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❝ It will be (surely) due to my obsolete/greasy mono-neuronal structure that does not allow me to appreciate the evidently substantial liaison between the clouded Visconti cinematic apparatus (Luchino, of course) staged in "Lo Straniero" (1967) [Anna Karina (Marie), Georges Geret (Raimond), and our own Mastroianni (Mersault, indeed)] with such red-cross [the dense Zurich coniferous forms Their upright habitat] as abominable, indigestible, putrescent, shapeless sound triad*; an unhealthy and not better-identified sound-marshland: the ancestral pantallassa flows copiously and (im)materially, murkily inexorable from the depleted speaker cones.
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