Galakordi Urtis Krat

if I find that site I’ll link it with a comment

Poletti, you make me laugh. You wouldn't use the same words from the comment even to describe the sneakiest of the worst cunning films in history. I'm astonished. But then again, all I can do is reiterate my "rightfully."

too bad, dotCAZdot, that Dear Wendy is not by Lars Von Trier. aside from this detail, the film in question (like many others by Von Trier) is absolutely UNMISSABLE for all lovers of cinema, of TRUE cinema. contemporary, dry, aware, devoid of useless bullshit, intelligent. characteristics that rightly clash with the tastes of the majority of the audience. and I reiterate the rightly, and thank goodness for that.

Grand and engaging live, the singer speaks perfect Italian. The music they make is excellent, not to mention the drawings/illustrations, all seems to be the singer's work. There's a website that collects quite a few of them. Spectacular.

You've piqued my curiosity. Well done. I'll try to get it as soon as possible because I still haven't seen it.

you brought up all the elements related to the "showy" aspect of cinema (visionary, rhythm, suspense, and inventions), and that's precisely what I criticized about this film. aside from the aforementioned scene, I reiterate that this is a shallow and showy film, nothing more.

Silly, didn’t you read that in the comment I wrote, among other things, "plot aside"?

Personally, I echo and endorse Lostinspace's comment, and I add that I sensed and understood Giovanni Lindo's change from the very first listen of this album. A die-hard fan lent it to me; I listened to it and was left stunned. The lyrics and music create something that is absolutely puritanical, false, stale, and unbearable. Totally out of touch with the world, like Lindo Ferretti, who has definitively lost his mind with self-imposed exile in the Tuscan-Emilian Apennines. Not being able to look at the present might eventually pass, but taking refuge in a past filled with names of characters, geographical locations, ideologies-called-by-name, ghosts of things that no longer exist, and serving up nonsense with the faint smile of someone who has become wise—no, that's just not acceptable. The last time I saw them was in Bologna last year. Horrendous concert. A pathetic and calculated show, and it seemed they were just waiting for their own concert to end. I'm sorry to say these things because I was a fan of CCCP, less so of CSI (whom I find somewhat hypocritical, aside from the magnificent monumental immense "in quiete - live"), and let's not even talk about PGR. You can sense certain things when you listen to a song that communicates NOTHING to you aside from poses, standards followed out of sheer inertia. Ask Giorgio Canali what he thinks now…

They talked about it so much that I got excited. Then I saw it. And I found it unbearable. In my opinion, plot aside, acting aside, it's a gratuitous film and, as we say in Bologna, "sborone." Every shot is a demonstration of technique so self-indulgent that at certain moments it even approaches nullity and childishness. I really don't know what else to say about this film. The long take and, in general, the whole scene of him smashing the goons with a hammer in the hallway is anthology material, but what else is there? The same story could have been told in an excellent short film of twenty to thirty minutes, and there it would have truly made an impact. As it is, it's just a film that continuously lingers on the technical prowess of a director with all the possible and imaginable resources at his disposal. And frankly, that's just not enough.

Excellent film. Definitely one of his most beautiful and metaphysical, as well as the best of the trilogy "l'avventura", "deserto rosso", "eclisse".