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Re: El instante más oscuro (Darkest Hour, 2017, Joe Wright)
La voz de Brando, la suya normal, no es la de El Padrino ni la de Apocalypse Now, que a su vez son diferentes entre sí.
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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