Showing 91 - 100 of 754 annotations tagged with the keyword "Grief"
Summary:This documentary is a film biography of American artist, Alice Neel (1900-1984), directed by her grandson, Andrew Neel. The film utilizes interviews with art historians; comments and interviews by Alice Neel herself; comments by her two sons and other family members; interviews with some of those that the artist painted; still photographs and other archival materials; and most spectacularly, displays of many Neel paintings. There are annotations of several important Neel paintings in this database. This film or sections of it would make a good accompaniment to discussions of those works.
Summary:An empty, old, red chair sits at a three-quarter view. One leg is cut off by the painting's frame. The chair is the only subject visible in the foreground, suggesting that the room it occupies is empty. In the composition's center is a window with a stark black blind pulled nearly halfway down. The view outside the room reveals two windows in a building across the way. These windows are stacked vertically, one on top of the other, and are nearly identical in appearance.
Summary:A few years into their marriage, while their children are still young, Sara and Phil discover that he has an aggressive form of cancer. He undergoes grueling surgery, but the cancer returns. For Sara the prospect of Phil's death reawakens the trauma of losing her father when she was twelve. Phil does his best to live a normal life between chemotherapy treatments and further surgeries, and even enters an experimental treatment in hope of seeing his children grow up. His greatest pleasure in life is sailing, and one of his deepest hopes for his remaining time with his family to enjoy sailing with them in the ocean near their New England home. But Sara finds it scary, even though she gamely learns to crew, and the kids never take to it. So Phil sails with friends, and sometimes alone. After learning that the cancer has continued to spread despite every medical effort, Phil decides to take one last sailing trip, this time alone, on the ocean. There he has to make a decision: his intention is simply to sail until his body gives out and die on the boat he loves, sparing Sara, he thinks, having to watch him die a slow and painful death. But he begins to realize that letting her see him through might, after all, be a better way to go. As the novel ends, he turns the boat, now quite far from land, toward home.
Summary:Mary Sutter has been trained as a midwife by her widowed mother, and has demonstrated an unusual aptitude. She is an eager learner, but her deepest desire is to be a surgeon. No medical school will take her, however. As reports reach her home town of Albany of the escalation toward civil war around Washington DC, and in the wake of a disappointment in love, she decides to board a train and offer her services to Dorothea Dix as a nurse. Though Miss Dix refuses her on the grounds of her youth, Mary finds her way into apprenticeship with a surgeon who, as the numbers of injured climb, needs all the hands he can get. Slowly and grudgingly, he comes to accept her as a competent assistant and, eventually, to teach her as a respected apprentice, and the remarkable companion she has become to him. She learns surgery in the most grueling circumstances possible, amputating shattered limbs of young men, many of whom die anyway of infection or water-borne diseases. In the course of her sojourn in Washington she meets John Hay and, through him, President Lincoln, whose compassionate attention she manages to direct to the dire need for medical supplies. Two men love her not only for her intelligence and courage, but for the passion she brings to the hard-won skill that, though it cannot save her brother from the respiratory illness that is rampant in the camps, or her sister from a disastrous childbirth, saves many lives and makes a wider way for women of her generation who find themselves called to medicine.
Summary:Split into two parts after a dream-like prelude, Melancholia tells the story of a pair of sisters, Justine (Kirsten Dunst) and Claire (Charlotte Gainsbourg), as they await the end of the earth. The first half, titled 'Justine', shows us Justine's wedding party at her sister's mansion, a halting, uncomfortable affair marked by bitter family tensions, awkward reticence, abrupt proclamations of spite, and moments of tenderness and forgiveness, not necessarily entirely unlike typical weddings, although perhaps, in Lars Von Triers' hands, the unhappiness and hopelessness is nearer the surface. The second half, 'Claire', revisits the mansion some time later as Claire, her husband John, and her young son Leo, ponder what John assures them will be the near-miss of the planet Melancholia. According to John, an amateur astronomer, Melancholia will not hit the earth but which will swoop around it, although Claire is not so sure. Justine, ragged and exhausted with depression, comes to stay with them to recuperate, and they watch Melancholia and await their fate.
'Smut: Two Unseemly Stories' consists of two novellas, 'The Greening of Mrs Donaldson' and 'The Shielding of Mrs Forbes'. Both are slight but well-observed and nimbly narrated stories about sex and manners.
In 'The Greening of Mrs Donaldson', a newly widowed woman has to make ends meet; she takes in lodgers (initially a medical student and her boyfriend) and finds herself employed at a local medical school as a standardized or simulated patient (a patient instructor), joining several other stalwart characters in feigning illnesses and ailments for the educational benefit of training doctors. When her tenants do not have the money to pay their rent, they find another way of reimbursing Mrs Donaldson. 'The Shielding of Mrs Forbes' is about the marriage of vain handsome Graham Forbes to a wealthy, although not particularly beautiful, woman, much to the frustrated dismay of his mother. In both novellas, secrets about sex and surprising erotic arrangments threaten the measured, middle class lives of the Donaldson and Forbes families.
Summary:In this series of six linked stories the narrator, Sara Boyd, weaves together stories of loss: her father's death when she was twelve, her husband's diagnosis of terminal kidney cancer, her mother's recurrent descent into mental illness, and even the death of a beloved dog. The stories merge in ways that reinforce the notion that new griefs bring up old ones, and that the trajectories of mourning are unpredictable and sometimes surprising in the conflicting currents of emotion they evoke. Sara doesn't present her life only in terms of losses, but the losses frame the story in such a way as to suggest that while key losses may not trump all other life-shaping events, they do organize and color them. The mother's mental illness is, in its way, a crueler loss than the death of Sara's beloved father, since hope of recovery keeps being dashed. Her siblings and children are marginal characters, but enter the stories enough to develop complex family contexts of caregiving.
Summary:Extremely Loud and Incredibly Close, directed by Stephen Daldry, features an all star cast including Tom Hanks, Sandra Bullock, Max Von Sydow, Zoe Caldwell and John Goodman, but the true star is Thomas Horn as ten year old Oskar Schell who loses his father on 9/11. The film opens at his father's funeral; Oskar refuses to leave the limousine-- the coffin is empty, and without his father's body to mourn, death remains an abstraction.
Mija, a 66 year-old woman, is raising her daughter's grumpy teenaged son and trying to make ends meet with a part-time job as a maid for an elderly, wealthy man who has suffered a stroke.
Aminata Diallo, called Meena, is born in mid-eighteenth-century Africa and leads a happy life with her Muslim parents. Her mother is a midwife and is teaching Meena her skills. But ruthless white men appear, killing her parents and imprisoning her. The eleven year-old girl is forced to march miles and miles to the sea. During the journey she makes friends with Chekura, a slightly older boy who seems to be employed by the white captors, but like Meena, has also been captured. They are kept at a fort, then herded on to ships and taken on an agonizing journey across the ocean.
Meena and Chekura are sold as slaves. They lose sight of each other and live on plantations in privation and squalor never knowing if they will be treated with kindness or cruelty. Meena is raped by an owner. She learns how to read and write English quickly (although her skill must be kept secret), and she is fascinated by maps, constantly plotting to return to Africa.
Meena and Chekura find each other and marry secretly - but soon they are separated. She has a baby girl. Her literary and midwifery skills are her salvation, and eventually she is sold to a Jewish duty inspector. He and his wife treat her well, and she and her child live in comfort, but the revolutionary war disrupts their world. Meena returns home one day to find that the Jewish couple have fled on ship to England, taking her daughter with them..."for her own good."
Meena moves to New York City, taking a room in a hotel and still intent on finding a way back to Africa. She writes the names and ages of the people clamoring to go to Nova Scotia as a reward for serving the British in the Revolutionary War: the original "book of negroes." The settlers arrive with hope and optimism, but they encounter more oppressions. Later she is lured by the attractive plan to build "Freetown" in Sierra Leone; again however, the promised resources never materialize and the fledgling community degenerates into crime and misery. Even Meena's attempt to find her original home is thwarted.
In 1802 London, as a frail elderly woman, the abolitionists treat Meena with reverence and curiosity. They encourage her to write her story, and there she finds her daughter again.