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They're spamming me about it as THE best movie of the millennium, so on one hand there's infinite hype, but on the other it’s already getting on my nerves because I don't believe anything can be more beautiful than that masterpiece called Mulholland Drive. Anyway, I have to wait until next week.

She is stunning...

Bah, a little homework from Del Toro with a handful of politically correct winks for the Academy. It's not bad; the retro '50s atmosphere is pretty well done (great music), but it's really the bare minimum. I want back the artisanal, dark, and cynical Del Toro from Pan's Labyrinth.

Very, very beautiful film that has the merit of not being boring for a second in all its three hours of duration; absolutely commendable are the characterizations of Salieri and Mozart (although I would have liked to slap the latter after yet another hysterical laugh, maybe I’m still feeling the aftereffects of Depp's Mad Hatter... Lol)

Very nice as an intimate drama even though it didn't impress me that much. Anyway, oh he looks good in Bambi mode :D

For me, it's not much, although the refined direction of Wilder and the grace of Audrey are always worth mentioning. The first part is more beautiful with its tense veins from the attempted murder by the husband (the scene where Hepburn is at her father's house and must not be recognized is very beautiful), while the second part is much less interesting. It's precisely that first hour that makes me slightly prefer it over its brother 'Sabrina.'

A stunning documentary precursor to Apocalypse Now, capable of transmitting to the viewer all the burden of death and clear madness that accompanies the raft journey, a dark film with no consolation whatsoever. Truly remarkable.

The film is beautiful, the screenplay is well-crafted, and Gassman is divine... But I don’t know, the ending conceptually leaves me a bit perplexed, I can't quite place it uff.

Cool as it is, but what if Lynch had directed it?

Well, for me it's a great film, even though I've only seen The White Ribbon by Haneke (definitely one of the masterpieces of the 2000s), this one doesn't quite measure up even though Haneke always shows flair in telling stories with cynicism and elegance. I was saying, the writing isn't quite up to par, the opening is a bit too disjointed but in the second half it really takes off, especially in the confrontation between the grandfather and the girl who came out of The White Ribbon 😂 Ah, the opening shot filmed on a cellphone is very beautiful.