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Re: Glass (M. Night Shyamalan, 2019)
De hecho, en muchos planos oculta la cara de Willis y casi parece que el traje se mueva solo, lo que da mal rollo...
Encontré a que encuadre me refería:
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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.
Re: Glass (M. Night Shyamalan, 2019)
I'd imagine the whole world was one big machine. Machines never come with any extra parts, you know. They always come with the exact amount they need. So I figured, if the entire world was one big machine, I couldn't be an extra part. I had to be here for some reason.(HUGO)
Re: Glass (M. Night Shyamalan, 2019)
¿Dirías que Glass te ha decepcionado mucho, Marty? A mí me ha gustado mucho, es cierto que está por debajo de las otras dos y que Shyamalan toma decisiones que quizá no acaban de encajar bien en el conjunto, pero es valiente, compleja, arriesgada, y obra de un autor sin cortapisas que hace lo que quiere. Y considero que está muy bien rodada, cómo de costumbre aunque Shyamalan ha reducido en complejidad la planificación de sus últimas películas (costes, ¿rapidez?) , aunque sus señas de identidad, como las simetrías y el uso del color, siguen estando ahí, y hace un uso excelente de otro tipo de recursos, como el primerisimo primer plano.
Quizá este artículo te ayude a mejorar tu percepción de la cinta. Lectura recomendada, en cualquier caso.
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.
Re: Glass (M. Night Shyamalan, 2019)
Ha habido un cambio de estilo respecto al período 1999-2006. Quiero decir, más acentuado del que hubo en 2008-2013. Pero sigue rodando maravillosamente, solo que de manera menos elaborada.
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.
Re: Glass (M. Night Shyamalan, 2019)
Duplicado.
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.
Re: Glass (M. Night Shyamalan, 2019)
No, no me considero decepcionado. La película me ha gustado bastante, pero es cierto que hay dos o tres cosas de cierta importancia que me han fastidiado. Es la peor (o la menos buena) de las tres, pero me sigue pareciendo muy buena. Bueno, mejor te dejo el link a mi opinión:Iniciado por Branagh/Doyle
https://www.mundodvd.com/glass-m-nig...7/#post4327826
I'd imagine the whole world was one big machine. Machines never come with any extra parts, you know. They always come with the exact amount they need. So I figured, if the entire world was one big machine, I couldn't be an extra part. I had to be here for some reason.(HUGO)
Re: Glass (M. Night Shyamalan, 2019)
Concuerdo. ¿Y que opinas sobre que Shyamalan ha simplificado la planificación visual de sus películas? ¿Estás de acuerdo?
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.
Re: Glass (M. Night Shyamalan, 2019)
Sí, me da la sensación de que con "La visita" cogió el gusto a un estilo más suelto, menos elaborado. Aún así igual de bueno, porque sigue siendo un director que planifica siempre con un sentido narrativo.
I'd imagine the whole world was one big machine. Machines never come with any extra parts, you know. They always come with the exact amount they need. So I figured, if the entire world was one big machine, I couldn't be an extra part. I had to be here for some reason.(HUGO)
Re: Glass (M. Night Shyamalan, 2019)
Algo que me ha dejado bastante extrañado, y reconozco que me gustó bastante poco, es que Shyamalan usó esas cámaras rollo go-pro (aunque supongo que eran camaras buenas) bastante mas de lo que yo creo que era aconsejable. Es una decisión que no se si entiendo muy bien, a veces quedaba un poco extraño.
Re: Glass (M. Night Shyamalan, 2019)
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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