★
Noah Kahan
noise dept.
NASA
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untitled
almost home
Misplaced Lens Cap
Mike Driver
blake kathryn
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oozey mess
Game Changer & Make Some Noise
I'd rather be in outer space 🛸
hello vonnie
todays bird
Today's Document
Xuebing Du
𓃗
seen from Hungary
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seen from United States
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@emmanuellemimieuxx
I moved on. You moved on. We’ve gone down different paths for so long. We made choices. I chose Wendy. That’s her family down there. We care about each other, you know? You don’t always get the dream house, but you get awfully close.
13 GOING ON 30 2004, dir. Gary Winick
♥️♥️♥️😭
THE X-FILES | 5.05
When you’re feeling crummy and don’t particularly feel like talking about it, sometimes simply connecting with another person is enough to help you get through the rough patch. All it takes is the simple act of reaching out.
As Tumblr Creatr Nicole Zaridze (@nicolezaridze) shows, sometimes simply knowing that someone else is there for you in difficult times is enough to put a smile on your face – and theirs.
What the fuck are perfect places anyway?
DONDE ESTA LORDE
Monkey’s Paw
abandoned villa in northern Italy by Forgotten Heritage
Here we are. You got me into your house. You give me a drink. You put on music. Now you start opening up your personal life to me and tell me your husband won’t be home for hours. Mrs. Robinson, you’re trying to seduce me.
The Graduate (1967) dir. Mike Nichols
While working on the film, Bong Joon-ho called Parasite a “staircase movie”. It is an upstairs-downstairs film that explores every available rung on the ladder of class aspirationalism. The movie starts in the half-basement apartment of the Kim family, with windows that barely peer above the ground. Half-basements are distinctively Korean spaces in urban centers like Seoul, and while the Kim house is firmly below ground, it still “wants to believe it’s above the ground.”
A story about two homes — the upstairs family and the downstairs — reveals yet another lurking underneath. The original housekeeper confesses that her husband has been stowed away in a secret bunker underneath the Park house for four years. The Kims are shocked by the state of his living conditions.
In the end of the film, the father becomes the new resident in the bunker, hiding from the police in the last place they’d look to find him. The Parks move out, only to be replaced by a German family. The particularities may have changed, but everyone’s station has remained the same. There would always be a wealthy person to live upstairs, just as there would be another poor person positioned beneath them. - by E. Alex Jung
Parasite | 기생충 | Gisaengchung (2019) dir. Bong Joon Ho, production design by Lee Ha Jun
Dawid Planeta’s “The Unknown” at Roq La Rue.
Opening on March 12th, 2020 at Roq La Rue Gallery in Seattle, Washington is artist Dawid Planeta’s solo exhibition, “The Unknown.”
Planeta’s digital works recently zipped like wildlife through the online world thanks to the striking symbolism and mystical nature of his dark, atmospheric landscapes and imagery. In response to experiencing a crippling depression, the artist decided to use the bleakness he was expiring as a source of introspection and exploration. By going deep into his subconscious a murky jungle world started to emerge, populated by giant spirit animals with glowing eyes that seem like beacons in the gloom. While the creatures are massively oversized and and loom imposingly, especially when paired with a the tiny, almost unnoticeable human figure that stands regarding them, they radiate a calm serenity. The wondrousness of these spirit animals is a comforting gift, and finding them and then having them bend a regarding gaze upon you feels like a connection back to the numinous world of spirituality and connection. In other hands a depiction of this sort could come across as overly sentimental and saccharine, but the nocturne earnestness of Planeta’s vision allows the contemplation of redefining our personal darknesses and using them as a source of power, rather than weakness.
The exhibition will be on view until April 4th, 2020.
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me at the writers and producers of DARK Netflix:
“One of the make-up artists, who stood beside me while we were shooting this, whispered very quietly: ‘I wish that was my life.’ And I think wish fulfilment serves a purpose. I think a lot of people consider it a cop-out or a cynical act, but I think wish fulfilment is very important in drama. And it’s important for the people who watch it and the people who make it. We need to have something to reach for. To not settle for less.” — Joe Wright, during director’s commentary of Pride and Prejudice.
PRIDE & PREJUDICE 2005 | dir. Joe Wright
