Kill the Auteur

A loosely curated collection of film analysis and film industry meta

[julie-moon-chenves]

Sunset Boulevard (1950) dir. Billy Wilder A Thin Line Between Love & Hate (1996) dir. Martin Lawrence

[palukoo]

three hearts that beat as one | old hollywood throuples anyone???

[hotvintagepoll]

obsessed with this actually

[palukoo]

a few people have asked for a list of the movies— it’s in the original tags in order of appearance and with some random thoughts of mine, or you can find it here on letterboxd! <3

[labelleizzy]

Holy cats and kittens, @wrenb77 have you seen this pretty thing?

[releasing-my-insanity]

*3 by Brittany Spears Playing*

[slayerbuffy]

LAUREN BACALL as Irene Jansen Dark Passage 1947 | dir. Delmer Daves

[funeral]

[bunnywoman]

[filmgifs]

PERSONA — 1966, dir. Ingmar Bergman

[roycohn]

david lynch understood on a fundamental level how abusive and exploitative the world is to those with the least power, particularly women and children. he created an entire lifetime's worth of cinematically and narratively groundbreaking work trying to grapple with that hostility and abuse, trying to reconcile the evil that exists in the hearts of everyday men with the goodness he saw there as well. he made survivors of unspeakable trauma feel seen and known in a way that few artists ever have and ever will, and never once shied away from the truth he knew and believed: that we are all innocent, that what has been done to you is not who you are, and even in times of abject despair, there are people who love you, who will not forget you or stop trying to save or defend or avenge you. i don't want that to go without notice. many people are mourning him for different reasons, and i agree, he was one of the greatest and most imaginative artists to ever be given free reign to paint on a cinematic canvas. but first and foremost, david lynch was an artist of enormous empathy, and i think those of us who saw ourselves in his work because of the empathy it afforded us are grieving particularly hard today.

his memory will always be a blessing.

[laurapetrie]

JEAN HARLOW in HELL’S ANGELS (1930)

[ray-marisha]

🌈  PRIDE MONTH CELEBRATION WEEK 🌈 Day 2: Film → Everything Everywhere All At Once (2022)

[brother-genitivi]

couples themed photoshoots and old romance films have such a Grip on me they're all so destian and it makes me unwell LIKE

LIIIIIIIIIKE

[brother-genitivi]

MORE

feel free to use these as refs!

[brother-genitivi]

even more!!

[milflaszlo]

everything everywhere all at once (2022) // in the mood for love (2000)

[funnytwittertweets]

[rogha]

no I read something about this recently! 

it is a combination of: 

projectionists used to well trained union workers now they are mostly some guy who works in the cinema and hits play without adjusting any levels

boom operators aren’t allowed to get in as close as they used to and miking performers well isn’t routinely done

 directors don’t appreciate setting up and getting good sound on the day sound on the day assuming everything can be fixed in post (it can’t)

sound operators who say ‘hey actually we need one more take of that for sound’ are routinely ignored

tight turnaround and schedules means that the noisier equipment (generators etc) is set up closer and closer to where they’re filming so mixers have to try hide the sound of noisy diesel engines etc that the mics are picking up

a mumble style of delivery is increasingly popular among actors who want to appear naturalistic on screen

film and television is very much considered a visual medium so directors are trained to think of visuals first when filming and sound last

[fiftysevenacademics]

Here's Why Movie Dialogue Has Gotten More Difficult To Understand (And Three Ways To Fix It)

/Film spoke with several Oscar-winning sound designers, editors, and mixers to learn why it has become tougher to understand what characters

I think we read the same article.

[falsedetective]

Louise Ross, “Collective Imagination: Goncharov (1973) (2022) as a Model for Communal Filmmaking” (Anarchist Perspectives in Film, Winter 2025)

[simoneashley]

NOPE (2022) + Costume Design Trivia

[cinemapphic]

LET’S GROOVE! an ode to unsettling dance scenes

[acatnamedbinx]

[autistic-af]

One of my favourite pop culture useless pieces of information that I know is the fact that trends in horror movies can tell you about the general fears of the world at any given time in cinematic history.

[autistic-af]

Sorta!

1940s - You have people still alive that remember Jack the Ripper, you have the Axeman of New Orleans and two world wars. The classics are being made for shock escapism and dark stalkers are also popular (usually trusting people turning out to be the enemy).

1950s - post-nuclear bomb. Giant monsters, or unknown blobs are the trend.

1970s/1980s - modern era begins, and serial killers are becoming known and prominent. Slasher films are the trend. The Cold War also drives the fear of invasion, so a few alien films come out in this time.

1990s - a horror movie lull, and lull in wars and disturbances.

2000s - fear of invasions and biological warfare. Zombie movies become the trend.

[autistic-af]

Here you go! It's just a random article, but it's a fun starting point. It outlines the ideas better than what I did above. Fears, politics etc all play a role.

Film has always been a reflection of our society. When world events occur or certain beliefs become widespread, they naturally shape our per

[boogerwookiesugarcookie]

I literally did a 100k PhD thesis on this. I can recommend you a different scholarly book for every decade of American horror.

[mamiwatasurf]

Luck Is Alive tells the story of an African surfer who is a believer in Animism, a sensibility prevalent among surfers throughout Africa. Animism is based on the idea that everything is sentient: that inanimate objects, plants, animals or even entities such as the ocean have a spirit or a soul, often in the sense of having ‘personhood’. 

 The film demonstrates an animistic sensibility through the concept of luck. The line, ‘Luck is Alive’, encapsulates this way of relating to the world: a sense of the aliveness of chance, and by believing in luck and that luck is alive, luck can lead you to be lucky. 

The film features Damme Samb (21) a surfer from Dakar, Senegal a predominantly muslim country on the west coast of Africa. Damme is also a believer in Animism. 

Credits 

Creative Director: Peet Pienaar 

Production: Giant Films & Stink Films 

Director: Paul Ward 

Executive Producers: Cindy Gabriel, Emma Lundy, Martina Luelsdorf & Paul Ward 

DOP’s: Deon van Zyl & Calvin Thompson 

Animation: Mami Wata 

Music: BDS MUSIC