oldworldwisdom:

日本春歌考, Sing a Song of Sex (A Treatise on Japanese Bawdy Songs), 大島 渚, Ōshima Nagisa, 1967

"Hollywood is the reason I make the films I do. Because I hate it. And I would never go there or waste my time watching their films because… well, I am a lousy film-maker, this I admit. But I refuse to make shit. Bad films I can make. Shit, no."
Aki KaurismäkiBorn April 4, 1957
nosomosdelmundo:

No confíes en mis fotos. Son y no son. Hay un misterio que me obliga a revelar a la cámara mis rostros más ocultos. Y aquí te dejo para ir a despachar la carta a un correo lejano que no cierra por la noche.
Alejandra Pizarnik
lauramcphee:

Elsa Martinelli, De L’Amour, 1964, (Jean Aurel)
red-lipstick:

Frans van Tartwijk (b. 1963, Netherlands) - Encore, 2013    Paintings: Acrylics, Watercolors and Oil Pastels on Paper
cartas-acromaticas:

"Manos crispadas me confinan al exilio. Ayúdame a no pedir ayuda. Me quieren anochecer, me van a morir. Ayúdame a no pedir ayuda”
canwefrenchkissnow:

Nobuyoshi Araki, Theatre of Love, 1965.
kansassire:

Female on the beach, 1953, Joseph Pevney
whileatsea:

Untitledby Benny Haest
thedeathoffilm:

JIM JARMUSCH ON THE TIME HE MET CHRIS MARKER
There were a lot of things that I couldn’t fit into my recent interview with Jim Jarmusch (which you can read at The Guardian). This is one of them.
“I had a great chance to meet Chris Marker, once. I got to go outside of Paris, he was in a little editing room in it, I think? And this guy Anatole Dauman was a big producer, and he said ‘I pay for Chris to have this little editing room, would you like to go visit him, he would love it.’ And I said, ‘Yeah!’. And I went there, not with this guy, and Chris Marker was in a room about the size of this booth, and he was editing, and he was starting to work in video, early video.
So he took a camera and he filmed me for a while, and he had all these trims in a bin, and he said ‘This is a film project I’m working on, but I don’t touch it, because look inside.’ And inside the bin was a mother cat with her little newborn babies, and he said ‘I leave them alone, they are a priority. So now I work on the video until she takes them out and then I can go back to the film project.’  
He was strange and particular and so nice. It was fantastic.”