¡Bienvenido a mundodvd! Regístrate ahora y accede a todos los contenidos de la web. El registro es totalmente gratuito y obtendrás muchas ventajas.Bottom line is, even if you see 'em coming, you're not ready
for the big moments.No one asks for their life to change, not really. But it
does.So what are we, helpless? Puppets? No. The big moments are
gonna come. You can't help that. It's what you do afterwards that
counts. That's when you find out who you are. You'll see what I mean.
Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)
Triplicado.
Última edición por Branagh/Doyle; 15/11/2020 a las 02:03
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.
Borrado por repetición. Al foro se le ha ido la cabeza momentáneamente.![]()
Última edición por Branagh/Doyle; 15/11/2020 a las 02:04
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.
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.
Bottom line is, even if you see 'em coming, you're not ready
for the big moments.No one asks for their life to change, not really. But it
does.So what are we, helpless? Puppets? No. The big moments are
gonna come. You can't help that. It's what you do afterwards that
counts. That's when you find out who you are. You'll see what I mean.
Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)
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.
Spoiler:
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.
Me ví la serie el fin de semana pasado y me encantó. Los diseños de las localizaciones y del vestuario me han parecido también excelentes.
Hay una película con Tobey Maguire sobre el ajedrecista Bobby fischer que se llama Pawn sacrifice, por si a alguno le interesa.
BUeno, finalmente y a ratillos, he conseguido acabar esta magnifica serie.
También comento a grandes rasgos mi humilde opinión
Sabiendo quien estaba detrás del proyecto y dirección, pues tenía una buena palpitación, pero la verdad es que no solo ha dado en el clavo, pienso que ha cumplido con creces.
Al igual que en Godless, da un golpe en el tablero... digo, en la mesay demuestra como tratar un tema "de moda" sin sir petulante ni cansino, sin menospreciar al "otro" es más, con elegancia y gusto.
La historia atrapa y como ya decían algunos otros compiñer@s, podría pasar por "basada en una historia real".
Las actuaciones, escenarios, atrezzo, música.... de lujo.
NO se el presupuesto ni el tiempo y esfuerzo invertido, pero el resultado ha sido buenísimo.
Poco más que decir, que simplemente recomendar su visionado y disfrutarlo.
Como en otros comentarios he dicho, lo breve si bueno, dos veces bueno y es cierto, termina dejando ganas de más, pero lo mejor, es que te siente "bien", "en positivo", con el "querer, es poder", "el esfuerzo trae su recompensa"....
Por cierto, comento de extra sobre la actriz, será el maquillaje no lo se... pero tiene una facciones de barbilla y boca pequeña, con unos ojos muy llamativos e imponentes, que sería el triunfo en Japónescuchando casualmente otros comentarios en otros reportajes sobre cultura japonesa, me saltó la luz y dije... esta chica podría triunfar por allí como belleza... (y aquí también
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Última edición por joyla; 18/11/2020 a las 14:20
"Vive y deja Vivir"
"Estamos la primera mitad de nuestra vida, machacando nuestro cuerpo, haciéndole sufrir.... y la otra mitad, intentando solucionarlo...."
Al final se llamó 'Gambito de dama' por si queréis cambiar el título. Yo llevo dos capis y me está encantando. La comento al acabarla.