Tirez sur le pianiste - François Truffaut (1960)
shots from Les quatre cents coups - François Truffaut (1959)
Kära du, så här skulle jag alltid vilja leva. Detta att tiga, att leva avskilt, att reducera sina behov, detta att känna, hur den tilltygade själen äntligen börjar räta ut sig.
Persona, Ingmar Bergman (1966).
“This morning you were still asleep when I woke up. Gradually coming out of sleep, I felt your light breath and through the hair that hid your face I saw your eyes closed. I felt the emotion rising from my throat and I wanted to scream and wake you up because your tiredness was too deep and deadly. In the dim light the skin of your arms and throat was alive and I felt it warm and dry: I wanted to pass over my lips but the thought of being able to disturb your sleep and having you still awake in my arms held me back. I preferred to have you as something that no one could take away from me because I was the only one who possessed it, an image of you forever. Beyond your face I saw something purer, more profound in which I was mirrored: I saw you in a dimension that included all my time to live, all future years and all those I lived before meeting you, but already prepared to to meet you. This was the little miracle of an awakening: to feel for the first time that you belonged to me not only in that moment and that the night was prolonged forever next to you, in the heat of your blood, your thoughts, your will that was confused with the never. For a moment I understood how much I loved you, Lidia; it was such an intense sensation that I had my eyes full of tears: it was because I thought this should never end, that our whole life must be like waking up this morning. Feeling you are not mine, but even part of me, something that breathes and that nothing can destroy except the murky indifference of a habit, which I see as the only threat. And then you woke up and smiling again in your sleep, you kissed me and I felt that I didn’t have to fear anything, that we will always be as in that moment: united by something that is stronger than time and habit. “
La notte, Michelangelo Antonioni (1961).
Marianne: You’re a coward.
Evald: Yes, I agree, when I think about life I have a sense of nausea and I don’t want responsibilities that bind me to it more than it already is. I’m serious, and it’s not a form of hysteria as you may have always believed.
Marianne: What you say is bad.
Evald: Good and evil do not exist, only needs, and you live according to your needs.
Marianne: And what would they be?
Evald: You have a damned need to feel alive, to live, to exist fully and to create life.
Marianne: What about you?
Evald: I wish I was dead, completely dead.
Smultronstället, Ingmar Bergman (1957).
The little things….
Smoking a shit ton of weed and having my own little movie marathon:
I just love not knowing what’ll come next.
“The ceiling is probably the last thing people see. At least for 90% of people who die. Probably. And if you die, the last thing you see will be printed in your eye. Like a photograph. Imagine all those people with ceiling in their eyes.”
Naissance des Pieuvres (Water Lilies) (2007) dir. Cèline Sciamma.
"Don’t cut too much or my Mum will notice.“
Tomboy (2011) dir. Céline Sciamma.
“You can get stuck in a place and not even realise it. If you’re not careful, you can get stuck there forever.”
The End Of The F***ing World (2017-2019) dir. Jonathan Entwistle, Lucy Tcherniak.
Das Cabinet des Dr. Caligari, Robert Wiene (1920).
May everything come true. May they believe. And may they laugh at their passions. For what they call passion is not really the energy of the soul, but merely friction between the soul and the outside world. But, above all, may they believe in themselves and become as helpless as children. For softness is great and strength is worthless. When a man is born, he is soft and pliable. When he dies, he is strong and hard. When a tree grows, it is soft and pliable. But when it’s dry and hard, it dies. Hardness and strength are death’s companions. Flexibility and softness are the embodiment of life. That which has become hard shall not triumph.
- “Stalker” (1979), directed by Andrei Tarkovsky
The Vanished World of Gloves (Zaniklý svět rukavic), 1982.
The color of pomegranate (Цвет граната, Tsvet granata; Նռան գույնը, Nřan guynə), Sergej Iosifovič Paradžanov (1968).
Cléo de 5 à 7, Agnès Varda (1962).