this is from 1 of my all time
favourite mangas \(//∇//)\

#extradirty
Cosmic Funnies
wallacepolsom
Peter Solarz

祝日 / Permanent Vacation

JVL
styofa doing anything

shark vs the universe

PR's Tumblrdome

@theartofmadeline
Three Goblin Art
Not today Justin
occasionally subtle

Origami Around

oozey mess
Xuebing Du

if i look back, i am lost
Show & Tell

roma★

★

seen from Colombia
seen from Denmark

seen from China

seen from United States
seen from Denmark
seen from India

seen from Malaysia
seen from United States

seen from Malaysia
seen from United States
seen from Germany
seen from Malaysia

seen from Malaysia
seen from Türkiye

seen from Denmark

seen from Hungary

seen from Malaysia
seen from Brazil
seen from Canada

seen from United States
@scztt
this is from 1 of my all time
favourite mangas \(//∇//)\
On the Beach at Night Alone / Hong Sang-soo (2017)
luce irigaray looking like a bad ass.
LIFE MONEY AND WORK ITS NOT A DOOR ITS A WINDOW.
endless burning fire. ana-maria avram. 1961-2017.
While recently rewatching Michelangelo Antonioni’s L’ECLISSE (’62) I received the sad news that George Romero had died. The celebrated Italian art house auteur and the American director behind the hugely popular Living Dead franchise aren’t typically associated with one another but I suspect that Antonioni’s work may have inspired Romero early in his career. In The Cinema of George A. Romero: Knight of the Living Dead, author and film studies professor Tony Williams asserts that the frustrated married couple holed up in a shopping mall surrounded by hordes of zombies in DAWN OF THE DEAD (’78) resembles the dissatisfied bourgeois couples that listlessly maneuver through Antonioni’s early films. Williams explains that these survivors of Romero’s zombie apocalypse “exist in a world of boredom as a result of their access to a world of conspicuous consumption.” It is an astute observation and one that I can appreciate. In their own unique ways, Antonioni and Romero both addressed the capital driven corrosion of modern society through alienated characters facing an existential crisis. Their means and methods may have been different but underneath Antonioni’s slick surfaces and carefully coiffed characters, there is an element of mystery along with heightened anxiety and a sense of profound dread. These are qualities found in many horror films, including the best work of George Romero, and they are at the forefront of L’ECLISSE (’62).
Read More on StreamLine: The Living and The Dead: L’ECLISSE (’62)
erickson, shadowbahn.
Yideum, Cheer up Femme Fatale.
Carolee Schneemann, Hand/ Heart for Mendieta, 1986, Blood, ashes and syrup on snow
Stream of Myrrh, Incorruption, Polyeleos
Hieromartyrology by I Am A Lake Of Burning Orchids