Es un alivio que haya conseguido distribución en USA. Sin eso habría sido una catástrofe económica. Ganó el cine.
¡Bienvenido a mundodvd! Regístrate ahora y accede a todos los contenidos de la web. El registro es totalmente gratuito y obtendrás muchas ventajas.Es un alivio que haya conseguido distribución en USA. Sin eso habría sido una catástrofe económica. Ganó el cine.
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.
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.
Insisto: no lo iba a tener de otra manera. No se iba a rendir. Tenía los huevos puestos en la mesa desde el principio y dejó claro que o en cines como toda la vida durante unos meses o nada. Y así fue hasta que una por fin cedió y dio su interés, o hicieron un buen mutuo acuerdo (ya que parece que Lionsgate no va a hacer mucho más que estrenar y distribuir en cines en USA).
Dicho esto, no entiendo la preocupación o el "menos mal".. iba a encontrar alguien si o si, e iba a ocurrir a su manera. En el peor de los casos, que no se hubiera estrenado en USA no le hubiese afectado a la taquilla en nada.
¿Cómo qué no?. El mercado USA es fundamental. Mira lo que le pasó a Youth Without Youth, que no se estrenó allí en cines (salvo algún pase limitado muy concreto en algunos sitios), y de rebote aquí tampoco (salió directamente en DVD y BD). De hecho, Tripictures no le ha puesto fecha de estreno a Megalópolis en nuestro país hasta que no han tenido confirmación de cuando se estrenaba allí.
Esto es cine independiente, por mucho Coppola que sea.
Última edición por Branagh/Doyle; 26/06/2024 a las 22:02
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.
Eso es. Con una inversión así, necesita estrenarse en un mercado grande, ahora mismo USA y China, y lo segundo es como es. Que luego no pase de los 50-60 millones, pues ya veremos. Pero seguramente sea el mercado más importante que va a tener, y fundamental para optar al menos a cubrir gastos.
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)
Estreno en cines el 27 de Septiembre en Estados Unidos, España, Reino Unido, e Irlanda.
Estreno el 26 de Septiembre en Francia, Italia, Alemania, Austria, Nueva Zelanda y Australia.
Estreno el 25 de Septiembre en Hungría y Filipinas.
Última edición por Branagh/Doyle; 07/07/2024 a las 17:39 Razón: Añadidos más países
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.
Qué bonito.
Una cosa. Ojalá me equivoque, pero a tenor de la mayoría de críticas que han ido saliendo yo diría que va a ser una catástrofe económica igualmente (apunta a film de culto con el tiempo, quizá). Pero claro, si con tu post te refieres a que ahora tiene una oportunidad, pues estoy de acuerdo, la tiene. Ya es algo.
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.