About sons
of Abraham the elder was Ismael since his wife Sara was not giving birth and that's why she married him to Hager her servant whom gave him Ismael and then he
took Hager and Ismael to Mecca as a new found land for them to
live on...
At later stage at a different place when Abraham was visited by the Angels whom were heading for the people of «Lut / Lot» that they promised him that Sara will give birth towards which Abraham and Sara were surprised being at old age but Angels told them that for GOD is easy to give them same.
At later
stage at a different place when Abraham was visited by the Angels whom were heading for the people of «Lut / Lot» that they promised him that Sara will give birth towards which Abraham and Sara were surprised being at old age but Angels told them that for GOD is easy to give them same.
at a
different place when Abraham was visited by the Angels whom were heading for the people
of «Lut / Lot» that they promised him that Sara will give birth towards which Abraham and Sara were surprised being
at old age but Angels told them that for GOD is easy to give them same.
at old age but Angels told them that for GOD is easy to give them same...
Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner
of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by
different actors
at different stages of the characters»
lives) across the temporal loop
of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns
of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him,
takes photographs and molests invalids as a means
of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind
of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music
at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents
at a sinister recycling plant, who is reluctantly adopted by a reconstituted family
of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode
of Angel where David Boreanaz turned into a Muppet.
Although the artists commissioned to
take on spaces in Hospital Rooms are
at different stages in their careers (from exciting young artists near the beginning
of their careers to internationally renowned and respected artists), they are all people who are thoughtful
of the spaces and the people that
live in the units.