The Lighthouse (Robert Eggers, 2019) Hereditary (Ari Aster, 2018) Midsommar (Ari Aster, 2019) The Witch (Robert Eggers, 2015)
Lint Roller? I Barely Know Her
wallacepolsom
occasionally subtle
Not today Justin

Janaina Medeiros
Misplaced Lens Cap

if i look back, i am lost
2025 on Tumblr: Trends That Defined the Year
noise dept.

sheepfilms

JBB: An Artblog!
art blog(derogatory)

Kiana Khansmith
Cosimo Galluzzi
Three Goblin Art

izzy's playlists!
Jules of Nature

Aqua Utopia|海の底で記憶を紡ぐ
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seen from United States
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@lovingcinema
The Lighthouse (Robert Eggers, 2019) Hereditary (Ari Aster, 2018) Midsommar (Ari Aster, 2019) The Witch (Robert Eggers, 2015)

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Gaspar Noé on Hollywood.
Vincent Gallo, Buffalo ‘66 (1998)
Gaspar Noé, Love (2015)
“It is not how things are in the world that is mystical, but that it exists.”
— Ludwig Wittgenstein, Tractatus Logico-Philosophicus
“She was delusional. She was crazy. No, she was just lonely.” The Devil All the Time (2020)

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Margot Robbie in I, Tonya (2017) // Taron Egerton in Rocketman (2019) requested by anon
La double vie de Véronique (1991) Krzysztof Kieślowski
Le fabuleux destin d'Amélie Poulain (2001) Jean-Pierre Jeunet
Carol (2015) Todd Haynes
The Shape of Water (2017) Guillermo del Toro
Perfect Blue, 1997
Did anyone else notice the eerie similarities between Joker and Black Swan? (major spoilers for both films ahead) Like two sides of the same coin:
- Protagonists start out as virginal, socially awkward, emaciated, somewhat childlike, TENSE people: so tense you can see it in the muscles in their bodies and on their faces
- Live alone in claustrophobic city apartments with domineering, possessive mothers, father was never present or is never even alluded to, in Nina’s case
- Get bullied by callous coworkers in dressing rooms where they apply their makeup
- Experience tense and demeaning experiences on the oppressive subways they have to ride: Arthur is brutally beaten, Nina sits frozen in fear as nasty old man sexually harrasses her
- Everyone in their lives just seems to PUSH and PUSH them with no regard to the effect on their sanities, as if they are seen as less than human
- As both protagonists are beginning transition to chaotic alter egos, they hallucinate encounters with beautiful, unavailable women (ok, Nina does have a BIT more of an explicit hallucination shown to viewers lol)
- Both films even contain nearly identical frames of protagonists staring into mirrors covered with writing in bright red lipstick, though at different stages of their transition
- Both protagonists use white face paint to signal takeover of new personas - After Nina realized what truly happened in the traumatic and murderous encounter in dressing room, she instantly gains composure, you can literally SEE her face transform as she becomes the Black Swan the very split second she begins applying her white face paint, it’s less of a decoration than an armor, more war paint than mere makeup for both Nina and Arthur
- Transformation from past selves into new alter egos is signalled with powerful, triumphant dance - they’ve become more alive, more confident than they ever were as their past selves, they’ve been reborn through power of dance
- Transition is also accompanied by both characters passionately kissing people who weren’t expecting it, something the old Arthur and old Nina ever would have dreamed of doing
- Climax of both films shows Joker and the Black Swan triumphant, seen and loved by crowds like never before in their lives, perfect, the peak of their lives thus far
- Ending is left purposefully ambiguous, though Nina’s fate is strongly implied - nevertheless, their fates don’t diminish from their perceived triumphs
Anyways, I’ve been thinking about this stuff for a while, also it would be a SHAME if any talented authors were to ship these two characters somehow ;)
Hope this was thought-provoking or at least interesting
Black Swan (2010)

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Anna Karenina (2012) dir. Joe Wright
Vertigo (Alfred Hitchcock, 1958)
Lost Highway (David Lynch, 1997)
James Stewart and Kim Novak taking a break during the filming of Vertigo (Alfred Hitchcock, 1958)
“The last time she saw Stewart was when they bumped into each other at an airport [he died in 1997]. “I said, ‘Jimmy, I wish we could do a movie together.’ And he said, ‘I can’t be a leading man anymore. I don’t want to make movies anymore.’ He’d been away from movies for a while. He said, ‘You know, I walk out my back yard and I can’t remember sometimes why I walk out there.’ I said, ‘I understand that, it happens.’ He said, ‘Yep. Happens. [Pause.] Sure is good seeing you again.’ And I said, ‘You too, Jimmy.’ And gave him a hug.” - The Telegraph [UK], 2014
The Differences during and after the storm. Parasite 기생충, 2019 dir. Bong Joon-ho

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The Differences during and after the storm. Parasite 기생충, 2019 dir. Bong Joon-ho
A girl like you can stab a man’s heart without a knife.
In the Realm of the Senses (1976) // dir. Nagisa Oshima