Tema: Sweet Vengeance (Brian de Palma)

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.

Charrán
Del ár. hisp. *šarrál 'vendedor de jureles'.

1. adj. Persona poco fiable, aprovechada o que actúa con picardía o engaño. Sinvergüenza, caradura o estafador.

2. adj. coloq. Dicho de una persona: Que se comporta de forma similar o que evoca al cineasta James Gunn.

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.