Hal

You imagine kataklisma very well, it’s a (red) album that I’ve listened to a lot in these last six weeks. There are many tracks, you're right, but I like how the work is structured for a series of reasons that I can’t quite summarize... the journey, the themes, the variety of sensations. And then some songs are truly beautiful. Perhaps I’m exaggerating, but I can only tell you that the closing song of the album (there's a bright side somewhere) is for me one of Cooder’s most beautiful. Bye.

The tzadik catalog is extremely interesting, and just these days I happened to listen to a record that belongs to it, which, if you're not familiar with it, I recommend you seek out: Ned Rothenberg's Sync with Strings: Inner Diaspora. From your reviews and your taste, I believe you might have at least heard of it. I'm finding it incredibly intriguing. Meticulously crafted review as usual. Bye.

I know the biography you mentioned; if I remember correctly, it was attached to Amadeus a few years ago, and the quotes you've extracted are indeed important in painting a picture of Mozart. Quotes can sometimes be significant. As for the concerts, I am familiar with them, I believe in the version by Anne Sophie Mutter, an interpreter who, to be honest, doesn't always captivate me, so I would be curious to hear these versions.

onomatopoeic review? :)

Beautiful page Björk, have you heard twelve?

Non hai fornito un testo da tradurre. Per favore, inviami il testo in italiano e sarò felice di aiutarti con la traduzione.

beautiful donjunio, impactful review!!

I'll be brief. I disagree. In my opinion, your viewpoint, although not isolated, highlights a limited reading of the film. It’s like watching it with one eye closed. That cinema is a central theme of the film is undeniable; however, it is also a film about cinema, not a film on cinema, in my view. More importantly, in my opinion, is the theme of how and why Italy has changed in the last twenty years. The caiman is Berlusconi and represents the reason for the social change. The "Reason" is, in fact, rooted in the culture of Berlusconism, which, through all its incarnations—differently represented throughout the film—and tools (television, football, politics) has so fundamentally altered the customs, opinions, and habits of Italy that "pessimistically" one could say it remains victorious in our country.
A country where people tend to forget what happens, a country imprisoned also in petty-bourgeois visions of society, where the private and public spheres suffer. A country that, in the face of this change, has lost the unity it had in the post-war period, even though there were also radical positions back then. Cinema is thus an element, but not the element of the film that fundamentally evolves around Berlusconism. I am also not so convinced that the autobiographical element in this film is as strong as in other works by Moretti, and I therefore do not agree with the overlap of Orlando/Moretti. In fact, I must say that the character played by Orlando, with his "amnesias" and his cultural and social "visions," seems to me negatively characterized. One last thing, I do not really like arguments supported by hypothetical periods. Thus, to claim that without Berlusconi the film would still stand is another argumentative leap. In short, with "ifs" and "buts"... Haloa

I remember totem, I still have some packed numbers in the garage :)

Well... "marginal" seems like a bit of a stretch as an adjective.