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to shadowland.
to shadowland.
Last Update: 2018-02-13
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that took us into shadowland.
that took us into shadowland.
Last Update: 2018-02-13
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shadowland, shadowland, shadowland.
shadowland, shadowland, shadowland.
Last Update: 2018-02-13
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da sempre fare cinema è fare memoria, rievocare ingannandosi, regalarsi l’illusione di un senno di poi: il cinema dijohn skoogfa di questa ricerca un manifesto, e un inquietante rito esorcistico; raccoglie frammenti e si sforza di ricomporli in un ritratto fedele dei paesaggi della sua gioventù rurale. e’ una nostalgia dell’isolamento, dell’alienazione: e allora forse non c’è poi grande differenza tra il connazionale karl-göran persson, che in “redoubt” lavora per anni alla fortificazione di casa sua contro un’inesistente invasione sovietica, e gli scorci californiani di “shadowland” (inserito nel programma speciale “the golden night of the short bears”alla scorsa berlinale), che interpretarono luoghi esotici in vecchie pellicole hollywoodiane.
filmmaking has always meant making memories, recollection by self-deception, giving oneself the illusion of having a hindsight: injohn skoog’s cinema, this pursuit is both manifesto and exorcism, gathering fragments and piecing them together in the attempt to form a faithful portrait of the landscapes of his rural youth. it’s a nostalgia for isolation and alienation, and so perhaps there isn’t a huge difference between fellow countryman karl-göran persson, who works for years to fortify his home against the unlikely event of a soviet invasion inredoubt, and the californian glimpses ofshadowland(featured on the special program “the golden night of the short bears”at the latest berlinale), that were passed as exotic locations in old hollywood movies.
Last Update: 2018-02-13
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