Bob david

‘SUPERGIRL’ has landed in Rio de Janeiro. Promotion for the film has been spotted at Copacabana Beach.

I think I finally understand what is wrong with Nolan: his universe is adverse to myth. It is made entirely of causality, and causality alone. He may be the most gifted filmmaker working in big-budget Hollywood today. But he is going to crash on myth the way sailors crashed on the rocks below the Sirens. When I criticized the teaser, I was told: wait for the trailer. When I criticized the trailer, I was told: wait for the film. Then I read the two-hour interview Nolan gave to Time Magazine, and something clicked. The tell is in a detail Nolan offers with obvious pride. He found a solution to what he saw as a narrative problem: why would the Trojans believe the horse was empty and drag it inside their city? His answer is to make the horse half-submerged, sinking into the sea, so the Trojans would rescue it rather than accept it as a gift. It is a solution to a problem that never was one because it is a myth. The Trojans bring the horse inside because it is a gift and it has wheels. The poet tells you something plainly impossible with the same tone he uses to describe the sunrise, and in doing so he is signaling that the level of reality goes beyond mere causality and exists on other levels. He is the kind of guy who would explain that Santa can fit through the chimney because he designed it wide enough from the start, using proper construction methods and reliable materials. And then explain how the reindeer are fed to sustain that much effort in a single night, and how Santa elaborated a clever logistics route to deliver all the gifts on time. Watch him justify the armor despite its fantastical look, or explain the absence of orchestra because there was no orchestra in Ancient Greece. There were no IMAX cameras either, Christopher. A simple authorial act would have sufficed: because I like it better that way. That honesty might have opened a door out of causality. This narrative prison is precisely why people eventually seek out avant-garde and experimental cinema, why they feel something release when causality finally breaks. Because causality is already the weight of our ordinary lives. As long as Nolan stayed away from myth, his causal world of mirrors and clever tricks and puzzles worked beautifully, sometimes brilliantly. But this is something else. This is the gut of myth. This is the Dionysian spirit of mud and blood and the salt of the sea. This is the beautiful lie that makes you erupt with sacred joy.