The references to the Renaissance of the great painters, to figures who left their mark on the 20th century \u2013Beckett, Man Ray, Bunuel, Eisenstein\u2013 to architectural models \u2013Hadrian\u2019s Villa, the Villa d\u2019 Este, the Capitol, the Vatican, the E.U.R.\u2013 from an ensemble in the film that pertains to \u201cSibylline discourse\u201d through the use of the double image. A discourse that is unpredictable, internal, mystical and most of all silent, one that foresees the end of innocence (part I), of indecipherable love (part II), of death (part III), of despair (part IV). But also with the masses being dispersed for centuries nowby the brutality of the powers that be, which leads the individual to isolation or madness. And at the end, the silent, despairing song of the Sibyl, in the shadow of the buildings of the fascist period (E.U.R.), signals her return as \u201cprophecy\u201d.<\/p>\n","protected":false},"excerpt":{"rendered":"
The references to the Renaissance of the great painters, to figures who left their mark…<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[981,976],"tags":[],"agentacat":[],"class_list":{"0":"post-2975","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-2004-en","7":"category-archive-en"},"acf":[],"yoast_head":"\n