The introduction sequences of both Los Sures (LS) and Metropolitan Ave. (MA) start with a aerial reference shot of Williamsburg looking towards the East River and Manhattan with a voice over narration which state the intent of the film. In the case of LS the stated intent is a portrait. In MA the stated intent is a projection of the purposes of a diverse group of women.  After the introduction of LS, the camera remain more intimate and close to its characters. We see few wide shots of the neighborhood and none of Manhattan. We see the characters more as if they don’t see the camera. We the characters as they see themselves, each other.  The camera is more present in MA, as is the built environment of the neighborhood itself.  In MA we see more wide-angle shots of streetscapes and cityscapes.  We see public spaces.  In LS, by contrast, we find the camera, and ourselves, inhabiting intimate places of love and spirituality, on a bed, in a car. In LS, there is a sense that the view participates in the private moments of the people. The camera never finds such a perspective in MA.  There is a distance.  LS tries to defines place in terms of people, relative to themselves.  MA tries to define the place in terms of position (in this case opposition) relative the built and political environment. Purchase Cheap himalaya ayurslim capsules buy online Buy online Buy online