selective.colors

“This time he is close to her, he speaks to her. She welcomes him without surprise. They are without memories, without plans. Time builds itself painlessly around them. Their only landmarks are the flavour of the moment they are living and the markings on the walls.“

“I wrote earlier about the many ways this film evoked my own memories of such time and place. About wide lawns. About a town that somehow, in memory, is always seen with a wide-angle lens. About houses that are never locked. About mothers looking out windows to check on their children. About the summer heat and ennui of church services, and the unpredictable theater of the dinner table, and the troubling sounds of an argument between parents, half-heard through an open window.”

“Gray has obviously watched films of the 1910s and early 1920s to feed the overall atmosphere of "The Immigrant," and this extends to the characterization of Ewa, who glows from the screen, vulnerable but rigidly un-giving, like the heroines of D.W. Griffith movies; she moves in the languid way that Blanche Sweet did when she played "Judith of Bethulia" for Griffith in 1914. With every glance she says, "You will have my body, but you will never have my soul," and that drives Bruno crazy, of course. It must drive the other men crazy, too, because they can do anything they want to her body but they can’t ever really get to her.”

Art & Cinema

“Children of Men” (2006) by Alfonso Cuarón

“The Birth of Venus” (1484–1486) by Sandro Botticelli

“A strange hunger haunted me; the looming shadows danced. I fell down to the thorny brush and felt a trembling hand.

When the last light warms the rocks and the rattlesnakes unfold, Mountain cats will come to drag away your bones...”

“And you, my father, there on the sad height, Curse, bless, me now with your fierce tears, I pray. Do not go gentle into that good night. Rage, rage against the dying of the light.”

Art & Cinema

“Ida” (2013) by Paweł Pawlikowski

“Girl with a Pearl Earring” (1665) by Johannes Vermeer

“With Padmé gone, the aesthetics of the Star Wars universe changes: we see the utilitarian set of the Star Destroyer, the beauty of the earlier ships gone. The beautiful, colorful, and elegant costumes have been replaced by simpler and more drab garments in shades of gray…We see a glimpse of the Empire’s new order, a Star Destroyer crew made up entirely of men. Instead of the natural beauty of a planet, we witness the skeletal beginnings of the Death Star.”