hi ya

[filmgifs]

Mamma Mia! (2008) dir. Phyllida Lloyd

[ukulelekatie]

Me trying to figure out what my mutuals are vaguing about when they write entire sentences made of asterisks

[wern]

yall: i cant wait for him to **** * ***** *** ******* **** ** ** *****

me: can i buy a vowel

[ladybord]

🤔🤔🤔

[notkatniss]

me

[mancandykings]

Oscar Isaac

photographed by Jason Nocito for GQ Style Spring 2018

[fuckyeahwomenfilmdirectors]

For me, whether it’s [becoming] the first black woman to win Sundance, the first black woman nominated for director at the Golden Globes, the first African-American woman to be nominated for a documentary feature Oscar, or the first to make a $100 million film, all of those firsts to me are bittersweet because my mind immediately goes to the women before me who should’ve been those firsts — not could’ve, who should’ve if they were not in an industry that ignored them and turned a blind eye to their talent and their voice: people like Julie Dash, Euzhan Palcy, Ayoka Chenzira, Neema Barnette, Kasi Lemmons, these are women whose voices are strong and whose visions are really magnificent — and they came at the wrong time. And I know that the reason why the microphone’s in my face is because I just happened to be here at the right time.

Ava DuVernay

[filmbutch]

Bend it like Bechdel

[lmxmhr]

Moon (2009) dir. Duncan Jones

[wintersoldierarchive]

Danai Gurira photographed by Autumn de Wilde for Rodarte F/W 2018

[filmchrist]

I think we drink virgin blood because it sounds cool

What We Do in the Shadows (2014, directors Jemaine Clement & Taika Waititi)

[cillmurphys]

These are the rooms we’re not supposed to go in… But let’s go anyways!

The Florida Project (2017) dir. Sean Baker

[celebsofcolor]

Tessa Thompson for Rodarte

[shesnake]

movie theatre culture is fun and all but some filmmakers become too elitist about it and want to pretend it’s the only way to enjoy/be immersed in cinema and honestly.. given today’s technology and accessibility.. if your film can only be enjoyed in 70mm and not from my laptop screen then it’s not very good, christopher

[shesnake]

since there are a few prententious film nerds missing my point: films that can ONLY be enjoyed in theatres fall short bc they cannot be universally enjoyed by people who either can’t afford to go to the theatres, or are impeded by any disabilities.

there are plenty of films that completely immerse me even though I’m watching on a small screen, and dunkirk isn’t one of them. I did go see that in theatres and actually enjoyed a Nolan movie for the first time, but watching it again at home was like a completely different movie, and not a very good one.

I love going to the movies, I love the experience, but filmmakers who RELY on the big screen to enhance their films into something watchable are really not as great you think they are bc they’re cutting out a HUGE part of their audience who can’t watch it “the way it’s intended”

[knightleyfans]

You have four films coming out this year. Are you a workaholic? It’s been busy. I took a year off when I was pregnant and after I had my kid. It was interesting, because when you have a child it’s amazing and fulfilling, but you feel like your identity can in some way be subsumed by being a mother. I had a real feeling of needing to feel like I am still me, so I attached myself to an awful lot of projects, and I got to the last one, which was actually “Colette,” and realized I was absolutely knackered, so I’ve taken the last six months off. I was the daughter of a working mother, and I know how important it was to me and my sense of self to see my mom working. I want my daughter to see that I’m doing something that I love. I want her to know that whatever field she chooses, she can have a kid and she can still pursue a career.

Keira Knightley photographed by Nadav Kander for Variety (x)

[hirxeth]

Blade Runner 2049 (2017) dir. Denis Villeneuve

[y2kaestheticinstitute]

Kaimin (Selections from SS 2017 + FW 2017 + SS 2018)

[saoirseronanworld]

Saoirse Ronan photographed by Ben Rayner for TIME OUT New York, 2016