@CedYoungelman Tortoise, My Bloody Valentine, Yo La Tengo, The Necks, Radiohead, Sonic Youth (with Jim O'Rourke), Trans AM, LCD Soundsystem, Nick Cave, Animal Collective...
THREE NOIRS BY JACQUES TOURNEUR 🖤 Now playing on @criterionchannl! https://t.co/w5c41zkFJH
A master of mood, shadow, and dreamy ambiguity, the French-born director brought a sophisticated subtlety to his celebrated work in Hollywood. His command of atmosphere and darkly poetic sensibility were particularly suited to film noir, as seen in this trio of stylish, chiaroscuro-engraved favorites, including the stone-cold classic OUT OF THE PAST, a reverie of romantic doom starring genre icon Robert Mitchum in one of his definitive roles.
@R_Ramadanski Prva reč naizgled liči na ZAS ali piše ЗДС ПОЧВА– ЕТ РАБЬ БЖЙ... Ustvari to mi moglo biti εδώ (tu, ovde) napisano na StaroCrkovnoSlavenski u ovom primeru?
Our entire history needs to change!
The Dispilio wooden tablet, found on an artificial island in Lake Kastoria, Greece, was carbon-dated, believe it or not, to 5200 BC. It's 7,000 years old and predates the Sumerian tablets.
And this is where it gets interesting! (1/7)🧵
Ingmar Bergman on the least complicated film he ever made & how Harriet Andersson was underestimated as an actress:
"I have never made a less complicated film than 'Summer with Monika' (1953). We simply went off and shot it, taking great delight in our freedom. And the public success was considerable.
It was immensely gratifying to bring out a natural talent such as Harriet Andersson and watch how she behaved in front of the camera. She had acted in the theater and in variety shows and had played small parts in light comedy films such as Mrs. Andersson’s Kalle and The Beef and the Banana. She had also been given, after some hesitation, the ingénue role in Gustaf Molander’s Defiance. When I went to make 'Summer with Monika', the skepticism was thick in the executive production offices. I asked Gustaf Molander about using Harriet. He looked at me and winked. “If you believe you can get something out of her, I suppose it would be nice.” Only later did I grasp the amiable but improper insinuation in my older colleague’s remark.
Harriet Andersson is one of cinema’s geniuses. You meet only a few of these rare, shimmering individuals on your travels along the twisting road of the movie industry jungle.
The summer has ended. Harry is not at home; Monika goes on a date with a guy named Lelle. At the coffee shop he drops a coin into the jukebox. With the swing music resounding, the camera turns to Harriet. She shifts her glance from her partner straight into the lens. Here is suddenly established, for the first time in the history of film, shameless, direct contact with the viewer.
“She shifts her glance from her partner straight into the lens.”"
("Images: My life in Film", Ingmar Bergman, 1990)
[P.S: On this day, 73 years ago, Ingmar Bergman's "Summer with Monika" (1953) was released in Sweden]
CHILLING 🤯
In 1913, this Swiss psychiatrist chose to break down his own mind.
He spent 6 years in induced psychosis:
• Living in visions
• Drawing symbols
• Decoding consciousness
But, his discoveries were so dangerous, they were locked in a Swiss vault for 100 years: 🧵