bitter gourd grasping

A Sunny Day in Glasgow – Laughter (Victims)

Blessed
Appomattox
A surly syntax
A tree surrounded by mirrors
A pride of lions, safe in numbers
I laughed at how it all fell down
Kids can be so cruel

And there it was,
stuffed in my locker
And that’s not all
hahahahaha

"super-cute bat orphans"

vletrmx21:

Kazu Makino of Blonde Redhead

vletrmx21:

Kazu Makino of Blonde Redhead

199714424:

Imagine dying in this room.

199714424:

Imagine dying in this room.

i don’t care for 65daysofstatic or natasha bedingfield, but this is… well, just stick with it at least until the 2:00 mark.

wahluvy wahluvy wahluvy wahluvy wahluvy

so i had a dream that i worked for twitter. one day, out of the blue, they demanded that i kill tweet. i refused and they fired me. as i was leaving the building, i turned a corner and tweet was there waiting for me. she stabbed me in the gut, and as i slumped over she whispered in my ear, “oops.”

ZERO FOR CONDUCT (JEAN VIGO, 1933)

I didn’t intend to film Lee Kang-Sheng in every film. It was perhaps fate that pulled us together. After shooting the first film, Rebels of the Neon God (1992), he got a strange illness. His neck was out of whack for nine months. That neck problem became part of the film, The River (1997). The nine months of illness pulled us very close together. I felt I was responsible. It must be related to the making ofRebels of the Neon God. The reference of the Neon God must have offended the God. So I accompanied him to see doctors for nine months. Our relationship became very close. During those nine months, I realized the body could be out of one’s control. I saw the vulnerability of the body. I felt that’s a powerful subject that I should be concerned with. A lot happened between us. Eventually, I realized I couldn’t pull the camera away from his face. Observing this face became something very joyful in filmmaking.

-

I always tell Lee Kang-Sheng not to gain weight. Sometimes when I see him age, I feel very anxious. I am filled with conflicts. That sense of conflict is reflected in the way I handle my shots. I want to tell you one thing. It’s because of this actor Lee Kang-Sheng that I gradually discovered the meaning of filmmaking. I finally have the opportunity to look at a face and its minute changes, the minute changes over time. These changes are irreversible. They reveal the truth of life ceaselessly. I am very fortunate to capture Lee Kang-Sheng. Without this face, I don’t want to make films any more.

-Tsai Ming-liang

[Asia Society]

VIVE L’AMOUR (TSAI MING-LIANG, 1994)

VIVE L’AMOUR (TSAI MING-LIANG, 1994)

VIVE L’AMOUR (TSAI MING-LIANG, 1994)

VIVE L’AMOUR (TSAI MING-LIANG, 1994)

VIVE L’AMOUR (TSAI MING-LIANG, 1994)

VIVE L’AMOUR (TSAI MING-LIANG, 1994)

VIVE L’AMOUR (TSAI MING-LIANG, 1994)

VIVE L’AMOUR (TSAI MING-LIANG, 1994)

VIVE L’AMOUR (TSAI MING-LIANG, 1994)

VIVE L’AMOUR (TSAI MING-LIANG, 1994)