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)
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.
Trailer subtitulado en castellano:
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.
- Proyector EPSON EH-TW9300
- Receptor ARCAM AVR390
- Reproductor UHD PANASONIC DMP-UB9000
- Reproductor BD PANASONIC DMP-BDT700
- Altavoces delanteros MISSION 772
- Altavoces traseros MISSION 77DS
- Altavoz central EMOTIVA AIRMOTIV C1
- Subwoofer EMOTIVA BASX S8
- Altavoces Atmos SVS Prime Elevation
Última edición por Branagh/Doyle; 14/05/2024 a las 22:23 Razón: Errata
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.
https://www.reddit.com/media?url=htt...2981a04fc65c6e
Tu hermana y tu sobrino... nada mal, Francis, nada mal.
Ahora en serio, repartazo.
Última edición por Branagh/Doyle; 14/05/2024 a las 14:07
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.
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)
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.
120 millones y luce muchísimo mejor que otras cintas que costaron 250 e incluso más. Los encuadres respiran cine clásico por los cuatro costados y mimo, se aprecia claramente a un maestro detras. La fotografía de Malaimare (¡en 70mm!), pinta a nominación al Oscar, e incluso premio, si la película está a la altura en cuanto a narrativa e historia y el público responde bien.
Coppola y Mike Figgis -quien se ha encargado de rodar un documental sobre la producción de la película- describieron este proyecto en su momento como "Blade Runner meets Julius Caesar" y viendo este avance se puede entender por qué.
También se confirman los dos principales referentes cinematográficos que Coppola mencionó: Metropolis (1927) y La Vida Futura (1936).
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.
El trailer me ha dejado completamente desconcertado. El aspecto visual me ha llamado la atención, pero dejando eso a un lado... no sé que pensar, pues no sé de que leches va la peli. A ver si en un próximo avance nos dan algo de información para así poder hacerme una mejor idea.
A ver si te lo puedo resumir en base a la sinopsis oficial y lo que ya se ha desvelado de la trama también de manera oficial (no hago spoilers del guión que leí, ni de nada más en absoluto aunque lo pondré en spoilers de todas formas para quien no quiera saber nada de nada).
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.
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Altavoces: PMC Twenty5 24, central VA Maestro Grand, traseros B&W DM602 S2, subwoofers REL TZero MKIII x2
Cables: QED Genesis Silver Spiral, Wires4Music Horus XLR, Wireworld /Audioquest (digital), Wires4Music/Audio Agile/Isotek(electricidad)
Q: "I'm your new quartermaster"
007: "You must be joking"
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CLAUDIO: "Lady, as you are mine, I am yours"
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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.