Estais viendo las notas que tiene ahora mismo?? 8,7 filmaffinity, 9 en IMDB, 94 en Metacritic... lo de filmaffinity es sorprendente, no se suelen ver notas tan altas aunque sea el día de estreno en esa web.
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Estais viendo las notas que tiene ahora mismo?? 8,7 filmaffinity, 9 en IMDB, 94 en Metacritic... lo de filmaffinity es sorprendente, no se suelen ver notas tan altas aunque sea el día de estreno en esa web.
"Es peligroso, Frodo, cruzar tu puerta. Pones tu pie en el camino, y si no cuidas tus pasos, nunca sabes a dónde te pueden llevar" -Bilbo Bolsón-
Nolan, sobre porque no hay violencia explicita o sangre en Dunkerque.
"For Dunkirk, we watched a really wide range of movies. Steven Spielberg lent me his print of Saving Private Ryan," Nolan told Fandango during an extensive chat prior to the film's release. "What an extraordinary experience, the power of that [film]. Interestingly, that [film] pushes in a different direction because of the intensity, and the gore, and the horror of those sequences. I realized what I wanted for Dunkirk was suspense. The thing about suspense is you can't take your eyes off the screen, and when you're confronted by sheer horror, you tend to avert your eyes. It tends to shut you off to it. We wanted your eyes to be riveted on the screen, so we wanted to create tension in a different way. It's a different form of intensity, I suppose."
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.