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Viajo Porque Preciso, Volto Porque te Amo (Karim Aïnouz & Marcelo Gomes, 2009)

Edge of Tomorrow (2014), dir. Doug Liman

Do you ever think it's coming back? All that shit from the '90s? We were despised, but you read the stuff online now, it sounds just the same. Do I think it's coming back? Yeah. It's back, you fucking idiot. Right now, it's here.

TIP TOE • 1.01

eroscestlavie

Genuinely incredible single serve site I just found: a guy made a search tool so you can find completely empty AMC movie screenings in your area and enjoy a private or near-private theatre.

didanagy

THE HUNCHBACK OF NOTRE DAME (1996)

dir. gary trousdale and kirk wise

deepdwellingsteamboat

HOKUM 2026・dir. Damian McCarthy

existing-caregiver

David Lynch

dermondistaufgegangen

When Night is Falling (1995) Patricia Rozema

katebeckets

idiots (affectionate)・[33/?] ⤷ 2.20 — “Humbug”

dailyflicks

All these rooms… This place builds them. Backrooms (2026) dir. Kane Parsons

snowbairdd

ONE HUNDRED AND ONE DALMATIANS (1961) dir. Wolfgang Reitherman, Hamilton Luske, Clyde Geronimi

dailyflicks

LOVE IN THE AFTERNOON 1957 — dir. Billy Wilder

aretasreads

— young ryan coogler's advice on going to film school

tsaifilms

Jauja (2014) Directed by Lisandro Alonso

skotoseme

untitled part 1: everything and nothing (1999) souha bechara after her release from captivity in israeli prison el-khiam in south lebanon.

An intimate dialogue that weaves back and forth between representations of a figure (of resistance) and subject with, Soha Bechara ex-Lebanese National Resistance fighter in her Paris dorm room taped (during the last year of the Israeli occupation) one year after her release from captivity in El-Khiam torture and interrogation centre (S. Lebanon) where she had been detained for 10 years, 6 years in isolation. Revising notions of resistance, survival and will, recounting to death, separation and closeness; the overexposed image and body of a surviving martyr speaking quietly and directly into the camera juxtaposed against her self and image, not speaking of the torture but of the distance between the subject and loss, of what is left behind and what remains.