les enfants terribles (1950)


les enfants terribles (1950)

(via medo-deter-medo)

Silvana Mangano
Teorema - Pier Paolo Pasolini (1968)


The Last Laugh dir. F.W. Murnau (1924, Germany) 

(via ikaristwin)


Q: Your films from Mother to The Host and Memories of Murder all have some form of social commentary, whether it’s about the relationships of mothers and sons, the ineptitude of the police, or science going too far. Is making social commentary what drives your ideas and filmmaking?

Bong Joon-ho: It’s not to say that the main purpose is to criticise or say something about society as a greater whole, but I’m more concerned with the individual and specific people and the human concerns that arise within a narrative. Because I’m obviously making films that concern Korean characters, I think there’s probably something in that regard of cultural sense in the peoples that I portray and the characters, but I think it’s also hard to separate an individual from the society that they come from, as well. So, for Memories of Murder, its main concern and question that really was at the center was why did these girls die at that point and why were the cops not able to find the killer and solve the mystery? Those are situational things that I think are more important of that era, of that time period in Korea. Something like The Host, the question would be why is this family struggling so on their own to solve this problem of their daughter being taken away. Why are they not being helped? Why are they alone in this struggle to do it? I think by asking those questions, you kind of have a greater picture of the other dilemmas that point to make that happen in a great societal whole. I think those are the things that I’m more concerned with more so than trying to target political commentary. (x)

(via directors-gone-wild)

I was only acting in commercial films when Adoor Gopalakrishnan asked me to act in Swayamvaram. In fact, being a commercial actress, I was scared to commit myself to an art film. He said he would come to Chennai and narrate the story to me.

It was at the Prasad studios that we met for a story narration. I was floored by the way he explained the story to me. As he narrated it, I could see the film in front of me. The moment he finished the story, without even thinking twice, I said yes. I was so moved by the story that I immediately told him, ‘I don’t know whether I will get an award for this film but I am sure that you and the film will get awards.’

I also told him that I had no experience in acting in art films.

I still remember how the film was shot. As the director, he was so thorough about what he wanted from all the artistes that there was absolutely no strain on us. We only had to do what he said. He made us forget our identities, and by the end of the film, we felt like the characters in the film. When we shot for Swayamvaram,not once did I think I was Sarada. I was always Sita, the character.

I would say what we did for Swayamvaram was not acting; it was realism.

There is never any chaos on Adoor sir’s sets. He is so soft spoken that the person standing next to you cannot hear what he tells you. There was never any distinction between anybody on his sets; all were treated equal.

When the National Awards were announced, we were happy when Swayamvaram won four major awards. It was not a small achievement at all.


(Source: dhrupad, via mizoguchi)


Nana (1926)
Jean Renoir

Take Shelter dir. Jeff Nichols

(Source: movieshift, via winonna-ryder)


Hope is a terrible thing - Pier Paolo Pasolini.


Hope is a terrible thing - Pier Paolo Pasolini.

(via directors-gone-wild)

David Fincher masterclass at Comme Au Cinéma, while promoting “Gone Girl” in France. | Sep. 16th, 2014

(Source: popfilm, via davidfincher)


Film Genre Meme: romance (2/5)

Do you ever wish you could live forever?

Y tu mamá también (2001)

(via siochembio)


The World of Apu (Satyajit Ray, 1959)

(via biokam)