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Pearl (Ti West, 2022)
Han hecho una precuela de X, que se titula PEARL
centrada en el personaje de Mia Goth
anuncian para mañana el Trailer
Última edición por Brando; 29/07/2022 a las 21:39
Re: X (Ti West, 2022)
Ganazas...encima parece que habrá lata de coleccionista de "X"
Re: X (Ti West, 2022)
"¿Qué importa como me llame? Se nos conoce por nuestros actos."
Re: Pearl (Ti West, 2022)
Esta pesadilla en Technicolor ha obtenido críticas favorables por su paso por Venecia y Toronto. Tanto es así que West ya anuncia trilogía. Lo mejor es que también repetirá Mia Goth, una de las presencias más cautivadoras del género en los últimos años a la que también veremos en lo nuevo de Cronenberg hijo.
Re: Pearl (Ti West, 2022)
A Scorsese le ha encantado, al parecer, según ha contado a SlashFilm.
"Ti West's movies have a kind of energy that is so rare these days, powered by a pure, undiluted love for cinema. You feel it in every frame. A prequel to 'X' made in a diametrically opposite cinematic register (think 50s Scope color melodramas), 'Pearl' makes for a wild, mesmerizing, deeply — and I mean deeply — disturbing 102 minutes. West and his muse and creative partner Mia Goth really know how to toy with their audience ... before they plunge the knife into our chests and start twisting. I was enthralled, then disturbed, then so unsettled that I had trouble getting to sleep. But I couldn't stop watching."
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: Pearl (Ti West, 2022)
Y su banda sonora pinta exquisita:
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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