Nouf

A Woman’s Case (Jacques Katmor, 1969)

“Adopt the pace of nature: her secret is patience.” ― Ralph Waldo Emerson

Medea (1969), dir. Pier Paolo Pasolini

Devon Aoki for Vogue Japan November Issue by Theo Liu, 2023

La belle noiseuse (1991), dir. Jacques Rivette

Blue is liberty. Of course it’s equality too. And it can just as easily be fraternity. But the film Blue is about liberty, the imperfections of human liberty. How far are we really free? (…) In this sort of film there ought to be many scenes with her visiting the cemetery or looking at old photographs and so on. There aren’t any shots like this at all. There’s no past. She’s decided to cross it out. If the past comes back it does so only in the music. But it appears that you can’t free yourself entirely from everything that’s been. You can’t, because at a certain moment something like simple fear arises, or a feeling of loneliness or, for example, as Julie experiences at a certain moment, the feeling of having been deceived. This feeling changes Julie so much that she realizes she can’t live the way she wanted to. - Krzysztof Kieślowski

Ulysses’ gaze (1995), Theo Angelopoulos

The Nude Vampire (1970), dir. Jean Rollin

This goal is to capture what lies within us, but there’s no way to filming it. You can only get nearer to it. It’s a great subject literature. It’s probably the only subject in the world. Great literature does not only get near to it, it’s in a position to describe it. I suspect there are a few hundred books in the world which have managed to achieve a full description of what lies within us. Camus wrote books like that. Dostoevsky wrote books like that. The greek dramatists, Faulkner, Kafka (…). Literature can achieve this, cinema can’t. It can’t because it doesn’t have the means. It’s not intelligent enough. Consequently, it’s not equivocal enough. Yet, at the same time, while being too explicit, it’s also too equivocal…[a bottle of spilt milk or a cigarette lighter lit] will never mean anything else. If once in ten thousand times it turns out to mean something else, that means somebody has achieved a miracle. Welles achieved that miracle once. Only one director in the world has managed to achieve that miracle in the last few years and that’s Tarkovsky. Bergman achieved that miracle a few times. Fellini achieved it a few times. Ken Loach, too, in Kes. (Kieslowski on Kieslowski, edited by Danusia Stok)

Krzysztof Kieslowski and Juliette Binoche on the set of Three Colours: Blue.

If I Had Four Dromedaries (Chris Marker, 1966)

Liv Ullmann at the Lumière Festival, 2018 (x). Photo by Santi Visalli, 1970. 

1971

On the set of In the Mood for Love.

Mea Heathcote, Australian Ballet (via: AnandaSueyosh | pinterest)