Sommaren med Monika (Summer with Monika) | Ingmar Bergman | 1953
Harriet Andersson, Lars Ekborg
"I'm Dorothy Gale from Kansas"
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he wasn't even looking at me and he found me
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Sommaren med Monika (Summer with Monika) | Ingmar Bergman | 1953
Harriet Andersson, Lars Ekborg
worldâs first truly awesome guy writing a song titled âthe perpetual ecstasy of being awesomeâ that no one relates to
walked along the coast to dunnottar castle
lambs in dingle, ireland
âTell no lies. Expose lies whenever they are told. Mask no difficulties, mistakes, failures. Claim no easy victories.â
â Amilcar Cabral
whip cream
this is, by far, the most impactful imageset on this website
The Amnesty International report that JK Rowling is trying to censor through legal threats.
It can also be found on Google Drive here and on Bluesky here.
Please save and share this info where possible. This report has since been removed by Amnesty International due to legal threats of libel from JK Rowling. This information is no longer easily accessible.
Pair of ear ornaments depicting winged runners, crafted from gold and inlaid with turquoise, sodalite, and shell; dating from AD 400â700, belonging to the Moche culture of Peru.
this man was really just in this public bathroom with his girlfriend on speaker phone and sheâs like âwhat are you up toâ heâs like âIâm taking a shit babyâ absolutely appalling this might be the last straw for me I really might attack this man
literally I feel like a wild chimpanzee right now
a thing about me is i basically never notice a wig or other kind of hairpiece in tv/movies. it has to be party city territory for me to even twig it. people will complain about characters' wigs looking bad and i will nod along but there is like a 90% chance i did not notice for a second while watching. i consider this mostly a blessing.
Hiroshi Hamaya, Children Singing in a Snow Cave,1956
Each hair on my body represents 1 of my dreams
âAkerman was younger than Orson Welles was when he made âCitizen Kane,â younger than Jean-Luc Godard was when he made âBreathless.â The three films deserve to be mentioned together. âJeanne Dielmanâ is as influential and as important for generations of young filmmakers as Wellesâs and Godardâs first films have been. Akerman presented monumentally composed, meticulously observed, raptly protracted images of a womanâs domestic routineâJeanne (Delphine Seyrig) preparing cutlets in her kitchen, for instance. These images prove cinematically that the domestic lives of women are the stuff of art; that womenâs private lives are as ravaged by the forces of history as are lives lived on the public stage of politics; and that the pressures of womenâs unquestioned, unchallenged, and unrelieved confinement in the domestic realm and in family roles is a societal folly that leads to ruin, a form of violence that begets violence.â
â Richard Brody, âPostscript: Chantal Akerman.â
Ivysaur -- Midori Harada
âIf a society puts half its children into short skirts and warns them not to move in ways that reveal their panties, while putting the other half into jeans and overalls and encouraging them to climb trees, play ball, and participate in other vigorous outdoor games; if later, during adolescence, the children who have been wearing trousers are urged to âeat like growing boys,â while the children in skirts are warned to watch their weight and not get fat; if the half in jeans runs around in sneakers or boots, while the half in skirts totters about on spike heels, then these two groups of people will be biologically as well as socially different. Their muscles will be different, as will their reflexes, posture, arms, legs and feet, hand-eye coordination, and so on. (âŚ) There is no way to sort the biological and social components that produce these differences. We cannot sort nature from nurture when we confront group differences in societies in which people from different races, classes, and sexes do not have equal access to resources and power, and therefore live in different environments.â
â Ruth Hubbard, The Political Nature of âHuman Natureâ (via philosophy-lesbian)
I'm like if a
Who cares. Let's run away. I don't care anymore