Cléo de 5 à 7 (1962) - Agnès Varda
Sweet Seals For You, Always
Peter Solarz

blake kathryn
trying on a metaphor
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祝日 / Permanent Vacation
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we're not kids anymore.

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taylor price
almost home
will byers stan first human second

Origami Around
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if i look back, i am lost
Sade Olutola
wallacepolsom

❣ Chile in a Photography ❣
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Cléo de 5 à 7 (1962) - Agnès Varda
Cléo de 5 à 7 (1962) - Agnès Varda
Cléo de 5 à 7 (1962) - Agnès Varda
Delphine Seyrig & Alain Resnais on the set of “L'Année dernière à Marienbad”
Vivre Sa Vie (1962)
Nostalgia (1983)
Persona | Ingmar Bergman | 1966
Liv Ullmann, Bibi Andersson
Persona | Ingmar Bergman | 1966
Bibi Andersson, Liv Ullmann
Persona | Ingmar Bergman | 1966
Bibi Andersson, Liv Ullmann
Monica Vitti in: L'Eclisse (Dir. Michelangelo Antonioni, 1962).
movie kisses (part two: black and white edition)
boy meets girl (1984)
brand upon the brain! (2006)
killer’s kiss (1955)
kiss me deadly (1955)
la notte (1961)
notorious (1946)
the hustler (1961)
the killing (1956)
the last picture show (1971)
thirst (1949)
woman in the dunes (1964)
movie kisses (part one)
ain’t them bodies saints (2013)
badlands (1973)
black sunday (1960)
drive (2011)
ivan’s childhood (1962)
manchester by the sea (2016)
silent light (2007)
stranger by the lake (2013)
swiss army man (2016)
the science of sleep (2006)
A Taste of Honey (1961) dir. Tony Richardson
Skammen, 1968. Dir. Ingmar Bergman.
Persona (1966) // dir. Ingmar Bergman
Akira Kurosawa: There’s something to be said for black and white, and I harbor the hope of returning to it some day. A black and white film has a special quality. It’s difficult to describe, but that quality is still very much alive for me today. – 1991
Andrei Tarkovsky: I love black and white cinema; I feel as if I discovered it. Audiences are supposed to prefer color films, but I believe that color is much less realistic than black and white. We don’t normally notice color, except in the cinema where it’s somehow exaggerated. So the most ‘real’ images on film are in monochrome… For me, black and white has an unforgettable and highly expressive quality, and I will continue to make films that include a lot of black and white. – 1981
David Lynch: Black and white does have the ability to take you into a world that’s different, be it in the past as in The Elephant Man or in a parallel world as in Eraserhead. Sometimes with color it’s just too real and can’t take you there so easily and it makes things more pure. You can see eyes and ears in a totally different way, so you really see them. You see shadows and contrasts and shapes because those are the things you end up working with. You don’t see such a real picture which you glance over without a second thought. In black and white you really start to see things. It seems to make things in a way more powerful–it’s removing you from reality. – 1985
Béla Tarr: I love black and white. When you see a black-and-white picture, you know immediately it is not a realistic picture. It is not reality ‘one to one,’ because something is somehow transformed. On the other hand, I can hide a lot of things in the blackness, and I can picture white light for something which is important. I can use the whole gray scale. – 2012
Ingmar Bergman: In black and white, you have that wonderful chance to create, and have the audience to create together with you… I would like most of all if it would be possible to work in black and white, because I think black and white is the most beautiful color that exists for our minds, for our creative minds. We are involved in the creative process when we are looking at a black and white picture. – 1981