[365filmsbyauroranocte]

Frágil Como o Mundo (a.k.a. Fragile As The World) (Rita Azevedo Gomes, 2002)

[ouilavie-deactivated20191107]

A. Abbas. Iran. Tehran. 1998. Kids play football in the suburbs of the capital, next to electricity pylons.

[mubiblog]

Henri Alekan on the set of The State of Things photos by Wim Wenders

[thefilmstage]

I think it’s hard to leave that style that I’ve found after many years. It’s taken a long time to develop this style, and it doesn’t function without precision. So I will keep that precision, actually, and I can’t imagine how I can start to cut again, to close-up. No, no. It’s impossible. Maybe I can start to move the camera a little, and even change light a little. Even reduce the make-up — a little. [Laughs] Because I have used very white faces.

It’s necessary, that whiteness, because characters in the movie are more universal. I refer, often, to the clown at the circus, that’s standing there, as an individual creation that’s also representing all the spectators at the circus. And especially the theater in Japan, when they play Shakespeare with white masks. [Puts hand over face] “To be, or not to be?”  Behind a mask is a strong text. The strength increases behind that mask.

[thefilmstage]

We talk to Roy Andersson about finishing a trilogy, artistic support, Bergman’s battle with God, and more.

[heirloombabydoll-deactivated201]

Ahh I love kissing my friends and having friends to kiss

[cashml-deactivated20200913]

here are some more fucked up photos of teddy, an ever evolving man of mystery

[mindo80]

Ingmar Bergman on his artistic influences

Swedish Television, 1966

Criterion Collection

[mubiblog]

Happy Birthday, Ingmar Bergman!

[thedouble]

“Your hiding place isn’t watertight. Life trickles in from the outside, and you’re forced to react. No one asks if it is true or false, if you’re genuine or just a sham. Such things matter only in the theatre, and hardly there either. I understand why you don’t speak, why you don’t move, why you’ve created a part for yourself out of apathy. I understand. I admire. You should go on with this part until it is played out, until it loses interest for you. Then you can leave it, just as you’ve left your other parts one by one.”

― Persona (1966) dir. Ingmar Bergman

[wnq-movies]

To feel. To trust the feeling. I long for that.

Face to Face, Dir. Ingmar Bergman (via wnq-movies)

[anamorphosis-and-isolate]

― Through a Glass Darkly (1961) “I was empty. No fear, no regrets, no expectations.”

[anamorphosis-and-isolate]

― The Seventh Seal (1957) Jöns: If everything is imperfect in this world, love is perfect in its imperfection.

[roseydoux]

L’Avventura (1960)

[bouettte-deactivated20181217]

By orangeduck1207

[yidan]

Pola X (1999), dir. Leos Carax

[bouettte-deactivated20181217]

Wishes

[anamorphosis-and-isolate]

― The Seventh Seal (1957) Jöns: If everything is imperfect in this world, love is perfect in its imperfection.