shegë

The year I went to the movies

from Arabian Nights, 1928 by Virginia Frances Sterrett (American, 1900–1931)

— C.P Cavafy, marginalia on John Ruskin in Cavafy: A Critical Biography by Robert Liddell

Decision to leave, 2022, Park Chan-wook

Decision to Leave (2022) dir. Park Chan-wook

Dracula, 1931

Central to the film is a reclamation of the Orpheus myth, a version of which the three young women read aloud together one night. Sophie registers distress at Orpheus’s fatal, selfish incompetence in looking back at Eurydice when he was told not to, and Marianne suggests he may have done it on purpose, preferring to lose the woman and savor, instead, the romance of his grief, making not “the lover’s choice, but the poet’s.” But it’s Héloïse who removes, for once, the fixation on Orpheus, his failings, and his loss. What if, she says to Marianne with an edge of defiance, it was Eurydice herself who chose art over staying together, who rather than leave the underworld with Orpheus, stopped and called out “Turn around,” preferring to remain down there and be preserved in poetry. A kind of freedom and a kind of permanence, rather than, as eighteenth-century marriage looks to be, an unwilling exchange of one for the other. —  In Portrait of a Lady on Fire, Love is a Work of Art

— Theodor W. Adorno, Minima Moralia

A Herbal, Seamus Heaney

Русский Ковчег / Russian Ark (2002) dir. Aleksandr Sokurov

Russian Ark (2002), Aleksandr Sokurov

— Anne Carson, H of H Playbook

with both hands, day and night.

— John Berger, from “From A to X A Story in Letters”, (Verso, 2008)

Everything Everywhere All At Once (2022) dir. Daniel Kwan, Daniel Scheinert

via Lucie Britsch