wanderings

Ask me anythingWHO/WHY/WHERENext pageArchive

barbarastanwyck:

All About Eve (1950)

(Source: gloriaswanson, via andreii-tarkovsky)

(Source: ratak-monodosico, via vamma)

How To Marry A Millionaire (1953)

It’s that thing when you’re with someone, and you love them and they know it, and they love you and you know it… but it’s a party… and you’re both talking to other people, and you’re laughing and shining… and you look across the room and catch each other’s eyes… but - but not because you’re possessive, or it’s precisely sexual… but because… that is your person in this life. And it’s funny and sad, but only because this life will end, and it’s this secret world that exists right there in public, unnoticed, that no one else knows about. It’s sort of like how they say that other dimensions exist all around us, but we don’t have the ability to perceive them. That’s - That’s what I want out of a relationship. Or just life, I guess.

(Source: ewanmcgregored, via oldfilmsflicker)

I am the river
and you are its blue, burning current

(Source: exarchopoulosed, via andreii-tarkovsky)

"Films today show only a dream world and have lost touch with the way people really are… In this country, people die at 21. They die emotionally at 21, maybe younger… My responsibility as an artist is to help people get past 21… The films are a roadmap through emotional and intellectual terrain that provides a solution on how to save pain."

- John Cassavetes (via man-of-prose)

(via missavagardner)

"

I touch your mouth, I touch the edge of your mouth with my finger, I am drawing it as if it were something my hand was sketching, as if for the first time your mouth opened a little, and all I have to do is close my eyes to erase it and start all over again, every time I can make the mouth I want appear, the mouth which my hand chooses and sketches on your face, and which by some chance that I do not seek to understand coincides exactly with your mouth which smiles beneath the one my hand is sketching on you.


You look at me, from close up you look at me, closer and closer and then we play cyclops, we look closer and closer at one another and our eyes get larger, they come closer, the merge into one and the two cyclopses look at each other, blending as they breathe, our mouths touch and struggle in gentle warmth, biting each other with their lips, barely holding their tongues on their teeth, playing in corners where a heavy air comes and goes with an old perfume and a silence. Then my hands go to sink into your hair, to cherish slowly the depth of your hair while we kiss as if our mouths were filled with flowers or with fish, with lively movements and dark fragrance. And if we bite each other the pain is sweet, and if we smother each other in a brief and terrible sucking in together of our breaths, that momentary death is beautiful. And there is but one saliva and one flavor of ripe fruit, and I feel you tremble against me like a moon on the water.

"

- Julio Cortázar — from Hopscotch trans. Gregory Rabassa  (via slothnorentropy)

the mindblowing ending of The Lady from Shanghai (1947) by the magnificent Orson Welles

(Source: brittawaffles, via andreii-tarkovsky)

"Did it matter then, she asked herself, walking towards Bond Street, did it matter that she must inevitably cease completely? All this must go on without her; did she resent it; or did it not become consoling to believe that death ended absolutely?"

- Virginia Woolf Mrs. Dalloway