Marianne Faithfull on the set of The Girl on a Motorcycle (1968) in Geneva, Switzerland, c. 1967.
almost home
Keni

Love Begins
2025 on Tumblr: Trends That Defined the Year

tannertan36
i don't do bad sauce passes
taylor price

No title available

roma★

Janaina Medeiros
I'd rather be in outer space 🛸
let's talk about Bridgerton tea, my ask is open
noise dept.

No title available
DEAR READER
sheepfilms
Alisa U Zemlji Chuda
Jules of Nature

★
PUT YOUR BEARD IN MY MOUTH

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seen from Türkiye

seen from Belarus

seen from United Kingdom
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seen from Australia
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seen from Malaysia
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seen from United States

seen from United States
@d-oused
Marianne Faithfull on the set of The Girl on a Motorcycle (1968) in Geneva, Switzerland, c. 1967.
Elizabeth Magill - You and I, 2023
milla jovovich in DS (France), July 2001'
Stairs and Stars ,Contes de Perrault - Etienne Drian , 1922.
French, 1885 - 1961
Illustration
Japan's craftsmen achieve intricate textile patterns with sturdy paper stencils for katazome (paste-resist dyeing). These hand-cut designs, now collectors' items, had a large influence on European decorative art in the early 1900s.
At Home With Japanese Design: Accents, Structure and Spirit, 1990
Wilhelm Hempfing
Cappelli Giovanni
David Bailey - Vogue Italia (April 1978)
Danny Rowton
Johan Ulrik Bredsdorff
They Do Not Exist (1974) by Mustafa Abu Ali (watch)
from PalestineCinema.com:
Salvaged from the ruins of Beirut after 1982, Abu Ali's early film has only recently been made available. Shooting under extraordinary conditions, the director, who worked with Godard on his Ici et Ailleurs (Here and Elsewhere), and founded the PLO's film division, covers conditions in Lebanon's refugee camps, the effects of Israeli bombardments, and the lives of guerrillas in training camps. They Do Not Exist is a stylistically unique work which demonstrates the intersection between the political and the aesthetic. Now recognised as a cornerstone in the development of Palestinian cinema, the film only received its Palestine premiere in 2003, when a group of Palestinian artists "smuggled" the director to a makeshift cinema in his hometown of Jerusalem (into which Israel bars his entry). Abu Ali, who saw his film for the first time in 20 years at this clandestine event noted: "We used to say 'Art for the Struggle', now it's 'Struggle for the Art'"
Perpetual care, 1961
Andrew Wyeth
Alain Delon in René Clément’s PURPLE NOON (1960)