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Narrative thematic movies are to the independent, experimental (whatever you want to call them, the individual, I think) films as prose is to poetry. Understand that I’m not valuing poetry above prose. There are times where the prose of a culture is far superior to its poets. To its poetics. And vice versa. But it is that different, especially in their respective ways of making. Poets are much more subject to brainstorms or, you know, to inspiration or whatever. So that it would be practically inconceivable for most of them to work with a script at all. Whereas it would be pretty inconceivable to make a narrative dramatic movie without a script. Even Cassavetes had to have some kind of script.

-Stan Brakhage

(Kaynak: communicants, timesculpture gönderdi)


do you feel the excited
warmth of the trembling
mild air—I am the were-
wolf circling round—

when the evening bell dies away
I steal into your garden
into your pastures
I break into your peaceful corral

my unbridled body
my body exalted with pigment and blood
crawls into your arbors
swarms into your hamlets
crawls into your souls
festers in your bodies

out of the loneliest stillness
before you awaken my howling shrills forth
I devour you
the ravening 
loving werewolf within you

image: Invocation of My Demon Brother (Kenneth Anger, 1969)
text: from The Dreaming Youths by Oskar Kokoschka (1908)


Sátántangó | Béla Tarr | 1994

(timesculpture gönderdi)


NYMPH()MANIAC (Lars von Trier, 2013)

“Thérèse on a Bench Seat” (Balthus, 1939) 

(fyodor-haneke gönderdi)


in which an incisive Ingmar Bergman talks about the colossal impact childhood exerts upon us.

(razna gönderdi)


"If I’m no use to others, at least I make the most of life. I observe nature."

— The Wind Will Carry Us (1999) dir. Abbas Kiarostami.

(razna gönderdi)