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TravelersWife4Life (31 KP) rated Something I Am Not in Books

Feb 24, 2021  
Something I Am Not
Something I Am Not
Cher Gatto | 2019
10
10.0 (1 Ratings)
Book Rating
WHAT A BOOK!
I am at a loss for words when it comes to describing the power with words that Cher Gatto wields in this book. I went into this book thinking it might be a difficult read because of the subject matter, but Cher Gatto lays it out in a way that is easy to understand and deeply profound at the same time. Throughout the book, she constantly displays the message of grace and salvation to everyone regardless of life circumstances. From the characters that were layered to the even pace and plot twists, this story has something deeply compelling that needs to be read by everyone.

A heart moving book that is marketed as Young Adult but is for everyone regardless of age, it moved my heart and emotions like very few books do.

I truly loved this book and Highly Recommend it. 5 out of 5 stars for the great character growth, the deep issues covered, and for displaying the gospel so readily.

*I volunteered to read this book in return for my honest feedback. The thoughts and opinions expressed within are my own.
  
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Kelly Reichardt recommended Pather Panchali (1955) in Movies (curated)

 
Pather Panchali (1955)
Pather Panchali (1955)
1955 | Drama
(0 Ratings)
Movie Favorite

"Ultimately, there is ambition in the Apu Trilogy – he’s leaving his village and he marries into a different class. But there’s also that incredible friendship that runs through the Apu Trilogy. I return to the Apu Trilogy constantly. I saw it first in art school and I felt overwhelmed by it; as someone coming from Miami and who hadn’t seen anything of the world, I was just like, India, it’s too much for me. But for some reason it really resonated and I have returned to it so often. I find Satyajit Ray’s filmmaking so lyrical and there’s a real economy to the way he shoots the film. It’s all just pans; there’s no kind of dual camera movement ever going on. [Cinematographer Christopher] Blauvelt and I had a similar rule, except for when we’re in the Chief Factor’s house, when there’s like this more expressive kind of filmmaking going on and it feels a little grander. We had this really economical way of shooting; people moving in the frame and we pan one way or the other. But there were no parallel moves happening at once."

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