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The Holy Girl (Lucrecia Martel, 2004, Argentina/Italy/Netherlands/Spain)
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The Holy Girl (Lucrecia Martel, 2004, Argentina/Italy/Netherlands/Spain)
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The Holy Girl (Lucrecia Martel, 2004, Argentina/Italy/Netherlands/Spain)
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The Holy Girl (Lucrecia Martel, 2004, Argentina/Italy/Netherlands/Spain)

Source: puntoslunares

6the holy girl, la nina santa, lucrecia martel, mercedes moran, carlos belloso, felix monti, screencap, seen, medium,

Freedom is not having a big budget.

Happy Birthday, Claire Denis.

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6claire denis, happy birthday, heard, quote,

(via simonfoxton)

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6felt, medium,

vintagemaleerotica:

Handsome young man. Private photo.
1920s

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6sexy, felt, medium,

A Film in a Minor Key: Paul Thomas Anderson's Magnolia f

When I think about Magnolia, I first think about the cosmic improbability of the relationships featured therein, and a quick story about an equally improbable set of relationships helped me approach and unlock this film that I’ve been returning to for over a decade now. Perhaps I can’t say why Magnolia made such an impact on my filmic landscape. Maybe it was coincidence, or chance; maybe it “just happened” that I first saw it in a darkened dorm room at the rare invitation of a group of older students, but watching the stories of these characters made me feel like I was leaving one part of my life behind and entering into a new phase. It felt like so much more than coincidence.

Andrew Root, BW/DR

Source: brightwalldarkroom

6magnolia, paul thomas anderson, bright wall dark room, bw/dr, said, large, link, andrew root,

thinkmexican:

Farewell, Gabo

Colombian Nobel laureate Gabriel García Márquez died at his Mexico City home on Thursday. He was 87.

García Márquez lived the majority of his adult life in Mexico after first moving there in 1961 while in political exile. It is said that he received the inspiration for his masterpiece, “100 Years of Solitude,” while driving to Acapulco in 1965.

Gabo, as he was affectionately known, lived a storied life, making friends with everyone from Fidel Castro to Bill Clinton. It was, in fact, his relationship with Castro that had him banned from entering the United States for more than thirty years.

Gabriel García Márquez’s remains were cremated in a private ceremony last night. A family spokesman said in a statement that an official memorial will be held at Mexico’s Palacio de Bellas Artes on April 21.

Source: thinkmexican

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Rossy de Palma : Alvaro Villarrubia

(via neckescaper)

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Vasily Kandinsky
Blue (Blau)
1927
Oil on board

(via fiercebear)

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Under the Skin (Jonathan Glazer, 2013 UK)

Source: onizo

6under the skin, jonathan glazer, andrew gorman, daniel lindin, screencap, seen, medium,

Under the Skin
Jonathan Glazer, 2013, UK
I’ve seen Jonathan Glazer’s remarkably minimal and boldly modern conquest of sci-fi territory twice now, and I love that I still can’t conclude if its central female-like entity is an unknown being from a far-away galaxy above or the ominous pinnacle of our technological advancement here below. Like the monolith itself, “she” casts a cold, provoking shadow over the sci-fi genre, a predator whose conception seemingly begins with a series of eclipsing, pristine spherical objects constituting the film’s opening sequence. This, of course, is meant to recall similarly compelling imagery from 2001: A Space Odyssey as well as conflate with the same endless inquisition into mankind that film forged some forty years ago. But whereas Kubrick used images of merging celestial bodies to connect human intellectual progress with the outer limits of the physical universe, Glazer radically abstracts them in the opposite direction as if under a microscope, suggesting an imminent hand of design as these orbs congeal with surgical precision to bestow our unclassifiable lead with what was once an inimitable human organ. Scarlett Johansson—giving an expertly calibrated anti-performance that reorients all things removed and “alien” to much closer, intrinsic places—is key to how Under the Skin successfully does just that, a mysterious sentient whose sole mission involves the collection of male bodies for a grotesque greater purpose left up to our own speculation. Scenes of Johansson ensnaring unsuspecting men amidst a black, viscous void are both delectable in their saunter and brilliant in their simplicity, rendered all the more intense by Mica Levi’s inverted Greenwood/Herrmann-esque string-heavy score. These repeated scenes and their arthropodan-like seduction and “devouring” motifs stand out as the film’s most fascinating, unforgettable, and horrifying high point. What gives us an identity, what makes us human, and why we seem predetermined to exploit weakness are among sci-fi’s greatest questions that Glazer poses in exciting ways, knowing each function far better when withholding all fundamentally inadequate answers. But make no mistake, Under the Skin is first and foremost a sensorial experience concerned with instinct and the fears around our fragile human flesh. Its inconclusiveness and respectful recollection of the genre’s lasting tropes promise this film—Glazer’s own pinnacle—will endure in our minds well beyond the grisly fate of his lonesome anti-hero, whose “own” skin gradually serves as a terrifying harbinger of the brief shelf-life shared by all organic forms.

5/5

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Under the Skin (Jonathan Glazer, 2013, UK)

Source: gived

6under the skin, jonathan glazer, andrew gorman, daniel lindin, screencap, seen, medium,

"Please try to remember that what they believe, as well as what they do and cause you to endure, does not testify to your inferiority but to their inhumanity."
James Baldwin
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