Pure Cinema

smittenskitten:

This must be some kind of record I ate all thirty cans that night. Good thing for me that May wasn’t into durian.

“Mud Island,” Mississippi River at Memphis; photo Joel T. Rose.

purecinema:
“Willem Dafoe in Kathryn Bigelow’s The Loveless (1981).
”

purecinema:

Willem Dafoe in Kathryn Bigelow’s The Loveless (1981).

mabellonghetti:

Jeanne Moreau photographed by Jack Garofalo for the play'La Machine Infernale’ at Théâtre des Bouffes-Parisiens, 1954.

savage-kult-of-gorthaur:

ITALIAN NEOREALIST CINEMA TECHNIQUES MEETS THE SOCIO-POLICIAL CLIMATE OF NORTH AFRICA.
FILM: “The Battle of Algiers” (1966)
CINEMATOGRAPHY: Marcello Gatti
DIRECTOR: Gillo Pontecorvo
SCREENPLAY: Franco Solinas
“The writings of Frantz Fanon were also very important for Franco Solinas, the screenwriter, and myself. We were there for a few months before the liberation and we saw everything, the hope and the joy, and we remember young people talking on the street all night. During the long months of preparation and of talking with the people, we saw that the struggle against colonialism diminished the mental state and the customs of the people. To fight colonialism they had to change themselves from what colonialism had made them.”
Sources: www.proquest.com/docview/204845804, The New Arab, Los Angeles, Times, X (formerly Twitter), The New Review of Film & Television, various, etc…

anasteros:

The battle of Algiers, 1966

purecinema:

You seem like a nice lady, how can you edit such violent films?
“Ah, but they aren’t violent until I’ve edited them.”
—Thelma Schoonmaker

iratetreasure-deactivated202310:

Days of Heaven
1978

nonbinary-bosmer:

mystery-ink:
vintage-soleil:
Ruby Keeler & Lee Dixon dance on a giant typewriter in Ready, Willing & Able (1937)
So jaded by cgi that I didn’t think this was impressive at all until I realised it was all an actual size set
It took me a solid few seconds to realize those type bars swinging back and forth at the top are actually peoples legs