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Re: Dunkerque (Dunkirk, 2017, Christopher Nolan)
¡Al final si que salía Michael Caine (bueno se le oye) , así la colaboración no se ha roto! Brindemos por eso también.
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.
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