in restless dreams

[sweet4ngell]

Alucarda la hija de las tinieblas (1977) Juan López Moctezuma

[71519266-deactivated20260603]

[worldscoolest]

[lapvonaa]

[petaltexturedskies]

Anaïs Nin, in a diary entry dated 27 March 1927, from The Early Diary of Anais Nin: 1927-1931

[lullabiesinaglasswilderness]

[aloneandforsakenbyfateandbyman]

Giallo in Venice (1979)

[aloneandforsakenbyfateandbyman]

Nightmares Come at Night (1970)

[sun-bl3ached]

Videodrome (1983) by David Cronenberg

[hiraspit]

[helena-bottom-farter]

[shisasan]

Bram Stoker’s Dracula (1992) dir. Francis Ford Coppola

[petaltexturedskies]

All photographs are memento mori. To take a photograph is to participate in another person's (or thing's) mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time's relentless melt.

Susan Sontag, On Photography (originally published in 1977)

[bestiolin]

Scans from “Peep Focus”, a voyeuristic photo magazine published in Japan in the 1980s. via

[soyouthinkyoucansee]

[ouch1993]

“He approaches. He makes towards me. This is the most exciting moment I have ever known. I flutter. I ripple. I stream like a plant in the river, flowing this way, flowing that way, but rooted, so that he may come to me. “Come,” I say, “come.” Pale, with dark hair, the one who is coming is melancholy, romantic. And I am arch and fluent and capricious; for he is melancholy, he is romantic. He is here; he stands at my side.”

—

Virginia Woolf, from ‘The Waves’ 

(via bluebeardsbride)

[pinupdelore]