Aria the Crepuscolo

Das ist nun schon fast fünf Jahre her, seitdem ich Neo-Venezia das letzte Mal gesehen und die wunderbare Atmosphäre und Entspannung genossen habe, die diese Reihe einem Menschen bringen kann, und so hätte ich es fast vergessen... Aber die Erinnerungen kamen schnell wieder, denn auch dieser neue Film hat immer noch die altbekannten Eigenschaften, die mir Freude bereiten, alles über die Gondolieri zu sehen. Es sieht gut aus, es hat eine wunderschöne und magische Kulisse einer zum Teil überfluteten Stadt, und einige der Szenen hier sind einfach atemberaubend. Kurz gesagt, mit der visuellen Seite hat sich hier jemand ausgetobt. Die Musik ist ausgezeichnet, sie macht einen sehr angenehmen Eindruck, beruhigend, ich würde fast sagen, heilend für die Seele. Die Geschichte hat ihre interessanten Punkte, obwohl es mir so scheint, dass es im Grunde immer noch dasselbe ist und dass zumindest ein Thema dieser ganzen "Aria-Reihe" vielleicht etwas übertreibt, aber bisher gefallen sie mir immer noch ganz gut und emotional funktioniert es bei mir. Als Ergebnis also ein angenehmes Schauspiel, ein angenehmes Erlebnis - einfach etwas, das mich jetzt wahrscheinlich gut schlafen lässt, was ich lobenswert finde. 8/10 (29.08.2021)

As always, I have conflicting feelings about the straightforward Aria, which mix together about as successfully as mercury and water. On the plus side, it has a supremely powerful relaxing effect with an up to a 99% soporific success rate, it focuses heavily on documentary-like, almost intoxicating scenery of the city and its surroundings, fans of the letter A will be delighted (only the biker Woody oddly stands out, and not just because of his hairstyle), and the endless goodness of the people here makes the purpose of police and jail meaningless. I don't mind that the universal evil will be most allergic to this ripoff of Venice, but on the negative side, the same allergy applies to the depth of the characters, the humor, and the plot (whereas the 3rd season, Origination, was a pleasant surprise and for that reason alone is by far the best in my eyes). Anyway, anyone who ever gets to see this film must have been through the original series and therefore these aspects can't surprise them in any way and the viewer knows what they're getting into. Even so, it's quite unfortunate that the main "stumbling brick" (I'm not going to use the tired "stumbling block", because that would actually be excessive for describing Aria's problems) is almost identical to the one in Avvenire, namely the friends finding their way back to each other after not even a misunderstanding, but just because of a strange and banal disparity of feelings that could never cause any kind of disagreement anyway. Normally, I would forgive Aria any reason to take a scenic ride on the gondolas again, gaze at the quite charming streets of Neo-Venezia (and at the same time not to have to see the prudish President Aria or to avoid the altogether hollow caricatures), but please don't make the girls bigger drones in such an unpleasant and already repeated way. The proof of this mediocrity is ultimately in the fact that the flashback from Origination, which I love and know so well, was the part I enjoyed the most. For sure J.C. Staff managed to dust off the visuals and take it up a notch in quality, though even by the end they were losing their grip on it and the character of clumsy Athena started to get proper and uncharacteristic fan service in there, but that can be forgiven for the minutes that had come before in terms of aesthetics. Overall, though, I was sadly unconvinced by Crepuscolo (not much of a title, eh?), leaving the letter "e" in the title quivering lest it be replaced in full irony by the much-loved "a" so beloved by Aria, and in the final reckoning, this episode definitely bored me rather than pleasantly rocking me. A weak 3 stars. (08.09.2021)