Celimene (Chiara Mastroianni) is a published author with depressive tendencies, who is tussling rather hopelessly with writer’s block. While the decorators re-do her home, she has moved into her mother’s apartment with seven-year-old son Adam. Upcoming talent Bonitzer plays Anais, a smart teenage girl who stalks Celimene and steals her mail.
Célimène a trente-cinq ans. Elle est écrivain mais n'écrit plus. Pas d'inspiration. Classique… Célimène préfère se faire appeler Nathalie. Normal…Son fils de sept ans, Adam, l'oblige à garder les pieds sur terre. Tout juste… Son appartement est en travaux, Célimène, en attendant, vit chez sa mère. Difficile…
The West of veteran TV writer/Deadwoodcreator David Milch is as grim as it is gritty, sprinkled with salty dialogue and punctuated by sudden brutality and raw sexuality. The original soundtrack cues by composer David Schwartz (represented here by his evocative show theme), Michael Brook and Reinhold Heil and Johnny Klimek play off that vision with often stark rootsiness. But it's the series' rich slate of songs – choices whose inventiveness often rivals that of The Sopranos – that consistently reinforce its all-too-human drama, if not the crusty veneer. This collection gathers the best songs from the series' first season, coloring the milieu with evocative hillbilly romps like Michael Hurley's "Hog of the Forsaken" and the a capella grace of Margaret's Native American "Creek Lullaby." But the collection's musical eclecticism stretches far beyond mere genre concerns, variously encompassing the nascent jazz of Jelly Roll Morton (a rollicking "Stars and Stripes Forever"), Delta blues of Bukka White and Mississippi John Hurt and even Gustavo Santaolalla's hypnotic Brazilian fretwork. But the collection's country and folk-tinged performances are its most resonant, whether invoking earthy traditions (the gospel fervor of the late June Carter Cash's "Will the Circle Be Unbroken," Sonny Terry & Brownie McGhee's more heretical "God and Man") or more contemporary stylings like Lyle Lovett's "Old Friend" and the gentle "Twisted Little Man" by Michael J. Sheehy.
Mutsumi Hatano and Takashi Tsunoda began performing the lute songs of John Dowland together in 1990, and since then have never failed to enrapture audiences with their unique combination of Mutsumi's clear, expressive voice and the delicacy of Takashi's lute accompaniment, overflowing with emotion. In addition to the Dowland songs and other old English songs, their repertoire spans the renaissance to the baroque, including Italian madrigals, French air de cour and Spanish songs with vihuela accompaniment, and to each a new charm and vitality is introduced.