secret-world-of-mustaches - Tumblr blog

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did this last night

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Miss Congeniality (2000) dir. Donald Petrie

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James Acaster as Lars Pinfield

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a little bunny looking at the stars in case you're having a bad day.

　　 　　˚ 　　　 . ✧

✧. ★ ˚

★ ☄︎

˚ ✧ ˚　

*. ⋆

༘ * 🔭🐇

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mutuals in my heart we are all doing arts n crafts together

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i started doing things scared and doing things alone years ago the real challenge is doing things tired

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fewer posts about “why do straight women date men who hate them” and more posts about “why do so many men hate women that it’s genuinely difficult for straight women to find romantic & sexual intimacy with a man who doesn’t hate them”

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to put it simply, the right people will get you. you will not have to fight for breadcrumbs of love. you will not have to beg for attention. the right people will love you freely and easily, and will carve out space in their life for you. the right people will check up on you on your bad days & laugh with you on your good. you will find friends who embrace every part of you, and who will push you to grow. someday, any trace of those who hurt you will be filled with warmth from those who never will.

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“For some time, Hollywood has marketed family entertainment according to a two-pronged strategy, with cute stuff and kinetic motion for the kids and sly pop-cultural references and tame double entendres for mom and dad. Miyazaki has no interest in such trickery, or in the alternative method, most successfully deployed in Pixar features like Finding Nemo, Toy Story 3 and Inside/Out, of blending silliness with sentimentality.”

“Most films made for children are flashy adventure-comedies. Structurally and tonally, they feel almost exactly like blockbusters made for adults, scrubbed of any potentially offensive material. They aren’t so much made for children as they’re made to be not not for children. It’s perhaps telling that the genre is generally called “Family,” rather than “Children’s.” The films are designed to be pleasing to a broad, age-diverse audience, but they’re not necessarily specially made for young minds.”

“My Neighbor Totoro, on the other hand, is a genuine children’s film, attuned to child psychology. Satsuki and Mei move and speak like children: they run and romp, giggle and yell. The sibling dynamic is sensitively rendered: Satsuki is eager to impress her parents but sometimes succumbs to silliness, while Mei is Satsuki’s shadow and echo (with an independent streak). But perhaps most uniquely, My Neighbor Totoro follows children’s goals and concerns. Its protagonists aren’t given a mission or a call to adventure - in the absence of a larger drama, they create their own, as children in stable environments do. They play.”

“Consider the sequence just before Mei first encounters Totoro. Satsuki has left for school, and Dad is working from home, so Mei dons a hat and a shoulder bag and tells her father that she’s “off to run some errands” - The film is hers for the next ten minutes, with very little dialogue. She’s seized by ideas, and then abandons them; her goals switch from moment to moment. First she wants to play “flower shop” with her dad, but then she becomes distracted by a pool full of tadpoles. Then, of course, she needs a bucket to catch tadpoles in - but the bucket has a hole in it. And on it goes, but we’re never bored, because Mei is never bored.”

“[…] You can only ride a ride so many times before the thrill wears off. But a child can never exhaust the possibilities of a park or a neighborhood or a forest, and Totoro exists in this mode. The film is made up of travel and transit and exploration, set against lush, evocative landscapes that seem to extend far beyond the frame. We enter the film driving along a dirt road past houses and rice paddies; we follow Mei as she clambers through a thicket and into the forest; we walk home from school with the girls, ducking into a shrine to take shelter from the rain; we run past endless green fields with Satsuki as she searches for Mei. The psychic center of Totoro’s world is an impossibly giant camphor tree covered in moss. The girls climb over it, bow to it as a forest-guardian, and at one point fly high above it, with the help of Totoro. Much like Totoro himself, the tree is enormous and initially intimidating, but ultimately a source of shelter and inspiration.”

“My Neighbor Totoro has a story, but it’s the kind of story that a child might make up, or that a parent might tell as a bedtime story, prodded along by the refrain, “And then what happened?” This kind of whimsicality is actually baked into Miyazaki’s process: he begins animating his films before they’re fully written. Totoro has chase scenes and fantastical creatures, but these are flights of fancy rooted in a familiar world. A big part of being a kid is watching and waiting, and Miyazaki understands this. When Mei catches a glimpse of a small Totoro running under her house, she crouches down and stares into the gap, waiting. Miyazaki holds on this image: we wait with her. Magical things happen, but most of life happens in between those things—and there is a kind of gentle magic, for a child, in seeing those in-betweens brought to life truthfully on screen.”

A.O. Scott and Lauren Wilford on “My Neighbor Totoro”, 2017.  

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i think that sometimes the best thing that you can do is remind yourself that there are beaches. lakes, rivers, and ponds. there are forests. little woods and meadows. there are canyons. gullies and mountain cliffs. there are rainy days. dry spells and scorching blue skies. that the world turns. changes as much as it repeats. that feeling slow today won't stop tomorrow's high tide. won't make july's blackberries any less ripe

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so much of taking care of yourself as an adult is just learning to eat at home and going on walks

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I hate work I should be at the (remembers I don't want to go to the club) the imagination

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I just hope that no matter how many times this world tries to harden me and turn me into a cold person, I hope I remain soft. May I still be compassionate. May I still be full of love. May I still be soft and sees hope in everything. And to never become something that once broke me.

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