lighting the dark night coming on

tara ∞ ∞ ∞ 21 ∞ ∞ ∞ they/them ∞ ∞ ∞ currently swimming back header ID: a photo of five beige-coloured mushrooms in a bed of moss icon ID: a screenshot of Leela from Doctor Who, her eyes raised and looking to the side, surrounded by poorly doodled stars and hearts @lithopseffect on letterboxd @nyssaoftraken on tardis.guide!

[filmgifs]

THE HAUNTING — 1963, dir. Robert Wise

[vcasih]

tarkovsky / heidegger

[discardingimages]

Requiem with a marginal dragonfly  book of hours, Bruges or Ghent 15th century.

Beinecke Rare Book and Manuscript Library, MS 287, fol. 161v

[clawmarks]

Descriptiones et icones plantarum rariorum hungariae - Francisci Comtitis Waldstein, Pauli Kitaibel - c.1802-1812 - via e-rara

[saccharinescorpion]

Sapphire & Steel is about interdimensional beings that are kind of implied to be personifications of their eponymous elements and you think to yourself “well that’s why they act so frosty and off-putting, they’re literally not human” and then a few episodes in you meet their colleague Lead and he’s a perfectly cool and chill dude so it’s implied that Sapphire and Steel (mostly Steel) are just kind of weird

[calebwittebane]

you have destroyed and betrayed yourself for an amazing reason

[formlab]

Lights of New York City, Ernst Haas, 1970s

[bongjoonhoe]

It seems to make me return to the place, poignantly dear to my heart, where my grandfather's house used to be in which I was born 40 years ago right on the dinner table. Each time I try to enter it, something prevents me from doing that. I see this dream again and again. And when I see those walls made of logs and the dark entrance, even in my dream I become aware that I'm only dreaming it. And the overwhelming joy is clouded by anticipation of awakening. At times something happens and I stop dreaming of the house and the pine trees of my childhood around it. Then I get depressed. And I can't wait to see this dream in which I'll be a child again and feel happy again because everything will still be ahead, everything will be possible…

Solaris (1972) / Mirror (1975) / Nostalgia (1983) / The Sacrifice (1986) dir. Andrei Tarkovsky

[spacemancharisma]

[daughterofchaos]

Woodblock print by Ding Liangxian 丁亮先

Qing dynasty, ca. 1735-1750, Suzhou, Jiangsu province, China

Arbutus and praying mantis, with inscription, printed in colour and gauffrage on paper

British Museum

[frontmansdog]

there’s a t-shirt that says “I survived a bad day and all I got was the rest of my life” and yeah I still think about it

[ohmovie]

I disagree. Sometimes, death can be an interesting solution. Example. I don't enjoy life. And I'd gladly give mine up for a good cause if one ever comes around.

SASHA & PAUL Humanist Vampire Seeking Consenting Suicidal Person Vampire humaniste cherche suicidaire consentant│2023

[onetwofeb]

Tarkovsky, The Sacrifice, 1986

[oniri-que]

The Sacrifice

Andrei Tarkovsky

[oriole0521]

PALE TEETH AND WIDE SMILES THEY DON’T CARE AND I DON’T MIND

PALE BRICKS AND WIDE SMILES THAT’S WHY I DON’T GO OUTSIDE

[dorothygale]

pop health science is so annoying bc it'll be like "did you know? eating strawberries will give you mega cancer" and you're like pfft whatever begone influencer. but sometimes then you'll see a reasonably credible article like "Study Shows Possible Link Between Strawberries and Mega Cancer" and you're not usually the type to follow that kind of thing religiously but idk maybe you should consider not eating strawberries? but then there's another article saying "Strawberry/Mega Cancer Study Debunked" and it turns out the original study had a sample size of 3 and was funded by Big Blueberry, and strawberries may have a small connection to mega cancer but only if you are genetically predisposed to mega cancer and eat 50 strawberries every day. so you return to your strawberry eating life. but whenever you eat strawberries in public someone tells you about the mega cancer.

[flamboyantdepressed]

“We had no technical or other problems during shooting, until one moment almost at the end, when all our efforts seemed on the point of coming to nothing. Suddenly, in the scene where Alexander sets fire to his house—a single take lasting six and a half minutes—the camera broke down. We only discovered it when the entire building—our set—was already blazing, burning to the ground as we looked on. We couldn’t put the fire out, nor could we take a single shot: four expensive months of intense hard work for nothing. And then, in a matter of days, a new house was built, identical to the first. It seemed like a miracle, and proved what people can do when they are driven by conviction—and not just people, but the producers themselves.”

Andrei Tarkovsky, The Sacrifice / Sculpting in Time