It is an illegal, uncompromising, highly dangerous documentary, shot in one take, without any special effects as the director starts his car early in the morning and races through Paris with complete disregard for traffic lights, one-way streets, cars, buses and pedestrians - to meet with his wife 8 minutes later in one intensely romantic ending.

C’était un rendez-vous (1976) dir. by Claude Lelouch



La belle et la bête (1946).


Alexandra Roach for Shortlist Magazine, 2014

"I love narrative and how it exists and why it exists and how it’s meant to be used. You can come up with a paragraph full of some truth, something that’s universal, some exploration, and it can be really informative, but it’s likely to not be that interesting. But you can spin a story, you can tell a narrative, and you can infuse it with this stuff. And if you’ve done your job right, you haven’t just captured somebody’s attention long enough to take them on this journey, you’ve also figured out something about the exploration through the act of the story because that’s what we key into. So I love narrative and I think that film is the height of narrative. And I don’t know what 100 years from now looks like, but from right now, to be able to communicate non-verbally but still explore, I don’t know what would be better than that. That’s what I love about it. It’s like you’re feeding right into the main line of how we experience things."

—Writer/director Shane Carruth on what he loves about cinema, in an interview with BlackBook 
  cinema    quote    absolutely beautiful  


kiss me kiss me cover my body in love
by Tracey Emin

  Tracey Emin  

Mae West lips sofa, Salvador Dalí, 1937.


Move On, Garden City Movement Stills

Screencap meme

One rule: NO changing your desktop once you’ve been tagged! Even if it is embarrassing!

I was tagged the absolutely magical widespindriftgaze to show everyone what my desktop looks like, and hey, look: I did it! It’s an absolute disaster. So, let’s start: my background is a badass pattern of my lady-hero Audrey HorneTo the left we have all of my writing, script folders and final draft files. To the right we have my personal photo files. Mostly consisting of projects that I’ve worked on (patterns for Sony, Adult Swim shoots, hitRECord & etc!), there’s a dvd is in my drive right now (my favorite Godard at the moment) VIVRE SA VIE, two self portraits from June that I’ve yet to post, a Gustav Klimt painting subtitled with Kanye (also could be Brenda Lee) lyrics, a still from NIGHTS OF CABIRIA, and lastly, a photograph of a diner wall that I love. 

I tag: phenomenaaa, infinitybuttons, zaynmistakes, smudgeofpaint, traum-novelle, persephoneed, earthlyflower & whoever else wants to do it! (also, if i tagged you and you don’t wanna, you don’t have to!)


Rose McGowan// White Roses, Van Gogh (detail)

  amazing    art    actress  

Janus. You’re all going to die.


Deborah Turbeville - Anh Duong and Marie-Sophie Emanuel Ungaro, Vogue (1984).



"Untitled" (En pointe) by Frank Vic.


Eternity Dress. Tilda Swinton photographed by Katherina Jebb.


cutting bangs


"That phrase ‘I am responsible for my orgasm’ applies to everything though, you know — to your creative work, to your life; you are responsible for the orgasm to life. You’re here for a brief period of time and you’re the one who is going to make yourself come, and you can have partners and collaborators on that and all these sorts of things but it’s on you, you know. And if you don’t do the homework on yourself and if you don’t sit still with yourself, then the chances that you are going to be able to get there and get there with somebody else are slim to none."