omahaceleb

A film that intrigues me, but unfortunately I found out that the screening schedule here in Cyrenaica prevents me from seeing it at a decent time.

Great album. And who could review it?

I came back today on Deb after months, not to comment, but for another reason. And I find a fantastic page from a fantastic group, from one of the people who has contributed the most to my musical tastes over the past ten years (and yes, we’ve become a bit older). I no longer visit the site because the atmosphere is nauseating, and it seems that up high "in management" this is widely accepted (a bit like when my friends at the club confided in me: "I come here convinced I’ll spend time with people who understand me, we call ourselves comrades, and instead I go home more frustrated than before, misunderstood by them and by myself. But then why continue coming here?"). In short, I feel this is no longer my place, and for this, one must be patient. However, your pages would be a good reason to persist, if I felt like it. Un abrazo

Without any polemic towards the reviewer, whom I respect, maybe we should stop saying that Marinelli is really really good, perhaps even too good. A good talent employed 95% of the time in mediocre productions. He’s been around for over ten years and hasn't managed to act in a film that turned out well. Maybe he’s missing out on the best opportunities, maybe good directors don't really need his talent, or perhaps he hasn't made a name for himself abroad yet? The best performance I’ve seen from him is in "Una questione privata," and honestly, I can’t recall any memorable works after that (unless Jeeg Robot, Martin Eden, and La Grande Bellezza are considered masterpieces). Anyway, he’s still young. Or rather, I like to think he’s still young, because if he’s young at 1984, then I, born in 1985, am still a flower.

I’ve had my eye on it on RaiPlay for ages, but I haven’t managed to see it yet; however, I might give it a try tonight. For now, I won’t rate the review, because from what I gather, the rating is primarily based on the overly reverent tone of Ciprì and Maresco's questions. I’ll watch it and come back to comment.

"This record is like when you walk down the street in the morning and the sun blinds you, and instead of going off to shoot at the Arabs, you just stand there blissfully with a dumb expression watching the light." The stranger by Camus, a beautiful crypto-reference.

Seeeee head not Tesla.

Maybe I'll go see it today, and it would have been better not to pass by here. I wanted to go to the cine barzotto, but instead you put the cricket in the Tesla.

I only read the review and not the comments (there are so many, too many). If I understood correctly, you focus on the poetic aspect and not the political one, as well as on the beauty of the love between the protagonist and the female character, because that is, after all, what emotionally remains with you from Orwell—the tenderness of that love story born in an unlivable world. If I understood correctly, you present an anti-Marcuse reading (Eros and Civilization) that I really like, which means "potato + big penis never make a revolution." I understand the annoyance of having to "explain" yourself and prepare for nitpickers like me who just cannot forget "the list." But I won't start picking apart your passionate and personal page. The only thing I didn't fully grasp is the connection that makes the stilnovistic love a precursor concept (a term not yours, I’m throwing it in) of Rousseau's thought. But I’m sure you’ve already discussed this extensively among the comments. Hello lector, take care.

This summer they should come to Italy on tour with The National. I would love to be around.