Bells & Forks ®

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discourir (:parler longuement, de façon ennuyeuse ou avec affectation)

La Pointe Courte (1955), dir. Agnès Varda

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The Dark Mirror (1946), dir. Robert Siodmak

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Bresson and his connection to the Modern Abstract Movement  

Au Hasard Balthazar (1966)

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Untitled #70, Cindy Sherman, 1980

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“Who’s afraid of Red, Yellow and Blue”, Barnett Newman, 1966

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and they won’t

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Building the environment: in a film where the industrial defines and affects its characters through their story lines, but also through its physical manifestation (fumes, burnt waste etc.) establishing it with a variety of wide shots and middle ones is critical. The only healthy expression of nature in the film is the embroidered forest on the couch of the worker Giuliana and Corrado visit, trying to persuade him to work with the company. A made up forest, the only one that can exist in the Red Desert universe. The colours stand out in each shot, highlighting a different emotion of (mainly) Vitti’s character, with red having the most graspable meaning of all.

The film: Red Desert (1964)

Director: Michelangelo Antonioni Costume Designer: Gitt Magrini Art Director: Piero Poletto Cinematographer: Carlo Di Palma

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“He’ll never bring the Beatles back to Hamburg.”

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“No kiddin’ Eddie.”

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the Vitti effect

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Asymmetric projection from the east, Bauhaus, Dessau, Walter Gropius, 1925-1926

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the lean days of determination

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Suprematist Composition: White on White, 1918

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Visit Original Link

barely -

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“A fiancé you've gotta look for, but a radio can be bought.”

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L’avventura