Hitchcock Cameos
The Birds (1963)
North By Northwest (1959)
Torn Curtain (1966)
Topaz (1969)
Vertigo (1958)
To Catch a Thief (1955)
Rope (1948)
Rear Window (1954)
Misplaced Lens Cap

oozey mess
RMH

blake kathryn

JVL


titsay

Janaina Medeiros

Origami Around

★
art blog(derogatory)

Product Placement
Cosimo Galluzzi

PR's Tumblrdome
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PUT YOUR BEARD IN MY MOUTH

Andulka
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ellievsbear

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@persephnne
Hitchcock Cameos
The Birds (1963)
North By Northwest (1959)
Torn Curtain (1966)
Topaz (1969)
Vertigo (1958)
To Catch a Thief (1955)
Rope (1948)
Rear Window (1954)

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Not me scrolling through the Conclave tag only to see no one talk about the deliberate positioning and framing of the women in this movie.
Pulling up this movie I completely expected to only encounter Sister Agnes as the one woman we see in the trailer, the conclave a space that has been kept from the female members of the church. Now, color me surprised when I started the movie and most of the establishing shots we got were focused on all the women working in the Vatican.
And it is such a deliberate choice, it does the film a disservice not to talk about it.
Because while Cardinal Lawrence is having his fifteenth breakdown during sequestering and Bellini finds the ambitious asshole within himself, Ray does all the leg work, and Bel---- we see the women work.
We see the kitchens, we see them cook, we see them stand aside. Most of the time when the Cardinals are conspiring it is the women who interrupt because they are busy working, walking, running errands.
And there is power in that.
I think it is very deliberate how often (and with such lingering gaze) the camera shows us the lives of the other half - partially to connect to the wider themes of the movie, on how Bellini asks for women to get more power but never thanks them, and how Benitez stumps them all by thanking the women preparing their meals when asked to say the prayer (considering his own probably tumultuous relationship to gender within the church).
But it also stands in direct opposition to a long tradition in story telling: servants don't exist. How often the heroes of a regency romance are "alone" because the two hand maidens and three maids don't really count.
Conclave doesn't do that.
It doesn't let us look away.
Between all the petty drama, the politics, and the real life consequences of the conclave, we never stop looking at the people doing all the work.
Yes, we follow the ups and downs of Lawrence and Co, but in doing so the movie reminds us again and again of the women working the kitchen.
And that was just such a powerful artistic choice in a movie about a famously misogynistic church... I loved it. And I had to talk about it.
untitled (lighters) by ariel schlesinger, 2007
12 ANGRY MEN (1957) dir. Sidney Lumet
@importantpics

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Rachel Gillig, The Knight and the Moth
polly brown
Can we tho?!
Moon in fog, 25th August 2021.
緣份 / Behind the Yellow Line (1984) dir. Taylor Wong

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the thing about being alone is that it’s so peaceful and freeing and cool apart from the evenings you descend into literal hell
“Feet Above” by Zurab Getsadze ⌘
"it's all in your head" correct! unfortunately I am also in there
love the new ghibli protagonist. what a little freak (affectionate). he has NO chill. a kid shoves him at the start of the movie and he instantly tackles them and proceeds to fight his entire class. he bashed his head in with a rock and tried to walk it off. the bird in his garden was doing funny things and he instantly starts making plans to murder it. was ready to beat the shit out of that pelican. i just know if he was allowed to curse he would have called that heron a bitch ass mother fucker. mahito was NOT fucking around.

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The Shortest Day. Words by Susan Cooper, illustrations by Carson Ellis.