Death Proof

The definition of a 'cinephile' work should be invented for this film, part of a project, or rather a cinematic adventure by the Rodriguez-Tarantino duo that takes up the grindhouse model to pay homage both to this form of second-run cinema and to the genre of b-movies that are so much a part of Tarantino's imagination in his other works. The love of detail, the choice of recreating the incidents without the aid of CGI, which is also emphasised by some of the jokes in the film, the creation of a 1970s film atmosphere with such strong female protagonists are a perfect mix, in my opinion, to make concrete a passion for a certain type of cinema that can be seen again in other authors such as Wright, enhancing the story and certain visual models. For me, in spite of everything that has been said about this film, including Tarantino's own words, it remains one of his best films for a whole series of reasons, above all a Kurt Russel, a myth of the alternative action cinema of the 1980s from the most innovative authors of New Hollywood, monstrous in his acting and desecrating in every sense in the interpretation of his role, one of the most interesting villains in the history of cinema.