"All this he saw, for one moment breathless and intense, vivid on the morning sky; and still, as he looked, he lived; and still, as he lived, he wondered."

MIdnight Man

Non è male questa miniserie televisiva inglese con James Nesbitt (ricordate Jekyll?).
Max Raban è un giornalista in disgrazia che, dalla perdita del proprio lavoro a seguito di un illecito professionale perpetrato per motivi di coscienza, ha sviluppato un’acuta fengofobia, la paura della luce del giorno. Passa quindi le nottate a inseguire notizie scandalistiche cercando le sue notizie nei cassonetti dell’immondizia, finché non si imbatte in qualcosa di grosso.
Complotti politici ed economici, omicidi che sembrano incidenti, inseguimenti, immondizia rovesciata, pallottole in fronte, orsacchiotti di pezza. Il tutto in una deliziosa atmosfera crepuscolare, con cassiere di notte e strade deserte, ed un’abbacinante luce del sole che a tratti irrompe, facendo chiudere gli occhi.
Consigliato a chi ama i thriller, ha amato il Jeckyll folle e sensuale di James Nesbitt e non disprezza un po’ d’adrenalina e d’azione mescolata ad atmosfere sporche e languide.

books and literature

Ioanna Papadopoulou’s The Castaway and the Witch

I had a genuine “oh shit” moment when I read the author’s preface saying this was darker than “Winter Harvest” because – and I absolutely ADORED “Winter Harvest” – that was pitch-black dark. I thought “we’re all going to die”. This maybe has something to

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Summertime

The Path You Have to Sing

Alexis Wright‘s Carpentaria, an epic work set in a fictional town called Desperance, opens before there are any people in it at all: an ancestral serpent, “a creature larger than storm clouds,” descends from the stars and drags itself across the wet clay of the

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movies and tv

But for pursuit of virtue and of knowledge

I’m sure you’ve read enough analysis of Nolan’s Odyssey to last a lifetime, and you don’t need another European ranting that he changed stuff, so I’m not going to. Instead, I’d like to talk about the movie in itself, as an independent work, granting the

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2 Comments
  • Njord
    Posted at 19:05h, 05 June Reply

    atmosfere sporche…in ke senso? ;-P)))

  • Shelidon
    Posted at 13:53h, 06 June Reply

    Beh, ‘sto tizio rovista nella monnezza di mestiere, vedi un po’ tu

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RELATED POSTS

Ioanna Papadopoulou’s The Castaway and the Witch

I had a genuine “oh shit” moment when I read the author’s preface saying this was darker than “Winter Harvest” because – and I absolutely ADORED “Winter Harvest” – that was pitch-black dark. I thought “we’re all going to die”. This maybe has something to

Read More

The Path You Have to Sing

Alexis Wright‘s Carpentaria, an epic work set in a fictional town called Desperance, opens before there are any people in it at all: an ancestral serpent, “a creature larger than storm clouds,” descends from the stars and drags itself across the wet clay of the

Read More

But for pursuit of virtue and of knowledge

I’m sure you’ve read enough analysis of Nolan’s Odyssey to last a lifetime, and you don’t need another European ranting that he changed stuff, so I’m not going to. Instead, I’d like to talk about the movie in itself, as an independent work, granting the

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