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Kill Bill:The Whole Bloody Affair
Estreno en cines a principios de Diciembre, con escenas inéditas.
https://deadline.com/2025/10/kill-bi...te-1236567983/
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: Kill Bill:The Whole Bloody Affair
Gran noticia. Ya pensaba que se iba a quedar como uno de esos proyectos de los que Tarantino habla durante años pero nunca hace.
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: Kill Bill:The Whole Bloody Affair
Tampoco cantemos victoria, porque que salga en cines normal no quiere decir que Tarantino deje que salga en Blu-ray.Iniciado por Marty_McFly
Re: Kill Bill:The Whole Bloody Affair
Que tiene que ver una cosa con la otra? Se canta victoria por poder verla.
Re: Kill Bill:The Whole Bloody Affair
Ya se podía ver antes en el cine del Tarantino, ahora simplemente es un estreno más general.
Re: Kill Bill:The Whole Bloody Affair
Creo que no va a salir de USA.
Re: Kill Bill:The Whole Bloody Affair
Esto no cuenta para el 99% de gente, y lo sabes.
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: Kill Bill:The Whole Bloody Affair
Tocino y velocidad.
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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