#pathetic fallacy

[liyadelrey]

sun’s out, life’s worth living again

[everyforkedroad]

A Universe Where Only Their Love Matters - Cinematographic Parallels in Shine the Series and Call Me By Your Names (Episode 4)

As I was watching Ep 4 of Shine the Series, I couldn't help drawing parallels between its cinematography and that of Luca Guadagnino's Call Me By Your Name (CMBYN). No matter how you feel about the film, the cinematography is a phenomenon all its own.

Guadagnino once said that CMBYN was created in a world where “everything was on the side of the lovers.” This is why Elio and Oliver’s romance feels so dreamlike. He strips away the usual barriers of homophobia and judgment so the only real conflict becomes time itself. Their summer becomes a protective cocoon, drenched in golden light and lush with music.

Shine offers Trin and Tanwa a similar sanctuary. The outside world is waiting, with family expectations and social unrest pressing in at the edges. But when the camera lingers on the two of them, light, focus, and music create a little universe where only their love matters. This is clearest in the breathtaking beach scene at the end of the episode, where the setting sun and soft waves seem to conspire to push them closer, as if nature itself were urging them to love.

In CMBYN, Elio’s family, especially his father, provides support, culminating in that devastatingly beautiful speech about loving wholeheartedly. In Shine, we glimpse that same care in the conversation Trin shares with Kom during the dance scene in the Echoes of Euphoria garden. “I’ll be your friend no matter what,” Kom says, giving Trin the reassurance he needs. The garden has long become Trin and Tanwa's safe haven, where intimacy can blossom without intrusion.

The settings in both works are equally crucial. Guadagnino gave us the sun-soaked summers of Lombardy, with its villa and orchards, an environment that feels timeless. Shine counters with the dreamlike garden, the glittering city, and most importantly, the beach. That kiss and the nude swim are pure cinema, shot in luminous tones that make their skin glow and water shimmer. They hold onto each other as if they are an extension of the natural world around them.

And then there is the music. In CMBYN, Sufjan Stevens gives voice to the unspeakable. In Shine, songs like Far Side of the Moon, Dawn, Am I In Love, and Let Me Hold Your Hand, along with the original score, cradle Trin and Tanwa’s moments, heightening every kiss, every touch, every look. Both Guadagnino and the Shine team make the same deliberate choice: to strip away the heaviest obstacles so we can sit inside the pure experience of love in all its radiant and vulnerable inevitability.

Reality is never far off. Oliver must return home. The unrest in Bangkok keeps pulsing in the background. But in those luminous moments, in Italy’s golden summer or in the blue glow of the Thai sea, the harsh glare of reality is held at bay, and love belongs only to the lovers.

(Originally published on X)

[contremineur]

It was early June, bright but humid. The air had been like a hammer for days, the streets stunned and dazzled into silence. She lived with some other people, but the house was empty all through the week. Her room, which was at the front and shaded by the great canopy of a horse-chestnut tree, stayed dim and cool for much of the day. For an hour in the morning the shadow of the slatted blinds moved across the sofa with its Indian cushions, on to the fringed maroon and orange rug and then on again, to dwell over her parted legs and scattered underwear. A little after two o’clock a thin, incandescent line of sunshine sliced into the upper part of the room, caught the dusty paper birds of a cheap mobile and flared them briefly into enamel and gold. That was it.

M. John Harrison, from The course of the heart (Victor Gollancz 1992)

[fght-ff-yr-dmns]

Ghibli Rain

[chaoticevilcult]

[zeepzorppbutart]

Poetry is technically art so take a poem

The moon is out, but it cant be seen,

Clouds shield it from an outsiders scene,

Protecting, veiling, hiding within,

Maybe one day, people will stop looking.

Rain starts to fall, and fall, and fall

Pushing away their calls, their calls.

Maybe one day, the skies will clear

And no longer will they want to peer.

Flash, tackle, lighting arrives

Crash, crackle, thunder soon cries.

The skies dont seem to want to clear

Causing the Earth such dread and fear.

The land is damaged, bleeding, breaking.

The moon is surely not mistaken

For calm always comes after the storm,

Sunshine should begin to form.

Abruptly, all of the weather stops.

No storms, nor rain, nor clouds, nor drops.

The land is barren, empty, alone.

Where did all of the life go?

[familiar-frog]

day 3: touch starv'd grass

the prompt was pathetic fallacy, ascribing human emotion to inanimate objects of nature (like the sun, rain, a mountain). a poetic conceit. i thought about grass and how we're always saying to go touch it. how does the grass feel about that?

obviously it yearns

[plumsaucemadein2005]

I don't remember if Lemony Snicket ever described the works pathetic fallacy to us, but he definitely should have