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And if you've understood this simple concept, we can talk too, please don't respond with another sad little joke, it's not mandatory by law to appear obtuse.

Poletti, one must be able to afford sarcasm. But so far, you have always stepped back from any discussion, you’re not in the position to make jokes, do you realize that? If you want, the comment section is open, you can argue. Instead, you just end up making people laugh; you seem like someone who goes to provoke a fight only to flee at the first raised hand…

>>>I mean, was there a more enthusiastic ovation than the one for Elephant Man?<<< It's natural, a true story is better! Seriously, regardless of different tastes: you say, "There are tears or supposed such in more than a few points, moreover centered around a certain casual moralism here and there. Elephant is much drier, Merrick definitely speaks less." Now, where do you see the casual moralism? I see it in Elephant Man (of which I may have been a bit stingy in my rating, although I wouldn't give it more than a 3 out of 5, where 3 is a good film. I also concede that who knows, watching it for the fifth time I might change my mind, and although it seems so, I'm not being ironic saying this), and let me explain. In the film, everyone is led to side with the elephant man, who is unequivocally GOOD, with no psychological nuances. Those who attack him are unequivocally EVIL, equally without any shades: the whole thing is quite Manichean. This doesn't lead to any worthy reflection. However, the staging is undoubtedly good, as far as I remember. In A Straight Story, the character is much more nuanced and real, making him more human. He is someone who, for example, has killed a man. And maybe that's what makes me appreciate him (I would have talked about "empathy," if the tone of this message wasn't already too ridiculously serious, and also, I've never killed anyone) more than characters who are purely good or purely evil. Rarely have I seen aging so well represented in a film. Another thing: >>>It has a tragically TV-movie setup: pacing, images, and dialogues like a fiction<<< this, my dear, is truly absurd, really absurdly forceful: damn, a film that is incredibly slow, with landscapes and such photography) you call it a TV movie? Everything else is open to opinion and can be discussed, but this last point almost makes me believe that you watched a different film!

What a fucking great movie. Bette Davis is simply huge. Yet, by a hair, I might prefer Piano piano dolce Carlotta. Anyway, two thrillers that can truly be considered mandatory.

Congratulations Poletti, very nice review. I’m not a fan of Bertolucci, but I’ve heard great things about this one. And then Tognazzi is a great, I’ll watch it when I can.

The scene where Keitel jerks off in front of the girls in the car is not easily forgettable... for now, my favorite by Ferrara.

...but I guess it comes down to personal taste. Anyway, Lynch is probably one of the very few modern directors that I believe can already be included among the classics of film history.

One of the magnificent three, along with Lost Highway and Mulholland Drive. I like Lost Highway a little bit more of the three, as it seems to push even further in some ways, but Eraserhead is also tremendous.

I remembered Meyer, but not Waters... as for arteriosclerosis, what can I say, if not touché :D

Alright, the syntax of the post above is what it is :) Hi Trell, so you don't just watch Russ Meyer!