"He found talking so much easier than she did. He could say things--she never could. So naturally it was always he that said the things, and then for some reason he would mind this suddenly, and would reproach her. A heartless woman he called her; she never told him that she loved him. But it was not so--it was not so. It was only that she never could say what she felt. Was there no crumb on his coat? Nothing she could do for him? (...) And as she looked at him she began to smile, for though she had not said a word, he knew, of course he knew, that she loved him. He could not deny it. And smiling she looked out of the window and said (thinking to herself, Nothing on earth can equal this happiness)--"
(Virginia Woolf, To the Lighthouse)
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"Suspiria" or a visual study on female horror
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The Phantom of the Opera (1925)
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The Woman On The Beach (1947)
«I've never been able to make you understand that those paintings are my eyes! Everything I saw in life, I set down on canvas. If I let them go I lose the last connection to the past - strong and alive.»
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Blow-Up (1966)
«They don't mean anything when I do them. Just a mess. Afterwards, I find something to hang on to (...) Then it sorts itself out and adds up. It's like finding a clue in a detective story.»
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«One must be proud in order to make cinema.»
«Il faut être orgueilleux pour faire du cinéma.»
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«It was not the gods who created men, but men who created the gods.»
- Contempt (1963), Jean Luc Godard
«Ce n'est pas les dieux qui ont créé les hommes, mais les hommes qui ont créé les dieux.»
- Le mépris (1963), Jean Luc Godard
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«Ce n'est pas les dieux qui ont créé les hommes, mais les hommes qui ont créé les dieux.»
- Le mépris (1963), Jean Luc Godard
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- You love me totally, then?
- Yes. I love you totally, tenderly, tragically.
«The cinema, said Andre Bazin, substitutes for our gaze a world more in harmony with our desires. Contempt is a story of that world.»
Le mépris (1963)
«Le cinéma, disait André Bazin, substitue à notre regard un monde qui s'accorde à nos désirs. Le Mépris est l'histoire de ce monde.»
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Le mépris (1963)
«Le cinéma, disait André Bazin, substitue à notre regard un monde qui s'accorde à nos désirs. Le Mépris est l'histoire de ce monde.»
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The Seventh Seal (1957) by Ingmar Bergman
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The Seventh Seal (1957)
Antonius Block: I want knowledge. Not belief. Not surmise. But knowledge. I want God to put out His hand, show His face, speak to me.
Priest/Death: But He is silent.
Block: I cry to Him in the dark, but there seems to be no one there.
Priest/Death: Perhaps there is no one there.
Block: Then life is a senseless terror. No man can live with Death and know that everything is nothing.
Priest/Death: Most people think neither of Death nor nothingness.
Block: Until they stand on the edge of life and see the Darkness.
Priest/Death: Ah, that day.
Block: [laughs bitterly] I see. We must make an idol of our fear, and call it God.
Priest/Death: You are uneasy.
Block: Death visited me this morning. We are playing chess. (...) My whole life has been a meaningless search. I say it without bitterness or self-reproach. I know it is the same for all.
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And the Rome of today? What effect does it have upon who arrives for the first time?
«Rome is the city of illusions, it is not a chance that the Church, Government, and Cinema, all things that produce illusion, as you do and as we do, are here. More and more this world goes towards its end because too much inhabited with cars, poisons and which place better than this city, who died many times and many times was reborn, which quieter place to wait for the end by pollution, overpopulation. The ideal place to see if the world will end or not.»
Roma (1972), Fellini
«Roma è la città delle illusioni, non a caso qui c'è la chiesa, il governo, il cinema, tutte cose che producono illusione, come fa tu, come fa io. Sempre più il mondo si avvicina alla fine perchè troppo popolato con le macchine, veleni e quale posto migliore di questa città, morta tante volte e tante volte rinate, quale posto più tranquillo per aspettare la fine da inquinamento, sovrappopolazione. E’ il posto ideale per vedere se il mondo finisce o no.»
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Roma (1972), Fellini
«Roma è la città delle illusioni, non a caso qui c'è la chiesa, il governo, il cinema, tutte cose che producono illusione, come fa tu, come fa io. Sempre più il mondo si avvicina alla fine perchè troppo popolato con le macchine, veleni e quale posto migliore di questa città, morta tante volte e tante volte rinate, quale posto più tranquillo per aspettare la fine da inquinamento, sovrappopolazione. E' il posto ideale per vedere se il mondo finisce o no.»
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