mizoguchi:

Purrsona/Persona Part II
mizoguchi:

Purrsona/Persona Part II

Persona (1966)
“My words mean nothing to you. People like you can’t be reached. I wonder whether your madness isn’t the worst kind. You act healthy, act it so well that everyone believes you, everyone except me, because I know how rotten you are.”
Dir. Ingmar Bergman

Persona (1966)
“My words mean nothing to you. People like you can’t be reached. I wonder whether your madness isn’t the worst kind. You act healthy, act it so well that everyone believes you, everyone except me, because I know how rotten you are.”
Dir. Ingmar Bergman

Persona (1966)
“My words mean nothing to you. People like you can’t be reached. I wonder whether your madness isn’t the worst kind. You act healthy, act it so well that everyone believes you, everyone except me, because I know how rotten you are.”
Dir. Ingmar Bergman

Persona (1966)

My words mean nothing to you. People like you can’t be reached. I wonder whether your madness isn’t the worst kind. You act healthy, act it so well that everyone believes you, everyone except me, because I know how rotten you are.

Dir. Ingmar Bergman

(via fuckyeahexistentialism)

alternativecandidate:

Solaris (1972)
alternativecandidate:

Solaris (1972)
alternativecandidate:

Solaris (1972)
alternativecandidate:

Solaris (1972)

matthiasellis:

The Immigrant (2013) Dir. James Gray

"you are not nothing"

fyodor-haneke:

Tale of Cinema (2005)Hong Sang-soo fyodor-haneke:

Tale of Cinema (2005)Hong Sang-soo

fyodor-haneke:

Tale of Cinema (2005)Hong Sang-soo

bigander:

Mysterious Object at Noon (Apichatpong Weerasethakul, 2000) bigander:

Mysterious Object at Noon (Apichatpong Weerasethakul, 2000) bigander:

Mysterious Object at Noon (Apichatpong Weerasethakul, 2000) bigander:

Mysterious Object at Noon (Apichatpong Weerasethakul, 2000) bigander:

Mysterious Object at Noon (Apichatpong Weerasethakul, 2000) bigander:

Mysterious Object at Noon (Apichatpong Weerasethakul, 2000)

bigander:

Mysterious Object at Noon (Apichatpong Weerasethakul, 2000)


[x]

[x]

[x]
yukiovsky:

La Libertad ( Lisandro Alonso, 2001)
Los Muertos ( Lisandro Alonso, 2004)
Liverpool ( Lisandro Alonso, 2008)

Hmmm, I don’t know. If I had to choose, I would say I prefer the boring parts of cinema. You know what I’m trying to say? In Los Muertos, I thought it was a good first image – a kind of dream or memory of this character who was in jail, the day before he’s released.
I know what you are asking. I’m trying hard to change my way of shooting, but I can’t. Each day when I shoot, I shoot with the same style. Maybe in the future I will introduce some more elements. The thing is, when I was studying in university, I chose to walk this way. [He grabs two pens and aligns them on the table to illustrate divergent paths.] Now I can move a bit to the left or right, but I’ll always be walking this way. I don’t want to go back and take the other path.
Also, I don’t think I’d be good working the other way. It’s not so easy to say, “Oh, now I’m going to make my commercial film. Now I’m going to make an art film for festivals. Now a comedy. Now a Western.” I just do what I think I can do, so it’s not a matter of choosing what kind of film I want to make.
In the future, there will be new questions and, so, maybe new answers. Maybe I’ll change. Maybe actors, maybe not. Maybe more dialogue, maybe not. Maybe a film totally without humans. Who knows?
yukiovsky:

La Libertad ( Lisandro Alonso, 2001)
Los Muertos ( Lisandro Alonso, 2004)
Liverpool ( Lisandro Alonso, 2008)

Hmmm, I don’t know. If I had to choose, I would say I prefer the boring parts of cinema. You know what I’m trying to say? In Los Muertos, I thought it was a good first image – a kind of dream or memory of this character who was in jail, the day before he’s released.
I know what you are asking. I’m trying hard to change my way of shooting, but I can’t. Each day when I shoot, I shoot with the same style. Maybe in the future I will introduce some more elements. The thing is, when I was studying in university, I chose to walk this way. [He grabs two pens and aligns them on the table to illustrate divergent paths.] Now I can move a bit to the left or right, but I’ll always be walking this way. I don’t want to go back and take the other path.
Also, I don’t think I’d be good working the other way. It’s not so easy to say, “Oh, now I’m going to make my commercial film. Now I’m going to make an art film for festivals. Now a comedy. Now a Western.” I just do what I think I can do, so it’s not a matter of choosing what kind of film I want to make.
In the future, there will be new questions and, so, maybe new answers. Maybe I’ll change. Maybe actors, maybe not. Maybe more dialogue, maybe not. Maybe a film totally without humans. Who knows?
yukiovsky:

La Libertad ( Lisandro Alonso, 2001)
Los Muertos ( Lisandro Alonso, 2004)
Liverpool ( Lisandro Alonso, 2008)

Hmmm, I don’t know. If I had to choose, I would say I prefer the boring parts of cinema. You know what I’m trying to say? In Los Muertos, I thought it was a good first image – a kind of dream or memory of this character who was in jail, the day before he’s released.
I know what you are asking. I’m trying hard to change my way of shooting, but I can’t. Each day when I shoot, I shoot with the same style. Maybe in the future I will introduce some more elements. The thing is, when I was studying in university, I chose to walk this way. [He grabs two pens and aligns them on the table to illustrate divergent paths.] Now I can move a bit to the left or right, but I’ll always be walking this way. I don’t want to go back and take the other path.
Also, I don’t think I’d be good working the other way. It’s not so easy to say, “Oh, now I’m going to make my commercial film. Now I’m going to make an art film for festivals. Now a comedy. Now a Western.” I just do what I think I can do, so it’s not a matter of choosing what kind of film I want to make.
In the future, there will be new questions and, so, maybe new answers. Maybe I’ll change. Maybe actors, maybe not. Maybe more dialogue, maybe not. Maybe a film totally without humans. Who knows?

yukiovsky:

La Libertad ( Lisandro Alonso, 2001)

Los Muertos ( Lisandro Alonso, 2004)

Liverpool ( Lisandro Alonso, 2008)

Hmmm, I don’t know. If I had to choose, I would say I prefer the boring parts of cinema. You know what I’m trying to say? In Los Muertos, I thought it was a good first image – a kind of dream or memory of this character who was in jail, the day before he’s released.

I know what you are asking. I’m trying hard to change my way of shooting, but I can’t. Each day when I shoot, I shoot with the same style. Maybe in the future I will introduce some more elements. The thing is, when I was studying in university, I chose to walk this way. [He grabs two pens and aligns them on the table to illustrate divergent paths.] Now I can move a bit to the left or right, but I’ll always be walking this way. I don’t want to go back and take the other path.

Also, I don’t think I’d be good working the other way. It’s not so easy to say, “Oh, now I’m going to make my commercial film. Now I’m going to make an art film for festivals. Now a comedy. Now a Western.” I just do what I think I can do, so it’s not a matter of choosing what kind of film I want to make.

In the future, there will be new questions and, so, maybe new answers. Maybe I’ll change. Maybe actors, maybe not. Maybe more dialogue, maybe not. Maybe a film totally without humans. Who knows?

thethirdpersona:

Reprise | Joachim Trier, 2006 thethirdpersona:

Reprise | Joachim Trier, 2006 thethirdpersona:

Reprise | Joachim Trier, 2006 thethirdpersona:

Reprise | Joachim Trier, 2006 thethirdpersona:

Reprise | Joachim Trier, 2006

thethirdpersona:

Reprise | Joachim Trier, 2006

brand-upon-the-brain:

Lorna’s Silence (Jean-Pierre and Luc Dardenne, 2008)