Guillermo

La ternura tiene una hondura mucho mayor de lo que suelen concedérsele. Siempre se la confunden con suavidad, sentimentalismo o una fragilidad menor. Pero, en su forma más verdadera, es una manera de tocar la existencia sin violentarla. Modifica la forma en que el mundo nos hiere

La belleza que, inalcanzable, fugitiva, pasa. Cree en ella. Ida Vitale.

-¿Cuál es el centro del mundo? - Pienso que es el amor. Masculin Féminin (1966) Dir: Jean-Luc Godard DoP: Willy Kurant

Borges plantea que el amor es algo que irrumpe, que sucede sin deliberación, que invade, que erosiona, que delata, que expone; es finalmente una fatalidad. Pet Shop Boys apunta a la melancolía lúcida: entender que amar es perder, que no hay defensa posible frente a lo inevitable.

Clarice Lispector

『ブルー』blue 〈hiroshi ando, 2002〉

𝘕𝘰𝘸 𝘵𝘩𝘦 𝘦𝘵𝘩𝘦𝘳 𝘪𝘴 𝘦𝘷𝘦𝘳𝘺𝘸𝘩𝘦𝘳𝘦, 𝘭𝘪𝘬𝘦 𝘭𝘪𝘨𝘩𝘵 𝘪𝘯 𝘵𝘩𝘦 𝘢𝘪𝘳 All about Lily Chou-Chou • リリイ・シュシュのすべて • 2001 • Shunji Iwai

Emotion (1966) / Nobuhiko Obayashi

Alguien que me comparta donde verla q llevo buscándola un rato y no la hallo u.u

Marguerite Duras sobre para qué sirve escribir:

Linda Linda Linda *REMASTED* (2005, Nobuhiro Yamashita) 1080p BluRay REMUX (23GB) 1080p BluRay (12GB) transfer.it/t/S6ODgtxlAZyR

Maborosi (1995, Hirokazu Kore-eda) 1080p BluRay REMUX (30GB) 1080p BluRay (2GB) +'Birthplace' a documentary with actress Makiko Esumi transfer.it/t/SUWiM5xRgDqY

The Friends Director: Shinji Sōmai

"Dios está donde está la música", nos aseguró Bergman. Incluso en ese esqueleto que una vez fue un barco, podemos escuchar a Bach como su testimonio luminoso y sentir una especie de agonía, de declive, un hundimiento en formas que ya no son de este mundo. Como en un espejo, 1961

À bout de souffle (Jean-Luc Godard, 1960).

Peter Bogdanovich elucidates why expensive movie budgets curtail creative freedom: "Interviewer: You once said, after 'The Last Picture Show' (1971) was released, that you thought of your career in the same terms as that of the older director. You hoped that during your life you could do fifty films on a wide range of subjects. Considering the state of the business today, have you tempered that view? Bogdanovich: I’ve tempered the view perhaps in the number of films. I don’t know if I can make fifty films today, but one can try. I’ve got about six cheap little films I’d like to do in a row. That ought to keep me busy for a while. Interviewer: But the trend today is expensive films. Bogdanovich: Well, perhaps we’re coming out of that phase. At the moment, bigness is equated with quality. That’s happened before, and it’s a big danger. While I was a sort of half-assed critic, I once wrote that George Cukor had made a pretty good picture out of My Fair Lady, considering the limitations of $15 million. And, from experience, I found, when I had $6 or $9 million, as I did on the last two pictures, that I had been right. It’s a hell of a limitation. The production gets bigger and bigger, and finally you’ve got all these people on the set who don’t essentially do anything because they’re not needed. But you’re carrying them around with you everywhere you go, like a goddamned army. You can’t just say, “Oh, let’s not shoot this today. Let’s go over there,” because it’s like saying, “We’re not going to land at Normandy; we’re going to invade at the Sea of Japan.” You just can’t. Somehow the freedom goes, and at the same time, the fun goes, too. After all, it’s only fun when you feel that what you’re doing is a sort of crime, a caper. Jean Renoir once said that when you’re making a picture you should gather around you not associates but conspirators. It’s not possible to have three hundred loyal conspirators. To half of them it’s just a picture, and that’s when it starts not to be fun. That’s why I love shooting at night. It’s the best time because everybody else is asleep, and you’re really doing this wicked thing nobody knows about. You’ve got to keep that larcenous quality to your work in pictures. That’s the trouble with big pictures— there’s no larceny in them. They’re essentially respectable, and respectability is an insidious enemy." (Peter Bogdanovich, American Film Institute, 1978)