Herman Hesse and the dementors with guitar I Pedro Vallín

This year's Oscar ceremony became a meta-cinematic event in which the awards ceremony itself formed a political discourse that wrapped in cellophane and gauze the hypothesis proposed by the great film of the year (also the big loser of the awards), Barbie, by Greta Gerwig and Noah Baumbach. Because the film is not mainly about the fourth feminist revolution or the pressure and obligations that the new patterns of femininity impose on women, which also, but above all about the unbound masculinities that feminism has fostered and the difficulties of reconstructing oneself from an egalitarian perspective that does not rest on cancellation or dominance. Therefore, the star of the matter is our troubled Ken (Ryan Gosling), who doesn't really know what to do and ends up fleeing to the past, not because the answer is more pleasant to him but because it is easier for him. Our fuchsia Ken is the antithesis of Robert Oppenheimer, the self-absorbed man.
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[@gimenaperez8615]

Qué buen análisis y gracias x el bonus track con tu consejo.
Aunque creo que la tengo clara, nunca está de más un recordatorio.
Saludos desde Bs as 🇦🇷

[@thema635900]

Fabuloso, Vallín

[@luislude78]

Simplemente brillante...

[@FJlii]

Good

[@ProfGizarte]

👏👏👏👏

[@primunnonnocere6504]

Y si encontráis uno de Pablo Neruda, también....Huid

[@FJlii]

Fuck