Correcto Branagh/Doyle. Precisamente aproveché esta Semana Santa para verla
.
Tu turno.
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Correcto Branagh/Doyle. Precisamente aproveché esta Semana Santa para verla
.
Tu turno.
"¿Qué importa como me llame? Se nos conoce por nuestros actos."
Vamos allá:
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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.
¿Casablanca?
Nop. Mediados de los años 40. Cine negro, negrísimo, con uno de los finales más desoladores y pertubadores de la historia.
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.
Joan Bennett (y Edward G. Robinson), en Perversidad de Fritz Lang
Última edición por Brando; 21/04/2017 a las 19:47
¡Correcto!.
Te toca.
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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.
Adivina la pelicula por el gif:
Spoiler:
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