Je ne suis pas parisienne

F ☆ 23 ☆ Italy ☆ Libra ☆ Aesthete

[plain-flavoured-english]

Your purpose in life is not to love yourself but to love being yourself.

If you goal is to love yourself, then your focus is directed inward toward yourself, and you end up constantly watching yourself from the outside, disconnected, trying to summon the “correct” feelings towards yourself or fashion yourself into something you can approve of.

If your goal is to love being yourself, then your focus is directed outward towards life, on living and making decisions based on what brings you pleasure and fulfillment.

Be the subject, not the object. It doesn’t matter what you think of yourself. You are experiencing life. Life is not experiencing you.

[violentwavesofemotion-deactivat]

“Warmth, perfume, rugs, soft lights, books.”

— Anaïs Nin, from a diary entry featured in Mirages: The Unexpurgated Diary; 1939-1947

[gypsyastronaut]

[gypsyastronaut]

[jenesuispasparisienne]

Me. Overthinking.

[witchinghour]

Vivre sa vie (1962) dir. Jean-Luc Godard

[jenesuispasparisienne]

Love this movie.

[midori-kim]

“After all, everything is beautiful.”

[shadowsandfaces]

¡Fuego!

[infinitelyhisgirl]

[lavend3l-deactivated20200311]

[professionnone-deactivated20180]

marilyn monroe | john f. kennedy’s birthday gala, 1962

[quoted-by]

[jacquesdemys]

Vittorio Gassman in Il Sorpasso (1962)

[erhaben]

[haidaspicciare]

Sophia Loren, “La ciociara” (Vittorio De Sica, 1960).

[jenesuispasparisienne]

Adoro.

[piuomenopoesia]

Ho aspettato per anni parole che non sono arrivate. Ho incollato zampilli di silenzio alla sorgente viva del mio dolore, prigioniera di un tempo mascherato di generoso impegno. Tra lettere di lacrime derise sono rimasta sola a perquisirmi l’anima, per salvarmi la vita quel tanto che basta e aspettarti… L’attesa mi ha regalato saggezza, pazienza, frammenti di felicità.

Anna Magnani

[hauntedbystorytelling]

Bellissima, 1961

[jenesuispasparisienne]

Uno dei miei film preferiti in assoluto.

[tribeca]

Anna Magnani in one of the most devastating scenes in all of film history from Roberto Rossellini’s riveting neorealist touchtone, Rome, Open City, released today in 1945.