Esmeralda Ruspoli

Gloria 2022-03-22 09:02:28

Maybe it's because the thought of not wanting to watch "Cut the Belly" has already occurred in my mind, and I jumped into the theater but (as I wished) went to the wrong theater (the fault is not mine, the theater number on the ticket is wrong...), big The opening credits just ended on the...

Marge 2022-04-20 09:02:11

I have never seen such a movie, there is no criticism, no standpoint, just so light, and gradually become heavy, to reveal the paleness of love.
The film is not exaggerated, not obtrusive, not so much accidental, it is just like life. I even began to understand this emotion step by step, and when I...

Virgie 2022-03-27 09:01:14

The 9.6/10.0 trilogy, compared to the later work, added a lot of soundtracks to enhance the atmosphere, but continued its flat and soothing rhythm and time characteristics; the cold shots did not calm down for a long time, and it did not weaken Antonio. Nikki's representative, layered, and delicate composition creates a spatial effect brought by a geometrically beautiful picture. Combining the two, the emotions of the audience in the theater are easily brought into the characters and situations by Antonioni (although most of the people in the whole big bright cinema are sleeping), and he himself is still in a spectator. In the middle of the hall, he spoke eloquently. I thought that the ending would be the same as the later work, tending to distance and nothingness in silence; but in the handling of the close-up, everything has a temperature, and the Antonioni-style "coldness" is sublimated here. The slightly unattractive content is Antonioni's stubbornness, but in the constant blank processing, the modern humanistic and moral crisis and spiritual emptiness that can be extended to the whole human being, which are obscured and turbulent: This is where authorship comes from.

Leif 2022-03-23 09:02:48

Compared with Master An's passion, desire and spatial composition, Monica Vitti's beauty is even more amazing