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gavbon86: I now have nightmares #techrepair #oof.RyanSmithAT: RT My team and I have spent a huge amount of time over the past year+ getting XeSS into games, so I'm stoked that we're final….
Note that during my Diablo III benchmarking pass I measured 45C just north of the F2 key on the keyboard on the 13-inch MBA. There's only so much you can do with a tiny chassis and a single fan. Under load these things can get hot - despite the power savings it looks like the base of the chassis gets roughly as warm as it did last year. Surface temperatures haven't changed all that much, at idle the 11-inch system measured a bit cooler than its predecessor while the 13 was within a degree. The power savings are basically non-existant under HL2ep2, but you have to keep in mind that the HD 4000 is able to deliver over 70% better performance at roughly the same power level as the HD 3000. This is exactly what we expect to see from Ivy Bridge, which should translate into better battery life numbers. We are forced to use a different power adapter for the 2012 MacBook Airs so there may be some variance here but the power rating remains the same.Ĭinebench shows a real reduction in power consumption under load. Here we're measuring total system power consumption with the display running at max brightness and the battery fully charged. Read more exclusive contents on dug up my old power draw and thermal numbers from the 2011 MacBook Air review, retested the old models to ensure they still performed as expected, and added the 2012 models to the list.įirst up is power consumption. SBS Film reviews of Olivier Assayas films
#Something in the air 2012 free
Counter culture, free press, and experimental cinema were minority movements, and therefore had a powerful aura that today has been lost. The powerful held the monopoly over information and counter culture was a network that developed as a motivated, transnational act of militancy. Back then, of course, this was not the case. Everything is accessible to everybody the whole time. Today, information has been democratised for best and for worst. I don't think so, and I think that the film lets transpire my disillusionment on the subject. That's the job of journalism.ĭo you think that a free press revolution like the one shown in the film would still be possible nowadays? I don't wish to direct their gaze, or inform them in a certain way. It can show the contradictions in our complex world for the audience to make up their own mind. I don't think cinema is a means of communication. From these events that I wanted to portray as faithfully as possible, members of the audience can extract their own message if they want. I describe a period that existed and a generation of politically conscious students' faith in the future. Leftism was quite sad and violent, and this was reflected among the youth upholding the changes of May 1968, who asked themselves how they could join this movement for change to be heard and serve a purpose.ĭoes the film carry a message of hope for the future? I remember a certain melancholy and political seriousness.
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There is the presence of love, tenderness, and nature, but it's true that I have slightly stepped away from works that describe adolescence as a wildly fun period of partying and flirting. I had already made a film about my adolescence, Cold Water, but my approach was more poetic than in Something in the Air which seems more fictional to me. Why did you wait all these years to describe this era in finally quite a sad way? They didn't exist in 1968 and were later dissolved following a secondary school student's death after he received a bad blow. Did you invent this concept of a pair of policemen on their motorbikes using their truncheons like in an episode of Mad Max ?įrench riot policemen on motorbikes, the special brigades that I show in the film, were still new in 1971 but they were very real. The first protest is particularly violent. These are secondary school students discovering the world, not those who actually brought about the 1968 revolution. There were workers, employees, artists, and civil servants. It's a young circle with people from everywhere. They come from the Parisian middle class in which I grew up. Olivier Assayas: Beyond the main character, who is the one that resembles me most as he is from an artistic and quite bourgeois background, I did not define the other characters' social backgrounds. These post-1968 youth are interested in the working class, but you don't portray them as actually coming from it. French director Olivier Assayas spoke to Cineuropa about Something in the Air, his latest feature film selected for the official competition at the 69th Venice Film Festival.