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From the archives:
"Geography as Identity" -@angelicabastien on Barry Jenkins’ MOONLIGHT
(art by @brianna_ashby)
https://t.co/CBYt4kf6xR
"PHANTOM OF THE PARADISE feels simultaneously self-assured and just glad to be invited to the party, the cinematic equivalent of arriving at a New Year’s Eve bash at six in the evening already covered in glitter." https://t.co/lM08c64z8K
“This is the real gamble at the heart of Altman's CALIFORNIA SPLIT: the risk you take when you put your care and trust into another person." https://t.co/34X85l1oY9
New today on the site:
"He Sold His Soul for Rock and Roll" -@dodgyboffin on Brian De Palma's PHANTOM OF THE PARADISE
(art by @studioralston)
https://t.co/lM08c64z8K
New today on the site:
@MerrittMecham on Peyton Reed's DOWN WITH LOVE (2003)
(🎨 by @studioralston)
https://t.co/5q1YDQ1Yyf
"As a narrative, Kieślowski's RED is often recursively and sometimes even reflexively understood. It’s a film of ellipses, of threads dropped and picked up until, suddenly, they are woven." https://t.co/afZoBJJW3K
"In the face of apocalypse, priorities change. Or, don’t change so much as crystallize into their truest forms." -@smswrites on THE LEFTOVERS (art by @studiotstella)
https://t.co/bllYLxiuTx
"Fellini manages to accomplish with film what mostly abstract painters do – namely, to communicate an emotion without ever saying or showing anything in a direct manner, without ever explaining anything, just by a sort of sheer magic." -David Lynch on Fellini, both #bornonthisday
“For Lynch, familiarity helps us recognize things, so they may be made strange—or shown to have always been stranger, more supple than we supposed.” -@gutomako on MULHOLLAND DRIVE (🎨 by @brianna_ashby)
https://t.co/4DZxgUCLjx
"3 seemingly dissimilar works united by 3 seemingly diffuse concepts that all lead back to the same place: the unique capacity of film to evoke some of the mind’s most indescribable sensations." -@Ethan_Warren_ on Sunset Blvd, Eraserhead, & The Shining https://t.co/xcYJYjevRx