Bright Wall/Dark Roomさんのイラストまとめ

"As a narrative, Kieślowski's RED is often recursively & sometimes even reflexively understood. It’s a film of ellipses, of threads dropped and picked up until, suddenly, they are woven." https://t.co/afZoBJrMPC

I Don’t Belong In This World: On the Saltair Pavilion, Mary Henry, and CARNIVAL OF SOULS https://t.co/3lHad6DWyr

"OUT OF SIGHT is a heist story, a sexy potboiler, a noir rom-com that resurrects and perfects the lost art of cinematic sexual tension." -@BBW_BFF https://t.co/upojZy8Q3O

"I’ve done a lot of other things, but when I look back on my work… [my work with Bergman was] probably what gave me most life. Because I was so alive, and I was trusted so much."

- An interview with Liv Ullmann https://t.co/3LE10auaqU

Kim Davies on Ingmar Bergman's SCENES FROM A MARRIAGE https://t.co/21LyOtVLjx

"A sense of warring duality is everywhere in PRINCESS MONONOKE: selfishness and altruism, nature and humanity, life and death." https://t.co/lFqYokdWen

New today on the site:

Catherine Ellsberg on THE MEMORY OF JUSTICE, Marcel Ophuls’ sprawling 1976 jeremiad on the Nuremberg trials.

https://t.co/q77ayXUg72

(art by @studiotstella)

New today on the site: A personal essay from @AdamMembrey on BEFORE SUNSET, and how finding our favorite art can help us find ourselves & find one another.

(art by @brianna_ashby)

https://t.co/yKHIAPU3GP

“As a kid, I was afraid of the dark and by extension, the night. Raised on several pieces of pop culture likely too scary for me, I could think of little worse than being awake through the night. Night was when all the bad shit happened.” https://t.co/g6PhGZRUpZ

After Hours

(art by @studiotstella)