By Pedro Emilio Bernal Segura
-Initial Sequence.
Somewhere [In a corner of the heart] begins with a Ferrari around in circles to fool for a period of approximately 5 minutes (maybe more, I do not think less.) Under the guise of allegory from the tedium of existence, Coppola denotes a metaphorical attempt to claim its minimalist (maybe your ass covered with pink panties Scarlett was a metaphor in Lost In Translation and I have not understood). Miss soypretenciosaporquemelaviviayvivoenelsohoyenunosañoshareunfilmsobreeso
was reveling in Antonioni and Ozu believing therefore capable of with little or nothing to say everything, but it still has a life to even be comparable to those quoted above.
The scene is one of the most obvious metaphor I've had the pleasure of observing, at the level of the rat at the end of the infiltrators or like this, but no less effective. The idea of \u200b\u200bthe film immediately raises his tired repetition in the length of the camera scene aesthetic transmit the despair that our main character lives. 5, 7 or 10 minutes are it, we can empathize because if our daily life has not finished with our spirit that scene makes us smaller scale Johnny Marco.
-Twilight at the heart of verisimilitude.
the middle of the last when we face the father and daughter, played with surprising ease by Elle Fanning, in the midst of a relationship because of season that have been forced to share a detailed look tiny but of greatest importance.
She explains what she was reading with much interest to the poolside. The story of a young hot you can not fuck her boyfriend because it crosses PAN and apart which is a vampire. The girl is a fan of Twilight and it tells about his father who listens with interest, now that detail is absurd and irrelevant one of the greatest successes of the Coppola film. This talk is the clearest evidence yet of the new relationship between father and daughter ephemeral. When sharing the smallest details of life with an interest in speaking as much as the listener is really when the relationship matures.
The other value of this element is naturally reflected that scene. Credible and multidimensional ago our characters. With this dialogue all Somewhere naturally fills.
If not done in the movies, at this moment while reading can stand up and applaud.
tiny detail that I remember and there todomundo worth. The absurdity of this comment is valid, provided the necessary touch of triviality to create a credible environment.
And under the same lines, another highlight. The film does not present two opposing characters who end up bonding. None of stereotypes. It's just a guy, lost and tough as any other and a girl who just is, and ends up having a good time, no links, no catharsis, no independent film clichés ... fuck
Mero nihilism.
-Blackberry as an expression of the unconscious.
SMS receiving our main character. As inconsequential, and never explained. A reflection of their unconscious hatred channeled self schizoid harassment. Either that or Chris Pontius fucked just for fun. Pitiful performance of the latter who is unfolding far from what, for its part, has been the best performance of his career:
-Ferrari for a circular closure.
Our characters end up the same or worse as we see the beginning of the film. In conclusion Sophie goes back to his character and his Ferrari starts aimlessly. No longer run in circles, looking worse now have more direction does not.
The bond that was created has been broken. No continuity. Life is not better. The feeling worse. It, too. The demand far can avoid it. Everything remains. The everyday and ordinary that it eats to the shore to take our Ferrari to take us somewhere, anywhere where q less where this self. A fuck your mother the world
Change? "Transformation?
No, just maybe a change in search of a new life less banal, with good and "transcendence" and others ... that or there is also the loss tangent in absolute nothingness, because what could be worse?, If one has has had one foot in her lifetime.
And yet dare to say that they deserved the Golden Lion?
Do you really think that this prize was won with their sexual attributes? Should
Shame.
-Initial Sequence.
Somewhere [In a corner of the heart] begins with a Ferrari around in circles to fool for a period of approximately 5 minutes (maybe more, I do not think less.) Under the guise of allegory from the tedium of existence, Coppola denotes a metaphorical attempt to claim its minimalist (maybe your ass covered with pink panties Scarlett was a metaphor in Lost In Translation and I have not understood). Miss soypretenciosaporquemelaviviayvivoenelsohoyenunosañoshareunfilmsobreeso
was reveling in Antonioni and Ozu believing therefore capable of with little or nothing to say everything, but it still has a life to even be comparable to those quoted above.
The scene is one of the most obvious metaphor I've had the pleasure of observing, at the level of the rat at the end of the infiltrators or like this, but no less effective. The idea of \u200b\u200bthe film immediately raises his tired repetition in the length of the camera scene aesthetic transmit the despair that our main character lives. 5, 7 or 10 minutes are it, we can empathize because if our daily life has not finished with our spirit that scene makes us smaller scale Johnny Marco.
-Twilight at the heart of verisimilitude.
the middle of the last when we face the father and daughter, played with surprising ease by Elle Fanning, in the midst of a relationship because of season that have been forced to share a detailed look tiny but of greatest importance.
She explains what she was reading with much interest to the poolside. The story of a young hot you can not fuck her boyfriend because it crosses PAN and apart which is a vampire. The girl is a fan of Twilight and it tells about his father who listens with interest, now that detail is absurd and irrelevant one of the greatest successes of the Coppola film. This talk is the clearest evidence yet of the new relationship between father and daughter ephemeral. When sharing the smallest details of life with an interest in speaking as much as the listener is really when the relationship matures.
The other value of this element is naturally reflected that scene. Credible and multidimensional ago our characters. With this dialogue all Somewhere naturally fills.
If not done in the movies, at this moment while reading can stand up and applaud.
tiny detail that I remember and there todomundo worth. The absurdity of this comment is valid, provided the necessary touch of triviality to create a credible environment.
And under the same lines, another highlight. The film does not present two opposing characters who end up bonding. None of stereotypes. It's just a guy, lost and tough as any other and a girl who just is, and ends up having a good time, no links, no catharsis, no independent film clichés ... fuck
Mero nihilism.
-Blackberry as an expression of the unconscious.
SMS receiving our main character. As inconsequential, and never explained. A reflection of their unconscious hatred channeled self schizoid harassment. Either that or Chris Pontius fucked just for fun. Pitiful performance of the latter who is unfolding far from what, for its part, has been the best performance of his career:
-Ferrari for a circular closure.
Our characters end up the same or worse as we see the beginning of the film. In conclusion Sophie goes back to his character and his Ferrari starts aimlessly. No longer run in circles, looking worse now have more direction does not.
The bond that was created has been broken. No continuity. Life is not better. The feeling worse. It, too. The demand far can avoid it. Everything remains. The everyday and ordinary that it eats to the shore to take our Ferrari to take us somewhere, anywhere where q less where this self. A fuck your mother the world
Change? "Transformation?
No, just maybe a change in search of a new life less banal, with good and "transcendence" and others ... that or there is also the loss tangent in absolute nothingness, because what could be worse?, If one has has had one foot in her lifetime.
And yet dare to say that they deserved the Golden Lion?
Do you really think that this prize was won with their sexual attributes? Should
Shame.
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