Angel black and white color pages

A woman, accidentally caught in a dark deal, turns the tables on her captors and transforms into a merciless warrior evolved beyond human logic. He is surprised to see a tall, beautiful girl clinging to a rail on the same bridge, apparently preparing to end her life as well. She jumps, and he jumps too, suddenly resolving to save her life. After scrambling ashore, she tells him her name is Angel-A. He learns that for this purpose she has fallen out of the sky and into his life. Written by Charles Delacroix. Angel-a can be described as a romantic comedy, as a movie about angels and as one about therapy.

As a romantic comedy it is a good and charming film, which stands far away from the omnipresent and boring Hollywood romantic comedies. As a movie about angels it is not convincing, and the best it can be said in its favour is that the movie is an heterodox rendering of angels, half divine and half too-human. But the best use that can be given to this film is to adopt it as a manual of cognitive or rational-emotive therapy. A well respected field within psychology, cognitive therapy looks for transforming distorted thinking, which it is said, affects the mood, the behaviour and the life of people.

That is simply what Angel-a does with Andre, giving him reasons to love himself, and teaching him techniques to change the way he thinks or speaks of himself. If we go to cinema some times to enjoy ourselves and some times to bring something to our lives, this movie allows us to do both. Art and cinema have also ethical consequences -in the sense of Foucault- giving us clues about how to live our lives better.

In this sense the best description of Angel-a is given above by Elizabeth Arthur when she says that this is "a film about learning to love yourself". Only one question remains: Why a director like Besson, who has been making movies about violence, decides to read about cognitive therapy and bring angels to earth and make a film like this? Start your free trial. Find showtimes, watch trailers, browse photos, track your Watchlist and rate your favorite movies and TV shows on your phone or tablet! IMDb More. Keep track of everything you watch; tell your friends.

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A beautiful woman helps an inept scam artist get his game together. Director: Luc Besson. Writer: Luc Besson. Added to Watchlist. From metacritic. Guiones geniales. April list. Share this Rating Title: Angel-A 7. Use the HTML below.

You must be a registered user to use the IMDb rating plugin. Learn more More Like This. The Lady Biography Drama History. Action Adventure Fantasy. La Femme Nikita Action Thriller. Iturbide didn't set out to become a photographer until her late 20s, married with children, when she finally took a leap of independence after being told by her pragmatic, middle-class family that art was not a viable path.

That yearning is present even in her earliest of work. There's a hunger to understand her country, a longing to meditate on the places and people of her land, and, in turn, to know herself. Iturbide is not documenting for anyone's eyes. Her photos neglect any gaze.

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Instead they are wholly hers — a visual trace of her own wrestling with what it means to be Mexican. The exhibit at the MFA is divided thematically, from her time photographing The Seri, an indigenous community in the Sonoran Desert, to her fascination with death and fiestas, to a rumination on birds and Mexican plants, including the whimsical cactus. Mexico's founding myth revolves around the Aztecs' journey searching for an eagle perched on a prickly pear. In each of these themes, the draw is not only with the Mexican scenes, but with Iturbide's intuitive capturing of them. In one of her most famous photographs titled "Angel Woman," an indigenous woman holds a boombox as she seemingly floats through a desert sierra.

Iturbide says she doesn't remember taking the photo and only discovered it later in her contact sheet. It was a gift from the desert, she says. That's not to say her photos lack technical brilliance. And it shows in the understated composition, the stark contrast and the sharp angles of her photographs. In one set of photos, Iturbide — commissioned to photograph Frida Kahlo's bathroom after it had been locked away 50 years after her death — captures Kahlo's leg and body braces as if they are dazzling sculptures floating elegantly on blank walls.

The real allure for me in Iturbide's work is that the photos expose her — an artist who doesn't see herself as an artist.

When I asked her what she thought about seeing her paintings in the gallery, she told me she thought it was a curious, strange sight. I'm a photographer. Her photos reveal the paradoxical nature of being Mexican — recognizing the colonizer and the colonized in one's heritage, accepting the modern with the pre-Hispanic, living with death. Many seasons ago, Iturbide became obsessed with photographing "angelitos," dead babies in coffins on their way to their burial. She'd lost her own daughter and photographing the young children was her way of untangling her grief.

It was only after she encountered a rotting dead body that vultures had fed on out in the open at a cemetery that she stopped photographing the dead babies. It was as if death had told her: "You search for me. Here I am. The photo of the decomposing body is in a contact sheet on view at the MFA exhibit. How easily these photographs could be a spectacle, a macabre image piquing our darkest of curiosities.

But in Iturbide's hands, they are tender and surreal. Though she'd resent me calling them surreal. In an interview in our native tongue I'm Mexican, too , she told me she was "fed up" with critics calling her work surreal. In Iturbide's images of death, one feels her urgent search for herself and her home.