Cultural Tapestry: Exploring World Traditions and Trends
Blending Traditions and Modernity
Delve into the fascinating world where timeless traditions intersect with contemporary innovations in Milan Weekly Magazine's Culture section. Here, we explore the rich tapestry of global cultures, showcasing how ancient customs are being reinvented in the modern era. From the revival of classical arts in new-age forms to the fusion of traditional cuisines with modern gastronomy, our stories capture the essence of cultural evolution. Join us in celebrating the diverse ways in which societies around the world are bridging the gap between their historic roots and the fast-paced changes of today, creating a dynamic, ever-evolving cultural narrative.
Reflecting Cultural Identities
Raffaele Tommaso, the dedicated Culture Section Editor, is deeply passionate about fitness, foreign languages, and music. These multidisciplinary interests have inspired him to explore and share the diverse ways in which lifestyle can be expressed—whether as modes of living in a city or as reflections of one’s personality and identity. Through this platform, he is committed to highlighting for readers the trends and nuances of the extraordinary journey that life offers to all.
Together with Raffaele Tommaso, Alptekin Top—holder of a degree in Political Science, International Relations, and Development Cooperation—is our other esteemed culture editor. His passions range from international affairs to cinema, from travel to music. In this section, he will guide us through these cultural and life topics, taking us on a journey to discover remarkable individuals or explore the nuances of films that may or may not have been recognized by critics.
THE ROOM NEXT DOOR: ALMODÓVAR’S AMBITIOUS, YET UNEVEN ENGLISH-LANGUAGE DEBUT
Pedro Almodóvar’s The Room Next Door (La habitación de al lado) marks his ambitious English-language debut but falters in delivering the emotional depth and narrative strength of his earlier works. While Tilda Swinton and Julianne Moore shine with extraordinary performances, the film’s exploration of euthanasia feels restrained, with artificial dialogue and a lack of genuine reflection. A poignant quote from James Joyce—“... the snow falling faintly through the universe and faintly falling, like the descent of their last end, upon all the living and the dead”—highlights the fleeting beauty of the film but also its inability to fully connect with its profound themes.