αρίστος αχαιών

film/tv shows/classics

[davids-harbour]

A fake world is a lot less painful than the real one.

Upgrade (2018) dir. Leigh Whannell

[charitydingle]

夢 | Dreams — 1990, dir. Akira Kurosawa

[jamesusilljournal]

Andrei Tarkovsky Polaroids

[disc80s]

the Wong Kar-wai aesthetic

[tvln]

[hermywolf]

every time spn uses the set to show angels with like. wings and halos or other representations of them being other and not human and much bigger than they seem i’m like wow. wow. absolute banger. that shit gets me every single time

[hermywolf]

like you’re going to look at me in the eye and tell me none of these make you feel insane? couldn’t be me

[charitydingle]

墮落天使 / Fallen Angels —1995, dir. Wong Kar-wai

[hirokazukoreeda]

Du côté de la côte (1958) dir. Agnès Varda.

[nsane]

THE SELF HAS ALWAYS BEEN COMPOSED OF TWO SELVES. YES, THE SELF WHICH IS OBSERVED AND THE SELF WHICH OBSERVES ITSELF.

[antoniostella-deactivated202509]

Poster for “他人の顔” The Face of Another - 1966 by Hiroshi Teshigahara.

[marionequade]

Columbus (2017) / The VVitch (2015) / Memories of Murder (2003) / Portrait of a Lady on Fire (2019) / Bell, Book and Candle (1958) / Parasite (2019)

[bongjoonhoe]

Sound of Metal (2019) dir. Darius Marder

[trainstationgoodbye]

Phantom Thread (2017) dir. Paul Thomas Anderson

[demoncity]

The only thing more brilliant than inventing something that makes you invisible was not inventing it, but making you think he did.

THE INVISIBLE MAN

2020, directed by Leigh Whannell

[muscosus]

the goldfinch, donna tartt // illustration by instachaaz (ig) // selected poems by frank o’hara // the witcher, netfilx // suffocation, crystal castles c. 2010 // the diaries of franz kafka // diary, virginia woolf

[johncassavetes]

Cassavetes on Screenwriting

In 1953, John Cassavetes knew practically nothing about writing. Sam Shaw decided to help him by introducing him to Edward McSorley, a novelist, who gave him a crash-course in screenwriting. Cassavetes said that McSorley taught him the three most important things he knew:

1. that character was more important than plot, and that the most important thing of all was to present characters truthfully;

2. that the artist should not explain or define too much, or ‘do too much thinking for the audience’, but that the story should ‘evolve, so that people could understand it only gradually as it went along’;

3. that 'style is truth’ and all that really mattered was that every scene should be as true to life, truthful about the characters and their real feelings and behavior, as possible.

[newyorkkiss]

I get paralysingly nervous a lot of times, so I tried bravado. The way I dress and carry myself, a lot of people find it intimidating. I think my whole career can be boiled down to the one word I always say in meetings: ‘strength.’