It All Comes Down to (or Looks Up to) Bach
di Manohla Dargis The New York Times
The jingling piano, the humming traffic and the prancing horse tap out separate if connecting songs in the beguiling nonnarrative film “The Silence Before Bach,” from the septuagenarian Spanish auteur Pere Portabella. You could say that these three make beautiful music together, though this observation doesn’t capture the contrapuntal complexity of the film, which unfolds note against note, scene against scene.
Born in 1929, Mr. Portabella helped produce films by Carlos Saura (“The Delinquents,” 1959) and Luis Buñuel (the Franco-freaking “Viridiana,” 1961), and started making his own in the late 1960s, at times in collaboration with other Catalan artists like Joan Miró. [...]
di Manohla Dargis, articolo completo (3568 caratteri spazi inclusi) su The New York Times 30 gennaio 2008
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