carlo cimmino

I hug you all, whether you’re dressed up or not. geeno, as I mentioned in comment 11, I'm not fond of soldiers "with or without tits," male or female. That said, if Carfagna in all her forms, whether a showgirl, minister, carabiniere, or horse, is a prototype of real equality, then women have a long way to go. Unfortunately. Captain and telespalla, I share the analysis on the ultra phenomenon: if our society is a mess, then we shouldn't be surprised when certain things happen. Nor should we be surprised by the end of passions and values in the world of football, because in this regard, there’s little to nothing even beyond football. There’s a craziness that goes beyond and leads many to vote for individuals who become senators and ministers—horses, foot soldiers, and the three of cups, as Il_Paolo rightly suggests. Anyway, as an "eccentric" footballer-writer, it's worth mentioning the legendary Paolo Sollier: he was talking about football, society, and violence in stadiums and saying non-trivial things over thirty years ago ("Calci e sputi e colpi di testa"). sfascia, thanks for the heads-up: UHaccorro!

Ah, these French films... It’s been quite a while since I had the chance to see it. I also have a rather pleasant memory of it. From the same director, I later saw "A Very Long Engagement": quite insubstantial. I agree with those who find the soundtrack by the good Tiersen wonderful.

This is a low blow. Five. However, I just don't like the Coldplay cover at all.

Wow. I had missed such a well-written review and the 92 (so far) comments! Anyway, I'm truly not a detractor; I'm going to read this book with pleasure. My regards and compliments, Mr. wrecking yard owner. Now I'm waiting for the jab regarding the "Piano casa." In my opinion, the conclusion of the review is anything but sufficient and superficial. The truth is that today, television creates and shapes people in its own image and likeness. This probably happens everywhere, but in a country like Italy, where there is the peculiar anomaly of a south that endures in objectively "difficult" situations, especially on an economic level (culturally things are going badly everywhere - Acca Bi, in some southern environments there may be more awareness, but I guarantee you that here the "American nightmare" is unfortunately strong), and where all the televisions belong to the same person, the effects of media bombardment/dullness are certainly felt more violently than elsewhere. But the left isn't free from criticism. It's hard for me to talk about a left in shock. The fall of the Berlin Wall, Tangentopoli... were phenomena of a political and social nature that on the left (but also elsewhere) led to a real closing off of parties: they distanced the political class from its electorate. The left wanted to play the "game" on the same field as Berlusconi, ultimately ending up playing his game. Where are the parties materially today? Where do people meet in the evening to discuss politics, economics, philosophy, culture, society, football, or even just the backside of a pretty passerby (or a pretty passerby, lest I be accused of sexism)? The fate of the country is decided in gloomy TV salons not so different from the environments of "Amici" and "Grande fratello." Di Pietro seems like a good person, but returning to vote will be difficult since by continually retreating (centralizing?) we've ended up bumping our backsides against the clouds.

Greetings and respects to all courageous readers. Dearest sfascia, indeed I was a bit perplexed myself when I learned that in her case it was actually a model. Perhaps our Vendrame intended to add a bit of color to his story? Or is it really true that one cannot trust models [or perhaps the opposite]? Quite a few question marks, in short. geeno, in my opinion, there is nothing inappropriate about presenting your criticisms in such a venue. They are welcome, and hoping you can find comfort in my words, I respond to you. The game of football is, indeed, a game (which may or may not be liked), its rules - and its spirit! - are understandable even by Maurizio Mosca, many women follow football. And they obviously understand it... as far as there is to understand, because, yes, one doesn’t need a brain to follow the game of football. Luckily. Then it’s true that I don’t like D'Amico, but, I will tell you, I like Sconcerti even less... who doesn’t even have a sunny smile like his colleague. But let’s get to the heart of the matter: I find it bad taste for Mara Carfagna, in uniform, in one of the most devastated regions of the old continent and with "rank" of minister, to talk about real equality; I find it bad taste that Mara Carfagna is a minister. Furthermore - but this nowadays seems to have become a detail, a minor issue - I also find soldiers really in poor taste. With and without breasts. capitano, I only learned of your "vicentinità" yesterday (by the way, I wonder how relatively popular Vendrame is in those parts). "Una vita in fuorigioco" I haven't read - but at this point I will go looking for it. However, I have read "Calci al vento" and I must say that, although pleasant, it did not impress me as much as this.

Hello Rock Antologya, I certainly appreciate D'Amico's considerable physical qualities. But I'm a bit tired of a certain type of journalism: D'Amico, Vespa, Sconcerti, and Biscardi... Let's put it this way: let's say I don't really like a fair number of "television shows."

From the anthology, the comment number 6 from Rock Antologya. The review, however, piqued my curiosity quite a bit, doctor. As an admirer of the good old Isaac Asimov, I must say that the "colonization" of more or less unknown planets is a topic that has always interested and fascinated me quite a lot. I can only give you five. The ratings for the book are inevitably "deferred." Martian greetings to you too!

In this photo, Toto somewhat resembles Gigi Sabani. I will study the similarity with the man from Kiss. Nice review.

Imagine, LRS, we don't agree, but your observation is nonetheless relevant. After all, the film necessarily has its own timing to respect - and it's naturally up to the director to best represent each event and/or psychological growth of the character within the film's timeframe - Kowalski, all things considered, takes a lifetime to reach the (much longed-for?) redemption. The Korean War is in the 50s, and since then a good amount of time has passed (I wouldn't overlook the death of his wife, which leaves Kowalski in complete solitude, possibly pushing him to "change" in some way...). Bye!

An indispensable work by an essential director. Five.