un lunario

amatiazzo:


The first image he told me about was of three children on a road in Iceland, in 1965. He said that for him it was the image of happiness and also that he had tried several times to link it to other images, but it never worked. He wrote me: “One day I’ll have to put it all alone at the beginning of a film with a long piece of black leader; if they don’t see happiness in the picture, at least they’ll see the black.”

— Chris Marker; Sans Soleil (1983)

amatiazzo:

The first image he told me about was of three children on a road in Iceland, in 1965. He said that for him it was the image of happiness and also that he had tried several times to link it to other images, but it never worked. He wrote me: “One day I’ll have to put it all alone at the beginning of a film with a long piece of black leader; if they don’t see happiness in the picture, at least they’ll see the black.”

— Chris Marker; Sans Soleil (1983)

(vía bez-slonca)

I got something to hide here called desire

Nick and Anita were so broke that Anita couldn’t afford to get a key cut to the flat. So she’d just stay in the whole time, and Nick kept saying ‘‘Oh God, I’d better go back to feed Anita.’’ Jessamy Calkin, about the long recording sessions of From Her to Eternity (via lilacea)

the-hulot-universe:

"Demandez-vous d’où vient, à la fin des Vacances de Monsieur Hulot, cette grande tristesse, ce désenchantement démesuré, et vous découvrirez peut-être que c’est du silence. Tout au long du film, les cris des enfants qui jouent accompagnent inévitablement les vues de la plage, et pour la première fois leur silence signifie la fin des vacances." André Bazin, 1953

the-hulot-universe:

"Demandez-vous d’où vient, à la fin des Vacances de Monsieur Hulot, cette grande tristesse, ce désenchantement démesuré, et vous découvrirez peut-être que c’est du silence. Tout au long du film, les cris des enfants qui jouent accompagnent inévitablement les vues de la plage, et pour la première fois leur silence signifie la fin des vacances."
André Bazin, 1953