MR. REVERCOMB, YOU ARE MAD

Mizuki, JP

[williamhereford]

6am in Nagano…  I shot these all within 1 block of each other on the same street while traveling on assignment last month through Japan.  

[seenonascreen]

Are you kidding me? We conduct a nationwide manhunt for you and you’re boning the suspect? Did you think this was a joke? “Let’s divert federal resources and man hours so I can have my collegiate lesbian fling in style.”  D.E.B.S. (2004) dir. Angela Robinson.

[the-last-night-on-earth]

Dear Ex (Chih-Yen Hsu, 2018)

[historical-nonfiction]

Canadian photographer Christopher Herwig has traveled the vast expanse of the former Soviet Union, documenting a phenomenon – the strange and wonderful architecture of Soviet Union bus stops. 

[fyblackwomenart]

Elizabeth Colomba

The Storm

[yourstrulys]

Favorite Cher outfits from Clueless (1995)

[brand-upon-the-brain]

Certain Women (Kelly Reichardt, 2016)

[bongjoonhoe]

Let’s go to the other side. The view will be better there.

Cold War (2018) dir. Pawel Pawlikowski

[twixnmix]

Dancer Carmen De Lavallade photographed by Carl Van Vechten on March 3, 1955.

[warmfiend]

skmtgram: So happy to be reunited! 

[treethymes]

Last year, I made a VR film. Since it was VR, there was no composition in the traditional sense and no close-ups as well. After I made the film, I had a sudden desire to film close-up shots. I decided to make a film made up of only close-ups. Hsiao-kang will be in it, of course, together with a few others. So I went out to the streets in search of the faces I wanted. In two months, I found more than ten of them. One after another, I lit them with extra attention, as if they were cinematic compositions. Not long after, I met Ryuichi Sakamoto by chance at the beach in Venice. After I pieced together those big close-ups that I had filmed, I wrote him a letter and asked if he’d have a look at it. He agreed. One month later, he sent me some audio files. I couldn’t be sure what exactly I heard. Sakamoto told me politely that I could use it in any way I wanted. Or I could simply ignore it. I was thrilled by it. It felt like an adventure. After more than twenty years, I finally made a film with a musical score.

Tsai Ming-liang on his film Your Face (2018)

[365filmsbyauroranocte]

Our Little Sister (Hirokazu Koreeda, 2015)

[criterioncollection]

“And like the revered New Wave filmmaker she worked with early in her career, Jacques Rivette, Denis is always alive to beauty. Rivette loved looking at women, not lasciviously but with a languorous gaze like a sigh. Denis, working here with her usual cinematographer, the supremely gifted Agnès Godard, lavishes similar love on Binoche: Her skin is like cream with drops of moonlight mixed in. Her face—open and responsive, always receiving signals as well as sending them out—is itself an elegant question.” — Stephanie Zacharek in her beautiful essay on Claire Denis’s Let the Sunshine In (2017)

[obviousplant]

All Alone Bert

[ettinauer226xl-deactivated20200]

Estiu 1993 [Summer 1993] (2017) - Carla Simón

[s-h-o-w-a]

The rooftops of Ginza, 1958

by Seiichi Nagano

[sesiondemadrugada]

Yi yi (Edward Yang, 2000).

[blueribboninmyhair]

alanis morissette (1995) björk (1994) hope sandoval (1993) fiona apple (1997)