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and we keep living anyway

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Four Rooms (1995)

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Ciao! Volevo chiederti, tu hai passato il test di medicina al primo colpo? Ti eri preparato duramente ? Che scuola superiore avevi frequentato?

Ciao, non entro spesso qui e Tumblr non mi dice quando mi hai mandato il messaggio, quindi è possibile sia qualcosa di molto antico e non ti interessi più, ma vabbè. 

Detto questo, no, l’ho provato ad Aprile 2014 quando facevo il quinto superiore, con una preparazione piuttosto ridicola, e non l’ho passato. L’ho riprovato a settembre 2015, dopo un anno di Biotecnologie, e l’ho passato. La seconda volta mi ero preparato decisamente meglio, sì. Avevo frequentato il Liceo Scientifico PNI

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John Fante, “Wait until spring, Bandini”

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Look at your body- A painted puppet, a poor toy Of jointed parts ready to collapse, A diseased and suffering thing With a head full of false imaginings.

The Dhammapada

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Il ventennio fascista non fu, come oggi qualche sciagurato immemore figura di credere, un ventennio di ordine e di grandezza nazionale: fu un ventennio di sconcio illegalismo, di umiliazione, di corrosione morale, di soffocazione quotidiana, di sorda e sotterranea disgregazione civile. Non si combatteva più sulle piazze, dove gli squadristi avevano ormai bruciato ogni simbolo di libertà, ma si resisteva in segreto, nelle tipografie clandestine dalle quali fino dal 1925 cominciarono a uscire i primi foglietti alla macchia, nelle prigioni, tra i confinati, tra i reclusi, tra i fuorusciti. Venti anni di Resistenza sorda, ma era resistenza anche quella: e forse la più difficile, la più dura e la più sconsolata. Vent’anni: e alla fine la guerra partigiana scoppiò come una miracolosa esplosione. E il 25 aprile finalmente i vecchi conti col fascismo furono saldati: e la partita conclusa per sempre. Vittoria contro noi stessi: aver ritrovato dentro noi stessi la dignità dell’uomo. Questo fu il significato morale della Resistenza: questa fu la fiamma miracolosa della Resistenza.

Piero Calamandrei (via toutcequirest)

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I love this series too much.

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There’s 2 kinds of pain; pain that makes you stronger and useless pain, that only makes you suffer. I have no time for useless things.“

Frank Underwood. (via shadesofaking)

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BEST. CARTOON. EVER.

Samurai Jack is back in 2016

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2016 ACADEMY AWARDS

In the following weeks I’ll post my opinions on the movies that are nominated for the 2016 Academy Awards, as I watch them. I’ll analyze the aspects of the categories this movie are nominated in, and I’ll try to make a guess on their chances to win. When I finish watching all of them, I’ll make my final prediction for the Oscar Night, and we’ll see how deep my understanding of Cinema is!

[If there are some mistake in the use of the language, please note that I’m not an English mother tongue.]

MAD MAX: FURY ROAD

please note that when I’m writing this I’ve only seen Star Wars VII of all the movies nominated for 2016 Academy Awards, so my guesses on the nominations are based on almost pure instinct and experience.

STRONG ELEMENTS: Atmosphere. Directing. Sound Editing & Mixing. Charlize Theron’s acting.

WEAK ELEMENTS: Editing is pretty good, but sometimes too “linear and easy”. Too few screen time & relevance to the story to the main character, Mad Max. VERY FEW (and WEAK) LINES given to Tom Hardy (Mad Max). Musical Score is not something we haven’t heard before.

ITS NOMINATION & CHANCES (marks are on a scale of 5) Cinematography: I enjoyed it, but it will be hard to beat two monsters like Robert Richardson’s The Hateful8 (he did Tarantino’s Django, Basterds and Kill Bill) and Lubezki’s The Revenant (he worked with Inarritu on Birdman). 4 Costume Design: Not much fantasy with the costumes. With a movie like that (post apocalyptic sort of futuristic western I guess I can call it), they had to do better. 2 Sound Editing & Mixing: They’re two separate categories, but my analysis is pretty much the same. I enjoyed the quality of the sounds and how often they would carry me like a wave. The moments of complete silences in this movie are almost non existent because of this constant background I liked really really much. I guess it will be hard to win against Star Wars in both categories, though. 5 Make Up & Hairstyle: So much for the hairstyle (Hardy, Theron and the War Boys… not a tough job, right?) the makeup is pretty well done. With only “The 100 year old man who…” and The Revenant nominated in this category, I think there’s a strong chance to win here.  4 Visual Effects: That’s a tough one to judge. The first times it’s used, the visual effects are pretty poor. I’m talking about the two-headed lizard and when Max is being suspended over the void, in the first minutes of the movie. Well, that’s a bad use of Visual Effects. All the road scenes (chasing & fighting) are kinda good, but nowadays ANYONE can do good car crashing and fighting scenes. Meh. Only nice use of VE is the gigantic sand storm. Anyhow, with Star Wars and The Martian both nominated in this category, it’s kind of a lost battle anyway. 1 Editing: See above. Editing is well done, but sometimes too “scholastic”. The editor handles some scenes in a way I was bowing to the screen in respects, and I’m sure it’s not easy to do an Editing that’s everlasting in memory when a movie is pretty much all inside of a car, but there’s always room to improve, right? This is not a category where I can guess the movie’s chances in winning an Award. I have too see the other movies first. 4 Production Design: Cool view of the Citadel, the rest of the movie is just plain desert. Hard to win in this one. Directing: Miller is a veteran in this kind of movies (that’s his fourth Mad Max after all). I really liked his touch on the movie. I haven’t seen the other nominated movies in this category, but I’m positive the Award battle in this one is between Miller and Inarritu. 4

BEST PICTURE: Best Picture is of course the hardest category to win in, due to the fact that there aren’t only 5 movies nominated, but (this year)8. And keeping in mind the wholeness of the movie, I don’t think it’s the kind who usually gets the Best Picture Award. MAYBE, if The Revenant beats it in almost every category (The Revenant is nominated in basically every category this movie is), the Jury could think of giving Mad Max the Best Picture Award. But it’s just a wild guess.

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This is the tragedy: consciousness has forced us into the paradoxical position of uselessly striving to be something other than what we are—hunks of spoiling flesh on crumbling bones.

Thomas Ligotti - “The conspiracy against the human race” (via arpaenitroglicerina)

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ROGER FEDERER – GENIUS (STILL) AT WORK

By Bill Simons He’s not Babe Ruth – the fabled pioneer at the heart of baseball. He’s not Muhammad Ali, the charismatic trailblazer whose bravado and blows shook the world. He’s not MJ – Michael Jordan – the no-bull Chicago Bull whose surefire swagger and in-your-face dunks changed the culture of sport. He’s Roger Federer. Man, brand, champion, icon and artist. The genius who combines on-court power and off-court ease, whose grace, longevity and ability to reinvent himself draw adoration from Manhattan to Madagascar. What we love about this man is not only that conventional wisdom tells us he is the best player to ever pick up a racket. It’s not only that he backs schools in Africa or that he embraces his fame with a metro-hip confidence. It’s not only that he still unleashes a youthful power, yet has been playing for decades. It’s not just that he continually rocks his world while adapting to the changing tennis universe about him. After all, with ol’ Rog there’s always (literally and figuratively) a fresh wrinkle – a new racket, a new coach, a reinvigorated back, a new set of twins or some strategic ideas – including his much-ballyhooed SABR tactic. But ultimately, what we really love about Roger is his beauty. Okay, he flicks his gorgeous brown hair, and seems to tell us, “I’m Roger, isn’t that just grand?” He informs us he “never wakes up angry.” And then asks, “Why would I?” He can be a tad dismissive or even imperious – who wouldn’t be? After all, Roger is Roger. Unlike the NFL’s Tom Brady, he’s avoided even a whiff of controversy, all the while being the man who cannot avoid beauty. His dagger-in-the-wind backhand is a kinetic wonder, whether powered with topspin or cut with a not-so-nice slice, down the line or crosscourt. This is tennis as art. But this artistic triumph is not hidden in the corner of some dusty museum or in an obscure gallery. This is “ballet-ball” on Centre Court or amidst the explosive roar of Arthur Ashe Stadium – a very public canvas. Roger’s winners laugh at risk. The man has a mythic power. His forehand is lethal, his serve a Jedi wand. He loves to attack. He punishes with a wink – just ask the three (or is it four) generations of players he’s bruised: Sampras, Hewitt, Safin, Roddick, Nadal, Djokovic and Murray. Roger is light, feather-free. His movement teases gravity. His balance never teeters. The man floats – a graceful master like no other. His matches, of course, are very real. But there is a dreamlike quality that hovers – a Federerian spell of stylish strokes and energetic ease. Roger sweats – it just doesn’t seem that way. Tiger, Gretzky, Kobe and Manning are all legends. But what other performer so combines art and athleticism? What other sportsman draws comparisons to Picasso, Baryshnikov and da Vinci? He tells us, “Once you find that peace, that place of peace and quiet, harmony and…confidence, that’s when you start playing your best.” Yet even Roger is mortal. The end will come. So for now, enjoy, relish. Thank goodness, this genius is still at work.

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Requested by @ritz-kind

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