Il gabbiano (Marco Bellocchio, 1977)

祝日 / Permanent Vacation
Monterey Bay Aquarium
dirt enthusiast
Stranger Things
todays bird
trying on a metaphor

Kaledo Art
"I'm Dorothy Gale from Kansas"

No title available
will byers stan first human second

JVL
Alisa U Zemlji Chuda
One Nice Bug Per Day

shark vs the universe
Mike Driver
NASA
cherry valley forever
No title available
hello vonnie
AnasAbdin

seen from Latvia

seen from United States

seen from Brazil
seen from United States
seen from Italy
seen from United States
seen from United States
seen from United States
seen from United States

seen from United States
seen from United States

seen from United States

seen from United States

seen from Iraq

seen from United States
seen from United States
seen from Vietnam

seen from Türkiye
seen from Slovakia

seen from United States
@lafemmequiment
Il gabbiano (Marco Bellocchio, 1977)
the thing about Alain Robbe-Grillet ("the" thing) is he always underestimates how silly and incoherent things already are before he heroically makes them silly and incoherent on purpose, this is obviously true of his later films which he thinks are subversive and not "functional" (consumable) as exploitation cinema because they're nonlinear & citational or whatever but so is Literally Any Rollinade, the further out into genre cinema you go the less anyone cares for the humanist-realist paradigms (for once in this context correctly identified as "bourgeois") we all love to crinkle our noses at, and now halfway through Les derniers jours de Corinthe (the last of his three autobiographies) he's met a 2500-year-old fairy who is forcing him to open only 3 out of x of doors to find the fountain of youth & if he chooses wrong he will die & be forgotten or something and it's not that this isn't entertaining but ... Alain … I have read at least one commercial celebrity memoir this year where this passage could have happened 1:1 without the author displaying the slightest ambition to reform the concept of life writing. you know.
Celine and Julie Go Boating
I racconti di Canterbury (Pier Paolo Pasolini, 1972)
I racconti di Canterbury (Pier Paolo Pasolini, 1972)
I racconti di Canterbury (Pier Paolo Pasolini, 1972)
I racconti di Canterbury (1972) // dir. Pier Paolo Pasolini
me watching any halfway competent film from like 56-79
La Notte Brava (1959)
[6000 word text post about how narrow Tomas's shoulders are in La notte brava]
please excuse my not very nice scan but that photo is squeezed into a paperback of Claude Mauriac's hagiography of Laurent (when I say hagiography I mean he regularly calls him a dark angel or compares him to the sun because even his friends see him so rarely but are always blessed when they do... nothing pleaseth but rare accidents I guess) & I'm glad I got that off the shelf because on the facing page is a piece of mystifying information my American Friend (who can usually tell you what Laurent would have meant by x) & I have failed to understand for a solid 3 years. Laurent speaking:
Balzac knew he wouldn't have the time to write everything he wanted to write, create everything he felt the need to create. He drank a lot of coffee in a battle against time. It was sort of the same with Pasolini. By that time [1969], he was a man who was completely closed off. He wasn't in contact with anyone except his sister.
as far as we have ever been able to establish..... Pasolini does not have a sister. who on earth is Laurent talking about. does he just mean his mother??? he mentions the sister repeatedly & Mauriac never asks or comments:
[Mauriac has just asked Laurent if he felt Pasolini treated him differently 10 years after La notte brava because he was no longer young and hot] On the contrary, this was a relatively chaste period in his life. He led an almost family-like existence with his sister and Nino. Ninetto Davoli. A domestic life, very tidy and austere, with his sister taking care of everything.
now you'll have the same bright idea I had one day (to be exact, the day [early 2024, we barely knew anything about Pasolini] that hunting for some other information* I read a 1967 letter from PPP to Godard beginning "as for my non-carnal wife's assault over the telephone, I understand how traumatising it was for you" and said "your what???", a memory which now feels prehistoric): "it's Laura Betti"! and this -- providing a domestic backdrop, being used along with Ninetto as PPP's voice when he had trouble communicating with others outside of writing -- does all resemble the way other people describe their relationship. but ... Laura is mentioned by name several times in the book because Mauriac talked to her and Pasolini .... and also to Michel Foucault who says:
a certain Laura Betti [...] called me
sorry Claude but it is absolutely vital that you tell me what Foucault said about Laura Betti "[...]" that you couldn't print there!!! (is Laura Betti on the phone 24/7 terrorising French intellectuals in their Maoist era? probably)
so anyway (1) if Laurent meant Laura (this is very difficult to say sticking to both accents & I'm glad Autant-Lara is not in this sentence too) surely Mauriac could have clarified that? if only to protect himself from being telephoned
so anyway (2) PPP's mythic sister has become a character in this household to the extent that when I was bitching about The Silver Book in general & in particular wondering about Unnamed Blonde Woman With Black Make-Up whose only dialogue is explaining how to make blood sauce (& who I am not sure is supposed to be Laura because the only data on her is "my mother was from Piemonte" & I haven't been able to confirm whether this applies to Laura) A. just said "but that's obviously his sister"
in sum
*the other information was, A. swore she once read that Pasolini said "x is the most beautiful actor I ever worked with", but could not remember whether it was Laurent (whose filmography we'd been doing for half a year) or fellow certified dark angel Pierre (whose filmography we had just started on). we never solved that one either
sorry to Laurent for hijacking his day with this strongly Laura-based digression but well we'll rewatch La notte brava again tonight & I obviously won't be paying attention to anyone else then
Laurent Terzieff photographed by F. Joanucci, 1979
every now and then I think about this trashy Marie-France biography I have lying around & never read (too much of it is about people from a particular social class of wealthy public intellectuals that exists like this only in France [?] and that I find aggressively uninteresting to gossip about) which describes her relationship with Robert as: "she literally subjugated him" and moreover "she forced him to read", which makes me assume she tied him to the library stairs & left him there until he'd finished Séminaire VIII. my reading of every Robert Hossein movie is informed by this possibly inaccurate idea
Marie-France Pisier, June 1965
Club de femmes (Ralph Habib, 1956)
Jane Birkin in "Melancoly Baby" (dir. Clarisse Gabus - 1979).
-Il deserto rosso (Michelangelo Antonioni, 1964) -Identificazione di una donna (Michelangelo Antonioni, 1982)