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In my opinion, the most beautiful of Battiato.

Excellent demonstration of how Alice is a true interpreter of her craft, even without considering the stylistic choices I greatly appreciated from Park Hotel onwards. Her interpretation of the Prospettiva Nevskij is beautiful.

They are beautiful. Tomorrow I'm going to shoot the next two and I'm already dripping.

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I knew L'Aura having only listened to bits of her "fause pausinizzata", let's say, but I had always read excellent words about her first two works; impressions that are confirmed, she has the talent, the melodic inspiration is there too, the dreamy atmospheres are well-executed, and in general, it's a pleasant, fresh, and satisfying pop, far removed from the slack rhythms of today's popstars' radio singles (Giorgia brrr) even though personally, the effect it has on me is a bit whiny, but oh well.

Stunning film, capable of creating a creeping, tense, and horrific atmosphere with just a chilling glimpse of early 20th-century slice of life and visual suggestions that remain off-screen for the viewer. The open ending at the moment left me mega disappointed, but in hindsight, I find it almost genius.

Anna Magnani simply extraordinary, it may be a cliché, but the poignant and intense final glances she casts at the audience are truly worth more than a thousand articulate words. A noir film without hope in portraying the Roman suburban class, with a rough and exquisite atmosphere.

Very nice for showcasing all the seeds of themes and stereotypes that Miyazaki will later explore in his films with more maturity, from the irreconcilable conflict of science vs. nature, the (beautiful) flying sequences, to caricatured characters who are never truly good or evil. The story, while charming, never really engaged me except for the attack of Industry on Lana's island, where I noticed an exponential improvement in the overall quality that was practically constant, and the episodes become as tense as a violin string (except for episode 20, which is directed by Takahata and is quite melancholic and beautiful in its stillness). Some beautiful visual suggestions foreshadowing the visionary genius of Miya are present, like the tsunami scene, the bucolic and "raw" landscapes, the dome of Industry and its related illusion, and the sinister artificial forest that Lana traverses. Very beautiful. Overall, the viewing experience remains pleasant; there’s some scattered naiveté here and there (after all, it’s still a series for kids), but nothing disturbing. Nice series, although for me the gem of Nippon remains Akage no Anne (even if we’re talking about diametrically opposed genres and styles).

Extraordinary compositional sensitivity and a very high emotional rate.

For me, a beautiful, engaging, and "fresh" album, five excellent compositions supported by a sinuous harp and Joanna's vocal rides, blessed with a clumsy yet absolutely melodious voice.