globe and Mail’s comment community. This is a space where subscribers can engage with each other and Globe staff. We aim to create a safe and valuable space for discussion and debate.

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A young boy and his father learn about living in harmony with nature in this languid drama from filmmaker Pedro Gonzalez-Rubio. A man from Mexico (Jorge Machado) travels to Italy and falls in love with a beautiful local woman (Roberta Palombini). Their feelings for one another are strong, but they prove to be short lived, and when they decide to beak up after the birth of their son Natan, he returns to Mexico while she stays in Italy and takes primary custody of the child.

Alamar Film Blue

However, the father strives to remain a presence in his son's life, and the boy visits his father at least once a year. As the five-year-old Natan travels to Mexico, his father has joined the family' fishing operation near the coral reefs of Banco Chinchorro. Living in an elevated cottage near the shore, Natan and his family devote their summer to an idyllic existence, spending their days catching the plentiful fish and observing the wildlife, and their nights sitting by the fire and admiring the stars. To the father, this simple life teaches an important lesson of existing in peace with the natural world, and Natan comes to see himself as being as much a part of this environment as the fish, the waterfowl and the seaweed. Alamar (aka To The Sea) was the first solo directorial credit for cinematographer Pedro Gonzalez-Rubio. ½ 'Alamar' is a sweet, gentle and beautifully filmed movie.

Once upon a time, Jorge(Jorge Machado) and Roberta(Roberta Palombini) fell passionately in love and had a child but then reality set in. It soon became clear they had distinct needs in life, being from very different places, and separated.(Cue the opening credits from 'Green Acres.' ) At the start of the movie, Roberta, who lives in the urban paradise of Rome, is sending their son Natan(Natan Machado Palombini) to spend time with his father and other relatives at the aquatic paradise of Banco Chinchorro in Mexico.

It is there in a sort of men's club(the only sign of women are the pin-ups adorning the huts) that Natan is shown how to explore underwater and fish by his father and grandfather(Nestor Marin) which his family has been doing for generations. This resonated with me, reminding me of fishing as a boy in the Upper Peninsula of Michigan, although we never caught fish anywhere near that large. In fact, the fish are so large and plentiful in the movie that even the crocodile does well for himself, just sitting around.