cinéaste

Foreign-language films are made all over the world, of course, except in America. In America, they only make non-foreign-language films. Foreign-language films are very hard to make, obviously, because you have to invent a foreign language instead of using the usual language. But the truth is, cinema is a foreign language, a language created for those who need to travel to the other side of life. Goodnight.

[emmaharwoods]

AUTUMN DURALD ARKAPAW becomes the first woman ever to win the Best Cinematography Oscar at the 98th Academy Awards for her work on "Sinners" — March 15, 2026

[crumbargento]

Bullet Ballet - Shinya Tsukamoto - 1998 - Japan

[isabelleadjani]

CHERIE CHUNG as Chu So-so LAST ROMANCE dir. Yonfan, 1988

[uspiria]

Isabelle Adjani in Nosferatu the Vampyre (1979) dir. Werner Herzog

[hirokazukoreeda]

The Silence (1963) dir. Ingmar Bergman The Talented Mr. Ripley (1999) dir.  Anthony Minghella Thirst (1949) dir. Ingmar Bergman Portrait of a Lady on Fire (2019) dir. Céline Sciamma Persona (1966) dir. Ingmar Bergman Mulholland Drive (2001) dir. David Lynch La Pointe-Courte (1955) dir. Agnès Varda

[treethymes]

Days 日子 (2020, dir. Tsai Ming-liang)

In terms of narrative features, this is what I’ve been wanting to push forward: something that is not screenplay-based. As long as there’s a screenplay, however simple it might be, you would have a storyline and a film based on that storyline. I want to change the way people think about narrative films and replace screenplays with images. That can open up the movie-watching experience to include more possibilities. 

Zhuo-Ning Su, “Tsai Ming-liang on His New Approach to Filmmaking and Why Days Doesn’t Need Subtitles”

For me, all my frames should be like a painting, filled with these consonant details. For example, there could be a fish intruding in the frame, or a cat. Basically, it has to be a space alone that attracts me. Everything else can come in and everything can go out.

Christopher Small, “‘There’s Really No Plan for This Film at All’: Tsai Ming-Liang on Days”

Lee Kang-sheng wanted to see a doctor, so I said I wanted to film it. He didn’t disagree, so I followed him to the doctor with the cinematographer. I felt that if I didn’t film that day, if I didn’t capture those images, then no one would ever see Lee Kang-sheng’s face and body at that moment. It sounds strange, but when he got sick there was something heartbreaking about it. I wanted to save those images.

I thought the images would be used in a museum piece, but eventually I met Anong and while we were video-chatting I saw him cooking, and the way he cooked really touched me. I wanted to film it, so I flew to Thailand. That is what I am looking for. I’m always looking for something very real.

Darren Hughes, “A State of Uncertainty: Tsai Ming-liang on Days”

[ashleysjohnson]

You think I'd let him destroy me and end up happier than ever? No fucking way. He doesn't get to win. My cute, charming, salt-of-the-earth Missouri guy. He needed to learn. Grown-ups work for things. Grown-ups pay. Grown-ups suffer consequences.

[mubiblog]

Beautiful new cover designs for books on seven of the best romantic films for  BFI Film Classics

[iwaiko-deactivated20220301]

“…something dies in places like this. Tenderness and time. Necessity is a knife that passes through the body … Money bleeds the sky, and hearts empty themselves. It’s a putting to death, slow and eternal. But we, but I—what are we doing in this place, an emporium of blood and sweat, an emporium of slavery and indifference?” ― Tahar Ben Jelloun, La réclusion solitaire

majid + family for @danielederossi

[uspiria]

The Cat (1992) dir. Lam Nai-Choi

[bringiton]

“I like to feel his eyes on me when I look away.” Before Sunrise (1995), dir. Richard Linklater.

[wlwsource]

I know what I feel when you’re in front of me. It’s like we are, or we be. Then let’s just be. CHEMICAL HEARTS (2020) dir. Richard Tanne

[communicants]

[freshmoviequotes]

Waiting to Exhale (1995)

[vivienvalentino]

You’ve got a nasty curse on you, too.  It seems like everyone in this family has problems.

ハウルの動く城 | Howl’s Moving Castle   — 2004, dir. Hayao Miyazaki 

[doyouevenfilm]

Marie Antoinette (2006) dir. Sofia Coppola

[watching-pictures-move]

Veerana (Ramsay & Ramsay, 1988)