der traum ein leben

for ever reading, never to be read

[der traum ein leben @ndrglz]

i'm sorry i'm the one you loved
no one will ever love me like you again

[der traum ein leben @ndrglz]

@cle_boo Gracias!

[riverton ripper @canyonpassage]

rohmer showing off his gear

[der traum ein leben @ndrglz]

@METAL_ATSUMORI Logré entrar muchas gracias! 🫡

[King of Fårö @KingofFr1]

"No hay nada oculto en caballos que comen manzanas caídas en la arena. Son simplemente eso: caballos comiendo manzanas". La construcción de la imagen, en Tarkovski, invita a la sospecha. Olvida que ese enigma no es más que una mera petición de principio.
Ivan's Childhood, 1962

[ً @areyourecording]

rachel goswell ‘slowdive’ live in 1992

[The Golden Age @thegoldenaged]

Castle in the Sky (1986)

[der traum ein leben @ndrglz]

@rippersarchive Beau is afraid (2023) please

[A Shot @ashotmagazine]

Better Call Saul — Cinematic Parallels

[らじの @rajino2011]

平和な島に事件発生！？

An incident breaks out on this peaceful island!?
#あつ森 #ACNH

[Udo Kier @udokier]

film should not be streamed on netflix. envelop yourself in the darkness of the movie hall and submit to the artist's vision.

[Lot @gustfronty797]

夜になるほど青は醒める。

[der traum ein leben @ndrglz]

Devolver digital es mi A24 de los juegos

https://t.co/yihL2FS1m6

[der traum ein leben @ndrglz]

@ecto_fun

[der traum ein leben @ndrglz]

@sqwzdrive 고양이를 부탁해 take care of my cat
(jeong jae-eun, 2001)

Please!

[DepressedBergman @DannyDrinksWine]

Diary of a Country Priest (1951)

"It’s a ridiculous notion that films should be made to succeed right away, that if they don’t succeed right away they will never succeed. Films are like houses that withstand time magnificently—if they are well constructed."

--- Robert Bresson

[DepressedBergman @DannyDrinksWine]

Martin Scorsese explains 'What makes a film personal?':

"I come from a tradition in the early sixties that had to do with more personal filmmaking, with themes and subject matter that you felt more confident dealing with—about yourself, about the world you came from. That kind of cinema flourished in the seventies, but since the eighties, there’s been consistently less of that in mainstream cinema.

Now I even find that some of the independents are starting to show a trend toward melodrama and film noir, which indicates that they’re getting their eyes set on a more commercial aspect of cinema. When I see low-budget films today, I often feel that the directors are trying to audition for the studios. You might ask, “Why do films have to be personal, anyway?” Well, of course, it’s all a matter of opinion, but I tend to feel that the more singular the vision and the more personal the film, the more it can claim to be art. As a spectator, I find that when they’re more personal, films last longer. You can watch them over and over again, whereas with a more commercial film, you might get bored after two showings.

So what makes a film personal? Do you have to write the script yourself to make the film yours, as the auteur theory claimed? Not necessarily. I think there’s kind of a twofold situation there. I think you have to make a distinction between the directors on one side and the filmmakers on the other. The directors—and they can excel at doing that—are people who only interpret the script, who just turn it from words into images. The filmmakers, however, will be able to take somebody else’s material and still manage to have a personal vision come through. They will shoot the film or direct actors in a manner that will eventually transform that film so that it becomes part of the body of work of their other films, with similar themes and approaches to material and characterization.

That’s what makes the whole difference between, for instance, 'His Girl Friday' (1938) by Howard Hawks and 'Dream Wife' (1953) by Sidney Sheldon. Both are studio movies; both are comedies starring Cary Grant. And yet you can watch the first one repeatedly, whereas the second one, although pleasant, will not stand a second showing. And that’s also what makes the difference between a John Woo movie, which is always very personal, and, let’s say, the Batman sequels, which may be well crafted but could have been directed by anybody."

("Moviemakers' Masterclass", Laurent Tirard, interview conducted in 1997)