We love you
Okja (2017) dir. Bong Joon-ho
"I'm Dorothy Gale from Kansas"

No title available
Mike Driver

pixel skylines
Monterey Bay Aquarium
Xuebing Du

Love Begins
tumblr dot com
🪼
NASA
RMH
Alisa U Zemlji Chuda
Keni
styofa doing anything
One Nice Bug Per Day
No title available
KIROKAZE
occasionally subtle
let's talk about Bridgerton tea, my ask is open
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seen from United States

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seen from Türkiye
seen from United States
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@ughvenger
We love you
Okja (2017) dir. Bong Joon-ho
The Handmaiden (2016) dir. Park Chan-wook
Let’s cut the crap, shall we?
All For The Game by Nora Sakavic
Academy Award for Best Supporting Actress:
85. Lupita Nyong’o // 12 Years a Slave (2013, Steve McQueen)
“Mistress Epps won’t even grant me no soap ta clean with. Stink so much I make myself gag. Five hundred pounds ‘a cotton day in, day out. More than any man here. And ‘fo that I will be clean; that all I ask.”
Oscar Isaac in ‘Drive’, 2011.
Dunkirk (2017) dir. Christopher Nolan
CAROL
I could have saved them.
There’s no hiding from this, son. We have a job to do. If we go back there we’ll die - Dunkirk (2017)
Mahershala Ali photographed by Peggy Sirota for GQ
He converted to Islam in 1999, after attending a mosque with his future wife. His faith, he says, has helped him become a better actor: “It benefits me from the standpoint of really creating empathy for these characters that I try to embody, other human beings with issues as deep and personal as my own. Because of Islam, I am acutely aware that I am a work in progress.” The daily practice of the religion, he says, “puts a healthy pressure on you to be your best self, beginning with your own spirit and how that feeds into your actions.”
“The long take, far more common in art house cinema, also has the effect that it allows the viewer to recognize himself in relation to the film. In other words, rather than ‘getting lost in the plot’, the viewer becomes increasingly aware of his role as a spectator.” +
Tom Holland for GQ UK Magazine (July 2017)
► film meme ➥ [¾] upcoming films ✖ hidden figures (dir. theodore melfi)