Ivanovo detstvo/Ivan’s Childhood (1962, Andrei Tarkovsky)
The complexly choreographed sequence involving Masha’s encounter with Kholin in the birch forest is one of the most iconic shots in cinema, symbolizing the need for help in hard times, a moment of connection above the void, a desperate act of human contact. The camera tracks their movements at a distance before joining them, finally, in a strange, low-angle embrace over a small trench. The shot begins from a low point of view, and then, when Masha tries to jump over the ditch and is intercepted by Kholin, who holds her in the air and kisses her, the camera goes down below ground level and records the scene from within the ditch, to soon thereafter rise sharply up and continue rolling at eye level with the characters. (1, 2)
(Source: nefertiti, via mizoguchi)
We draw a magic circle around ourselves to shut out everything that doesn’t fit our secret games. Each time life breaks through the circle, the games become puny and ridiculous, so we draw a new circle and build new defenses.
(Source: lowestentropy, via tarkovskian)
Oh, I lie now and then, I suppose. Sometimes I’d tell them the truth and they still wouldn’t believe me, so I prefer to lie.
The 400 Blows / Les quatre cents coups (1959)
(Source: michellewilliamss, via allen-bergman)
Will I be with You tonight in Paradise?
La passion de Jeanne d’Arc (1928) - dir. Carl Theodor Dreyer
(Source: ronnenfelts, via clairedenis)
Interviewer: Do you think people understand you?
Bresson: I don’t know if they understand me, but is the issue here the film or me? If its the film, I think - I’d rather people feel a film before understanding it. I’d rather feelings arise before intellect.
(Source: maudit, via fuckyeahexistentialism)