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    <title><![CDATA[Ara in English - Tilda Swinton]]></title>
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    <description><![CDATA[Ara in English - Tilda Swinton]]></description>
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    <ttl>10</ttl>
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      <title><![CDATA[The privileged ones who will survive the apocalypse]]></title>
      <link><![CDATA[https://en.ara.cat/culture/the-privileged-ones-who-will-survive-the-apocalypse_1_5356235.html]]></link>
      <description><![CDATA[<p><img src="https://static1.ara.cat/clip/7dcc69ea-4f3f-4968-877a-4b04b592905b_16-9-aspect-ratio_default_0.jpg" /></p><p>In the series of unusual musicals that have starred in the film season,<a href="https://es.ara.cat/cultura/cine/criticas/narcomusical-trans-ostentoso-fuera-vacio_1_5218793.html" target="_blank"><em>Emilia Pérez</em></a> to <a href="https://es.ara.cat/cultura/cine/criticas/dispuesto-morir-persona-amada_1_5199893.html" target="_blank"><em>They will be dust</em></a>, is now added <em>The end</em>, the first fiction of <a href="https://www.ara.cat/cultura/joshua-oppenheimer-voldria-vestit-lemperador_1_2841502.html" target="_blank">Joshua Oppenheimer</a>, the filmmaker who caused a sensation a few years ago with <a href="https://www.ara.cat/cultura/the-act-of-killing_1_2941059.html" target="_blank"><em>The act of killing</em></a> (2012), the documentary in which some of those responsible for the genocide in Indonesia in the 1970s recreated their crimes as if they were acting in a Hollywood film. Despite seemingly being a different proposal, Oppenheimer repeats <em>The end</em> in the idea of how those responsible for some atrocity resort to artifice to rewrite their own history with impunity. </p>]]></description>
      <dc:creator><![CDATA[Eulàlia Iglesias]]></dc:creator>
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      <pubDate><![CDATA[Wed, 23 Apr 2025 17:35:08 +0000]]></pubDate>
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      <media:title><![CDATA[Tilda Swinton in 'The End']]></media:title>
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      <subtitle><![CDATA[Joshua Oppenheimer returns with 'The End,' a chamber musical about the fictional story of the survivors of the end of the world.]]></subtitle>
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      <title><![CDATA[The film that changed Tilda Swinton's life]]></title>
      <link><![CDATA[https://en.ara.cat/culture/the-film-that-changed-tilda-swinton-s-life_1_5284815.html]]></link>
      <description><![CDATA[<p><img src="https://static1.ara.cat/clip/1162da4c-b888-4136-b7ed-e2202266b4a9_16-9-aspect-ratio_default_0.jpg" /></p><p>When she was eight years old, Tilda Swinton (London, 1960) saw a film that "changed her life." In fact, at that moment she thought "it was a dream, not a movie." It is the first version of <em>Powers of ten</em>, a scientific short by Charles and Ray Eames that lasts only 10 minutes and begins with an everyday, almost bucolic sequence: a family having a picnic, with their basket full of food and a tablecloth on the grass. Then, the camera moves away 10 meters, 100 meters, 1,000 meters... "After a while you see the United States, the Earth, the galaxy, and then it comes back to the picnic and the camera enters the man's hand and you see the bloodstream, the nervous system, which I have with <a href="https://www.ara.cat/cultura/altra-historia-del-cine-story-of-film-mark-cousins_1_2900143.html" target="_blank">Mark Cousins</a>"because it is a film that makes you fall in love with cinema and makes you realise that cinema has no borders," he explained.</p>]]></description>
      <dc:creator><![CDATA[Xavi Serra]]></dc:creator>
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      <pubDate><![CDATA[Fri, 14 Feb 2025 11:30:43 +0000]]></pubDate>
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      <media:title><![CDATA[Tilda Swinton at the Berlinale]]></media:title>
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      <subtitle><![CDATA[British actress receives honorary Golden Bear at Berlin Film Festival and reflects on her career]]></subtitle>
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