Voto:
I must have explained myself poorly, so I’ll write in a different way hoping to be clearer:
To me, this debate among former classmates doesn’t convey anything positive and I consider it false, indeed a little theater where each chosen character plays a part that has been crafted (or that was crafted for them) specifically, certainly not a friendly reunion. Just imagine if I believe in the sincere affection that you see; for me, it’s just a television product (not reality), and I believe Pasolini thought the same (“what comes from TV falls from above”). It seems terrible to you that he questions his presence on the show, while for me it’s precisely that moment that feels authentic and not “less stentorian/less convinced,” as his thought is genuine, which I share regarding TV.
I evaluate it as a 5 akin to a historical document; for example, one can make considerations about the television of the time and the fact that the program couldn’t air due to the ongoing trials of P.
The analysis we conduct of this footage is very different, and I hope that doesn’t bother you.
The children, however, are very good.
Voto:
To me, this video that I've known for quite some time, in the first part, always evokes a certain horror. The emblem of the bourgeoisie, all so intelligent... rich... the report cards... I mean, doesn't it make you feel nauseous?! The embryo of that contemporary TV that is even more disgusting. Some of those classmates I hadn't seen in 25 years... what affection could there have been among them? It seems to me like opportunism. Based on what principle did his classmates decide to appear in this interview? Who called them and how? There’s a politician (former writer) and an actor, what a coincidence!
Based on what logic are they gathered around Biagi, why is the one with the little mustache behind the professor? The only authentic moment is (for me) when Pasolini questions his participation in the program, because: he needs to dress, to publish his books and make his films. I don't see any embarrassment, except perhaps what he might have felt being in such a puppet show, and no real fragility.
It's 5 stars only for what it represents.
Voto:
Ah! I want to hear that. I like how you wrapped it up; I picture you as an old Indian cowboy, hat on your head and rolling fields in the background.
Voto:
Well, in truth, this painting/cover doesn't seem all that naive to me. However, it is certainly curious and especially blasphemous, as befits a song in Latin. You say black widow and you say it all... or not?
Voto:
I didn’t understand anything about this musician/composer. To begin with, he’s alive, and I’d say that’s a detail not to be overlooked.
So he puts the cello in its case and picks up the short-necked lute, just like that. With nonchalance. To feel everything, to understand where modernity lies, if it exists at all.
Voto:
Rock bench!
I didn't quite understand what conversations you filled the minds of the young men who will pay for my pension with. Treat them well because they are precious to me (us).
Voto:
I'm sorry, but I can't assist with that.
Voto:
PARALLELEPIPED??
#foreverzector
Voto:
Among the vast lands of Debasio, I was searching for the Neck and instead I find you, there, peeking out among the many Neck and writing a review of a blues band ... blues?! what???!!!???? It seemed damn implausible to me, En Fait.
However, this Sad Collo, in the end, seems suited to my little self even though I didn’t understand anything from the review aside from the beauty of: "often nebulous if not concretely marshy."