Nostalghia

[nk-salinger]

[nk-salinger]

Krzysztof Kieślowski (27 June 1941 – 13 March 1996)

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[talent-only]

Krzysztof Kieslowski Trois couleurs: Bleu | 1993

[vintage-tigre]

Juliette Binoche and Daniel Day-Lewis on the set of 'The Unbearable Lightness of Being', 1988.

Directed by Philip Kaufman

[davidhudson]

Erland Josephson, June 15, 1923 – February 25, 2012.

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Jane B. par Agnès V. (1988, dir. Agnès Varda)

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Wim Wenders on the set of Wings of Desire

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Krzysztof Kieślowski on his film The Double Life of Veronique

[jacobwren]

“Every film is political. Most political of all are those that pretend not to be: 'entertainment' movies. They are the most political films there are because they dismiss the possibility of change. In every frame they tell you everything's fine the way it is. They are a continual advertisement for things as they are.” — Wim Wenders

[macbethz]

"It is, in fact, peculiarly difficult to take [entertainment films] seriously. The films themselves set up a deliberate resistance: they are so insistently not serious, so knowing about their own escapist fantasy/pure entertainment nature, and they consistently invite the audience’s complicity in this. To raise serious objections to them is to run the risk of looking a fool (they’re “just entertainment,” after all) or, worse, a spoilsport (they’re “such fun”). Pleasure is indeed an important issue."

-Robin Wood, "Papering the Cracks: Fantasy and Ideology in the Reagan Era"

[365filmsbyauroranocte]

Fin août, début septembre (Olivier Assayas, 1998)

[bongjoonhoe]

The Quiet Girl ‘An Cailín Ciúin’ (2022) dir. Colm Bairéad

[365filmsbyauroranocte]

Les passagers de la nuit (Mikhaël Hers, 2022) 

Watching Le pont du nord (Jacques Rivette, 1982)

[filmografie]

The Aviator’s Wife (1981), dir. Éric Rohmer

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always thinking about this before sunrise poster

[inmagasroom]

in Les plages d’Agnès, Varda connects her artistic practice and the ambiguity of self-fashioning with subject formation by showing a dialogue with Jane from Jane B. par Agnès V. The women sit side by side in a two shot and Jane asks: “Do you think you’ll manage? We’re shooting in bits and pieces”  Varda replies: “It’s like doing a puzzle. You place the pieces here and there until it comes together, but there’s a hole in the center. It happens at dinner parties, suddenly it goes quiet and someone says: “Sing us a song!” 

Excerpt From: McFadden, Cybelle H. “Gendered Frames, Embodied Cameras : Varda, Akerman, Cabrera, Calle, and Maïwenn.” - “/…/ But for the documentaries now, they want it to be more and more defined, and I absolutely cannot define things. So I circle around it. I write around the film, around the hole, let’s say, or around the void. Because I want to go make a documentary without knowing what I’m doing. They always demand, “Tell us what you’re going to do.” And all I can tell you is that I just don’t know. It’s precisely because of this lack of knowledge that there can be a film.” Chantal Akerman in IN HER OWN TIME: AN INTERVIEW WITH CHANTAL AKERMAN

[luperina]

[ozu-teapot]

And as it’s Yasujirô Ozu’s Birthday (and Deathday) what better excuse to repost this old classic from days of yore - the many (but not all) teapots of Ozu!

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on the set of Stalker (1979) Directed by Andrei Tarkovsky