[overdose-art]

Christophe Maout, Paris on Lockdown (Libération)

[annacaffeina]

People aren’t out protesting to be waitresses and hairdressers again. People are out demanding that their waitresses and hairdressers go back to work. The idea is to force the service industry to serve them despite the risk to the servers.

If you have ever wondered what modern white america would think about slavery today consider the white women yelling and screaming because no one will die to do their frosted bangs. They feel every bit as entitled to own the lives of others as they did 150 years ago.

[newsfromstolenland]

can we stop with the "coronavirus is a blessing, actually" narrative

it's not solving our "overpopulation" problem, because that was never our problem in the first place!! the problem is the overuse and inequitable distribution of resources

COVID-19 is not "nature taking it's revenge", it's killing the vulnerable, not the corporations and billionaires responsible for the climate crisis

and the whole idea that it's "bringing us closer together" may be true for the upper middle class getting to work from home, but it's absolute bullshit for frontline workers, people who still have to go in to work, and people who can't afford to live now that they aren't allowed to work

[babettesfeast-deactivated202105]

One of the most touching things about the film is how you deal with memory in a love story.

It’s a bit the same dynamic: that a love that is lived is a love that’s received. That’s why often in love stories, it’s necessary that relationships end so that we can bring them with us and not leave them in the theater. In the end, the frozen image of a couple walking towards the horizon doesn’t leave us with much. So, it’s the idea that what has been lived can be looked at and can nourish our future loves. I really believe in that, in memory as a dynamic.

- Painting Love: Céline Sciamma Reveals Her Philosophy of Love in Portrait of a Lady on Fire

[dirbyagnesvarda]

social isolation told by moomin characters

[connerys]

You’re laughing at me. That smug frozen face of yours doesn’t take me in. You just want me to tell you all this so you can feel superior to me. You and your drooling science.

Spellbound (1945) dir. Alfred Hitchcock

[rob-pattinson]

When you’re observing me, who do you think I’m observing?

Portrait of a Lady on Fire (2019) — dir. Céline Sciamma, cinematography by Claire Mathon

[filmgifs]

Why don’t you pick on somebody your own size? The Mummy Returns (2001) dir. Stephen Sommers

[bitchontheprairie]

from an interview with Céline Sciamma

[notdavidfincher]

Little Women (2019) dir. Greta Gerwig, cinematography by Yorick Le Saux

[the-gardens-of-lorien]

“I dream of painting and then I paint my dream”. Vincent van Gogh

[yocalio]

Evelyn Carnahan’s greatest hits, The Mummy (1999) Dir. Stephen Sommers

[avellino]

sciamma and bong

[witchinghour]

Jeanne Moreau in Elevator to the Gallows (1958) dir. Louis Malle

[tiffanyachings]

…what has already been described as one of the worst atrocities of the Northern Irish conflict. At least twelve people are thought to be dead, and many more wounded. Emergency services are urging anyone with medical training to come to the scene immediately. The device was detonated at 3pm this afternoon. The RUC said no warning was given.

[emratas]

When honor was everything, courage made kings. The Green Knight (2020) dir. David Lowery

[connerys]

films watched in 2018: notorious (1946) dir. alfred hitchcock

You’re sore because you’ve fallen for a little drunk you tamed in Miami and you don’t like it. It makes you sick all over, doesn’t it? People will laugh at you, the invincible Devlin, in love with someone who isn’t worth even wasting the words on.