Il deserto rosso (1964), dir. Michelangelo Antonioni

(Source: heavenhillgirl, via lsdkittie)

'Barton Fink', Joel Coen and Ethan Coen (1991)

I gotta tell you, the life of the mind… There’s no roadmap for that territory… And exploring it can be painful.

Scener Ur Ett Äktenskap' (Scenes from a Marriage), Ingmar Bergman (1973)

We’re emotional illiterates. We’ve been taught about anatomy and farming methods in Africa. We’ve learned mathematical formulas by heart. But we haven’t been taught a thing about our souls. We’re tremendously ignorant about what makes people tick.

(Source: madeofcelluloid, via bruno-stroszek)

I have an idea. Would you like to be called “Belle de Jour”?  - Belle de Jour (Dir, Luis Bunuel 1967)

(Source: galacticaps, via danieldaystreep)

Let’s start with the look of Songs from the Second Floor—it’s unusually visual, very rich and detailed.

I felt that film-making generally didn’t reach the level you could find in painting or literature or music. It was for one-time use only, and more and more, the movies were losing their visual power—they were concentrating on the plot only. Especially compared to the 1950s, when I was a student. It was that period when the so-called serious art movie came out, all over the world: we had the East European waves, Kurosawa, Bergman, English realism. That’s why I started wanting to be a film director myself. It wasn’t only the plot that was interesting; it was the touch, the feeling, something visually rich.

The way you use long, single-shot scenes without cuts—and don’t move the camera within them—is particularly unusual these days.

Normally when you see a film with many cuts, it’s to avoid problems, because of lack of money, patience, talent. If you don’t move the camera and don’t cut, you have to enrich the picture in deep focus—that’s what you have. I think a good theoretical writer on film is Andre Bazin—he preferred deep focus. I do too. When you look at the history of paintings, they’re in deep focus all the time, and that makes you very curious, and you become an active spectator.

Roy Andersson on the style of Songs from the Second Floor

L’Avventura | Michelangelo Antonioni | 1960

(Source: somequeerdistortion, via communicants)

Ma nuit chez Maud, d’Éric Rohmer (1969)

(Source: mattisb, via tothegallows)

proptotichorripilation asked:
Hello. I've been looking at Slovenian writers lately. Are there any that you recommend?

Yes, of course! My favourite writers are Vladimir Bartol (his most famous work is Alamut), Drago Jančar (my favourite book of his is Galiot and you should also check out some of his plays - The Great Brilliant Waltz is quite good) and Vitomil Zupan (A Minuet for Guitar). We also had a lot of good poets - you should definitely check out Srečko Kosovel.

But be careful: Slovenian literature written in 19th (or in the beginning of the 20th) century is quite depressing to read. I would stay away from writers such as Ivan Cankar and Prežihov Voranc. I had to read them in high school and it was the most painful experience. ;)

Ma Nuit Chez Maud. (1969). Dir. Eric Rohmer.

(Source: maggiecheungs, via matthewcandela)

Ida (2013), dir. Paweł Pawlikowski

(Source: idalias, via islandija)

Ida (Pawel Pawlikowski, 2013)

(Source: brand-upon-the-brain, via islandija)

Vivre Sa Vie - Jean-Luc Godard - 1962

Sady Rebbot, Anna Karina, Jack Florency, Maria Falconetti

(Source: ozu-teapot, via cinephilefiles)

"Will I be with You tonight in Paradise?"

La Passion de Jeanne d’Arc
(Carl Theodor Dreyer, 1928)

(Source: jamesbadgedale, via cinephilefiles)

Persona - Ingmar Bergman - 1966

Bibi Andersson

The Mirror (1975) 

(Source: jacques-audiard, via ericrohmer)