The Breakfast Club (1985)

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@cinephyllis
The Breakfast Club (1985)
"I come from a place where evil seems easier to pinpoint because you can see it in the flesh.
It becomes people so you know exactly the danger of being deformed by it."
| Posession (1981) dir. Andrzej Żuławski
Midnight Express (1978) dir. Alan Parker
Before Sunset (2004) dir. Richard Linklater
Chungking Express (1994) dir. Wong Kar-Wai
Rest well in peace, Anna. Thank you for the great pictures.
Anna Karina (1940-2019)
"Sometimes, there's so much beauty in the world, i feel like i can't take it and my heart is just going to cave in."
American Beauty (1999) dir. Sam Mendes
Before Midnight (2013) dir. Richard Linklater
Alien (1978) dir. Ridley Scott
Parasite (2019) dir. Bong Joon-Ho
Raging Bull (1980) dir. Martin Scorsese
Vivre sa Vie : film en douze tableaux (1962) dir. Jean-Luc Godard
The Grand Budapest (2014) dir. Wes Anderson
Cinematography by Robert D. Yeoman
“Some say that Hitchcock’s pictures had a sameness to them, and perhaps that’s true — Hitchcock himself wondered about it. But the sameness of today’s franchise pictures is something else again. Many of the elements that define cinema as I know it are there in Marvel pictures. What’s not there is revelation, mystery or genuine emotional danger. Nothing is at risk. The pictures are made to satisfy a specific set of demands, and they are designed as variations on a finite number of themes. They are sequels in name but they are remakes in spirit, and everything in them is officially sanctioned because it can’t really be any other way. That’s the nature of modern film franchises: market-researched, audience-tested, vetted, modified, revetted and remodified until they’re ready for consumption… In the past 20 years, as we all know, the movie business has changed on all fronts. But the most ominous change has happened stealthily and under cover of night: the gradual but steady elimination of risk. Many films today are perfect products manufactured for immediate consumption. Many of them are well made by teams of talented individuals. All the same, they lack something essential to cinema: the unifying vision of an individual artist. Because, of course, the individual artist is the riskiest factor of all. I’m certainly not implying that movies should be a subsidized art form, or that they ever were. When the Hollywood studio system was still alive and well, the tension between the artists and the people who ran the business was constant and intense, but it was a productive tension that gave us some of the greatest films ever made — in the words of Bob Dylan, the best of them were “heroic and visionary.” Today, that tension is gone, and there are some in the business with absolute indifference to the very question of art and an attitude toward the history of cinema that is both dismissive and proprietary — a lethal combination. The situation, sadly, is that we now have two separate fields: There’s worldwide audiovisual entertainment, and there’s cinema. They still overlap from time to time, but that’s becoming increasingly rare. And I fear that the financial dominance of one is being used to marginalize and even belittle the existence of the other. For anyone who dreams of making movies or who is just starting out, the situation at this moment is brutal and inhospitable to art. And the act of simply writing those words fills me with terrible sadness.”
— Martin Scorsese: I Said Marvel Movies Aren’t Cinema. Let Me Explain.
"Why do fireflies have to die so soon?"
| Grave of the Fireflies (火垂るの墓), 1988 dir. Isao Takahata
Cinematography by Nobuo Koyama
I wandered the streets of Manila looking for Happiness (Ligaya) but couldn’t find her. | Maynila, sa mga Kuko ng Liwanag (1975) dir. Lino Brocka