slyrodriguez21bybentopeii

[slyrodriguez21bybentopeii]

MITSKIIIIIIIIII 💟 I was already crying by the end of Everything Everywhere All At Once, and This Is A Life playing at the credits and recognizing Mitski's voice made me cry all over again. It was one cathartic experience and it was worth all the joy and the sadness that it made me feel. "This is a life Slow and sudden miracles View of other worlds from our window sills With the weight of etеrnity at the speed of light This is a life This is our life" P.S. WILL MITSKI PERFORM AT THE OSCARS? https://www.instagram.com/p/CnzSv_bPwaN/?igshid=NGJjMDIxMWI=

[slyrodriguez21bybentopeii]

🗨 Wasn't expecting to find this copy of Julie Doucet's My New York Diary in good condition and at an affordable price. https://www.instagram.com/p/CnRz1twvuSu/?igshid=NGJjMDIxMWI=

[slyrodriguez21bybentopeii]

Ito na naman yung mga piling panahong gusto kong matutong magbasa o umintindi ng German or French. 🥹 RIP ROMY 📷: Conversation avec Romy Schneider (2018) #RomySchneider #AliceSchwarzer https://www.instagram.com/p/Cm_o-qxPX0h/?igshid=NGJjMDIxMWI=

[slyrodriguez21bybentopeii]

Ito na naman yung mga piling panahong gusto kong matutong mag-basa o umintindi ng German or French. 🥹 RIP ROMY 📷: Conversation avec Romy Schneider (2018) #RomySchneider #AliceSchwarzer https://www.instagram.com/p/Cm_o-qxPX0h/?igshid=NGJjMDIxMWI=

[slyrodriguez21bybentopeii]

Forgot how many times I have already seen Mädchen in Uniform (1958) and every time I do so, I am awed by Romy Schneider's performance, especially in this scene. Lilli Palmer's Elisabeth von Bernburg should not be overlooked. Her body language tells it all. The nuances are there. Restored edition, please? 🥺 #MädcheninUniform '58: #RomySchneider (Manuela von Meinhardis) x #LilliPalmer (Elisabeth von Bernburg) https://www.instagram.com/p/Cmv-FdwvUCF/?igshid=NGJjMDIxMWI=

[slyrodriguez21bybentopeii]

hello, I am once again asking for your support in getting a me a ko-fi ☕️ Wala pang art, pero magpopost kung meron na, o may funding at sapat na oras para lumikha. Ito na lang ata ang kapeng maaring hindi makapanghasik ng lagim sa aking tiyan. https://www.instagram.com/p/Cl6N3-FP8BH/?igshid=NGJjMDIxMWI=

[slyrodriguez21bybentopeii]

III: Portrait of a Lady on Fire (2019) "Don’t regret. Remember." Being able to finally see Portrait of a Lady on Fire (2019) on the big screen felt like the fitting end to my @qcinemaph experience, with the shot of Héloïse atop the opera balcony as Storm by Vivaldi plays in all its cinematic glory. Shortly prior to and during the COVID pandemic, I regretted not being able to see Portrait of a Lady on Fire during its limited theatrical run (as part of another film fest at the time). Dreaming of being able to catch it on the big screen someday, I refused to watch it elsewhere since then. On the big screen, the immersive domestic inner world and the outer landscapes of the film and its inhabitants takes you for one exhilarating, but also cathartic ride, in the same way Héloïse probably had been while listening to Vivaldi. The nuances that we sometimes overlook when watching films or shows on smaller devices or screens, are more noticeable. And on a film exploring the discourse of the gaze (cinematic or not) or our relation to how we look at the world and each other, this is very crucial. (This is probably why I would love to be able to watch Carol (2015) by Todd Haynes on the big screen someday!) I also thought if it was possible that Marianne's father and Héloïse's mother were also lovers. Or was their relationship only professional? But then again if you think about it, the first portrait of Héloïse that Marianne secretly did lacked the intensity and beauty of the final portrait, despite having adhered to the conventions, or should I say, the predominant (male) gaze in painting. It did not have the collaborative partnership that Marianne and Héloïse eventually had as Painter and the Subject and Lover and Beloved. And it is through that artistic partnership that their relationship might move on. And because of this film Page 28 of any book shall bear a certain significance, or reverence if you will, to me Or perhaps it also coincides with the age I'm in as I've typed this. 28. Extra Shots: Short Q&A about Queer Representation in Cinema et moi. #PortraitofaLadyonFire - #CélineSciamma https://www.instagram.com/p/ClwPbAWvE7z/?igshid=NGJjMDIxMWI=

[slyrodriguez21bybentopeii]

III: Portrait of a Lady on Fire (2019) "Don’t regret. Remember." Being able to finally see Portrait of a Lady on Fire (2019) on the big screen felt like the fitting end to my @qcinemaph experience, with the shot of Héloïse atop the opera balcony as Storm by Vivaldi plays in all its cinematic glory. Shortly prior to and during the COVID pandemic, I regretted not being able to see Portrait of a Lady on Fire during its limited theatrical run (as part of another film fest at the time). Dreaming of being able to catch it on the big screen someday, I refused to watch it elsewhere since then. On the big screen, the immersive domestic inner world and the outer landscapes of the film and its inhabitants takes you for one exhilarating, but also cathartic ride, in the same way Héloïse probably had been while listening to Vivaldi. The nuances that we sometimes overlook when watching films or shows on smaller devices or screens, are more noticeable. And on a film exploring the discourse of the gaze (cinematic or not) or our relation to how we look at the world and each other, this is very crucial. (This is probably why I would love to be able to watch Carol (2015) by Todd Haynes on the big screen someday!) I also thought if it was possible that Marianne's father and Héloïse's mother were also lovers. Or was their relationship only professional? But then again if you think about it, the first portrait of Héloïse that Marianne secretly did lacked the intensity and beauty of the final portrait, despite having adhered to the conventions, or should I say, the predominant (male) gaze in painting. It did not have the collaborative partnership that Marianne and Héloïse eventually had as Painter and the Subject and Lover and Beloved. And it is through that artistic partnership that their relationship might move on. And because of this film I shall never look at Page 28 in any book the same way again/Page 28 of any book shall bear a certain significance, or reverence if you will, to me Or perhaps it also coincides with the age I'm in as I've typed this. 28. Extra Shots: Short Q&A about Queer Representation in Cinema et moi. #PortraitofaLadyonFire - #CélineSciamma https://www.instagram.com/p/ClwPbAWvE7z/?igshid=NGJjMDIxMWI=

[slyrodriguez21bybentopeii]

II: In the Mood for Love (2000) "...[T]he past is something he could see, but not touch." Aside from a video comparing the visual similarities between Moonlight (2016) by Barry Jenkins and the filmography of Wong Kar-wai, I had only heard and read about In the Mood for Love (2000) and its auteur in film crit essays. So to be given the chance to watch the film on the big screen, I took it and set aside discussions of its restoration for others to nitpick on. I can only imagine what an experience it would have been or would be to see more of Wong's restored films on the big screen. The first film by Wong Kar-wai that I saw was Happy Together (1997) and like that film, the sight of a heartbroken Tony Leung turns you into a sad, queer mess by the end of it (or perhaps that was only me, projecting). There's so much to unpack in In the Mood for Love (2000) that warrants another viewing, but what I'm certain of after my first viewing is how the film builds on mood and atmosphere, crafting a "melancholic nostalgia" for a past one could see, but "could no longer touch." Melancholic or Melancholy Nostalgia is a term I borrowed from a book by two comics scholars who used it to describe the works of some American alternative cartoonists in the 1990s. IIRC, it refers to how these artists in their comics would long for a past or former countercultural moment, like perhaps the Undergrounds of the 1960s and find that is no longer there as the 20th century was coming to a close. For In the Mood for Love, however, this is expressed in the form of Mr. Chow (Leung) confessing and burying his unrequited love for Mrs. Chan (Maggie Cheung) at Angkor Wat. Thank you to @qcinemaph for giving me the chance to finally see this! Maliban sa Iguazu Falls sa Argentina, pangarap ko na ring mapuntahan balang araw ang Angkor Wat sa Cambodia! 🥺 #QCinema × #WKW ❤️ #IntheMoodforLove - #WongKarwai https://www.instagram.com/p/ClwNNv2Parb/?igshid=NGJjMDIxMWI=

[slyrodriguez21bybentopeii]

II: In the Mood for Love (2000) "...[T]he past is something he could see, but not touch." Aside from a video comparing the visual similarities between Moonlight (2016) by Barry Jenkins and the filmography of Wong Kar-wai, I had only heard and read about In the Mood for Love (2000) and its auteur in film crit essays. So to be given the chance to watch the film on the big screen, I took it and set aside discussions of its restoration for others to nitpick on. I can only imagine what an experience it would have been or would be to see more of Wong's restored films on the big screen. The first film by Wong Kar-wai that I saw was Happy Together (1997) and like that film, the sight of a heartbroken Tony Leung turns you into a sad, queer mess by the end of it (or perhaps that was only me, projecting). There's so much to unpack in In the Mood for Love (2000) that warrants another viewing, but what I'm certain of after my first viewing is how the film builds on mood and atmosphere, crafting a "melancholic nostalgia" for a past one could see, but "could no longer touch." Melancholic or Melancholy Nostalgia is a term I borrowed from a book by two comics scholars who used it to describe the works of some American alternative cartoonists in the 1990s. IIRC, it refers to how these artists in their comics would long for a past or former countercultural moment, like perhaps the Undergrounds of the 1960s and find that is no longer there as the 20th century was coming to a close. For In the Mood for Love, however, this is expressed in the form of Mr. Chow (Leung) confessing and burying his unrequited love for Mrs. Chan (Maggie Cheung) at Angkor Wat. Thank you to @qcinemaph for giving me the chance to finally see this! Maliban sa Iguazu Falls sa Argentina, pangarap ko na ring mapuntahan balang araw ang Angkor Wat sa Cambodia! 🥺 #QCinema × #WKW ❤️ #IntheMoodforLove - #WongKarwai https://www.instagram.com/p/ClwMZx6PSZb/?igshid=NGJjMDIxMWI=

[slyrodriguez21bybentopeii]

I: "Sa liwanag, sa dilim...itim. Itim." Although I don't usually watch films back-to-back, I did not want to miss the chance to watch the restored versions of Itim (1976) and In the Mood for Love (2000). With little knowledge of how the latter film would turn me into a weeping mess at the end (yet low-key wishing I was dancing in a cheongsam to Nat King Cole's take on Quizas, Quizas, Quizas at the same time), I thought it'd be nice to see how Mood and Atmosphere are used in these films, in the same way perhaps a survival horror video game like Resident Evil does, or how they could work together in a well-written Gothic Romance. Seeing the restored version of Itim (1976) by Mike De Leon on the big screen helped me fully understand what was going on all throughout the film. There were details in some scenes I couldn't see clearly the first time I saw it, prior to its restoration. May mga eksena tulad noong nakatingin sina Teresa at Jun sa kabilang dulo ng lawa na hindi ko makita kung ano ba ang tinitingnan nila roon. At dahil doon, hindi ko maintindihan noon kung bakit sila natatakot sa kanilang nakita. May ibang mga eksena rin tulad noong pagpasok ni Jun sa klinika ng kanyang ama na mas naging nakakatakot para sa akin kaysa roon sa ilang dream sequences niya. At dahil sa linaw ng restored version, mas kita ko rin yung mga litratong kinuha ni Jun. Perhaps conventions of horror changes over time as Itim no longer reads to me as a horror film, but as a suspenseful whodunit with supernatural elements. Without spoiling things any further, the final seance sequence is a sight to behold in the restored version. Also worth noting is Moody Diaz's supporting performance as Aling Bebang. P.S. Hindi ko inakala na nandoon pala talaga sa screening si Ate Charo (may narinig akong naguusap bago ang screening na nandoon daw siya) hanggang nakita ko siya at si Direk Mike De Leon mismo sa lobby habang papunta ako ng CR, bago ang susunod na screening para sa In the Mood for Love. #QCinema https://www.instagram.com/p/ClwFNcnPxsM/?igshid=NGJjMDIxMWI=

[slyrodriguez21bybentopeii]

Second time watching Portrait of a Lady on Fire (2019) and it still resonates with me. #QCinema ❤️‍🔥 https://www.instagram.com/p/ClYzb6MvXCM/?igshid=NGJjMDIxMWI=

[slyrodriguez21bybentopeii]

I'm not confident enough to paint over the parts that got torn on the front cover of the book, so until I find another copy of The Child Manuela in a better condition, I'm keeping them there. I did, however, manage to remove traces of the price tag that probably caused the damage. #TheChildManuela - #ChristaWinsloe #MädcheninUniform (1958) https://www.instagram.com/p/ClJfAGuP8qp/?igshid=NGJjMDIxMWI=

[slyrodriguez21bybentopeii]

The search for a better copy of The Child Manuela by Christa Winsloe continues! This is the only paperback copy of the English translation of the novel (which started out as a play under a different title) thus far with Romy Schneider as the titular Manuela and Lilli Palmer as Fraulein von Bernburg on the cover, taken from the 1958 remake of Mädchen in Uniform in 1931. Mädchen in Uniform (1931) starred Hertha Thiele as Manuela and Dorothea Wieck as EVB. It was released shortly before the Third Reich and thankfully (from what I've read) survived its many artistic and cultural purges because of how well it was received both in and outside of Germany. P.S. I'm hoping that there will be a restored version of the 1958 Mädchen in Uniform remake someday. So until then, we wait. #TheChildManuela x #MädcheninUniform (1958) - #ChristaWinsloe https://www.instagram.com/p/ClJeOD8vhQJ/?igshid=NGJjMDIxMWI=

[slyrodriguez21bybentopeii]

Making my fic debut this Halloween 2022!

I have been thinking about this pairing for quite some time now, and thought it best to post some of what I have written about them finally.

I can post it here on Tumblr, if you want and let it get lost in the ether.

But come to think of it, I am no longer active on Tumblr as I have been years ago. 

[slyrodriguez21bybentopeii]

Si Dorothy lang yung nahagip ng camera paminsan-minsan, pero nakakain naman ako ng cheesecake sa meeting namin ngayon. P.S. The Golden Girls is the only show keeping me alive lately. 😅 Gusto ko ring aralin sa bass yung theme song kung may bass na ako. #ThankYouForBeingAFriend 💛 https://www.instagram.com/p/Cju1hUuP9Ca/?igshid=NGJjMDIxMWI=

[slyrodriguez21bybentopeii]

Yay, nakahabol pa ako! #PICOF2022 Pero hanggang ngayon, wala pa rin akong sariling kopya ng Blankets at Habibi. 🥺 https://www.instagram.com/p/Ci10RTfPE2J/?igshid=NGJjMDIxMWI=