Every True Thinker For Himself Is So Far Like A Monarch; He Is Absolute, And Recognises Nobody Above

Bong Joon-ho

Man is the most bungled of all the animals, the sickliest, and not one has strayed more dangerously from its instincts. But for all that, he is of course the most interesting.

Friedrich Nietzsche, The Antichrist (via philosophybits)

“I understood the necessity of beauty, of an atmosphere of silence, of a void even in which the imagination might blossom.”

— Meena Alexander, from “Fault Lines,” originally published c. 1993 (via violentwavesofemotion)

Three equally adorable photos of Kenneth Branagh directing his adaptation of Shakespeare’s “Much Ado About Nothing,” 1993.

I don’t know how many souls I have. I’ve changed at every moment. I always feel like a stranger. I’ve never seen or found myself. From being so much, I have only soul. A man who has soul has no calm. A man who sees is just what he sees. A man who feels is not who he is.

Attentive to what I am and see, I become them and stop being I. Each of my dreams and each desire Belongs to whoever had it, not me. I am my own landscape, I watch myself journey - Various, mobile, and alone. Here where I am I can’t feel myself.

That’s why I read, as a stranger, My being as if it were pages. Not knowing what will come And forgetting what has passed, I note in the margin of my reading What I thought I felt. Rereading, I wonder: “Was that me?” God knows, because he wrote it.

Fernando Pessoa,  I don't know how many souls I have

Remedios Varo (1908-1963)  Bankers in Action

The Virgin Suicides (1999) | dir. Sofia Coppola | USA

Cinematography by Edward Lachman

For someone who was never meant for this world, I must confess I’m suddenly having a hard time leaving it. Of course, they say every atom in our bodies was once part of a star. Maybe I’m not leaving… maybe I’m going home.

Gattaca (1997)

©  Daidō Moriyama  From the book “Another Country in New York" (1974.)

Scorsese’s “Mean Streets” is a true original of our period, a triumph of personal filmmaking. It has its own hallucinatory look; the characters live in the darkness of bars, with lighting and color just this side of lurid. It has its own unsettling, episodic rhythm and a high-charged emotional range, that is dizzyingly sensual. Movies generally work you up to expect the sensual intensities, but here you may be pulled into a high without warning. Violence erupts crazily, too, the way it does in life – so unexpectedly fast that you can’t believe it, and over before you’ve been able to take it in. The whole movie has this effect; it psychs you up to accept everything it shows you. And since the story deepens as it goes along, you’re likely to be openmouthed, trying to rethink what you’ve seen. Its about American life here and now, and it doesn’t look like an American movie, or feel like one. What Scorsese has done with the experience of growing up in New York’s Little Italy has a thicker-textured rot and violence than we have ever had in any American movie, and a riper since of evil.

The picture is stylized without seeming in any way artificial; it is the only movie I’ve ever seen that achieves the effects of Expressionism without the use of distortion. “Mean Streets” never loses touch with the ordinary look of things or with common experience; rather, it puts us in closer touch with the ordinary, the common, by turning a different light on them. Every character, every sound, is rooted in those streets. The back-and-forth talk isn’t little-people empty-funny; it’s a tangle of jeering and joshing, of mutual goading and nerves getting frayed. These boys understand each other too well. No other American gangster-milieu film has had this element of personal obsession; there has never before been a gangster film in which you felt that the director himself was saying “This is my story.” We’re so affected because we know in our bones that Scorsese has walked these streets and has felt what his characters feel. He knows how crime is natural to them.

Scorsese could make poetic drama, rather than melodrama laced with decadence, out of the schlock of shabby experience because he didn’t have to “dive below the polite level, to something nearer to the common life” but had to do something much tougher- descend into himself and bring up what neither he nor anyone else could have known was there. Though he must have suspected. This is a blood thriller in the truest sense.

Pauline Kael