Gran Torino is the 1972 Ford muscle car....

... that gives the film its title is preserved museum-like in his character's garage, glistening in mint condition beneath its cover and getting out into the open only for washing and maintenance.


Clint Eastwood tells the story of a grizzled Korean War vet's reluctant friendship with a Hmong teenage boy and his immigrant family.


Set in contemporary Detroit, GRAN TORINO tackles the shifting cultural and economic landscape of not only the Motor City, but America as well.


Eastwood stars as Walt Kowalski, an unabashed bigot who never heard a racial insult he didn't love.

Bitter, haunted, and full of pride, Walt refuses to abandon the neighborhood he's lived in for decades despite its changing demographics, Walt is forced to grapple with the world around him.

GRAN TORINO's approach to the complicated issue of race relations is equal parts Archie Bunker and CRASH. That is to say, there is nothing subtle about Walt's intolerance, yet his misanthropy knows no bounds, and Eastwood does a remarkable job of finding the humor in Walt's equal opportunity racism.

More than simply a racial morality tale, however, GRAN TORINO is about the unlikely bonds that people form to navigate the subtle complexities every day life.

Palermo Shooting - Wim Wenders

Una perfecta unión de imágenes y música, con contenido.

Encontré una critica en internet que me gustó, aqui van algunas frases.

In Palermo, we feel to our bones the confusion and loneliness that Campino experiences, through the powerful and beautifully composed shots and music that follow him as he comes to grip with Palermo and his own ghosts.


Wenders presents us with incredibly varied and well chosen music and introduces the very 'of the moment' use of the ipod to deliver the tracks to coincide with the central character own moves. This concept on its own is not just a clever device but a subtle social comment, at which Wender's has always been good.

It says an awful lot about modern man at the cutting edge enjoying a successful professional life, surrounded by every possible gadget which help him and control him at the same time. All the props that define Campino's character are desirable, from the 360 degree rotating camera to the beautiful classic car. So, even the way he wanders through Palermo's old streets make the film ultra modern, and breathtaking. Here Wenders is in top form in the composition of his scenes and juxtaposition of cultures and ideas.


The story of a self centred and successful man who, after having had a near death experience,goes through a live changing crisis is is indeed not new and has been tackled successfully before, BUT Wenders goes a step forward and in a original,and comic too, way makes his character and DEATH confront each other once more, keeping his lead, and us, always on the edges of reality.

With Palermo Wenders is, as usual, on the pulse of things, he has always been a very different type of storyteller who can say as much with a few words, than without, and here he achieves both beautifully. The fabulous and original use of music combined with astonishing cinematography and pace takes us on a remarkable 'voyage'. Thank you Mr. Wenders