Q: "I'm your new quartermaster"
007: "You must be joking"
_______________________
CLAUDIO: "Lady, as you are mine, I am yours"
_______________________
EISENSTEIN: "I'm a boxer for the freedom of the cinematic expression" -"I'm a scientific dilettante with encyclopedic interests"
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.
Pues yo veo la misma película que han sacado un millón de veces.
Yo estoy dentro pero mentiría si no afirmase que perdí parte de mi interés cuando se confirmó que era una adaptación libérrima...
No vas a mejorar o superar al libro, Guillermo.
RIP, Sir Pratchett.
«En la primera reunión con él sobre el futuro de Star Wars, George se sintió traicionado» B. Iger.
«In a world where evil prevails, goodness becomes an act of rebellion»
Pero el universo de Shelley filtrado por el universo de Del Toro puede dar lugar a algo fascinante, aunque se aleje de la novela.
Si quieres una adaptación fiel al 95%, busca la de Branagh. Eso si, espera travellings circulares y planos secuencia a punta pala. Y produce Coppola.
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Última edición por Branagh/Doyle; 01/06/2025 a las 20:54 Razón: Me comí un trozo
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.
Mira que me gusta notablemente la versión de Branagh, pero ver a Del Toro con Frankenstein puede ser fascinante a trapo.
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.
A mí me resulta muy convencional todo lo que veo, teniendo las de Whale y Fisher no era necesario hacer más.
Con todo el barroquismo y estética de del Toro, vaya pintaza más buena, por Dios. Ganas enormes de verla.
Siendo como soy muy fan de Del Toro, no estaba especialmente hypeado, pero hay un montón de imágenes muy potentes en ese trailer, ahora sí que queda apuntada ¿tendrá algún estreno en cines, o directa a Netflix?
Espero que haya estreno en cines
Q: "I'm your new quartermaster"
007: "You must be joking"
_______________________
CLAUDIO: "Lady, as you are mine, I am yours"
_______________________
EISENSTEIN: "I'm a boxer for the freedom of the cinematic expression" -"I'm a scientific dilettante with encyclopedic interests"
Además, creo que Desplat no ha tenido nunca la oportunidad, hasta ahora, de escribir una partitura gótica, melodramática, y mórbida. No me cabe duda de que aprovechará la oportunidad tanto como lo hizo Doyle en el 94. Es más, si la cosa sale bien, imagino incluso otro posible Oscar.
Veremos.
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.
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.
Según he leído llevaba 20 años tratando de levantar este proyecto, por lo que ha tenido tiempo para reescribir y redondear el guion. Ahora solo falta que le financien En las montañas de la locura con Tom Cruise... Aunque no veo a Netflix dándole vía libre con un presupuesto elevado... Quizás si este film es un exitazo...
A mi lo que me da mal rollo es que al final todas las pelis que van directas a las plataformas de TV acaban siendo muy flojas, por poner un ejemplo la de "ESTADO ELECTRICO", mucho bombo y al final se queda en nada.... siempre por el guion, que cuando las ves piensas "normal que no haya ido al cine", esperemos que Del Toro tenga un guion bien trabajado
El irlandés cojonuda? La primera hora pasable pero luego es un somnífero de cuidado.
Q: "I'm your new quartermaster"
007: "You must be joking"
_______________________
CLAUDIO: "Lady, as you are mine, I am yours"
_______________________
EISENSTEIN: "I'm a boxer for the freedom of the cinematic expression" -"I'm a scientific dilettante with encyclopedic interests"
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.
Q: "I'm your new quartermaster"
007: "You must be joking"
_______________________
CLAUDIO: "Lady, as you are mine, I am yours"
_______________________
EISENSTEIN: "I'm a boxer for the freedom of the cinematic expression" -"I'm a scientific dilettante with encyclopedic interests"
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.
Anunciada para el Festival de Toronto, como Premiere Americana, con lo que ya es seguro que estara en el festival de Venecia