When Dalí cut off the lace of his shirt, put on a suit with a small bow tie, cut off his ear-length hair, and combed it into a big, shiny back, everyone went for a drink. A beauty lying drunk, with a white face and red lips, is not unattractive.
Poetry at dinner seems to have magic. The happy time on the beach vacation brings a lot closer, and it is also the inspiration for artistic creation.
But Dalí is resistant to further intimacy, and 3P is really shocking.
When Dalí's mustache appeared, the two were already estranged. Years later, when Dalí's beard cocked up, it was a no-brainer.
The poet threw himself into the historical river of the Spanish republic, and the painter was an oddly successful painter. Early collisions are like dust annihilation.
The narrative in the first half of the film is fairly coherent, and in the second half, a lot of black and white pictures are inserted, I don’t know if it’s imaginary or borrowed from historical film fragments. The Spanish director seems to be particularly fond of the film within the film. However, the insertion in this one feels more blunt.
Some shots are still lovely. The poet's actor is good, and his emotions are well grasped. The painter's lines are weak in the film, that is, they are not in harmony, and they are not weird. But his performance is still explosive.
View more about Little Ashes reviews
