¡Bienvenido a mundodvd! Regístrate ahora y accede a todos los contenidos de la web. El registro es totalmente gratuito y obtendrás muchas ventajas.
Q: "I'm your new quartermaster"
007: "You must be joking"
_______________________
CLAUDIO: "Lady, as you are mine, I am yours"
_______________________
EISENSTEIN: "I'm a boxer for the freedom of the cinematic expression" -"I'm a scientific dilettante with encyclopedic interests"
Que pillo Tripley, eso que insinúas no lo había captado yo al principio. Pero la verdad es que tienes razón, ahora las películas "normales" en estados unidos son las de superheroes o las de franquicias como SW (Disney). El resto son poco habituales... si uno lo piensa bien, es algo triste.
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.
Correcto, la película de Coppola será vista por más de uno como arte y ensayo.
Saludos
Q: "I'm your new quartermaster"
007: "You must be joking"
_______________________
CLAUDIO: "Lady, as you are mine, I am yours"
_______________________
EISENSTEIN: "I'm a boxer for the freedom of the cinematic expression" -"I'm a scientific dilettante with encyclopedic interests"
Yo ya dije que apoyo lo que ha hecho y me parece genial que una peli así exista. Pero que me parece que no es el tipo de peli que yo disfruto. No sé si en veinte años la disfrutaré con mas madurez. Las pelis que parecen idas de olla que no las entiende ni el director a mí no me van, personalmente.. pero repito.. una maravilla que esta peli se haya hecho.
Lo que no me gustaría es que se sobrevalorase solo por eso.
Pero Ponyo, todo esto que dices, que lo respeto, lo comprendo y hasta cierto punto lo comparto... ¿como lo sabes?. ¿Cómo sabes que será una ida de olla que no entiende ni el director?. Porque no se si estás familiarizado con la filmografía de Coppola, pero este hombre no ha hecho pelis experimentales raras en su vida. No es David Lynch, por poner un ejemplo.
¿El trailer te da esa sensación?. Porque a mi no.
Última edición por Branagh/Doyle; 17/08/2024 a las 23:55
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.
Por el amor de Dios... a la gente se le va mucho, eh.
Well, every other distributor passed on it, so it probably doesn’t deserve a theatrical release. That’s sort of how that works.
The only reason it’s getting one is because the company that distributes his blu rays is doing him a solid. The market spoke and said “We don’t want it”
The derision is because he is presumptuous, and privileged, and most of all, rich enough to say “I deserve to have a wide release anyway, I deserve to be in thousands of theaters, don't you know who I am?” even though he wrote and directed what one of his biggest stans has called a hundred million dollar Neil Breen movie.
He’s burning his own bank account, and calling in every last family favor and business relationship, to pull one last “Don’t you know who I am, you better let me in” and it’s bullshit.
He’s made a movie he thinks will save America with the power of art, and it’s shit art, and the only reason anyone is going to see it is because he’s a rich old man buying his way into places nobody actually wants him in - except for his blinkered acolytes, who want to believe it’s still 1972.
Which is very American I guess.
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.