imloppi

cinema | fashion | art | architecture

[lediableprobably]

Ratcatcher (1999, dir. Lynne Ramsay, cinematography by Alwin H. Küchler)

[miamaimania]

“Spine Corset” by Shaun Leane for Alexander McQueen, SS ‘98.

[filmreveries]

Twin Peaks (1990-1991) dir. David Lynch

[andreisakamoto]

[homocinematicus]

Somewhere 2010 Sofia Coppola

[girlintodust]

[andreisakamoto]

Audition (1999), dir. Takashi Miike

[andreisakamoto]

Paramore (2022), Dir. Andrea Lamedica and Francesco Mastroleo

[frnndlcs]

Import/Export, Ulrich Seidl, 2007

[sickpage]

Shane Connaughton all kinds of music, 2014

[zegalba]

top: Birdcage Inn (1998) bottom: Samaritan girl (2004)

[fellinesca]

Paradise: Hope (Paradies: Hoffnung, 2012) Dir. Ulrich Seidl

[389]

Catherine Jansen The Blue Room 1970-73 / Photosensitized cloth, photographic dyes, embroidery

[throughaglassdarkly1961]

Import/Export (2007) dir. Ulrich Seidl

[byneddiedingo]

Maria Hofstätter in Paradise: Faith (Ulrich Seidl, 2012) Cast: Maria Hofstätter, Nabil Saleh, René Rupnik, Natalya Baranova, Trude Masur, Dieter Masur, Michaela Hurdes-Galli. Screenplay: Ulrich Seidl, Veronika Franz. Cinematography: Edward Lachman, Wolfgang Thaler. Production design: Andreas Donhauser, Renate Martin. Film editing: Christof Schertenleib. Ulrich Seidl’s intermittently fascinating, intermittently shocking, and even sometimes tedious Paradise: Faith is the middle film in his Paradise trilogy. It focuses on Anna Maria, the sister of the central character in Paradise: Love (2012) and the aunt of the teenager in Paradise: Hope (2013). Anna Maria is a religious zealot, who totes around a statue of the Virgin Mary while making door-to-door calls on strangers whom she persuades (sometimes) to pray with her. Her home is meticulously clean and adorned only with crucifixes, before which she prays and sometimes flagellates herself – and with one of which she performs a sexual act. Before long, we discover that she’s married to a Muslim, though we never quite find out how that happened. Seidl’s distancing from his characters allows us a lot of latitude in judging them, so the film is as much a provocation – an opportunity for us to assess our responses to such religious extremism – as it is a portrait of faith.

[katharsia-thusiai-deactivated20]

A Snake of June (Shinya Tsukamoto, 2002)

[filmreveries]

“Yet I cannot exist by myself because I’m afraid of myself, because I am the maker of my own evil.”

Possession (1981) dir. Andrzej Żuławski