To define is to limit

Look like an innocent flower, but be the Serpent under't.

[justmeandmythoughts32-blog]

[serialson]

[elaisthekey]

Maybe because the vast majority are. Is like presuming someone is italian if u find yourself in fucking italy.

[andhumanslovedstories]

Furiosa is Furiosa’s birth name

Can you imagine looking down at a newborn infant and being like, “little lady, have I GOT A NAME FOR YOU”

[elaisthekey]

Furiosa is italian for "really really pissed off"

[awwww-cute]

[elaisthekey]

What a weird tennisball

[elaisthekey]

[bloodbuzz-smartypants]

[elaisthekey]

I read "threat others..."

No wonder I was confused by the chocolate part.

[elaisthekey]

LINK HERE

THE PROJECT

Olivia was a sunny little 5 year old girl who just happened to have a rare form of aggressive brain cancer. The day after finishing nine months of treatment, her father, Holger, died suddenly of cardiac arrest playing badminton. A family of five was now a family of four. Olivia, her mother Daphne, 9 year old sister Lilly and 11 year old brother Espen were in shock. In the next years Daphne and her children, doctors and friends gave all they could to help save Olivia but she passed away just after her ninth birthday. It was now a family of three. Daphne, is traumatized from years of fighting cancer, Holger’s sudden death and Olivia’s slow death. These circumstances motivate her to embark on a unique journey documenting her own exploration of trauma. Daphne is constantly torn between the “trauma world” and the “normal world”, cultural clichés of how she should let go and move on feel forced. Daphne is overwhelmed by not knowing what to do with Olivia’s ashes so she gathers up over 50 of Olivia’s Barbies and starts a road trip from Las Vegas to Zion, Utah, in search of renewed hope and balance. Daphne creates an individual visceral vocabulary of processing loss. Despite confronting so much tragedy, Daphne’s approach to healing becomes more of a beautiful survival story rather than just a painful traumatic memory. The idea of letting go is turned upside down. In the darkest of times comes the brightest of lights.    

WHY?

The question, “Why I am making this film?”
 The answer is as layered as life is. I ask myself this exact same question at times to be honest with you.
 I’ve lost two of my family members in a short time, Holger very suddenly and Olivia over a longer period of time.
 As I tell others what has happened to our family, at first I feel like I’m punching them twice in the face. Then I notice something magical and tremendous begins to happen. I realize that when I tell a part of my reality the way I tell it, that I’m moving people in not such a “normal” way. I usually look into the person’s eyes as I tell this and honestly see, how in most cases, people simply positively melt down to their own bare true emotion. In our society, these days, that’s rare. Of course some stand there in utter shock or run away, but mostly I witness a variety of very raw feelings and feedback, which in turn moves me. It’s the strangest paradox that an event so terribly painful can be transformed into a dynamic so powerfully beautiful. I talk about Olivia and our experience, I talk about extreme love, her passion for life, yet extreme pain and loss at the same time. It’s possible. Now it is time to tell the story visually! I know for a fact, that this story and the way I tell it from my own perspective is like a catalyst to others and can help those who have to go through what we did. In the same breath I say, whether you have lost someone or not, it’s universal how we humans suffer when we lose those we love. I’m convinced that my personal journey will support people in finding their own path of starting to live again and not just surviving. The film hopefully inspires others by letting them know that they have a say in their pain and to give them courage to explore their own roads to healing. How we deal with trauma is ultimately a subjective and individual matter. I chose this road trip with the barbies out of instinct. Humor and lightness was a huge aspect as how I dealt with overwhelming life and death events. For me it is and always will be an important tool to deal with trauma as it was for my children and Olivia. I believe this quality also is what makes this film so different. I know that processing trauma is very much an ongoing process, taking roads that get somewhere and roads that don’t. By attempting to find my own road and language for dealing with pain with images and visceral experiences, I hope to make the most beautiful film, which gives hope to everyone.

HELP US, EVEN IF ONLY BY REBLOGGING. THIS MEANS SO MUCH TO MANY PEOPLE! THANKS TO ALL OF YOU

[elaisthekey]

We only have 20 days left. Please please please help us

Reblog, spread the word! This means a lot to us!

[yummy-casburger-deactivated2020]

doodle

[elaisthekey]

Crowley. Crowley. LOOK AT FUCKING CROWLEY

[elaisthekey]

LINK HERE

THE PROJECT

Olivia was a sunny little 5 year old girl who just happened to have a rare form of aggressive brain cancer. The day after finishing nine months of treatment, her father, Holger, died suddenly of cardiac arrest playing badminton. A family of five was now a family of four. Olivia, her mother Daphne, 9 year old sister Lilly and 11 year old brother Espen were in shock. In the next years Daphne and her children, doctors and friends gave all they could to help save Olivia but she passed away just after her ninth birthday. It was now a family of three. Daphne, is traumatized from years of fighting cancer, Holger’s sudden death and Olivia’s slow death. These circumstances motivate her to embark on a unique journey documenting her own exploration of trauma. Daphne is constantly torn between the “trauma world” and the “normal world”, cultural clichés of how she should let go and move on feel forced. Daphne is overwhelmed by not knowing what to do with Olivia’s ashes so she gathers up over 50 of Olivia’s Barbies and starts a road trip from Las Vegas to Zion, Utah, in search of renewed hope and balance. Daphne creates an individual visceral vocabulary of processing loss. Despite confronting so much tragedy, Daphne’s approach to healing becomes more of a beautiful survival story rather than just a painful traumatic memory. The idea of letting go is turned upside down. In the darkest of times comes the brightest of lights.    

WHY?

The question, “Why I am making this film?”
 The answer is as layered as life is. I ask myself this exact same question at times to be honest with you.
 I’ve lost two of my family members in a short time, Holger very suddenly and Olivia over a longer period of time.
 As I tell others what has happened to our family, at first I feel like I’m punching them twice in the face. Then I notice something magical and tremendous begins to happen. I realize that when I tell a part of my reality the way I tell it, that I’m moving people in not such a “normal” way. I usually look into the person’s eyes as I tell this and honestly see, how in most cases, people simply positively melt down to their own bare true emotion. In our society, these days, that’s rare. Of course some stand there in utter shock or run away, but mostly I witness a variety of very raw feelings and feedback, which in turn moves me. It’s the strangest paradox that an event so terribly painful can be transformed into a dynamic so powerfully beautiful. I talk about Olivia and our experience, I talk about extreme love, her passion for life, yet extreme pain and loss at the same time. It’s possible. Now it is time to tell the story visually! I know for a fact, that this story and the way I tell it from my own perspective is like a catalyst to others and can help those who have to go through what we did. In the same breath I say, whether you have lost someone or not, it’s universal how we humans suffer when we lose those we love. I’m convinced that my personal journey will support people in finding their own path of starting to live again and not just surviving. The film hopefully inspires others by letting them know that they have a say in their pain and to give them courage to explore their own roads to healing. How we deal with trauma is ultimately a subjective and individual matter. I chose this road trip with the barbies out of instinct. Humor and lightness was a huge aspect as how I dealt with overwhelming life and death events. For me it is and always will be an important tool to deal with trauma as it was for my children and Olivia. I believe this quality also is what makes this film so different. I know that processing trauma is very much an ongoing process, taking roads that get somewhere and roads that don’t. By attempting to find my own road and language for dealing with pain with images and visceral experiences, I hope to make the most beautiful film, which gives hope to everyone.

HELP US, EVEN IF ONLY BY REBLOGGING. THIS MEANS SO MUCH TO MANY PEOPLE! THANKS TO ALL OF YOU

[elaisthekey]

LINK HERE

THE PROJECT

Olivia was a sunny little 5 year old girl who just happened to have a rare form of aggressive brain cancer. The day after finishing nine months of treatment, her father, Holger, died suddenly of cardiac arrest playing badminton. A family of five was now a family of four. Olivia, her mother Daphne, 9 year old sister Lilly and 11 year old brother Espen were in shock. In the next years Daphne and her children, doctors and friends gave all they could to help save Olivia but she passed away just after her ninth birthday. It was now a family of three. Daphne, is traumatized from years of fighting cancer, Holger's sudden death and Olivia’s slow death. These circumstances motivate her to embark on a unique journey documenting her own exploration of trauma. Daphne is constantly torn between the “trauma world” and the “normal world”, cultural clichés of how she should let go and move on feel forced. Daphne is overwhelmed by not knowing what to do with Olivia’s ashes so she gathers up over 50 of Olivia’s Barbies and starts a road trip from Las Vegas to Zion, Utah, in search of renewed hope and balance. Daphne creates an individual visceral vocabulary of processing loss. Despite confronting so much tragedy, Daphne’s approach to healing becomes more of a beautiful survival story rather than just a painful traumatic memory. The idea of letting go is turned upside down. In the darkest of times comes the brightest of lights.    

WHY?

The question, “Why I am making this film?”
 The answer is as layered as life is. I ask myself this exact same question at times to be honest with you.
 I've lost two of my family members in a short time, Holger very suddenly and Olivia over a longer period of time.
 As I tell others what has happened to our family, at first I feel like I’m punching them twice in the face. Then I notice something magical and tremendous begins to happen. I realize that when I tell a part of my reality the way I tell it, that I’m moving people in not such a “normal” way. I usually look into the person’s eyes as I tell this and honestly see, how in most cases, people simply positively melt down to their own bare true emotion. In our society, these days, that’s rare. Of course some stand there in utter shock or run away, but mostly I witness a variety of very raw feelings and feedback, which in turn moves me. It’s the strangest paradox that an event so terribly painful can be transformed into a dynamic so powerfully beautiful. I talk about Olivia and our experience, I talk about extreme love, her passion for life, yet extreme pain and loss at the same time. It’s possible. Now it is time to tell the story visually! I know for a fact, that this story and the way I tell it from my own perspective is like a catalyst to others and can help those who have to go through what we did. In the same breath I say, whether you have lost someone or not, it’s universal how we humans suffer when we lose those we love. I’m convinced that my personal journey will support people in finding their own path of starting to live again and not just surviving. The film hopefully inspires others by letting them know that they have a say in their pain and to give them courage to explore their own roads to healing. How we deal with trauma is ultimately a subjective and individual matter. I chose this road trip with the barbies out of instinct. Humor and lightness was a huge aspect as how I dealt with overwhelming life and death events. For me it is and always will be an important tool to deal with trauma as it was for my children and Olivia. I believe this quality also is what makes this film so different. I know that processing trauma is very much an ongoing process, taking roads that get somewhere and roads that don’t. By attempting to find my own road and language for dealing with pain with images and visceral experiences, I hope to make the most beautiful film, which gives hope to everyone.

HELP US, EVEN IF ONLY BY REBLOGGING. THIS MEANS SO MUCH TO MANY PEOPLE! THANKS TO ALL OF YOU

[elaisthekey]

Hi! I might be stupid or something but I can't find the kickstarter link in that post? Also I really think that posting that video would be much more effective than that text, I watched the video and it was powerful. If you make the decision I'll reblog the text, but I'm telling you 100% that I think the video posted as a video post will be spread around and watched a lot more than the text would be read. I also can't find the kickstarter link maybe you could make it on its own paragraph?

I’m soooo bad at this. I would make it but I don’t know how! I’m going to work on this and then repost it!This is the kickstarter: https://www.kickstarter.com/projects/1526089403/keeping-olivia-documentary?ref=nav_search

[elaisthekey]

"Love is friendship that caught fire"

[elaisthekey]

The fact that there is a place where you can see porn researches made worldwide AND LIVE is funny. The fact someone is searching fo "EGG", is fucking hilarious!

[jocks4ever]

[elaisthekey]

zenzizenzizenzig perchè un uomo dovrebbe tatuarsi "non ridere" sul basso ventre?!?

Cioè "pezzo di figo con sorpresa"

[gr8writingtips]

writing tip #750:

never, ever use the e-word in your writing. does your character have green e***? no. they have verdant orbs,  leafy pools, bright emerald fields resting on their face

[psychotropicglow-blog]

i honestly thought that the e-word was eggs

[elaisthekey]

And I read it as "ears" and I WAS worried.

[oe9]

does anyone else secretly have that “i liked it before it was cool” complex but wont admit it

[whataboutsargeantcrunch]

it’s more along the lines of “you guys were fucking making fun of me for liking this before it was cool” kinda complex

[elaisthekey]

More like "I searched this item in every fucking shop for months and when I finally found it and bought two days later every fucking shop had them"- complex

But it's ok.

[greasepearls]

[sherlgreytea]

If you don’t reblog these in a pair I hate you

[0-memento-mori-0]

I actually had to do it twice, because I accidentally reblogged Malfoy first, and that’s almost as bad as not reblogging both of them.

[dandymottsmask]

SAMW