I've gone through uninstalling-reinstalling, plugging in-out-in-out-in-out, and even tried installing the latest versions of the driver twice. It's an exchange policy rather than refunds and because it was the last tablet they had I'm hopeless for that. Genius tablet MousePen i608 - cordless pen + cordless mouse - two extra pen tips - AAA batteriers x3 for pen & mouse - quick guide - CD with driver for. Genius Mousepen I608X Graphic Tablet with Mouse and Pen (150 x 200mm) Series: Mousepen (sign in to rate) Loot Price R1,096 Discovery Miles 10 960 Repayment Terms: R100 pm x 12 Supplier out of stock. I just bought my tablet yesterday from a sort of school/office supplies store and the sales ladies didn't seem to know much about it anyways. I usually work on Paint Tool Sai and I used to work with a different generic brand tablet. Here is a tweet I posted with a screenshot I can not easily do that because I live in the Philippines. I also posted this on Yahoo! Answers but the 1 guy who answered was telling me that I'm using a Mac model that's too advanced (I'm not even using a Mac? See the screenshot in the Tweet below) and that I bought the wrong pen? What this is the pen that came with it? Not only that he told me to call the developers of Paint Tool SAI or the pen's manufacturers.
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The two eventually meet again in a restaurant. Time passes and although Adèle finds satisfaction in her job as a kindergarten teacher, she still cannot overcome her heartbreak. Adèle, out of loneliness and confusion, sleeps with a male colleague.Įmma becomes aware of the fling and furiously confronts Adèle, refusing her tearful apologies and turning her out of their apartment in a fit of rage. It gradually becomes increasingly apparent how little they have in common, and emotional complexities manifest in the relationship. Emma belittles Adèle's teaching career, encouraging her to find fulfilment in writing, while Adèle insists that she is happy the way she is. At one of these, Adèle meets some of them, Lise, a pregnant woman and colleague, Joachim, "the biggest gallery owner in Lille", and eventually Samir, an aspiring actor who feels out of place amongst the intellectuals, with whom she strikes up a friendship. Adèle finishes school and joins the teaching staff at a local elementary school, while Emma tries to move forward with her painting career, frequently throwing house parties to socialise with her circle. In the years that follow, the two women move in and live with each other. Emma's artsy family is very welcoming to the couple, but Adèle tells her conservative, working-class parents that Emma is just a tutor for philosophy class. They later have sex and begin a passionate relationship. Their bond increases and before long, the two share a kiss at a picnic. Despite the backlash, she becomes very close to Emma. Adèle's friends suspect her of being a lesbian and ostracise her at school. They become friends and begin to spend more time with each other. The woman is Emma, a graduating art student. The blue haired woman is also there and intervenes, claiming Adèle is her cousin to those pursuing Adèle. After some time, Adèle leaves and walks into a lesbian bar, where she experiences assertive advances from some of the women. One friend, the openly gay Valentin, seems to understand her confusion and takes her to a gay dance bar. After having vivid fantasies about the woman she saw on the street and having one of her female friends kiss her, she becomes troubled about her sexual identity. She dates a boy at her school for a short while and they have sex, but she is ultimately dissatisfied and breaks off their relationship. While crossing the street one day, she passes by a woman with short blue hair and is instantly attracted. Many critics declared it one of the best films of 2013.Īdèle is an introverted high-school student whose classmates gossip constantly about boys. The film received critical acclaim and was nominated for the Golden Globe Award for Best Foreign Language Film and the BAFTA Award for Best Film Not in the English Language. The film had its North American premiere at the 2013 Telluride Film Festival. It is the first film to have the Palme d'Or awarded to both the director and the lead actresses, with Seydoux and Exarchopoulos joining Jane Campion ( The Piano) as the only women to have won the award. Much of the controversy was centred around claims of poor working conditions on set by the crew and the lead actresses, and also the film's raw depiction of sexuality.Īt the 2013 Cannes Film Festival the film unanimously won the Palme d'Or from the official jury and the FIPRESCI Prize. The film generated controversy upon its premiere at the 2013 Cannes Film Festival and before its release. Approximately 800 hours of footage was shot, including extensive B-roll footage, with Kechiche ultimately trimming the final cut of the film down to 179 minutes. Production began in March 2012 and lasted six months. The premise of Blue Is the Warmest Colour is based on the 2010 French graphic novel of the same name by Julie Maroh, which was published in North America in 2013. The film charts their relationship from Adele's high school years to her early adult life and career as a school teacher. The film revolves around Adèle (Exarchopoulos), a French teenager who discovers desire and freedom when a blue-haired aspiring painter (Seydoux) enters her life. Blue Is the Warmest Colour (French: La Vie d'Adèle – Chapitres 1 & 2 – "The Life of Adèle – Chapters 1 & 2") is a 2013 French coming-of-age erotic romantic drama film co-written, co-produced, and directed by Abdellatif Kechiche, starring Adèle Exarchopoulos and Léa Seydoux. Saunders in retaliation for the clubbing death, during a nonviolent protest in 1928, of elderly nationalist leader Lala Lajpat Rai the April, 1929 detonation of a non-fatal bomb in the Delhi Central Assembly in order to call attention to their cause and their subsequent imprisonment and execution. (The small detail of how they will pull this off is, like a number of other improbables in the film, left to our willing-suspension-of-disbelief.) Settled into a posh flat in an “International Institute” at Delhi University (in fact, the set is the campus of the city’s impressive Habitat Centre), Sue begins casting her film, which is to feature an elaborate re-enactment of the revolutionaries’ decisive acts: the Kakori train robbery of 1925 to obtain money to purchase weapons the fatal shooting of police officer J. Angry and disheartened, she goes to India anyway, where her would-be collaborator Sonia (Soha Ali Khan) cheerily announces that they will go ahead with the project despite the withdrawal of funding. Although, as a woman (and here the film shows a more conventional side) her role can only be to witness, from the sidelines, the central spectacle of male martyrdom, she is nevertheless (for Hindi cinema) a notably unconventional witness.Īs the film begins, Sue’s dream of retelling the story of the anti-Raj revolutionaries is abruptly shattered when her BBC “World Vision” producers pull the budgetary plug on the project. Patten’s sensitive and endearing performance. That her gaze is discerning and not stereotyped, appreciative but not fawning, doubtless owes much to the scriptwriter and director, but also to Ms. The two parallel narratives, one familiar and closed, the other emergent and unpredictable, come together through the eyes and lens of a fictional director making a film-within-a-film.Īn outsider-insider, she reverses the recent trend toward expatriate NRI heroes and heroines (who view the West through privileged Indian eyes) to invite Indian viewers to see themselves through foreign ones. The story of the 1931 martyrdom of the young revolutionary and freedom fighter Bhagat Singh and his companions Rajguru, Sukhdev, and Chandrashekhar Azad-one of the hallowed legends of modern Indian history and itself the subject of a spate of recent films (see, e.g., THE LEGEND OF BHAGAT SINGH, 2002)-is again retold here, this time interwoven with a contemporary fable about radicalization and sacrifice. Its fast-paced and visually arresting presentation belies a multi-layered storyline that assumes considerable background knowledge of twentieth-century Indian history. In the best tradition of Bombay film, it is both innovative and conservative: a forward- and backward-looking meditation on two of the preoccupations of Hindi cinema: nationalism and filmmaking. This complex and unsettling tale about the political awakening of a group of jaded urban youths became one of the most acclaimed and talked-about films of 2006 in India, as well as India’s entry in the US Academy Awards. Story and script: Kamlesh Pandey Dialogue: Prasoon Joshi, Rensil D’Silva Screenplay: Rensil D’Silva, Rakeysh Omprakash Mehra Lyrics: Prasoon Joshi Cinematogaraphy: Binod Pradhan Music: A. |
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