Pablo Escobar

Compelling new evidence drives this examination of the drug kingpin's death, including possible involvement of the Colombian and U.S. governments.

Süresi

Türler

Orijinal Adı

Uyarılar

George Lewin

Who Killed Pablo Escobar?

Ediz Hun

Sezer Güvenirgil

Hayati Hamzaoglu

Aliye Rona

Enver Dönmez

Suphi Tekniker

Meltem Mete

Süheyl Egriboz

Hüseyin Zan

Hüseyin Güler

Ahmet'in kardeşi Nazlı, tecavüze uğradıktan sonra hayatını sonlandırır. Onun intikamını almak isteyen Ahmet, yaşadıklarını tecavüzcüye yaşatmak için yollara düşer fakat hiç beklenmedik bir şekilde âşık olur.


Kanlı Aşk

In Hitchcock's "The 39 Steps," having just rushed out of a theater where gunshots were heard, a woman asks the man standing next to her: "May I come home with you?" He asks her: "What's the idea?" She replies: "I'd like to." He responds: "It's your funeral!" I presume that both consider that he is being facetious; actually "It's your funeral!" is an expressed that calls for a certain answer of the real in the state of things, while itself remaining an incorporeal event. The first variation on Hitchcock's "The 39 Steps" in my "Variations on Guilt and Innocence in 39 Steps" presents a more fitting state of things for his response to her request to come home with him, "It's your funeral!" and for the gleaming knife in his hand as he heads stealthily toward her in the kitchen than the one in Hitchcock's film: he uses the knife to kill his guest rather than to resume slicing bread (the gleaming knife continues not to be fully actualized in the more appropriate state of things; as the expressed, it is "the aspect of the event that its accomplishment cannot realize"). To be radically innocent requires refraining from indulging, with "the unbearable lightness" of those who are unconscious of the unconscious, in ambiguous gestures, figurative speech, and the use of words whose etymology they do not take into consideration, through which they would be providing the unconscious, with its mechanisms of dissociation, condensation, etc., the opportunity of concocting a different narrative, one in which it seems that one is guilty.

Variations on Guilt and Innocence in 39 Steps