Equipoise nightmares

Many Vietnam veterans and their survivors are eligible to have VA compensation claims for disability or death benefits granted as a result of their exposure to Agent Orange (AO). Some of these veterans qualify for a special set of effective date rules that are significantly more favorable to them than the normal effective date rules. This is a result of the Nehmer v. Veterans Association class action regulation which, among other things, made three new diseases eligible for service connection due to AO exposure. These diseases are Parkinson’s disease, ischemic heart disease, and chronic B-cell leukemias (including hairy cell leukemia).

I. Visualizing clearly our three inner channels, we inhale through our right nostril imagining that the pure essences of the five elements, positive and healing energies and all the holy beings’ blessings enter our right channel in the form of white light. This white light absorbs into the subtle wind energy at our heart. We now block the right nostril and exhale through the left nostril in three short breaths, imagining that all our sicknesses, polluted elemental winds, inner demons and interferences, relating to the left side of the body, are expelled in the aspect of polluted black smoke.

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And that’s still true. Mr. Puiu’s film was an early sign of the flowering of Romanian cinema that would bring international acclaim to young auteurs like Cristian Mungiu (“4 Months, 3 Weeks and 2 Days”) and Corneliu Porumboiu (“Police, Adjective”). Like his colleagues (and sometime rivals), Mr. Puiu uses long takes and minimal camera movement to create a sense of lived reality that is absorbing almost to the point of claustrophobia. He zeroes in remorselessly on the petty absurdities and large iniquities that define life in Romania more than a decade after the fall of Nicolae Ceausescu’s Communist dictatorship.

Equipoise nightmares

equipoise nightmares

And that’s still true. Mr. Puiu’s film was an early sign of the flowering of Romanian cinema that would bring international acclaim to young auteurs like Cristian Mungiu (“4 Months, 3 Weeks and 2 Days”) and Corneliu Porumboiu (“Police, Adjective”). Like his colleagues (and sometime rivals), Mr. Puiu uses long takes and minimal camera movement to create a sense of lived reality that is absorbing almost to the point of claustrophobia. He zeroes in remorselessly on the petty absurdities and large iniquities that define life in Romania more than a decade after the fall of Nicolae Ceausescu’s Communist dictatorship.

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