Hanging on the Vitaphone

Grand Tour (2024, Miguel Gomes)

Isabelle Huppert, Tuscany, Italy by Marianne Rosenstiehl, 1995

Olivia de Havilland.

John Carpenter

River Phoenix.

Ginger Rogers

"I liked Maya Deren—she was direct and honest—sometimes a bit brutal, but she called the shots as she saw them. I could accept this because she had no guile—you simply accept or reject her—on her own terms—or not at all. Later, when Maya and I had both left the Dunham Company and were residing in L.A., she called me. She had married a photographer, and during this period she became enamored with the art of photography. She asked me to pose for her—she wanted to do a portrait—a head study of me. I posed for her, and as a result I acquired one of the most beautiful and artistic portraits I have ever possessed." — Janet Collins

Bait (Mark Jenkin, 2019)

۲۴ فریم (Abbas Kiarostami, 2017)

Clara Bow and Rex Bell, 1931.

L'immortelle (1963), dir. Alain Robbe-Grillet

“Arsenic And Old Lace"  (1944)

John Coltrane and Sonny Rollins in Jazz (dir. Ken Burns, 2000)

A feverishly inspired take on Franz Kafka’s novel, Orson Welles’s THE TRIAL casts Anthony Perkins as the bewildered office drone Josef K., whose arrest for an unspecified crime plunges him into a menacing bureaucratic labyrinth of guilt, corruption, and paranoia. Exiled from Hollywood and creatively unchained, Welles poured his ire at the studio system, the blacklist, and all forms of totalitarian oppression into this cinematic statement—a bold, personal film that he himself considered one of his greatest. Dizzying camera angles, expressionistic lighting, increasingly surreal locations—Welles unleashed the full force of his visual brilliance to convey the nightmarish disorientation of a world gone mad.

I think you're right, if God is still on speaking terms with me | Shanghai Express (1932)

Myrna Loy

Paulette Goddard by John Rawlings for Vogue in 1942. Killer shot!