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«ABC Africa» d'Abbas Kiarostami (2001)

"ABC Africa" is unique in that it does not claim to objective truth, unlike many documentary carefully annotated a soothing voice-overs. As so often in Abbas Kiarostami's gesture, the ethics of that which is brought to film is questioned, weighed ostentiblement put forward to avoid any misunderstanding and to provide food for thought. So it's certainly a documentary, but from the perspective of a foreigner visiting for a limited time African soil, we discover a country with a people, women and children survivors of civil wars and the AIDS epidemic in Uganda, and the people who help them. The discomfort we may feel at times when being filmed in intimate moments, ordinary or difficult is that of Kiarostami and his team is one that meets the entire documentary can only hope that beyond its status of "voyeur" by winning the trust of those he recorded on film. Because useless to deny it, and that is what Kiarostami has the courage to show, it really interferes in people who are forced to accept, often under the influence de la surprise, la présence envahissante d'une caméra. Une fois de plus Kiarostami n'hésite pas à déjouer le processus filmique, à dévoiler les ressorts d'une telle entreprise et à littéralement afficher l'effet de la caméra sur le sujet filmé, son interaction avec lui. Le plus bel exemple en sont ces séquences dans la rue où les enfants, intrigués, viennent s'agglutiner face à la caméra de nos reporters, sautillant, grimaçant, riant devant cet objet qui les regarde. C'est d'ailleurs amusant car on a l'impression que c'est notre propre présence qui fait cet effet, on se sent véritablement à la place des caméramans et Kiarostami nous implique ainsi complètement in his project: he questions his eyes, he asked just as ours! Kiarostami's films make us think about cinema, his documentaries are so well about the "kind" to which they are connected (besides with the Iranian filmmaker border documentary / fiction is that any more porous). Once again I can only applaud the intelligence and honesty of the approach, especially that "ABC Africa" is a documentary of great beauty and remarkable strength. [2 / 4]

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«Médée» de Pier Paolo Pasolini (1969)

The problem with the art of Pier Paolo Pasolini, that is poetic if it is perhaps more symbolic or conceptual and even political (a literary symbolism itself: see the vital role - as explanatory - that takes the floor in his work!). If "Medea" is firstly a movie pictorial illustration, is "merely" like his "Oedipus Rex" and "The Gospel According to Saint Matthew" in images to a text of great richness Pasolini adds a second level sensitivity and submit the work to start in his vision, placing behind his characters and various sequences of the film ideas and a specific meaning (mainly by the nostalgia of the sacred in man facing an alienating modernity). This is where the concept, I even think that is where the awkwardness he seemed to detect in many of his films: the actors do not actually live, they remain relatively shallow, low their physics and the idea that they represent. Similarly, the film's structure is rather loose, not really controlled: some passages are very rich in meaning, and the rest is a bit of "dressing" to flesh it all. The beginning by example is beautiful, of perhaps one that Pasolini filmed more beautiful. But too often afterwards it occurred to me more to worry about the jingle of his costume, jabbering or ritual dances of his extras than the deep emotion of the film once the symbol brought. Let us be clear, Pasolini's works are rich and complex enough to escape any attempt at simplification. However I always found his films rather artificial and "cold", to any intellectual coldness, and I feel that this explains the lack of this species which is purely cinematic stuff of great masterpieces of the 7th art in my eyes ... But I can wrong (especially before even the shape it may actually be the background that bothers me), although he is "Medea" is well worth a look, especially since it offers plans beautiful colorful! Damage against some anachronisms that are disturbing the harmony of the feature, as these Japanese songs out of synch, especially implausible and inadvertently diverting the attention of the viewer ... The rest is probably one of the best films of its author! [2 / 4]

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«Une nuit à l'Opéra» de Sam Wood (1935)

A sometimes very funny comedy, but heavy enough to be honest. It is quickly apparent that the Marx brothers come from "the scene": "A Night at the Opera" is too theatrical, he filmed for the show is a real masterpiece of comedy film. It's a little "Marx show": each has its famous brothers bravura (at the piano as Chico and Harpo on the harp especially deserve a look!). It becomes more then a film viewer numbers, but the music hall which follow tirelessly, and who find themselves grafted onto a frame of classic American comedy : à savoir l'histoire d'un couple de jeunes premiers amoureux séparés par la vie et des méchants dont on rira à leurs dépens, au gré de chansons et de chorégraphies dansées sorties un peu de nulle part. Eh oui, le spectacle avant tout! Vous l'aurez compris, toute l'artillerie hollywoodienne est déployée par Irvin Thalberg, producteur exécutif du film, mais si cela a permis de conquérir le public à une certaine époque, aujourd'hui il faut bien le dire «Une Nuit à l'Opéra» n'a plus grand intérêt. La logorrhée de Groucho Marx est fatigante, mais elle fait encore mouche de temps en temps, d'autant que ce genre d'humour verbeux est aujourd'hui toujours pratiqué. Harpo Marx et son personnage de clown premier degré et muet est en revanche plus savoureux, tout à fait à son aise pour introduire avec ses frères le chaos dans la haute-société des habitués de l'opéra. En fait c'est surtout l'ensemble qui s'avère maladroit : les ficelles scénaristiques sont énormes, et l'on assiste à ce genre de films typiquement hollywoodiens tellement codés en se voulant virtuoses que l'on en vient à littéralement étouffer devant un humour souvent très forcé. On est bien loin des Charlie Chaplin et autres Buster Keaton, encore plus d'un Jacques Tati : malgré la relative sophistication du film ça n'est pas un modèle de subtilité and comic visual and audible. Too much repetition, too much style effects, too many conventions weigh on "A Night at the Opera," all that poetry is a rare commodity. A pretty solid movie entertainment, winded and somewhat out of fashion, much more. [1 / 4]

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«L'Argent» de Robert Bresson (1983)

It makes me feel funny to say, but I think "Money" is one, otherwise the film the most violent of Robert Bresson. Why so funny? For Bresson's art is the same delicacy and violence that explodes in this feature n'heurtera probably not many people. It must be said that before that we need to know to appreciate its value as to whether particular Bresson to be able to grasp the immense subtlety, and sometimes the rough edges of its cinematography. My tone may seem condescending, but it is mainly because I try to warn the reader might be disappointed watching this movie, I speak from experience because I have put a lot of time overcome my fear, even my horror movie that so austere and peculiar. This kind of feature, although it is open to all, is better reserved for a public "seasoned". Nevertheless it is a film of great clarity, a large count: we are miles away from the intellectualization of the 7th art! However, it is somewhat cryptic (enigmatic would be more appropriate) in its various levels of reading, even if one can distinguish quite easily into "Money" Bresson's hostility toward the evolution of the materialist world. The senseless violence of a character at the beginning and innocent caught in the grip of lies that surrounds it is perhaps that of the French artist who, after having spent so much content (although many of his films s reductions prove painful and tortured) tries to wrestle in a final gesture of despair ... This appears to be alone with the world and society haunts the entire filmography of Bresson. And once again he gives us is a work (or test it would prefer that we say) stifling, dark, terrible! While the grace and forgiveness is still possible, but how can they triumph over evil? The property is the only solution, therefore it exists, but as often with Bresson's something immensely fragile. We return to Dostoevsky and "Pickpocket", even if the ending is slightly different ... "Money" is much scarier! [4 / 4]

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«Moustapha Alassane, Cinéaste du Possible» de Maria Silvia Bazzoli et Christian Lelong (2009)

A documentary very informative, especially in that it reveals the existence of exciting jack-of-all Moustapha Alassane ! Is told chronologically his career, along with footage showing him still at work at 67 years and many interviews in his presence or with some of his friends, colleagues or even film critics Africa. It is with great pleasure that we discover the conditions for carrying out its various features and shorts, which are learns about the birth of cinema in Niger and at the same time of African cinema. Moustapha Alassane's life is a hymn to artistic creation: the story of a boy who made his own "magic lantern" and fought throughout his life to practice his Art in extremely difficult conditions, with very few resources, but that still believes in what he does, the need to give access to art to African populations, especially the younger ones. The title of this documentary is found: with Moustapha Alassane everything seems possible! His latest project date is also creating software that allows children to create their own animated films! And once again Alassane working with the incredibly ridiculous, but through hard work, courage and tenacity he manages to give life to his dearest projects. What a pity it is better known, and especially that it is struggling to find funding to produce and distribute his films! It must be said that when asked if there is something he never did in the film, he replied simply: "steal". He always managed to obtain "revenue honestly" as he puts it, either using his mobile cinema or newer hotel that he bought to meet his needs and work freely. Finally the most impressive is to see in action, observing fussing slowly but surely tirelessly for years to what he feels so strongly about: Create. [1 / 4]

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«Kokoa» de Moustapha Alassane (2001)

Excellent! "Koko" is the story of a live wrestling tournament between toads, chameleons or vultures, amid a crowd of amphibians delirious! If this is again a work of booking several levels of reading we meet much of the first: how not to be conquered by the boiled frogs Alassane! Clumsy and comments are touching the speaker's possible, not to mention the various twists that reserve these terrible battles! Who will win the giant toad, the elusive chameleon or the leathery turtle? The suspense is almost unbearable! There is something reassuring when you watch a film like this: Yes there are still real artists, who without worrying about their reputation, honor or critics take great pleasure in sharing the fruits of their imagination, totally disinterested with the sole aim of making us dream. Yes these artists are still alive but for how long? Alassane is the first to be concerned about future generations and the transmission of his passion: how to give the desire to create children who do not even know what a movie in theaters, it is in full air or not? Especially as he sees his own culture disintegrate before his eyes, not really capable state organs to maintain and promote the art of Niger ... It is a pity, because the fables of Moustapha Alassane will be missed! Remain its charming little stories, like "Koko" ... Art in the state True, a disarmingly simple: a real treat! [2 / 4]

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«Samba le Grand» de Moustapha Alassane (1977)

still a marvel of poetry! This time we are facing a short animation film made with puppets and painted canvas, once again created a ragtag as Alassane says himself. The way he eludes the constraints of propriety and proper material is fabulous, it just a touch to give life to the legendary characters and wonderful stories! "Samba Grand" is the narrative of the adventures of a valiant warrior who faces several tests to win the heart of a beautiful princess. And once again, not to mention the touching aspect of these puppets and their movements left, treatment of the story is completely original and unexpected. The essence of this allegorical short film could not be more obvious, but the tale is more than enough Moustapha Alassane alone! What a joy to delve into this ancient art, yet still of topical interest ... All the music that accompanies it is wonderful! [2 / 4]

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«Le Retour d'un Aventurier» de Moustapha Alassane (1967)

How long did we not seen an expression of cinema as free, so alive, so touching in its desire to tell by all possible means a story? Perhaps since the beginning of Jean Rouch, the French New Wave, ... or even Robert Flaherty! For art Moustapha Alassane surprised by the modesty of his appearance: the "mistakes" are legions of fitting, post-synchronization does not have much of synchronized, the actors are somewhat awkward ... But these are not strictly errors, since for Moustapha Alassane there are no such rules to follow, at least if he makes a point of honor to create works of quality that's not where she resides. The whole point of his films comes from the imagination they display, their sincerity, their simplicity, their poetry, their unexpected wealth and ultimately their inner strength. "The Return of an Adventurer" recounts the return of an African metropolis, her suitcase loaded in cowboy outfits, including loaded revolver. With his friends so he disguises himself, but the game quickly turns sour and quickly became fatal: clans are formed and the battle will be fatal for many young people unconscious. Alassane is fond of these stories, these parables rather seemingly absurd but in reality anything but innocent. How could you not see the metaphor of Africa coating the trappings of Western modernity and its greatest misfortune? Beyond its freshness formal ingenuity of its touching, a film terribly lucid, perfect example of the talent of its author. [2 / 4]

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«Bon Voyage, Sim» de Moustapha Alassane (1966)

What a joy to discover an artist like Moustapha Alassane! In these days of all-digital, film production controlled by 3D, stuffed with special effects, it just reminds us that art is not limited not art, it aims to overtake and imperative! His talent is protean, adapting to current needs and the materials he has in his possession: his only constant is to offer fables terribly endearing and pinning without having the air through which Africa is Contemporary. So it is with a "Bon Voyage, Sim", animated short made in 1966. This is the story of the president of a republic of toads after an official trip abroad to see ousted his return. Unfortunately after itself censored, Alassane has retained only the "politically correcte" de son histoire, ce qui la rend quelque peu bancale et d'un intérêt moindre. Néanmoins l'on se contentera largement du coup de crayon du cinéaste nigérien et de ses amusants personnages! [2/4]

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«Culloden» de Peter Watkins (1964)

    L'art de Peter Watkins est décidément étonnant! Sa méthode de reconstitution historique est terriblement efficace tant elle nous replace dans le contexte d'une époque, d'évènements donnés, parmi des hommes qui finalement avaient beaucoup en commun avec ceux d'aujourd'hui : si les acteurs rejouent pour la plupart leur propre histoire, celle de leurs ancêtres, la référence à la guerre du Vietnam est à peine voilée. «Culloden» est comme tout film de Watkins qui se respecte riche en problématiques politiques et sociales encore et toujours d'actualité. L'orientation du récit ne laisse pas vraiment de place au doute : une fois de plus Watkins se place du côté des masses populaires meurtries par la guerre et les exactions qui s'en suivent. Mais si l'on revient au but premier, ou pour le moins apparent de «Culloden», à savoir le récit de la bataille éponyme et de l'affrontement entre les forces anglaises et écossaises l'on ne peut qu'être admiratif du travail fourni et du rendu plus que réaliste : un réalisme both visual and sociological So. We also have fun comments pinning the inability of troops led by Prince Charles Edward Stuart ridiculous conceit and his lieutenants for the most part to limit the incompetence and sheer stupidity of the above. One indignant at the cruelty of the soldiers of the Duke of Cumberland or the poverty in which the tribes lived in the Highlands ... The virtues of this film are so obvious, but somewhat away from the artistic essence, this is the main criticism I would make to "Culloden," along with "The Bomb" elsewhere. To see all the same! [1 / 4]

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«La Bombe» de Peter Watkins (1965)

It is striking how the concerns of Peter Watkins about the antagonism reality and fiction were already evident well before the completion of its "Edvard Munch"! In "The Bomb" he uses similar methods to plunge us into a state of turmoil hit by a thermonuclear attack: interviews, pictures taken from life, "camera on his shoulder" with awkward zooms, ... impossible to know if this is happening is true, if it has already achieved or is doomed to be ... We in the heart of events, while a soothing voiceover now hears alarming numbers all over each other on the consequences of a nuclear conflict. One of the major successes of "The Bomb" is its ultra-realism: imagine England in flames, hordes of people ravaged by fire and radioactive radiation from an atomic war that engulfed the West! And it is like facing a real documentary consists of images from the drama really supposed to happen: Watkins brilliantly diverts the codes of the genre and once again surprises with his mastery of the medium of film and its impact on the viewer . L'efficacité d'un tel long métrage est donc difficilement contestable, existe-t-il moyen plus persuasif de l'horreur de la course à l'armement que d'en montrer les conséquences purement et simplement? Ainsi «La Bombe» est un film ouvertement politique (ce qui lui vaudra d'être censuré par la BBC) : il prend clairement position, dévoile les opinions édifiantes d'autorités aussi bien ecclésiales qu'étatiques ou militaires, n'hésite pas à souligner son propos par des images et un discours percutants... Si la nature politique de «La Bombe» réduit d'autant sa portée, il n'empêche que sa qualité et sa puissance méritent le coup d'oeil! Toutefois we may regret the direction of the work presents certain: despite a perspective exploded apparently because the word is given to players who are the most diverse in the end it's mostly about the opinion of Watkins has been evident watermark. A brilliant book then, but ironically (because that's what he denounces in part) not so far from the manipulation. [1 / 4]

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much time lost! Fraire


The public meeting of 14 December, organized by the NPA and the PG (the United Left is conspicuously absent), "The social movement ... its balance sheet ... its aftermath ..." we left on our hunger is the least we can say ...
The lessons drawn from stakeholders, we can share in part: strong movement over time, new practices, financial solidarity, etc..
Note however the reluctance with which the adverse balance of trade union platform was raised. One speaker regretted that the confederations have not called a general strike. Do not she know that NOT a union, though he (then "heroically", that is to say Stalinist) qualified (by itself) the "union of class and mass," n ' called for general strike ? First, because "general strike", they are only two words affixed, and that two words are not defined, it does not not start a slogan. The general strike was certainly in everyone's mind, including our own, but each head has probably its definition. We will return to the concept of "general strike" requiring further developments. If we pretend to believe that the trade union confederations are serving workers, there may of course regret their inaction. For us, today's union leadership is an obstacle to the struggle and have fallen short their historic mission.

Suites movement ... There was the desert. Some theatrics on the necessary union of Goche ... Of course, it is necessary for political parties to agree among themselves, even if only to present candidates may be common in elections ... and there, although we felt that, for these parties, "the union is a fight" ... It is true that, as the issue of union representation perverts union strategies, it is the same public funding of political parties.
But this does not concern us: our organization is not a party. She has not intended to seek the votes of the voters and to integrate the interplay of state institutions. Libertarian alternative is a collective self of revolutionary militants who share common values summarized in
Manifesto for a Libertarian Alternative (pdf
http://www.alternativelibertaire.org/spip.php?article2393
). The Collective of Aries is determined independently, as part of these shared values. We do not have a candidate for sale ... or to buy ...
We will always be where the battles are happening, not to recover, but to push their self-organization. We do not despise political activists, trade union, associative database. They have their role, they participate in the collective development of class consciousness. They are also actors in the struggle. Nevertheless we will oppose vigorously any electioneering politician and recovery.

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GRAN! (Big Brother)

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«Les Herbes Folles» d'Alain Resnais (2009)

Resnais breaststroke a lot of air for a result of the most baffling and often surprising but disappointing too. There was a time a "big" the 7th art: watching "Wild Grass" is not doubtful. But as talented employee to a task also ... futile (the word is out), it is regrettable. Not that this movie is bad, or at least completely missed: it is sufficiently strange and unusual to merit a look, its shape is virtuoso enough (these color schemes, this mounting air, the constant drama, the art of the ellipse ,...) to deserve some applause! He often provided valuable breathing hard, and achieved even at times quite exhilarating cinematic lyricism. Yes but this remains a cumbersome! It borders on both indigestion ça clignote de partout, tant le long métrage est boursoufflé d'humour facile, de personnages caricaturaux, de bons sentiments passéistes, de photographie baveuse, de mouvements d'appareil à n'en plus finir... L'esthétique forcenée des «Herbes Folles» est parfois étonnamment bien maîtrisée, mais de temps à autre elle ploie sous son poids excessif : la mécanique est certes (trop?) bien huilée, Sabine Azéma est décidément attachante (Resnais en est complètement amoureux, c'est aussi frappant que lorsque Godard filmait Anna Karina), la fantaisie du cinéaste est touchante... Mais qu'est-ce qu'on manque d'air! Heureusement donc qu'Alain Resnais relâche pressure regularly through its various digressions. Moreover, the winks are legion, Resnais revisits the seventh art and filmography at the same time, but this snake biting its tail has that je ne sais quoi of annoying, perhaps the "indecency" d a conspicuously displayed complacency despite not really met expectations, at least in my case. Especially as the poetic virtues of film really compete too often some "poor man's poetry", which unfortunately has the name of poetry. As such links that bring Resnais Desplechin's are perhaps not insignificant: they share the same taste for the quote, for some banter, a formality at best and at worst Mallarmean worthy of Jeunet ... A film that basically no doubt delight some moviegoers (Hitchcock fans, or those who love the game of comparison), but will leave others unsatisfied. I just finished on a negative note and then another more positive: the music of Mark Snow is possible at tasteless and vulgar, Poster Blutch is pretty and really good! And last question, finally, to address a key concern and starting the feature size: Resnais would he lost all taste good? [1 / 4]

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«Un Man Who Sleeps "by Georges Perec Queysanne and Bernard (1974)

A beautiful film, because too terrible truth, the physical and mental distress of modern man, on his extreme loneliness, specifically that of modern man 40 or 50 years. I have not read the novel by Georges Perec, I guess remarkable, but I do not think his film adaptation is devoid of meaning or interest. It is true that the film directed by Bernard Queysanne is greatly dependent on the text of the famous writer, but he does not occupy the same place. In the book, at least from what I could suggest without having read it (that is to say very little ...), it appears that the text is a reflection or an exact transcript of the thoughts of the young hero. It is, dare I say, the head of the protagonist, we adopt fully his point of view, a psychological point of view and mind totally subjective. What "The Man Who Sleeps" film version brings is the sight, hearing it: the thoughts of the young man added his senses! We're in the head and the body of this young man, and the text is no longer much of the work, the only way that connects us to the hero's inner life, but part of the The work, one paths that lead us deep into the being of this lonely person. The text still maintains its importance, therefore, as impossible to silence those thoughts painful and confusing, but it is no longer the sole condition that this is happening, what we found. In addition, we alternate between sequences purely subjective and those "objective", external to the individual and show us in his environment in the world. The focus of the story - a tale anything but linear, especially since it turns on itself in a vicious circle, colliding with walls and impassable cruel modernity - is substantially different even if it serves a similar connection. There are so many things to say about this film, perhaps not perfect in the absolute (and again), but an admirable consistency, a monotonous and uniform appearance as what he says while being deeply torn in his heart. His poetry, for example, is a model of economy of means, the photography is beautiful, the music totally about ... I leave you in the company of a sincere invitation to discover this film, oh so important and disturbing ! [4 / 4]

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" The Choir "by Abbas Kiarostami (1982)

Saying there was a time (not so distant as that!) Where I doubted the talent of Abbas Kiarostami ... What a mistake! Especially since we moved Kiarostami movies whenever a simplicity and a rare subtlety: you just have to be carried away by the beautiful color photography by shooting inspired despite their destitution, by interpreters all the more endearing than the other, by the charm of the fables that the author knows so well Iranian tell us ... With "The Choir" by Kiarostami as usual with an idea that could be described as any beast: the cinematic translation of the isolation of an old man deaf to the world around him. In a sense, the only link that allows him to relate to everyday life is his hearing, he can happily remove at will when the talkative nuisance or jackhammers are too insistent. But then, to cut too much inconvenience to the life he goes to forget his own! As such "The Chorus" may very well serve as a metaphor for the ravages of age or continuing divide between generations, but there is much to take (and enjoy) in the first degree: the history and fun touching of a grandfather and his granddaughter separated by sound and space. A wonderful little gem of a delicate and beautiful harmony! [3 / 4]

Demonstration Of Deep Penetrations

Public Meeting December 14

The United Left, the New anti-capitalist party (NPA), the Left Party (PG) will hold a public meeting on the theme:
The social movement ... its balance sheet ... its consequences ...




Cal-Aries will be present, even if we would have preferred that this kind of meeting is beyond the scope of electoral parties.

Date and place:
Tuesday, December 14, 18:30, Room
Jean Pons & Dedieu,
Street September 4, in Arles.

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" Window Water Baby Moving "Stanley Brakhage (1959)

Ironically, in his quest for absolute purity artistic avant-garde modernism has only further reduce the investment the artist from the man in the work produced, so that it no longer has much to do with art, at least with the art as creation. It would of course be wrong to say that Brakhage creates nothing with his famous "Window Water Baby Moving," not least by the idea maternity (and paternity watermark) that materializes through the editing, framing, short of the realization of his film. But his short documentary film like more clinical than anything else: the share of record "target" of facts by the camera is oh so dominant on the construction element by element of the work by the artist. Brakhage is certainly playing the field, looks at his wife, attended the birth, sharing his apprehension, his joy or pain, but it offers us more of a "family film", a souvenir shot, a masterpiece The work of the 7th art, at least in my opinion. Because ultimately what did he say to us with "Window Water Baby Moving? That motherhood is beautiful, it's beautiful, despite the pain and the moments of extreme anxiety with which one must inevitably happen? I certainly do not give him wrong, but so far have we really need this footage to realize? I used also the word "game" to discuss how to make Brakhage, this is not trivial: one has the impression that he plays with his camera, he "plays" with truly he tries to be surprised by what he shoots ... That's certainly what all the filmmakers are in a sense, but not in this proportion il me semble. Car ici tout repose sur l'enregistrement d'un fait par la machine, puis  après  par la réorganisation des images enregistrées par Brakhage lui-même. Par la sélection qu'il opère, par les choix qu'il fait, je l'ai déjà dit il crée donc quelque chose d'une certaine manière, mais ce "quelque chose" reste d'une envergure réduite, relative. Il ne reste quasiment qu'à la surface de ce qu'il filme, il reste dans le particulier et n'atteint pas le stade universel que touche tout grand artiste digne de ce nom, ou s'il l'atteint, cela reste de l'ordre du truisme... Car créer de l'art ce n'est pas reproduire une "réalité" visible, objective is to go beyond, and that's the beauty of cinema! Apart from a mixed feeling of voyeurism and suspense, and of course the character that has any emotional delivery, "Window Water Baby Moving" unfortunately did not have much to share ... [1 / 4]