Cazus Belli

[Vie Sublime @VieSublime]

Jamais, dans toute l’histoire de Paris, ses rues n’ont été plus mornes, fades, vides, nulles. Il faut aller à Château Rouge, rue Myrha par exemple, pour retrouver quelques vestiges de vie et tomber, comme sur un trésor, sur de noires putes pissant accroupies entre les bagnoles.

[Cazus Belli @BelliCazus]

https://t.co/jqsLjx5F70

[Cazus Belli @BelliCazus]

BLOY Léon (1846-1917) | Les Amis de la musique française (AMF) https://t.co/qoH7bP3s51

[ARTE pro @ARTEpro]

🎷 @ARTEfr célèbre le centenaire de la naissance de #JohnColtrane, en diffusant en ligne
le 12.09 le concert "Hommage à John Coltrane - 100 ans "Trane’s now'" capté à Radio France
le 21.09 un portrait du plus mystique des saxophonistes de #jazz ➡ https://t.co/GQcUPL6o4c

[Cazus Belli @BelliCazus]

https://t.co/uKPYP6m1wp

[vintage rock vids @vintagerockvids]

Joy Division - Disorder

[Cazus Belli @BelliCazus]

https://t.co/AelVMnTeeU

[Cazus Belli @BelliCazus]

André Masson | RTS https://t.co/ITMBc3JOhr

[Cazus Belli @BelliCazus]

https://t.co/1kzHREVKtY

[X-Ray Eyes  @fearofyou]

La Planète sauvage, René Laloux e Roland Topor, 1973.

Tratto dal romanzo di Stefan Wul, ambientato sul pianeta Ygam: i minuscoli Oms sono tenuti come schiavi dai giganti Draag. Un’allegoria di sfruttatori e sfruttati: una storia sulla lotta di classe.

[RadiantFilm @RadiantFilm]

Ingmar Bergman on the expression of sex in his films and his interest in the interior anatomy of love:

"For many years I was timid and conventional in the expression of sex in my films. But the manifestation of sex is very important, and particularly to me, for above all, I don’t want to make merely intellectual films. I want audiences to feel, to sense my films. This to me is much more important than their understanding them. There is much in common between a beautiful summer morning and the sexual act; but I feel I’ve found the cinematic means of expressing only the first, and not the other, as yet. What interests me more, however, is the interior anatomy of love. This strikes me as far more meaningful than the depiction of sexual gratification."

— Ingmar Bergman, interviewed by Cynthia Grenier, Playboy Magazine, vol. 11, no. 6 (June 1964)

[Cazus Belli @BelliCazus]

l’homme des plages - continuant ma découverte de modiano que je n’avais jamais pratiqué ; passages tirés de la rue des boutiques obscures

[Cazus Belli @BelliCazus]

ninetto davoli raconte son dernier repas avec pasolini, la veille de son épouvantable disparition

[Cazus Belli @BelliCazus]

https://t.co/aim6RD4P3U

[Cazus Belli @BelliCazus]

https://t.co/Wp21VvPoMb

[Cazus Belli @BelliCazus]

https://t.co/IiFD1WeNrW

[Geronimo @artyshowboy]

On ne parle pas assez de ce bijou dans la trajectoire du monsieur.

Marilou Sous la Neige - Serge Gainsbourg. 1977

[Cazus Belli @BelliCazus]

tiré du texte de cioran qui ouvre le recueil de ses lettres choisies publiées en 2024 chez Gallimard - manie épistolaire

[RadiantFilm @RadiantFilm]

Éric Rohmer on his Six Moral Tales (1963–1972):

"In French there is a word moraliste that I don’t think has any equivalent in English. It doesn’t really have much connection with the word “moral,” a moraliste is someone who is interested in the description of what goes on inside man. He’s concerned with states of mind and feelings. For example in the eighteenth century Pascal was a moraliste, and a moraliste is a particularly French kind of writer like La Bruyère or La Rochefoucauld, and you could also call Stendhal a moraliste because he describes what people feel and think. So Contes Moraux doesn’t really mean that there’s a moral contained in them, even though there might be one and all the characters in these films act according to certain moral ideas that are fairly clearly worked out. In Ma Nuit chez Maud these ideas are very precise; for all the characters in the other films they are rather more vague, and morality is a very personal matter. But they try to justify everything in their behavior and that fits the word “moral” in its narrowest sense. But “moral” can also mean that they are people who like to bring their motives, the reasons for their actions, into the open, they try to analyze, and they are not people who act without thinking about what they are doing. What matters is what they think about their behavior, rather than their behavior itself. They aren’t films of action, they aren’t films in which physical action takes place, they aren’t films in which there is anything very dramatic, they are films in which a particular feeling is analyzed and where even the characters themselves analyze their feelings and are very introspective. That’s what Conte Morale means."

— Éric Rohmer, interviewed by Graham Petrie, Film Quarterly, Vol. 24, No. 4 (Summer 1971)