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Re: The Odyssey (Christopher Nolan, 2026)
Exigen que Christopher Nolan pare inmediatamente el rodaje de 'La odisea': "Contribuyen a la represión del pueblo saharaui por parte de Marruecos"
"No es solo un rodaje, es un acto político"
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: The Odyssey (Christopher Nolan, 2026)
Pues bonito charco en el que se han metido.Iniciado por Branagh/Doyle
Re: The Odyssey (Christopher Nolan, 2026)
Bonito charco en el que le intentan meter, que es totalmente diferente.
Hasta los mismísimos de politizar todo...
- Why didn’t you just kill me?
- Your punishment must be more severe
Re: The Odyssey (Christopher Nolan, 2026)
Efectivamente. Surrealista es un calificativo que se queda corto en este caso.
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: The Odyssey (Christopher Nolan, 2026)
Es lo que hay. Yo si fuera ellos tampoco me haría puñetera gracia porque, al pedir permiso a Marruecos, estás reconociendo de manera tácita que ese territorio les pertenece. Que el mayo pecado que han cometido es ser unos ignorantes en materia del conflicto en cuestión, también lo digo.
Re: The Odyssey (Christopher Nolan, 2026)
Ya aborrezco el teaser.
Re: The Odyssey (Christopher Nolan, 2026)
Que se vengan a España a filmar, que aquí tenemos todos los paisajes que necesita.
Re: The Odyssey (Christopher Nolan, 2026)
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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