cinephile

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The Hateful Eight (2015, Quentin Tarantino)

Jean Epstein on the close-up: 
“I will never find the way to say how I love American close-ups. Point blank. A head suddenly appears on screen and drama, now face to face, seems to address me personally and swells with an extraordinary intensity. I am hypnotized. Now the tragedy is anatomical. The decor of the fifth act is this corner of a cheek torn by a smile. Waiting for the moment when 1,000 meters of intrigue converge in a muscular dénoument satisfies me more than the rest of the film. Muscular preambles ripple beneath the skin. Shadows shift, tremble, hesitate. Something is being decided. A breeze of emotion underlines the mouth with clouds. The orography of the face vacillates. Seismic shocks begin. Capillary wrinkles try to split the fault. A wave carries them away. Crescendo. A muscle bridles. The lip is laced with tics like a theater curtain. Everything is movement, imbalance, crisis. Crack. The mouth gives way, like a ripe fruit splitting open. As if slit by a scalpel, a keyboard-like smile cuts laterally into the corner of the lips. The close-up is the soul of the cinema.” Picture used for illustration: Marlene Dietrich in Witness for the Prosecution (1957, Billy Wilder)

Taxi Driver (1976, Martin Scorsese)

Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964, Stanley Kubrick)

Psycho (1960, Alfred Hitchcock)

“Tropico” by Lana Del Rey

“Afraid” by The Neighbourhood

Breaking Bad (2008-2013, Vince Gilligan)

Das Leben der Anderen [The Lives of Others] (2006, dir. Florian Henckel von Donnersmarck)

Bicycle Thieves [Ladri di biciclette] (1948, Vittorio De Sica)

American Psycho (2000, Mary Harron)

The Shawshank Redemption (1994, Frank Darabont)

"Maybe some day you forget what it's like to be human and maybe then, it's ok." Mystic River (2003, Clint Eastwood)

Jurassic Park (1993, Steven Spielberg)