nikki begging bear to kill her and all he does is ask whats so bad about being with him. one of the most nauseating scenes ive ever witnessed
he wasn't even looking at me and he found me

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nikki begging bear to kill her and all he does is ask whats so bad about being with him. one of the most nauseating scenes ive ever witnessed
not your nikki
my favourite thing about obsession is that every man watching it is doing mental gymnastics to explain why Bear is also a victim and every woman watching is thinking about her shitty boyfriend/ guy friend from when she was 20 who would absolutely do that to her.
My toxic trait as a horror fan is that I will never ever ever ever ever tire of grief horror. The idea of grief driving people to do dark and unimaginable and truly horrific things is just so fucking raw and so fucking real to me and it fucks me up every single time. I don‘t care how many times I see it done in different ways or in the exact same way, it always hits for me. I am an absolute simp for any and all grief-based horror concepts and I forever will be.
double exposure in cinema
everything everywhere all at once (2022) mulholland drive (2001) charlie and the chocolate factory (1971) cat people (1942) chungking express (1994) hereditary (2018) last night at soho (2021) eternal sunshine of the spotless mind (2004)
when you realise you'd have to stop the world just to stop the feeling
made this instead of getting dinner
Bela Lugosi having a break during the filming of Dracula (1931).
Pictures of your average queer friend group
horror style
LISA FRANKENSTEIN (2024) dir. Zelda Williams
Ooops I still have I saw the TV glow thoughts.
I can't get over the fact that of queer and trans representation in film was, for a very long time, doomed. Characters who were barely there, characters whose queerness was purely subtext, characters who always have unhappy endings. This is in large part due to the The Hays Code (spanning from 1934 to 1968) which essentially banned anything that would even hint at homosexuality and queerness (the exact wording of the rule being 'Any inference of sex perversion'), meant that queerness in film was strictly relegated to subtext and even then films risked being slapped with a 'C' (condemned) rating and never making it to theatres. After thirty years of this, in the early 60s the wording is slightly changed to allow queer characters if its handled with "care, discretion and restraint". Of course things got past it, but you had to be extremely careful, and one way to get around it was to make queer characters the villians, or to make them pitiful. Essentially what this amounted to was queer characters only being allowed if they were villified or miserable. The tiniest amount of exploration or gender or sexuality, and god forbid, joy in being queer, meant you were not allowed to make it out of the film alive. Even after the code was dropped, the ramiforcations of this can be seen in so many movies, The Hays Code created the blueprint for queer stories in cinema. We were sad, or we were evil. And either way, we would probably end up dead. So after almost half a century of this being the only representation was even allowed, this movie says, actually, no, being openly queer will not be the thing that destroys you, it will not be the thing that brings you misfortune and unhappiness. The thing that will destroy you is not being queer, not being your true self. Being queer is the thing that will save you.
MIA GOTH as ELIZABETH LAVENZA FRANKENSTEIN (2025) dir. Guillermo del Toro
I think a lot of people know about the making of the twilight films and some of the behind the scenes stories are pretty well known at this point.
But I have never heard anyone talk about the Catherine Hardwicke cupcake story, and I want more people to know about it: No one wanted to make Twilight. The rights were picked up by Paramount (where they developed a script that deviated so far from the books Bella rides a fucking JET SKI and has a GUN) but then it got put in turnaround and it was left sitting on a shelf until the rights lapsed. It ended up at Summit entertainment. Who at that point was completely unknown, they had only distributed movies and their attempts at making movies (only two at the time) were massive failures.
No one wanted to make Twilight because no one thought a movie with a young female lead would make any money.
And thats how Catherine Hardwicke got the job.
She was the only one who wanted it.
And she wanted it because she had a vision; she liked that the book felt grounded, that it was set in an ordinary town about an ordinary girl. She liked that it was set in the Pacific Northwest, she loved the idea of large trees and mountains and moss, not a place you would put vampires typically. She thought the book captured how it feels the first time you fall in love.
And Catherine Hardwicke knows teenage girl cinema, her indie darling Thirteen is so intensely in the point of view of a teenage girl, its so focused and personal, she knew she could do that for Twilight.
No one really expected it to make money. During production, Catherine Hardwicke told the producers that online it was looking like there were a lot of fans for this movie, producers told her ‘it’s probably just a hundred girls blogging in Salt Lake City’.
It made over $400 million dollars at the box office.
When directors direct something like this, something that explodes in popularity and makes insane money, its not uncommon for the directors of those movies to get an extravagant present from the studio. Not extravagant as in a gift card, extravagant as in, like, literally a car.
After Twilights opening weekend, where it grossed over 69 million dollars, Catherine went into the studio office.
And they gave her a cupcake.
She is the first and only female director for any of the twilight films. Following this we have three male directors. The budgets exploded, someone, inexplicably, got the DP a tripod. They shot them like blockbusters because they made money like blockbusters. None of them feel the way the first twilight feels. It’s awkward, personal and absolutely gorgeous. Ironically, it’s the only one with a heartbeat.
(I highly recommend this podcast episode where Hardwicke talks more about this experience and goes into detail of her directing choices for Twilight: https://podtail.com/podcast/eli-roth-s-history-of-horror-uncut/7-catherine-hardwicke/)
city of the living dead (1980) kill bill: vol 1 (2002) let the right one in (2008)
Simone Simon in Cat People (1942)
Cat People (1942) dir. Jacques Tourneur