liinh-trnn

mannequin

[liinhtrnn]

[esrpublicist]

Dani and Pelle in MIDSOMMAR (2019)

[liinhtrnn]

[soon-monsoon]

Somewhere in Bangladesh by Md. Kowshikur Rahman

[itscolossal]

The Fourth Wall: A Rare View of Famous European Theater Auditoriums Photographed from the Stage

[liinhtrnn]

Tôi với em, yêu nhau cũng thật khốn khổ. Cũng không biết có phải yêu thật không hay lại cái thứ na ná tình yêu hai đồng ngoài chợ.

Phòng trọ của em ở tận Từ Liêm, còn tôi ở nhà cậu mợ mãi Thanh Trì. Đúng nghĩa yêu xa. Đã yêu xa còn hay giận hờn, ích kỉ. Mà chủ yếu cũng tôi giận hờn, tôi ích kỉ, còn em thì vô tư đến đau lòng.

Hà Nội mùa này hay mưa. Hôm đầu tôi gặp em trời mưa. Hôm thứ hai tôi gặp em trời cũng mưa. Em có chiếc áo mưa lạc đà cho tôi ngồi sau vẫn nhìn được phố. Nhưng tôi cũng chả bao giờ nhìn phố. Đi với em tôi chỉ nhìn em. Nhìn qua gương chiếu hậu. Còn những hôm không đi với em mà trời mưa thì tôi hay sợ em ngã, sợ em thấy trời buồn em cũng buồn theo.. Hôm nay trời cũng mưa; tôi lo cho em thì ít mà lo cho bộ truyện Hồng Lâu Mộng tôi mới mua hôm qua thì nhiều :)). Chia tay không nỡ xa kiểu gì mà đến bộ sách cũng để quên. Chán..

Thanh Trì, viết nhân lúc nhà mất điện. Em có muốn đọc thì đọc :))

[theartofmoviestills]

Rebels of the Neon God | Tsai Ming-liang | 1992

[theartofmoviestills]

Close-Up | Abbas Kiarostami | 1990

Abbas Kiarostami, 1940-2016.

[1001soundtracks]

Jimmy: Where is she?

Tony Harwell: Why should I tell you where she is if she doesn’t tell you where she is in the letter?

Jimmy: Then why do you take the time to come out to Brooklyn to give me this letter if you don’t think she cares enough about me to let me know where she is, or to let you know to let me know where she is? Doesn’t that makes sense to you?

Tony Harwell: It should, but it don’t.

[shesnake]

“Wow, this is so metaphorical!”

Parasite (2019) dir. Bong Joon-ho

[drugballad-deactivated20240821]

Bong Joon-ho

[liinhtrnn]

voice acting is acting too duh 🙄

[pariztexas-deactivated20210721]

Happy Together (1997) dir. Wong Kar-wai

[katharineshepburn-deactivated20]

One thing you can always count on is that hearts change. Howl’s moving castle | ハウルの動く城 (2004) dir. Hayao Miyazaki

[fyeahmovies]

Parasite / 기생충 (2019): First vs Last shot

“I think that one way to portray the continuing polarization and inequality of our society is as a sad comedy. We are living in an era when capitalism is the reigning order, and we have no other alternative. It’s not just in Korea, but the entire world faces a situation where the tenets of capitalism cannot be ignored. In the real world, the paths of families like our four unemployed protagonists and the Park family are unlikely ever to cross. The only instance is in matters of employment between classes, as when someone is hired as a tutor or a domestic worker. In such cases, there are moments when the two classes come into close enough proximity to feel each other’s breath. In this film, even though there is no malevolent intent on either side, the two classes are pulled into a situation where the slightest slip can lead to fissures and eruptions.

In today’s capitalistic society there are ranks and castes that are invisible to the eye. We keep them disguised and out of sight and superficially look down on class hierarchies as a relic of the past, but the reality is that there are class lines that cannot be crossed. I think that this film depicts the inevitable cracks that appear when two classes brush up against each other in today’s increasingly polarized society.” — Bong Joon-ho

[deeplystained]

“There is no one to save us because there is no need to be saved. I’ve hurt you. I’ve loved you. I’ve mowed the front yard.”

— Matthew Dickman, from Slow Dance

[rogerdeakinsdp]

You are not different from anyone else. We are all the same but in different words. With different bodies, different versions, like insects.

Possession (1981) dir. Andrzej Żuławski

[alexromero]

Roma (2018) dir. Alfonso Cuarón

We are alone. No matter what they tell you, we women are always alone.