Galakordi Urtis Krat

Thank you, happypippo, I also have a soft spot for Il Grido. mementomori your comment made me laugh (the compass in the eyes makes too much sense). Anyway, my critique is not directed at the slowness of the style (which I actually don’t mind at all, as it perfectly conveys the sense of emptiness, as you said), but at the "emptiness" of the characters. What I mean is, these are stories that have a strongly existential foundation, and this was certainly a new and commendable thing at the time (especially in Italy). Unfortunately, it is not enough to drive an actress to madness and have her ramble on for 2 hours while on her period to express a profound concept. It's a completely wrong approach. That’s the point. What annoyed me about this film is precisely the uselessness of the acting framework.

deDOLUZ, what did Sergeant Hartman say about rifles and their holes? Anyway, the review is really nice and moving. It's a film that unfortunately I overlooked (not that I haven't seen and enjoyed it). I'll make up for it as soon as possible.

utopia of good taste, I had managed to forget Rondi... I had even managed to forget Marzullo and his damn shitty show. a SATANIC lounge where an old man, a long-haired jacket-wearer, and some damn fucking "insider" Italian were blowing each other. no. now I will feel bad for at least three months.

I hadn't figured out the shocking ending of Lost Highway. Thanks, Tabba.

;-)

nothing personal, I'm referring to: 1) having seen it only once and expecting to evaluate it with certainty [while as a film it is quite retroactive, as well as very complex]; then you assert 2) "Honestly, I don't care if this film set new standards for the digital" [and honestly, how can you overlook certain things? In light of it all, one cannot disregard something like this; this is history in the making. The history of cinema is indeed made up of changes, inventions, syntax that evolves (I'm talking about language). Such a statement comes off as hasty and reckless. One must consider many aspects and think carefully before writing a review because I'm not talking about the site users who vote and engage in debate, but those who read the reviews from the outside get influenced, and it seems to me that there are no grounds for a well-rounded judgment if you assert that "you don't care"]; 3) saying it is an arrogant film is a confirmation of point 2. I assure you easy that I've seen arrogant films, and every day (especially in low-budget independent cinema) a ton of arrogant films come out. And this is not an arrogant film.

You're rambling about things you know nothing about. At least realize that.

thank you, tabba. I feel the same way. In the comments on the other review, I wrote that INLAND EMPIRE sets a new standard in digital filmmaking, and it's true. This becomes apparent even in the work methods of this film, and if you pay attention, you can feel this essence even while certain sequences are playing. Lynch himself stated in this regard: "This film is very different because I don't have a script. I've written things scene by scene, and many of them have already been shot, but I don't have much other than a few clues about how it will end. It's a gamble, but I have this feeling that everything is connected." To be clear... I get chills just thinking about something like that. He was (IS) truly great.

One cannot overlook Orson Welles.