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I thought the only way to escape the pressures that come with a conventional idea of success was to disappear completely. I seriously contemplated calling it a day, moving to the woods, and “nobly” becoming some reclusive artiste. The problem with that mindset is that I was still giving in to the voice of conventional success that I’d been denouncing. I was considering giving up my aspirations because I was scared of failing. I nearly convinced myself that the only way to feel free and confident in my work was to dismiss everyone else entirely.

Tavi Gevinson for Rookie, Editor’s Letter - February 2014: Escape

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How sad, how lovely, how short, how sweet, to see that sunset at the end of the street. And the lights going on in the shops and the bars, and the lovers looking for the first little stars. Like life, like a smile, like the fall of a leaf, how sad, how lovely, how brief.

Connie Converse, “How sad, how lovely”

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Manhunter (Michael Mann, 1986)

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M - Eine Stadt sucht einen Mörder (Fritz Lang, 1931)

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Metropolis (Fritz Lang, 1927)

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1970-1979

Camilo José Vergara's New York

The crumbling spaces and resilient inhabitants of a decaying city

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Annie Hall (Woody Allen, 1977)

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Only god forgives (Nicolas Winding Refn, 2013)

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Tomboy (2011)

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Dance Apocalyptic | Janelle Monáe

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One way to avoid killing your heart is to decide that you will spend your whole life growing up. […] I am suggesting we resist a life that looks, in line-graph form, like it goes up and up and up and then it stops, and then it levels out, and then it stays on that flat plane until death. I hope to live a life that goes up and up and up until the end, with the inevitable dip here and there. I hope to continue to learn and change.

Tavi Gevinson for Rookie, Editor's Letter - December 2013: Forever

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When he first screened The Breakfast Club for Universal the studio executives hated it. “They said, ‘Kids won’t sit through it. There’s no action. There’s no party. There’s no nudity,’” Hughes later told Premiere magazine in 1999. “But they were missing the one really key element of teendom, and that is that it feels as good to feel bad as it does to feel good. At that age, I remember, many times, staring out the window and feeling sorry for myself. ‘The whole world is against me. Nobody understands me.’ It’s a lot of fun. One of the great wonders of that age is that your emotions are open and fresh and raw. That’s why I stuck around that genre for so long.”

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Il Divo (Paolo Sorrentino, 2008)

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Chung hing sam lam (Wong Kar-wai, 1994)

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Melancholia (Lars Von Trier, 2011)

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my ideal man

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