VACATION.

communicants:

Empire of Passion (Nagisa Oshima, 1987)

communicants:

Empire of Passion (Nagisa Oshima, 1987)

"In a body of work in which gender roles always matter, Sarah is, in more ways than one, the ultimate Cassavetes woman, and Robert the ultimate Cassavetes man. Sarah, an emotional live wire, is kin to Mabel Longhetti in A Woman Under the Influence (1974) and Myrtle Gordon in Opening Night (1977), women who struggle valiantly with their capacity and need for love, with “how to love” and “where to put it.” A boozy charmer in a rumpled tux, with a knack for turning all interactions into transactions, Robert is a more cultured brother to the suave strip-club owner Cosmo Vitelli in The Killing of a Chinese Bookie (1976), or an alternate-world variant of the suburbanites in Husbands (1970), more successful and even more hollow.” — Dennis Lim (A Fitful Flow)

(Source: johngarfields, via wedgeypage)

feebls:

Love Streams (1984)  Dir. John Cassavetes

(via chungkinghotel)

(Source: punkedelic, via luciel0u)

(Source: communified, via bartonfinks)

the-hulot-universe:

Mr. Hulot is full of grace; he is a kind of angel, and the disorder that he brings is one filled with freedom and exuberance as well as compassion.
-Bert Cardullo on Les Vacances de Mr. Hulot-

‎”Demandez-vous d’où vient, à la fin des Vacances de Monsieur Hulot, cette grande tristesse, ce désenchantement démesuré, et vous découvrirez peut-être que c’est du silence. Tout au long du film, les cris des enfants qui jouent accompagnent inévitablement les vues de la plage, et pour la première fois leur silence signifie la fin des vacances.”
-André Bazin, 1953-


(via the-hulot-universe)


Dennis Hopper & Nicholas Ray

henridecorinth:

"…in every possible theory of colors -and here again we go theoretical- blue is the color of separation, of despair, of loneliness, and it goes from Goethe, to the Iranian Sufis, to the Japanese theories. But I don’t care about theories. Berlin is a town in which many things are blue, or many things are yellow. And this blue-yellow contrast is the contrast between the two apartments that the wife inhabits in a film. She lives in a blue one, in which there is separation. and she lives in a yellow one, in which she recreates something which is for her, like hope and future and whatever it is. So it came naturally looking at the town, looking at the place where we were shooting."

-Andrzej Zulawski 

(via salesonfilm)

a-Ha - Take On Me

(Source: re-blogo, via 35mmflowers)

On the set of Birdman (2014)

photography by Brigitte Lacombe

(via jackcardiffs)