sing to me, beautiful one.
It’s unreal that I am going to see The National (again) along with Daughter next month. And I still have not figured out how to cope with that yet.
Some people feel like they don’t deserve love. They walk away quietly into empty spaces, trying to close the gaps of the past.
MILLENNIUM MAMBO
QIAN XI MAN PO
Directed by
Taiwan, 2001
(Source: giphy.com, via nightcricket-deactivated2018082)
Jean-Claude Brially, Anna Karina and Jean-Luc Godard on the set of A Woman Is a Woman (1961)
(via dark-splendor)
.. Sometimes you meet someone, and it’s so clear that the two of you, on some level belong together. As lovers, or as friends, or as family, or as something entirely different. You just work, whether you understand one another or you’re in love or you’re partners in crime. You meet these people throughout your life, out of nowhere, under the strangest circumstances, and they help you feel alive. I don’t know if that makes me believe in coincidence, or fate, or sheer blind luck, but it definitely makes me believe in something.’ // Rooftops
(via citrusfeelings)
“Socrates said that the aim of philosophy is to know oneself. For me, the cinema is the same thing. I try to know myself better, to relieve my pain about life. In your travels, you see different kinds of people, different kinds of lives, and that makes you think. You ask harsh questions of your self. I try to understand what it means to be human. There are certain kinds of people in every culture. These kind of people ask similar questions about life, and it doesn’t change in New York or anywhere else. You meet these people in Iran, in Singapore, everywhere. And these kind of people make another kind of nation. Through films, you find your soulmates, who live in the same nation with you.”
(via directors-gone-wild)
Minnie and Moskowitz (dir. John Cassavetes, 1971)
Minnie and Moskowitz is what happens when Cassavetes decides to make a film about two people falling in love. It is a depiction of love like no other. Cassavetes, of course, does away with all the usual romance-film tropes in telling Minnie and Moskowitz’s story. He instead lets emotion and true insight take center-stage. The result is more destructive than romantic, more ugly than beautiful, but who the hell ever said romance should be beautiful, be orderly, be predictable and likeable? Really it’s more often determined by chaos, indecision, actual human emotion. And, naturally, Cassavetes, being Cassavetes, understands this, and tells it as it is. Minnie and Moskowitz just might be my favorite Cassavetes film, right next to Shadows. 5/5
(via johncassavetes)
“Remove all attachments”
(via kafkaesque-world)