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Reviews - Two young people, somewhat wary of love, spend a summer together in Europe making a film about people's attitude towards love. Tanner and Christian realize that they're actually filming their own love story, but they have no idea that their film will ultimately save Christian's life after tragedy strikes them both
Year - 2020
Directed by - Klaus Menzel

genre - Drama

This trailer I just saw last night before "The Secrets in their eyes" I think this trailer is really well done, I can't wait to see this movie. Here is the movie trailer for "I am Love" Watch it in HD and full screen, really good. I think the posters are quite amazing as well, echos of Benjamin Buttons. Follow WonderHowTo on Facebook, Twitter, Pinterest, Flipboard, LinkedIn
https://tinyuid.com/DYp7Qo I think my comment would be the latest, because it is at 22/7/2018 since 2009. Bring back my childhood.

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Go MMG... ❤️❤️❤️. I was there! Saw ‘em in 77, 78. My gosh, what a TON of talent.

Just imagine having today's stage lighting and sound systems, behind Ann and Nancy

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YouTube. Greg heffley has entered the chat. 'I am the flower you are the seed, we walked in the garden, we planted a tree' ahh they don't write em like that anymore. Emociona escuchar estas reynas d la buena musica los mejores años. Any list of the most romantic movies—this one narrowed to movies in the English language—is going to draw sighs and harrumphs over beloved films left off. Quite a few unforgettable love stories are in movies that don’t comfortably fit the category ( Gone with the Wind, for instance), and the contemporary rom-com, while classifiably romantic, can seem as slight as the dandelion—a sunny flowering, a puffball dispersed on a breeze. Movies that reach the romantic pantheon often have more at stake than a trip to the altar and don’t always end up happily. Some invoke the archetypes of myth and fairy tale, diving into the deeper imaginative realms of high Romanticism, a movement enamored of mystery and nature untamed. Others are modeled on the literary “romance, ” a centuries-old genre of narrative fiction that combines adventure, idealism, and courtly love, as exemplified by King Arthur and his Round Table. These tales frequently take place on a journey where desire is set against duty, and where love alters destiny. The mortal dislocations of World War II—our “Good War”—are formidably represented in the realm of the romantic. Casablanca, for example, sees patriotism prevailing over the love of one person. The English Patient sees the reverse. At the same time, high-flying ideals can become straitjackets or self-sabotage. Alfred Hitchcock’s Notorious keys into a dark vein of lyricism, a place where self-sacrifice becomes voluptuous and ill. One thinks of William Blake’s iconic line, which sounds the bass note of Romantic poetry, “O Rose thou art sick. ” That said, it is lyricism in all its textures—dark, light, aural, visual—that lifts these films to higher ground. Rodgers and Hart, in their song “Isn’t It Romantic?, ” describe the feeling as “music in the night, a dream that can be heard … moving shadows write the oldest magic word. ” Those moving shadows are movies. THE AGE OF INNOCENCE 1993 Beautiful and grave from the first strains of Gounod’s Faust to the last ray of sun bouncing off a window, Martin Scorsese’s film version of Edith Wharton’s greatest novel gets richer with every viewing. This period drama was a departure for Scorsese, until then known primarily for street, gang, and Mafia movies. But were the fabled 400 of New York’s Gilded Age any less controlling than the Cosa Nostra? Newland Archer, played by Daniel Day-Lewis, hasn’t sold his soul to the devil but to a gilded ideal. His marriage to the angelic debutante May Welland (Winona Ryder) will fulfill every conventional wish. But in May’s unconventional, unhappily married cousin, the Countess Olenska (Michelle Pfeiffer), he awakens to another ideal—the romance of deep affinity. This new love is blocked at every turn. But by whom or what? New York society closing ranks? Newland’s own pride of place? Or a moral code that wills out? It’s unbearably poignant, this life suspended between ideals. THE AMERICANIZATION OF EMILY 1964 This movie works hard not to be on this list. It questions all the romantic clichés: self-sacrifice, heroism on the battlefield, loyalty in the bedroom. Directed by Arthur Hiller from a script by Paddy Chayefsky, The Americanization of Emily stars Julie Andrews, in her most crystalline period, and James Garner, everyone’s favorite good guy. Emily, having lost her father, brother, and husband to W. W. II, is sick of the cultural complicity that pushes men to be heroes. She believes a living coward is better than a wounded (or dead) warrior with a medal. Garner thinks similarly but opportunistically, without the moral dimension. Events twist and turn. Somehow he ends up as the “first man on Omaha Beach. ” The movie is beguilingly intelligent, funny, and, in the last reel, romantic. Andrews and Garner have both said it’s their favorite of their films. BEFORE SUNRISE / BEFORE SUNSET / BEFORE MIDNIGHT 1995, 2004, 2013 Eros on location. The first movie in this trilogy is about two students who meet on a train, get off in Vienna, and pass the hours before a flight walking, talking, and falling in love. As Celine, Julie Delpy, of the honey-colored hair and full mouth, could be a pre-Raphaelite nymph, and Ethan Hawke’s Jesse, with his glittering eyes and cool-dude goatee, is Mallarmé’s Faun (“Did I love a dream? ”). The following two movies, at nine-year intervals, catch up with the pair in Paris and then in Greece. Action consists of dialogue interwoven with desire: Vienna is reminiscent of late-night dorm discussions about life; Paris is more psychologically revealing and tinged with confusion; in Greece resentments flare and shadows lengthen. Directed by Richard Linklater, the trilogy dispenses with the usual climb toward happy endings, a story tied up with a bow, and instead finds romance in immediacy—the blue dart in the eternal flame. BRIEF ENCOUNTER 1945 Celia Johnson and Trevor Howard play “ordinary people” Laura Jesson and Dr. Alec Harvey, and Rachmaninoff’s Piano Concerto No. 2—practically another character—plays the crashing, roiling wave of love that takes them both by surprise. “Noel Coward’s Brief Encounter, ” as the movie is formally billed, was based on Coward’s one-act play Still Life. It explores the deepening relationship between two married people of high morals who meet by chance in a train station. David Lean directed, pulling performances of understated passion from Johnson and Howard. Robert Krasker’s black-and-white cinematography, justly admired for its shadows and fog, wears a darkness both sooty and soft. Renunciation can be beautiful, but it can also be bleak. The ending—Johnson’s luminous eyes, Howard’s Arthurian brow—is wrenching. BROKEBACK MOUNTAIN 2005 It’s testament to our increasing enlightenment that this movie about the secret love affair between two cowboys ranks 12th among the highest-grossing romantic dramas of all time. It’s a heartbreaker. The late Heath Ledger, in the role of Ennis Del Mar, underplays stoicism—which takes some doing. No one can know him because he hardly knows himself, except for one thing: he knows that he loves Jack Twist. Jake Gyllenhaal as Jack is less frightened by their love. He wears his heart, well, not on his sleeve but close at hand. (Ennis won’t wear his heart anywhere. ) And he has a vision of the life they could have together. But Ennis can’t go there. So close, so far. Their two shirts in the closet—one over the other on a single hanger—embody everything, profoundly. Heath Ledger and Jake Gyllenhaal in Brokeback Mountain., © Focus Features/Photofest. CARMEN JONES 1954 “You go for me and I’m taboo. But if you’re hard to get I go for you. ” That’s the motto of Carmen Jones, a red rose inside a red flame. One of the most successful updates of an opera, this artful film, conceived and directed by Otto Preminger, is not a conventional musical but more a drama with music. The melodies are from Georges Bizet’s Carmen of 1875, the words are by Oscar Hammerstein II, the time and place is North Carolina during W. II, and the cast is black, with a bewitching Dorothy Dandridge as Jones and Harry Belafonte as the love-obsessed Joe. This is romance as danger, as doom, a fate writ large in Carmen’s delicious wardrobe (designed by Mary Ann Nyberg). That sinuous coral dress with the slashes over the heart says it all. Dandridge was nominated for the Academy Award for best actress, a first for an African-American woman. CASABLANCA 1942 Where to begin? There’s the great cast: Humphrey Bogart, Ingrid Bergman, Paul Henreid, Claude Rains, Sydney Greenstreet, Peter Lorre. And the great moment: nervous, nervy locals silencing Nazi officers with a passionate rendition of “La Marseillaise. ” And the great song: Dooley Wilson singing Herman Hupfeld’s “As Time Goes By. ” There are the immortal lines: “Here’s looking at you, kid, ” and “Of all the gin joints in all the towns in all the world she walks into mine, ” and “We’ll always have Paris. ” And the swift, punch-the-studio-time-clock transcendence of director Michael Curtiz. And the shocks of North African sun, of searchlights and moonlight in the night, courtesy of cinematographer Arthur Edeson. And there’s the last scene, blanketed in gray-velvet fog, in which a skein of glances looms the most powerful triangle in cinematic history. Bogart-Bergman-Henreid. But more than that: love-war-duty. THE ENGLISH PATIENT 1996 World War II again. Zinc bars, cartography in Cairo, the glorious English, and love blossoming like a succulent in strange, dry places. The desert, the plane, the scarf, the cave, Ralph Fiennes in profile, and Kristin Scott Thomas stepping out of her bath—afternoon tea and the Wagnerian “Liebestod” of it all. Anthony Minghella’s movie, based on Michael Ondaatje’s stunningly voluptuous novel, works on the scale of grand opera. Little lives, historic upheaval, gargantuan passions. Tears, more tears, and we all die alone. Ralph Fiennes and Kristin Scott Thomas in The English Patient., By Phil Bray/Tiger Moth/Miramax/The Kobal Collection. GHOST 1990 Commerce between the living and the dead is the stuff of ghost stories, but when that commerce is love we move into the realm of Orpheus. This genre—the supernatural romantic fantasy—contains masterpieces: 1947’s dashing and dansant The Ghost and Mrs. Muir and the 1956 screen adaptation of Rodgers and Hammerstein’s Carousel. Jerry Zucker’s Ghost is not a masterpiece, but it has an aching lyricism unique in contemporary film. Demi Moore, tremulous in a pixie cut, is at her loveliest. And the late Patrick Swayze is a concentrated presence, one of those actors the audience just feels for. He was perfectly cast in the kinetic coming-of-age romance Dirty Dancing, and he’s perfectly cast here, as the ardent ghost with unfinished business. HOLIDAY 1938 While The Philadelphia Story (1940) enjoys most-favored status, its slightly older cousin, Holiday, which also stars Katharine Hepburn and Cary Grant, is a deeper, more poignant study of human nature. Derived from a play by Philip Barry (again like The Philadelphia Story), Holiday is The Age of Innocence in reverse. Grant is freethinking Johnny Case, a self-made success who wrestles with whether or not he should marry into stiff, snooty society. Doris Nolan’s Julia Seton is a strong temptation. But her older sister, Linda, more insecure and vulnerable—played with fire by Hepburn—is the soul match. She’d follow Johnny anywhere (as would we), but will he see that she’s the one? I KNOW WHERE I’M GOING! 1945 The film critic Pauline Kael loved this Powell and Pressburger gem, and today it is a cult among poetic bluestockings. Set during W. II—as are so many of the movies on this list—it takes place in the stark and savage Scottish Hebrides, and fits into that classic genre in which a woman falls in love with the right man as she travels to wed the wrong one. Wendy Hiller fights the feeling, but the incomparable Roger Livesey, aided by wind and sea, gray seals and a golden eagle, is too much for her. The story and screenplay for this fairy tale—complete with a curse—were written in less than a week, clearly in a state of enchantment. IT HAPPENED ONE NIGHT 1934 The odds were against this one. Claudette Colbert was practically the last choice for the female lead. And Clark Gable did it only because MGM lent him, at a profit, to Columbia. Directed by Frank Capra, the movie ended up sweeping the top five Academy Awards of 1934. Colbert plays a bratty heiress on the lam without money, who, in exchange for help, gives her story to the roguish reporter played by Gable. Their adventures leave us with a gallery of indelible images: the Walls of Jericho (a motel room divided by a blanket on a string); the how-to-hitchhike lesson; the runaway bride, white tulle flying like a comet’s tail. With her man-in-the-moon beauty and 30s slouch, Colbert is more Pierrot than Columbine. She’s just right for Gable, her Harlequin. Their journey has the rough-and-tumble, seat-of-the-pants quality of commedia dell’arte, transplanted to the dusty roads of the Northeast Corridor. THE LONG, HOT SUMMER 1958 His name is Ben Quick, he’s a barn burner, and he’s played by a sizzling Paul Newman. Yet it still takes all summer to woo and win the cool drink of lemonade that is Joanne Woodward in the role of Clara Varner. The magnificent Orson Welles is her father, and he wants Quick to marry Clara and bring fresh blood into the family. With Angela Lansbury, Lee Remick, and Anthony Franciosa rounding out this classy, randy romp through William Faulkner, it’s an Actors Studio contact high. Watch Newman with the sound off and his body telegraphs everything. Turn the sound back on and he’s a troubadour poet. “I’ll bet you was a mighty appealin’ little girl, ” Ben tells Clara. “I’ll bet you knew where to look for robins’ eggs and blackberries. I’ll bet you had a doll with no head on it. ” Irresistible. LOVE AFFAIR 1939 AN AFFAIR TO REMEMBER 1957 It begins with two beautiful specimens: he a Sunday painter and she a nightclub singer, both engaged to wealthy others. Meeting aboard ship, they recognize that they are the same species—kept lightweights—and they begin to pal around. By the end of the crossing they are in love. But is it real and can they afford to stay together? They decide to rendezvous in six months, at the top of the Empire State Building. If both show, it’s a go. One doesn’t show... and both deepen. The first version stars the ineffable twosome Charles Boyer and Irene Dunne—Veuve Clicquot! The second version, not as light, perhaps a sauterne, has Cary Grant and Deborah Kerr. Either way—Leo McCarey directed both—have hankies ready for the final scene. LOVE STORY 1970 Erich Segal’s screenplay came first and then Paramount Pictures asked him to write the novel, published as a preview to the movie, which premiered 10 months later. So it was studio synergy plus an Ivy League setting: Harvard, as in Ryan O’Neal, and Radcliffe, Ali MacGraw. Love Story has a famously blunt opening line, “What can you say about a 25-year-old girl who died? ” and an equally famous, if dubious, last line, “Love means never having to say you’re sorry. ” It’s a soap, no question, and despite the title there isn’t much story. Brains working overtime disdained the movie. Nevertheless, it was huge. The badinage between O’Neal and MacGraw was a fresh update on the classic rich-boy-loves-poor-girl formula, bringing the word “preppy” into the wider culture. And the death of Ali MacGraw’s Jenny gave a lot of people a good cathartic cry. Ryan O’Neal and Ali MacGraw in Love Story., From Paramount Pictures/The Neal Peters Collection. NOTORIOUS 1946 Has any director staged them with such a consummate blend of intensity, delicacy, and languor? In the movies of Alfred Hitchcock, the world ceases to exist outside a kiss. In this masterpiece, Ingrid Bergman’s Alicia Huberman, the daughter of a convicted Nazi spy, attempts to escape both herself and the world through fast living. When she falls in love with Cary Grant’s T. R. Devlin, a government agent, she becomes a U. S. spy to be near him, to please him, and to punish herself— and him. Hitchcock laces this love story with poison: intonations of self-obliteration, self-sacrifice slipping into sadomasochism. As for the luminous black-and-white cinematography: a thousand shades of gray. NOW, VOYAGER 1942 This was the favorite movie of America’s most inventive fashion designer, Geoffrey Beene. He loved Bette Davis’s transformation from a deeply dowdy (read: traumatized) 30-ish homebody to the glamorous woman of the world she becomes once she gets away from her soul-crushing mother. It happens on a cruise, her first travel on her own; and a stylish medley of hats and gloves, capes and veils, signals her thrilling metamorphosis. One of the catalysts for this change is a man she meets on board, the deeply decent yet unhappily married Paul Henreid. They become lovers, but the physical relationship must end when they both return to responsibilities at home. Their love, however, goes through its own metamorphosis, touching the sublime in sublimation, a shimmer captured in the unforgettable last line, “Don’t let’s ask for the moon. We have the stars. ” AN OFFICER AND A GENTLEMAN 1982 It wasn’t going to end happily ever after. Director Taylor Hackford and star Richard Gere initially thought such an ending would betray the blue-collar, working-class dynamics of this scruffy story. Everyone here is trying to get up to the next rung: the young men enrolled in the U. Navy’s aviation officer candidate school, as well as the young women in the local mills, who date the prospective officers and dream of marrying one (which some do, oops, by getting pregnant). Gere is Zack Mayo, a hustler who has nowhere to go but up... into the clouds, he hopes, as a navy flier. Between the tough love of Sergeant Foley, played by Louis Gossett Jr., and the honest (not to mention undeniably hot) love of girlfriend Paula—Debra Winger, fresh off her success in Urban Cowboy —Gere grows in character. The rousing finale—chills—is earned. THE REMAINS OF THE DAY 1993 When a house—the manor and its manners—is more important than the people who run it, what happens to love? Where does a life “in service” end and a private life begin? These are the questions that haunt The Remains of the Day, the Merchant Ivory film based on Kazuo Ishiguro’s Booker Prize–winning novel of 1989. The answers to these questions have consequences that are personal, of course, but also political. Anthony Hopkins, as the English butler Stevens—chief of staff for Lord Darlington—is quietly loved by the housekeeper Miss Kenton, played by Emma Thompson. He is so caught up in correctness that he can’t see a crime occurring under his nose. When Stevens finally opens his eyes, and his heart, he understands—as Edith Wharton’s Newland Archer did before him—that being correct is sometimes the wrong answer, a crime against oneself. ROMAN HOLIDAY 1953 Audrey Hepburn would go on to star in a slew of chaste and charming fairy-tale romances—including Sabrina, Funny Face, and My Fair Lady —but this was the movie that made her a Hollywood princess. Certainly her peculiar blend of innocence, gravity, and grace was perfect for the runaway royalty she plays here. Tired of airless hotel rooms and state ceremony, Princess Ann escapes into the night and spends the next day experiencing Rome with a good-natured guy, Gregory Peck, and his pal Eddie Albert. She doesn’t know that they are newspaper reporters who are scooping her story, and Peck doesn’t know that he’s going to fall in love with this princess. The ending is all in the eyes and unspeakably affecting. SAY ANYTHING... 1989 Looking like Elvis Presley’s baby-faced younger brother (if he had one), John Cusack is utterly endearing in this little love story with an outsize fan base. He plays average guy Lloyd Dobler (which makes you think of “dabbler”), who has just graduated from high school and is besotted with Diane Court (Ione Skye), the shy class valedictorian. He asks her out, and on a lark she says yes. It’s kismet, and this dewy, poignant pair of lovebirds coos through the summer until Diane must fly to England for a fellowship. The movie marked Cameron Crowe’s directorial debut, and it plays like a series of set pieces, all of them closing in on the human heart. Lili Taylor as Corey, Lloyd’s close friend, is hilarious and beatific at once. SENSE AND SENSIBILITY 1995 Every movie based on the work of Jane Austen is romantic, and God knows there are viewers who still haven’t recovered from Colin Firth as Mr. Darcy in 1995’s BBC production of Pride and Prejudice. But that year also brought forth Sense and Sensibility, directed by Ang Lee, from a screenplay by Emma Thompson. In its fiercely composed, almost metaphysical landscapes, its brushstrokes of deep darkness, the movie invokes and then challenges the high Romanticism that is one of the novel’s themes. The cast is showstopping. A young Kate Winslet is the too passionately romantic Marianne, Thompson is the too selfless Elinor, and Greg Wise, Hugh Grant, and Alan Rickman are their too divine love interests. So let’s give the BBC—with Firth and Jennifer Ehle (the definitive Elizabeth Bennet! )—the prize for best Pride and Prejudice. Which leaves 1995’s Sense and Sensibility to win best Jane Austen film to date. THE SHOP AROUND THE CORNER 1940 Charm, charm, and more charm. Set in a gift shop in Budapest, where there’s much ado about a music box for cigarettes/candy, Ernst Lubitsch’s romantic comedy is a gift in itself, offering up delightful performances when opened. The Austrian sheers on the store windows tuck the viewer in to 99 cozy minutes as elfin Margaret Sullavan spars with the heartbreakingly young and elegant James Stewart (the acting chops are already there—the touchy cross-currents playing about the cloudless face). They irritate each other at every turn, these two co-workers, and have no idea that they also happen to be each other’s “Dear Friend, ” anonymous pen pals, sharing their hearts through the mail. Frank Morgan, that grand MGM staple, turns in a touching performance as their temperamental boss, Hugo Matuschek. The script is a delicious Hungarian pastry. And the last reel pure joy! THE WAY WE WERE 1973 You can view it as a vanity production if you want, but this movie with almost no plot—it’s more of a big-budget home movie following the fates of a few college classmates from the 30s to the 50s—strangely holds up. Barbra Streisand’s Katie is the ugly-duckling campus Communist who loves Robert Redford’s golden-boy writer, Hubbell, from afar. After graduation she goes glossy and bags Redford, who, like a postwar F. Scott Fitzgerald (which makes Streisand a sort of crazy Zelda), takes her to Hollywood, where he writes screenplays and she gets all activist again, this time about the blacklist. Katie’s tugging insecurity about her looks is the wrinkle in the romance: she can’t believe a beauty like Hubbell could actually love her. They break up without ever discussing why, crushing the hearts of ugly ducklings everywhere who saw themselves in Katie—including Sex and the City ’s Carrie Bradshaw, who really wasn’t as pretty as Big was handsome but was eventually smart enough to know that she didn’t need to be. Robert Redford and Barbra Streisand in The Way We Were., © Columbia Pictures/Photofest. WORKING GIRL 1988 Harrison Ford as an aw-shucks Apollo. Sigourney Weaver like Hera from on high. And Melanie Griffith a working-class mortal who believes she can succeed in high finance. “I have a head for business, ” she tells Ford, “and a bod for sin. ” A Cinderella story set in the world of mergers and acquisitions, Working Girl is yet another romance of transformation, but there’s nothing passive about Tess McGill, the character played by Griffith. When her boss—Weaver’s Katharine Parker—is laid up in Europe with a broken leg, Tess smooths her Staten Island perm into a classic French twist (a nod to mom Tippi Hedren), puts on a power suit (remember shoulder pads? ), and takes a meeting (pretending to be Parker’s colleague) with Ford’s Jack Trainer. It’s a well-built little film with a great supporting cast, a stirring finale, and, in Ford and Griffith, an adorable update on the classic rich-poor couple of the 30s. A Look Inside Christie’s Historic Audrey Hepburn Auction Photograph by Bud Fraker. Audrey Hepburn circa 1956.

RIP 🙏 💔. Had no idea she passed. I listen to this song all the time. Oh i loved it. Love it. THIS IS THE BEST MUSIC VIDEO IN MY ENTIRE LIFE. U ROCK BART BAKER. What about love, Some like you y Dirty worck son mis canciones favoritas de AUSTIN MAHONE. MASSARI 😍 I LOVE YOURE SONGS. Honestly where do you get the talented background singers man. Fall in love 😍 such a shame she have husband.

Nancy Wilson has never gotten the credit she deserved. She is a great guitar chick. Wow thats really pretty good for a little gal... 2 total views Info Playlist Chat Poll views Chapters Highlights Thank you for taking our poll! Sorry, the poll has ended 2 videos ( 10244. 980) ⁂❧ WHAT ABOUT LOVE ((. 2020. )) ⇆✤ Ｆｕｌｌ ☄☣ Ｍｏｖｉｅ ↹✦⇉ ^ONLINE HD February 10, 2020 ⇉↻⇋ [[WHAT ABOUT LOVE 2020]] ✤✦ ＦＵＬＬ ⍣✦⍣ ＭＯＶＩＥ Videos Playlists About Privacy Search for videos Cancel of FULL MOVIE HF QUALITY PRO OFF AIR 1 weeks ago 1 views 2 videos%‹⋊ Watch Now What About Love (2020) ⊚ HD Online Playlist ( 10244. 980) 《WATCH NOW》 ▶▶▶ No privacy policy was made available to date. :
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WHAT ABOUT US. Born at the end of '84, so I was an infant when this was recorded. I still feel happy to say I lived in the ' not as much of the fun part as the rest of you, but some. It's how I admire my father getting to enjoy some of the '50s I guess. En memoria de la Dra. Verónica Ivanov‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍ La Dra. Verónica Ivanov, volvió a Argentina en 1998 luego de trabajar en USA con el Dr. Ron Campbell, especialista en cestodes. Su experiencia allí, le permitió desarrollar su línea principal de investigación en cestodes de peces del Mar Argentino en base a técnicas y protocolos que en nuestro país no se utilizaban hasta ese […] + Leer más Posted in interés general, interes general home, novedades, prensa, prensa home | Un estudio demuestra que el glifosato tiene un impacto negativo en las abejas de miel El estudio en conjunto entre dos facultades de la UBA encontró que la presencia de este agroquímico en el alimento de las larvas impactó de forma negativa en su supervivencia al retrasar su crecimiento y disminuir el tamaño que alcanzan de adultos. PERIODISTA FACUNDO MESQUIDA ✉️E-Mail Según el Servicio de Prensa y Divulgación Científica y Tecnológica […] 18/06/2019 Quinoa | Secreto revelado Foto: Hernán Burrieza. Se sabe desde hace décadas que las semillas de quinoa poseen un alto valor nutricional debido a la abundancia de un aminoácido esencial, la lisina. Pero se desconocía cuáles eran las proteínas que poseían ese aminoácido, y en qué proporción se encontraba. Un nuevo estudio permitió determinar esas proteínas analizando cuatro variedades de […] 05/06/2019 Investigadora argentina logró reunir las plantas medicinales utilizadas por los wichís y describir sus usos terapéuticos. Tras más de una década de trabajo, que incluyó la convivencia con el pueblo originario, una investigadora logró reunir y catalogar las plantas medicinales utilizadas por los wichís y describir sus usos terapéuticos y las formas de preparación y aplicación. El desmonte creciente atenta contra la sustentabilidad de estos recursos. Una gran parte de los […] 04/06/2019 Dra Alicia Godeas: Miembro de la Academia de Ciencias de América Latina El Consejo de la Academia de Ciencias de América Latina ACAL ha nombrado a la Dra. Alicia Godeas, Profesora del DBBE e investigadora del IBBEA como Miembro de la Institución en reconocimiento de sus aportes académicos para el progreso de la ciencia y la integración de América Latina y el Caribe.   FELICITACIONES DRA ALICIA GODEAS!!! 03/06/2019 Fabiana Lo Nostro Premiada por la SETAC “Society of Environmental Toxicology and Chemistry”. Felicitamos a la Dra. Fabiana Lo Nostro, Profesora del DBBE, Conicet, quien recibió el pasado domingo 26 de mayo en al ciudad de Helsinki, Finlandia el Global Partner Award por parte de la SETAC Society of Environmental Toxicology and Chemistry. Junto a la Dra Karina Miglioranza (UNdeMP) representaron a la SETAC Argentina junto a dos […] + Leer más.

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I like the list, just not the order. Lita Ford at No. 1? No. Nancy Wilson should be No. 1, Joan Jett No. 2, and Bonnie Raitt No. 3. THEN Lita. Edit What About Love (2021) See agents for this cast & crew Directed by Klaus Menzel Writing Credits (in alphabetical order) Douglas Day Stewart Cast Sharon Stone... Linda Tarlton Iain Glen... American Ambassador Andy Garcia... Peter Tarlton Rosabell Laurenti Sellers... Young girl Jose Coronado... Rafael Santiago (as José Coronado) Maia Morgenstern... Sister Martina Marielle Jaffe... Tanner Tarlton Caroline Morahan... TV Host Miguel Ángel Muñoz... Christian Santiago Sara Lazzaro... Pretty Girl Corneliu Ulici... Hotelier Nitsa Benchetrit Roan Joseph Bronstein Kamaliya Ferran Rañé Radu Iacoban Alba Brunet Tania Grousset... Carla Ramon Villegas Ioan Ionescu Daniel Bayona Miller Manu Gutiérrez Mary Ann Haewsky... Window Shopper Albert Llovera Produced by Nitsa Benchetrit... co-producer: UK Sara Fijo... co-producer George Lascu... Klaus Menzel... producer Bill Sloan... associate producer Music by Pieter Schlosser... (as Pieter A. Schlosser) (original music by) Cinematography by Reinhart 'Rayteam' Peschke Film Editing by Paul Forte... (edited by) Daniel Lawrence... Casting By Matthew Lessall Monika Mikkelsen Production Design by Marc Greville-Masson Art Direction by Dan Toader Set Decoration by Gina Calin... (as Gina Stancu) Judith Rosskoth Costume Design by Sonia Grande Makeup Department Lia Bodescu... assistant makeup artist Domnica Bodogan... hair stylist (as Domnica Bogodan) Daniela Busoiu... makeup artist Imma Capell... Eldo Ray Estes... personal makeup designer and artist: Sharon Stone Manolo García... hairdresser: Sharon Stone Letitia Ghenea... hair stylist Alicia López... key hair stylist K. G. Ramsey... makeup artist: Andy Garcia Susana Sánchez... makeup and hair designer Ticulina Truica... Production Management Candice McHugh... post producer: eggplant pictures Reinhard Schreiner... post-production supervisor Second Unit Director or Assistant Director Sergiu Barajin... trainee assistant director Adrian Conerth... first assistant director Mara Lubens... trainee assistant director (as Mara Rotarus) Maria Nita... second assistant director Silvia Popescu... third assistant director Marian Sarbu... assistant director Art Department Eugen Anghelescu... construction coordinator Alger Civis... set dresser: Barcelona Edmond Codrescu... painter Florin Coman... carpenter Alexandru Dinca... assistant property master Cristina Foradada... assistant art director: Spain Ion Gheorghe... Adi Handac... property master Vasile Ionita... Paula Lazaroni... props painter Monica Muntean... assistant art director Ion Pana... standby scenic Octavian Rachita... graphic designer Vlad Roseanu... Patricia Safer... Irina Scurt... art department coordinator Tatiana Serban... Vasile Ungureanu... construction foreman Sound Department Jithu Aravamudhan... sound effects editor Antonio Bloch... sound recordist Andres Boulton... supervising sound editor Adam DeCoster... foley artist (as Adam De Coster) Robert Dehn... sound studio manager Elisha Drons... foley editor Paula Fairfield... sound designer Julie Feiner... dialogue editor Tess Fournier... assistant sound editor Marin Constantin Gabriel... cable man Sean Heissinger... Matt Hovland... adr mixer Mark Linthicum... sound editor Raúl Mellado... sound Aramís Rubio... boom operator Victoria Rose Sampson... Chris Terhune... Jonathan Wales... re-recording mixer Jeffrey Roy... additional re-recording mixer (uncredited) Special Effects by Ionel Popa... special effects designer Visual Effects by Shelley Madison... visual effects producer visual effects producer: eggplant pictures Stunts Florin Barcun... stunts Alexandru Caragea... Maria Coanta... stunt double: Marielle Jaffe Calin Ferezan... stunt double: Miguel Angel Munoz Mihai Iliescu... stunt rigger Deliu Ionut... Daniel Pisica... assistant stunt coordinator Radu Razvan... Florin Stancu... stunt rigger / stunts Oancea Stefan... Valeriu Tomescu... Vasilescu Valentin... stunt coordinator Daniel Visan... Camera and Electrical Department Cos Aelenei... still photographer Ciobanu Alin... electrician Igor Andrés... video assist operator Lupsa Armand... Miquel Auguet... clapper/loader: Spain unit Matteo Bolzonello... focus puller Marinel Bujoreanu... grip Steve Bussmann... camera copter pilot Calin Catalin... gaffer Catalin Chiorean... best boy Vlad Cioplea... second assistant "b" camera Gigel Dumitrescu... first assistant Daniel Dumitru... Ion Dumitru... gennie operator Adrià Egea... first assistant camera Cristi Epure... key grip Alex González... second assistant camera Celine Gravez... Florin Ilinca... second assistant Marcu Ion... Radu Ion... Laurentiu Ivan... clapper Daniel Kaplan... camera operator Jordi Llorens Musoles... Additional Camera Operator Laurentiu Marcu... first assistant (as Marcu Laurentiu) Francesco Marotta... video assist Alex Matei... best boy grip Petrie Nicolae... Marian Paun... Mihai Cosmin Popa... d camera operator / epk cinematographer Rob D. Scallon... assistant d. i. t. Valentin Simeonov... digital image technician / first assistant camera Bogdan Stanciu... camera operator / steadicam operator: "a" camera Carmen Tofeni... camera trainee (2013) Mircea Valentin... Gelu Vasilescu... Simon Veroneg... camera operator / camera operator: Camera C / senior digital image technician Casting Department Pep Armengol... casting: Spain Steve Daly... casting: UK Laura Grosu... extras casting Luci Lenox... Daniela Soare... extras casting coordinator: Romania Liliana Toma... Costume and Wardrobe Department Laurentiu Alexe... set costumer Daniela Ortenzia Chelaru... costumes coordinator: Romania Laura Ciobanu... costumer: for Andy Garcia Oana Draghici... costume supervisor (as Oana Gabriela Draghici) Desirée Guirao... costume assistant: Spain Florina Isai... costume assistant: Spain / costumer: for Kamaliya Wanda Morales... assistant costume designer Doina Raducut... costumer: for Sharon Stone Pepe Reyes... costume assistant Editorial Department Kent Beyda... additional editor Colleen Halsey... supervising editor Richard Halsey... Darko Ibrahimpasic... assistant editor Razvan Ilinca... Andrew Kenoff... Additional Editing Mirko Scheel... Location Management Costin Dragutescu... location manager Andrei Ghiurca... assistant location manager / location manager assistant: Romania Music Department Fay Aiyana... music consultant / music editor Clay Duncan... electronic music by Richard B. Jefferson... music attorney Kamaliya... playback singer Silke Matzpohl... musician Ralph Rieckermann... scoring producer Shie Rozow... music editor / music produced by / music supervisor Preston Shepard... scoring engineer Noah Scot Snyder... music scoring mixer Mervyn Warren... music producer: songs / musician Script and Continuity Department Cornelia Stefan... continuity Transportation Department Relu Cojanu... transportation coordinator Tiberiu Matei... unit driver Jordi Nebot... action vehicles coordinator Alexandru Sora... transportation co-captain Sarmis Stamatescu... transportation captain Other crew Jo Cameron Brown... dialogue coach Cristian Coman... production assistant Simonetta Di Fresco... production coordinator Monica Cojanu Duta... production coordinator (as Monica Duta) Elena Eana... production staff Iulian Garban... on set medic Catalin Gurau... Romanian legal advisor James Longshore... Delia Malaut... trainer Noemi Oliete... production accountant Ana Radulet... office production assistant Rhoda N. Wainwright... Thanks Jim Schramm... thanks See also Release Dates | Official Sites Company Credits Filming & Production Technical Specs Getting Started Contributor Zone  » Contribute to This Page ad feedback Details Full Cast and Crew Storyline Taglines Plot Summary Synopsis Plot Keywords Did You Know? Trivia Goofs Crazy Credits Quotes Alternate Versions Connections Soundtracks Photo & Video Photo Gallery Trailers and Videos Opinion Awards FAQ User Reviews User Ratings External Reviews Metacritic Reviews TV TV Schedule Related Items News External Sites Explore More Show Less Create a list  » User Lists Related lists from IMDb users Test a list of 31 titles created 4 months ago Filmovi 2020. a list of 23 titles created 1 month ago Anticipated Films for 2020 a list of 443 titles created 23 Oct 2018 SIX a list of 115 titles created 19 Sep 2015 Coming Soon a list of 1035 titles created 05 Mar 2017 See all related lists  ».

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