Galakordi Urtis Krat

@azzo, I'm not talking about the structure of sentences and the language used, but about an endless series of errors and omissions that only complicate reading. And anyway, fuck off. @Poletti: come on, you can't be telling me that "Buongiorno Notte" is a film to be proud of, you won't tell me that Bellocchio's indignation for not winning the top prize "that time" was supported by a film worthy of such a scene. The fact that you then tell me that after Pulp Fiction, Tarantino needed to change professions says a lot about your understanding of cinema. A cult-like approach (too cult-like, I would dare say from a hysterical fetishist) that no longer exists in today's reality. Advocating for your own interests and defending various De Sica and Totò is something that does you credit, but 50 years have passed. I don't know your age, so I'll spare you the comment that your cult is "posthumous" (meaning you didn't experience it while it was actually worth venerating). Those who shrug dismissively at Tarantino's cinema, convinced they are defending the good name of something (serious cinema as well as themselves), have not quite understood the object of their own passion.

Tarantino criticized the average Italian film for the consistency of the usual plot elements: a boy coming of age, a girl coming of age, a couple in crisis, a journey for the mentally challenged. "Non ti muovere" contains 2 out of four. Not bad as a percentage. And anyway, yes, Tarantino is right, regardless of what Poletti says (who is neither a professional nor a film critic). He is right simply because these films lack creativity, the acting is formulaic, the direction is barely adequate, and there is virtually no willingness to slightly question the forms of representation. It should be noted that our production system is not industrial but mixes public and private funding methods, so the comparison with Hollywood is absurd and ignorant. Given these premises, Italian cinema should rely on different principles, but it doesn’t. Because it prefers to organize festivals to praise insignificant films like "Buongiorno notte” rather than truly rolling up its sleeves and doing what they did in Northern Europe, in France, and in Germany. Not to mention the influence that television (exactly, that fucking television) has on the style and forms of our cinema. The only real humus can be found in Italy in the territory of short films, and among young people who occasionally come out with a film that might win a contest but will never be distributed. P.S.: the review is poorly written but at least (perhaps by pure luck) I understood what you meant.

the unintentional comedy of this review is irresistible.

Beautiful Babel, one of the best reviews I've read lately. Personally, though, I would have preferred to see a development of the topics of your interpretation, which for reasons that are clearly due to desire (I don’t believe it's due to a lack of command of language or anything else) you included in parentheses. Great job anyway.

@supersoul: "Does Lynch gut the concept of plot? Then why does the reviewer bore us with their reconstruction of it?"... because every Lynch film is 100 percent Narrative. @The Black Angel's Death: I really like your reconstruction; you've practically brought all the pieces together. However, I would also add the interpretation of "I have the penis" at the end, which someone had said in a comment that the final chase with Fred's head moving in that way represents his death sentence, in the real world, for Fred himself. He is indeed on death row and is under medication for his "head problem." I think this interpretation is correct. After all the stages, Fred's journey comes to a conclusion; he is still trying to escape from the police ("they will never get him") for the murders committed, but the last image refers to his being executed in the electric chair right during that escape. Incredible film.

it depends on what one means by cagnara

After a year (now it's almost 5) in Bologna, I believe that the punkabbestia are the true future of the bourgeoisie. Fashion, conformity, dogs, and uniforms. Their (?) lifestyle makes perfect sense. Almost more cops than the cops themselves.

alessioIRIDE I recommend you get Porcile by Pasolini if you haven't seen it yet.

Great Sanjuro. If you hadn't reviewed it, I would have done it myself. However, you didn't mention that this film is practically a free reinterpretation and recontextualization (very sick) in a Miike-like key of Teorema by Pasolini. The difference/mirroring compared to Teorema is that the Pasolinian Visitor Q caused the family he inhabited to disintegrate, denuclearizing it, literally making it explode. Here, on the other hand, the visitor brings a disastrous family together by leveraging each person's weaknesses, highlighting with precise strokes their uniqueness, humanity, and unexpressed love. The ending of this film is, in my opinion, one of the highest moments of poetry achieved by cinema.

I'm sorry to say it, but the pleasure of listening to Korn today, and the tendency to reevaluate as worthy of mention and honorable the worthless pop trends, are typical traits of a generation of fans who, raised on a diet of insignificant albums and false idols, have lost the ability to distinguish good music from what is not. Even the systematic use of terms like "experimentation," "growl" (even "growllando"), and "pop" (in this case, actually defined as a merit) forms such a contradictory and crazy triangle that aside from acknowledging the inconsistency of this piece (the review), due to the established blindness of the reviewer, the only thing left for me to do, guys... is pray for you. Therefore, best wishes and much love.