35mm, re-rating. A film that announces, to a great distance, his film on Bach, converging an idea of political intervention with an abstraction of the narrative modes and the subjects. Formalization is appealing, although sometimes there is a tiring rhetoric of movements. What most diminishes the film - which is quite interesting - are the dialogues and fictional situations, too comfortable and accordingly.
Impressive cinematography, especially camerawork and the use colours and shadows. It's best described as an experience: moody, surreal and poetic. Some unique and interesting ideas, great dialogues, however, while watching I felt the film lacks focus, a purpose and as a result it fails to deliver emotional impact...
no, I don't know who is who and what they are doing I just keep watching them doing stuff but at the end they do nothing, nothing never happened , I can relate nothing, I can't tell about the plot. just..... Barcelona. There were good moments,dialogue, atmosphere.. but when I think about the movie I don't know what to remember , so I realized I can't keep watching from where I left yesterday. it faded away.
You showed this film not that long ago (I gave it 5 stars). You showed this film a couple of years ago, maximum. Please note that I am protesting in general about the number of films you are repeating in a very short space of time. We don't pay our membership fees for endless repeats. If other members would like to comment, I would appreciate some support here.
This one went completely over my head (in a good way!) and there seem to be a lot of high-minded ideas vying for the attention of the audience, but here is what I picked up on: There seems to be a fundamental critique of technology on the one hand (TV and computers) and ivory-tower-intellectualism on the other hand. Both falsify truth and distort human nature. A real head-trip of a film. Multiple viewings required!
At times Warsaw Bridge is tightly focused, bursting with artistic clarity. At other times it unwinds and I found myself trailing behind Portabella like a puppy dog wanting to bound off in different directions. Opera on a crane platform in an ice warehouse? Still, when it works it is in the best tradition of European intellectual cinema. Think Fellini in the mid to late sixties and early seventies. I appreciated it.
If the mind finally concedes to the Big Meaning, the one we understand but can't convey, then conveyances are revealed to be farce at worst or, at best, indistinguishable components of the Flow from which Meaning arises. As are all experiences. Leaving no escape from purely base/shallow connections, or the seductions of solipsism, but through art & its moments of mutual understanding. That, or denial. Probably both.