MrDaveBoy73

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already "But water is not the main element, the omeomeria of the album. At least, not more than air. Of the wind bent over the crystalline waves" deserves three stars. (I love philosophy, the writings, the music that recalls it well, in a significant way) beautiful DeRece, well written too (I don’t know the album yet) but you intrigued me a lot, even the fact of encountering almost only idiots.. (I will try) to remedy as soon as possible, now I’ll note it down, Fleet Foxes. okkei. .D.

DeRece could have been more specific, Blanchett and Paltrow deliver excellent performances, but I didn't find Albarn (I hope he has an "R," otherwise feel free to stone me) that impressive. Jude is brilliant; I still remember him photographing (pointlessly and no longer) human beings, killing them, creating the right set and capturing them on daguerreotypes in "Era Mio Padre." I wrote "Great film" simply because I've seen it a few times, so for me, DeRece is fine as it is. I really appreciated and savored the slow yet continuous and lethal crescendo of his change (compared to the reality that remains what it is) and the rhythm of the film, which is very...very...

How beautiful it was when you could take on another identity... in the purely contextual sense that can only change through lying and killing; it's a slow war among them, maintaining the mask, rather the identity (which he will ruin because Jude's role is as if D. were slowly eclipsing the sun, eclipsing the desire to live, to laugh, to enjoy life, which will become a continuous risk. I noticed many facets of consciousness (which provide symmetry to the strong change he enacted, the rest of the world, the reality that he cannot transform but continues (with the results we know) to do to himself. The world keeps sending him messages, like the female figures, but he MUST continue with the Risk and the Error (because he cannot really fit in, a PROTAGONIST AT THE MARGINS, but the life he has taken is too beautiful, seen from the outside...) that he has already committed and goes all the way with the women, like a Dorian Gray in the sunlight, which seemed a bit implausible to me. The rhythm of the film is fine, but the subject is very complicated for a film that adheres to reality; however, in those years and with the premises - there's (almost) no one who can unmask him. Still, he well developed from a lost American to a cynical murderer, with that "almost" that scares him; you can feel the fear of being discovered quite a bit. I would have reversed the roles between Law and Albarn, since Law is a better actor. In fact, I would have removed Albarn. Fiorello is sold from birth; I remember when those little stands outside cemeteries, or simply on the streets, appeared. Someone passed by, took one (stolen), lacquered it to keep it as it is, then sent it to do?? (I can't exactly define what Fiorello does).

great movie.

work

but why this massive argument??

Didn’t they find Moro on Via delle Botteghe Oscure? It comes to mind, but I could be wrong...

I adore Benni, the best anyway selon moi are "Il bar sotto il mare" and "Terra" and "Elianto" with the map of Noon and the magic chestnut....the map of another world reflected in its shadow....

@[Caspasian] She is my brain translator :)

damn I can’t find it but I know it’s crazily real in its Pasolinian dichotomy,