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Behind a Little House, by Manuel Cosentino

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Claude Monet’s water structure and shades.

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Giulia Bianchi

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"You're safe"

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“It’s mortifying to be the one who remembers.”

— Ryan O’Connell (via bnmxfld)

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Lockdown Moons, England 2020 | Taken from my bedroom window 

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Archive - Portrait session, Self Assignment 2014 ,in Cannes 📸Photo by Thomas Laisné

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Secret Garden

Some drawings I did for our school exhibition ! 

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I want to talk about that final scene, where the camera rests on Adèle for a long time and we watch her slowly come undone. […] What do you hope that shot leaves the audience with?

Sciamma: 

Themselves. 

It’s cinema, and it unveils itself as cinema. It’s a reverse shot between the two characters. And at that point, it’s not about the story anymore. It’s about you being in your seat, her being in her theater seat, and you watching. First you’re watching Héloïse, and then you’re watching Adèle Haenel performing, and then you’re watching a film ending, with room for your own love, because you connect with the journey of emotion. And you think, Oh, it’s sad, but suddenly, she lightens. She smiles. And maybe you reconsider your own past love.

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I feel angry with you, God. Why are you doing this to me? What do you want?

Thelma (2017, dir. Joachim Trier)

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“I give because I know how it feels to want.”

—

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Sphynxe, Joseph Urban, 1903

Watercolor, pastel, and crayon on paper 22.38 x 19 cm (8.81 x 7.5 in.) Isabella Stewart Gardner Museum, Boston, MA, USA

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“It was like a fun puzzle because there were so many moving pieces,” Shahaub Roudbari said. “It’s like designing a dance performance. It’s a fun ballet of the camera, the stunt performers, and the actors, and they all have to move in sync. That’s the challenge we live for.”