A Separation, 2011
Claire Keane
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@world-sick
A Separation, 2011
Feeling fatigued by everything around me; the events in the news, the jealousy, and self-pity.
I’m jealous of those who can function like a normal human being. They don’t have anxiety holding them back from everything, they don’t struggle to get out of bed or have to put on an act that everything is fine when its not. They don’t struggle to hold friendships and relationships… they don’t feel sad for no fucking reason everyday. Those that can hold jobs and work towards their dreams, the ones who have self esteem and see the beauty in themselves. Those that know what its like to feel safe and secure, not insecure and fearful of it all.
“I don’t want to become the person who makes films about ‘gritty Glasgow’. I don’t want to be called the next Scottish film-maker or the next woman film-maker. If I come from any tradition it’s a European cinema as opposed to an American one, but I’m not much of a film buff either. My approach to film-making is not high-concept at all. It’s actually quite anti-intellectual in some respects. It’s not that I improvise - the images and the dialogue are written very clearly in the shooting script - but I am intuitive. I’m constantly experimenting, finding out where I want to go. I still feel like a film student. I hope I feel that way for the rest of my life.’
- Lynne Ramsay, Sight & Sound, October 1999
“I’m very interested in focusing in on details and making audiences see things they don’t normally see. What I do a lot in ‘Ratcatcher’ is frame something so that it’s what you don’t see that’s important. I try to be economical, to show the bare minimum and leave the rest to the imagination.”
damon albarn, blur.
Autechre, 2018
photographed by Hannah La Follette Ryan (@subwayhands on Instagram)
Philip Glass Ensemble, Music Center Pavilion, 1982
MBTI & Celebs Sharon Van Etten: INFP
“Sharon Van Etten (born February 26, 1981) is an American singer-songwriter and actress from New Jersey. (…)
Pitchfork described her songs as having “echoes of folk tradition.” NPR Music asserts:
“Her songs are heartfelt without being overly earnest; her poetry is plainspoken but not overt, and her elegant voice is wrapped in enough rasp and sorrow to keep from sounding too pure or confident.” (…)
In 2016, Van Etten appeared in five episodes of season 1 of the Netflix drama The OA as Rachel, a fellow abductee along with Prairie in Dr. Percy’s basement lab/terrarium.”
Sources: video, wiki/Sharon_Van_Etten
Day #3455 Portishead - Portishead Just this weekend I was declaring that the Portishead NYC Roseland album is one of my top 5 favorite live albums of all time. It is haunting good, perfect. I so wish I was there.
Lav Diaz, Filipino Filmmaker
via (Mubi)
Xiu Xiu Plays Twin Peaks // silent green, Berlin
A beautiful collection of polaroids from behind the scenes of Mysterious Object at Noon, courtesy of Kick the Machine/Apichatpong Weerasethakul
I have a marian plum tree at my home. Previously I didn’t pay much attention to it because I was mostly away. A few weeks ago when I started to spend time at home, I tried the fruit. It has the most satisfying flavor, sweet, sour, fresh — the taste of summer. I now have it everyday at breakfast and dinner. I sent a lot of them to my sister, my ex-boyfriend. So far I still haven’t been able to deplete the tree of its fruits. It keeps sprouting new ones. I viewed the phenomenon as a mystery verging on magic. I peer at the tree at night and see the orange dots visible in the dark. Normally when plants at home produce unusual amounts of fruits and flowers, they tell us that they are trying to spawn because they are dying. So I look at the flowers with an anticipation of death. I’m concerned that this plum tree is relaying the same communication, just when I started to appreciate its value. This thought makes each fruit taste even more exquisite. I honor the conversation by keeping the seeds for sow. They will grow very well in the approaching rainy season.
Apichatpong Weerasethakul on being in quarantine
Certain Women (2016)
Directed by Kelly Reichardt
Cinematography by Christopher Blauvelt