#cinema seats

[ilikegoodstories]

Lomography 100 exp. '21

[nikinikori]

#me too noa, me too

KINGDOM OF THE PLANET OF THE APES (2024)

dir. Wes Ball

Bonus:

[ddeck]

whateverrrrr

[macaulaytwins]

Richard Siken, Crush // Bones and All, dir. Luca Guadagnino // Ethel Cain, “Ptolemaea” // Car Seat Headrest, “The Gun Song”

[365filmsbyauroranocte]

Les Sièges de l’Alcazar (Luc Moullet, 1989)

[sillyravenpassingby]

You can't possibly tell me the directors/scriptwriters/artists didn't go FERAL over this scene🤨

Is there gonna be breakdown? A directors' commentary? I just-- I need to know what tf were they thinkingABSGYBA-hs

[the-eclectic-wonderer]

Congratulations to OMITB on boldly going where no one else has gone before. It's about time we got a rude, creepy, money-crazy, sexist, vulgar, full of shit, ethically questionable Hollywood exec who is a woman. A woman named Bev Melon. God I love this show

[ilikegoodstories]

Fomapan 100

[bitter69uk]

“At four in the afternoon, Elizabeth Taylor sauntered onto the set, followed by her secretary, her hairdresser and her wardrobe mistress. She didn’t look puffy; she wasn’t that short and her eyes really were purple. She was already costumed in the one dress her character wears throughout the movie, a pink, green, yellow, orange and blue print Valentino that more than met the script’s requirement for something “garish and vulgar” and was said to have cost $22,000 including four copies to rotate during shooting. Her hair was teased up and out – the script again – but she still looked beautiful, “really beautiful”, as Andy put it. Her secretary and her hairdresser were a pair of Mediterranean musclemen named Ramon and Gianni, in matching tight white t-shirts and tight white trousers, accessorized with red patent leather belts, shoes and shoulder bags. Every so often between takes Ramon would pull a mirror out of his bag and hold it up in front of Elizabeth’s face; then Gianni would pull a teasing comb out of his bag and hand it to Elizabeth, who would fitfully tease her own hair higher. She looked almost mad when she did that, though one couldn’t be sure if she was just in character or almost mad.” From Bob Colacello’s juicy account of the tempestuous production of Italian-made psychodrama The Driver’s Seat in his book Holy Terror: Andy Warhol Close Up (1990), in which his then-boss – cadaverous pop art visionary Andy Warhol – makes a memorable guest star appearance as “a rich creep of undisclosed nationality and occupation” (dubbed with an incongruous British-accented voice!). The Driver’s Seat (aka Identikit) was released fifty years ago today (20 May 1974) and remains mesmerizingly strange. Suffering whiplash mood swings as a woman with a “date with death”, Taylor gives one of her definitive performances. The Driver’s Seat dates from my favourite Elizabeth Taylor era in the late sixties and early seventies when she was gutsily portraying variations of women-having-a-nervous-meltdown in oddball “failed art movies” (like Boom! (1968), Secret Ceremony (1968) and X, Y and Zee (1972)). Taylor goes full blast cray-cray in The Driver’s Seat and it’s awesome to observe.

[enchanted-keys]

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Vadim Muntagirov and Marianela Nunez performing Cinderella’s act II pas de eux (Royal Ballet 2023)

[poeticsapphicism]

national cinema day?? no. national love and praise greta gerwig and kiss the ground upon which she walks because she’s a creative genius that makes movies for sad gay ppl day 🩷

[orchidsangel]

anyone that recommends you read or watch nana is not your friend. they are out to get you and literally live to cause you pain!

[365filmsbyauroranocte]

Les Sièges de l’Alcazar (Luc Moullet, 1989)

[grandmagbignaturals]

When you're super early to a screening of a film? Documentary? About munch and you booked online and also nobody else appears to have booked because when you mentioned your online ticket to the desk they just confirmed your name.... ah... this is the life.

Me and my bag of peanut m&ms and my pepsi max are gonna have a nice time this evening

[starlene]

Some Barbie (2023) thoughts, fresh from the preview screening.

First of all, it’s fun and entertaining to watch, which I think is the most important thing! I feel like going to see it again just for the costumes and the set design.

The feminism and gender relations stuff is extremely heavyhanded, which of course was to be expected. It also feels very USAmerican – which, of course, was also to be expected. (I’m not saying the things the movie criticises don’t apply to other parts of the world, though. It’s just the way they’re worded/portrayed.)

I had fun for about 85% of the movie, but it kinda lost me by the very end. I guess they must have had a hard time with the ending! They can’t go back to the status quo because Barbie has changed, but her becoming a mortal human felt pretty meh to me.

I guess the ending works if you think about Barbie’s arc as an allegory about growing up / becoming a woman. But if you take the story at face value so it’s about dolls living in their own parallel universe, or if you try to fit her becoming a human into the earlier women’s world vs. men’s world narrative (so it’s essentially about her moving into men’s world, while the other Barbies and Kens will slowly work towards equality in their own world)... it just didn’t feel very interesting or satisfying to me.

I also didn’t think the ending joke was that funny.

I feel like this blue hellsite is going to be so annoying about Ryan Gosling as Ken and blorbo-fy him to the moon and back in the coming weeks, even more so than we’ve already done based on the trailers. You heard it here first! So get braced for that, whether that means setting up a special Ken tag and queue or blacklisting everything to you.

[the-unconquered-queen]

The Haunting of Braidwood Manor movie adaptation is not a want, it’s a NEED.