Jules of Nature
almost home
he wasn't even looking at me and he found me
Today's Document
blake kathryn
wallacepolsom
if i look back, i am lost
tumblr dot com
DEAR READER
"I'm Dorothy Gale from Kansas"
2025 on Tumblr: Trends That Defined the Year
Three Goblin Art
★
❣ Chile in a Photography ❣
KIROKAZE
taylor price
ellievsbear
untitled
Sweet Seals For You, Always
seen from United States
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@greatestnorthern
Anyobody have a letterboxd account?
Here’s mine:
https://boxd.it/dCwr
I’m looking for some active followers!
Adam M. uses Letterboxd to share film reviews and lists. 1,947 films watched. Favorites: Yi Yi (2000), Three Colors: Red (1994), Prisoners (
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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entry #6: Roma dir. Alfonso Cuarón The first rule of film school is “never write a film about yourself”. Well, Alfonso Cuarón fucking begs to differ. We often tend to forget the importance of “heart” in every screenplay. By “heart” I mean the love of storytelling, and what the story says about the person telling it. Alfonso Cuarón shot, edited, wrote, directed, & produced Roma. This fact, alone, goes to show how much passion was put into the making of this film. It resonates with those willing to experience the journey Cuarón sets for us. That being said, the pacing is truly unique. I’ve rarely seen a film so focused on keeping things slow, but, at the same time, so focused on getting to the point. To show this on “Netflix”, I believe was a very important move by the producers. This made the film accessible to a home audience, emphasising the film’s atmosphere: a “close-to-home” feeling that comes not only within the execution of the film but also with our own personal nostalgia. To watch this film in the comfort of our homes is like looking through a photo-album of yours you’ve never known existed. You start to look at the photos and revisit memories that made you in every way, shape, and form. This film is a VERY personal film. And regardless of whether or not you’ve experienced anything like the events in the film, it rings a bell to us. The audience almost has no choice but to relate & connect with the film. Roma is a film about family, friends, love, pain, abandonment, tragedy, &, most importantly, WATER (no joke Cuarón puts water in all his films: STREAM of consciousness!!!!). #roma #alfonsocuaron #netflix https://www.instagram.com/p/Bsk4ylNltmI/?utm_source=ig_tumblr_share&igshid=mccjr4qxhsku
entry #5: Funny Games (1997) + Funny Games US (2007) directed by Michael Haneke Michael Haneke directed the original German film “Funny Games” in 1997. 10 years later, he decided to make a shot by shot English remake of the film entitled “Funny Games US”. The reason for this is that he wanted the film to reach American audiences, as it has a lot to do with violence in film, and reality. The violence in this film is never shown on screen which allows the audience to bring their own imagination into play. By filling in the gaps of what we don’t see, the audience is able visualise the situation and react to them based on what is presented. On another note, “breaking the 4th wall” is a concept that has been severely overused in the film industry. I’ve always believed that it can go two ways: either the director loses the audience by reminding them that they are only watching a film, or the audience is invited to become more involved & intrigued in the situation the film sets up. Funny Games is an example of a film that uses this method effectively, and for a purpose. By doing this, Haneke guides the audience’s attention to the realization that what we are watching is not going to go the way we hope. In an era so filled with genre-cliches, predictability is a factor that audience members tend to critique very quickly. In ignoring these cliches, Haneke manages to portray a world that might feel absurd at first, but is indeed a reflection of the brutal reality we live in. This makes both versions of Funny Games a truly unsettling experience. Nothing can express my love for these two gems directed by Michael Haneke. #michaelhaneke #funnygames #funnygamesus #cinema #german #naomiwatts #timroth #michaelpitt https://www.instagram.com/p/BsiLw7fFtfS/?utm_source=ig_tumblr_share&igshid=ima8mx5n4z8j
“This is the nature of war: By protecting others, you save yourselves. If you only think of yourself, you'll only destroy yourself.”
Seven Samurai (1954) dop. Asakazu Nakai dir. Akira Kurosawa
“There are times that I'm ashamed to be a member of the human race, and this is one such occasion.”
Paths of Glory (1957) dop. Georg Kraus dir. Stanley Kubrick
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“Of all the gin joints, in all the towns, in all the world, she walks into mine.”
Casablanca (1976) dop. Arthur Edeson dir. Michael Curtiz
“I’m mad as hell and I can’t take it anymore!”
Network (1976) dop. Owen Roizman dir. Sidney Lumet
“My face frightens me. My mask frightens me even more.”
Eyes Without a Face (1960) dop. Eugen Schüfftan dir. Georges Franju
“Shit! What is that?”
“It’s a baby carriage.”
“I can see it’s a baby carriage.”
Dead End (2003) dop. Alexander Buono dir. Jean-Baptiste Andrea & Fabrice Canepa
“Death to the fascist bastards. Make them pay! Kill them!”
Come and See (1985) dop. Aleksei Rodionov dir. Elem Klimov
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“This is something we've been talking about; creating a new relationship.”
The One I Love (2014) dop. Doug Emmett dir. Charlie McDowell
“I feel a great tenderness for you.”
“What good is your tenderness to me?”
“You can be very cruel when you wish.”
Belle de Jour (1967) dop. Sacha Vierny dir. Luis Buñuel
“Meg versus man isn't a fight... it's a slaughter.”
The Meg (2018) dop. Tom Stern dir. Jon Turteltaub
“I dunno what the hell's in there, but it's weird and pissed off, whatever it is.”
The Thing (1975) dop. Dean Cundey dir. John Carpenter
“Yes, I killed him. I killed him for money - and a woman - and I didn't get the money and I didn't get the woman. Pretty, isn't it?”
Double Indemnity (1944) dop. John F. Seitz dir. Billy Wilder
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“It was in the reign of George III that the aforesaid personages lived and quarreled; good or bad, handsome or ugly, rich or poor. They are all equal now.”
Barry Lyndon (1975) dop. John Alcott dir. Stanley Kubrick
“We’re breakable, all of us. Some more than others.”
Perfect Strangers (2016) dop. Fabrizio Lucci dir. Paolo Genovese