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DECODER EIN FILM VON MUSCHA mit BILL RICE CHRISTIANE F. F.M. EINHEIT U.V.A. Musik: SOFT CELL THE THE EINSTÜRZENDE NEUBAUTEN muzak is more than music

Adieu Marjane. Directed by Marjane Satrapi and Vincent Paronnaud, Persepolis (2007) is one of the rare animated films to operate entirely outside the conventions of the genre.

All'anagrafe Vincenzo Jannacci nasceva a Milano il 3 giugno del 1935.

Geraldine Chaplin in Peppermint Frappé, Carlos Saura (1967)

Chronique d’un été is a documentary made in 1961 by Edgar Morin and Jean Rouch, widely regarded as one of the founding works of cinéma vérité. A group of young people roam the streets of Paris and ask passers-by a single, almost disarming question — Êtes-vous heureux? (Are you happy?)

Finalmente la stagione che amo.

In the Shadow of the Sun (1981) A compilation of Super 8 films shot by Derek Jarman between 1972 and 1975, The soundtrack was composed and performed by Throbbing Gristle, recorded in 1980 and released separately as an album in 1984. Read Here: substack.com/@massimocorv...

Stereo (1969) — David Cronenberg’s first feature film, shot on a shoestring budget at the University of Toronto with a 16mm camera and no live sound recording. The absence of dialogue is filled by a single voiceover: cold, detached, pseudo-scientific in tone.

Matka Joanna od Aniołów (Mother Joan of the Angels), Jerzy Kawalerowicz (1961) There is never any physical contact between the characters, yet eroticism is a constant presence — indirect, unprovoked, carried through close-ups, glances, hands, atmosphere.

Romy Schneider in L’Enfer, Henri-Georges Clouzot (1964) Footage from the unfinished film — material shot during production, recovered and edited into the documentary by Serge Bromberg (2009)

La Pointe Courte, the first feature film directed by Agnès Varda in 1955. «There’s a mystery to La Pointe Courte that I’ve never been able explain: whatever drove me to make a film? I knew nothing about the cinema»

Catherine Deneuve & Michel Piccoli in Les créatures, Agnès Varda (1966) A writer and his wife retreat to a wintry island: the novel he is working on slowly absorbs reality, the local inhabitants become characters, and fiction takes over.

In the opening sequences of Hable con ella, Pedro Almodóvar incorporates a performance of Café Müller, a landmark work of dance theatre that Pina Bausch created in 1978 for her Tanztheater Wuppertal. Pina Bausch herself is on stage in her original role.

Jean-Claude Drouot & Marie-France Boyer in Le Bonheur, Agnès Varda (1965) «Moi aussi je t'aime. Je me sens toute heureuse. Sois heureux aussi, et ne t'inquiète pas. Je suis libre, contente, et tu n'es pas le premier. Aime-moi.»

Die bitteren Tränen der Petra von Kant (The Bitter Tears of Petra von Kant), Rainer Werner Fassbinder (1972) The film ends with Marlene — the silent, almost invisible servant we’ve watched throughout — quietly packing her suitcase, and leaving the apartment without saying a word.

Tini zabutych predkiv (Shadows of Forgotten Ancestors), Sergej Paradžanov (1964) Paradžanov works through visual fragments rather than linear narrative: the camera is unstable, almost possessed — reflecting the inner state of the characters rather than describing reality.

«Il fondotinta inizia a disfarsi Il mio naso un’astrazione grottesca La mia bocca una fessura spalancata» Siouxsie and the Banshees: Make Up to Break Up, live at Elizabethan Suite, October 1977.

Shahr-e Ziba (Beautiful City), Asghar Farhadi (2004)

Isabelle Huppert in La Dentellière, Claude Goretta (1977)

Adieu Sonny. Sonny Rollins in concert on August 16, 1986, at Opus 40, a large outdoor sculpture park built in a former stone quarry in Saugerties, New York.

Marvin Gaye rehearses I Want You with his band, before the concert he would perform in Ostend, Belgium, in 1981. Excerpt from the documentary Remember Marvin Gaye, directed by Richard Olivier.

Der Himmel über Berlin, Wim Wenders, (1987)

La Piscine, Jacques Deray (1969)

«Nous ne nous verrons plus jamais même si j'en ai envie. Après notre nuit à Calais, nous ne pourrions pas monter plus haut. Le bonheur, on ne le sait qu'après.» Les Deux Anglaises et le Continent, François Truffaut (1971)

Elliott Smith performing The Biggest Lie with Rose Melberg at Stinkweeds Records, Tempe, Arizona, February 13, 1996.

David Cronenberg’s The Brood (1979) is an early example of the themes and ideas that would later define his work. The film mixes psychological drama with physical horror in a way that became strongly associated with Cronenberg’s cinema: the so called “body horror”.

Trzecia część nocy (The Third Part of the Night), Andrzej Żuławski (1971) «I feel more and more strongly that we're sinking into a world where all things have become alike. Activity and non-activity, cruelty and indifference.»

Fando y Lis, Alejandro Jodorowsky (1968)

Martha Rosler’s Semiotics of the Kitchen (1975) is a video artwork, often read as a sharp critique of how domestic labor—and especially “the kitchen”—functions as a system of signs that shapes women’s roles.

Ingrid Thulin in Nattens lekar (Night Games), Mai Zetterling (1966) A ruthless portrait of the decadence and perversity of high society in Sweden.

All That Jazz , Bob Fosse (1979)

Anna Karina, Jean-Paul Belmondo, & Jean-Claude Brialy in Une femme est une femme, Jean-Luc Godard (1961)

Sunday morning mood. "I wouldn't trade one stupid decision for unread weddings and a Bourgeois life"

Der Himmel über Berlin, Wim Wenders (1987)

Toute une nuit, Chantal Akerman (1982) Set during a hot, humid summer night in Brussels, the film has a non-linear plot: it follows in a fragmented way the stories of individuals who meet, part, search for one another, embrace, or argue. The settings are apartments, bars, and the city streets.

"I am war. Help me kill. All you have to do is do nothing. Don't protest. Don't write your congressman. In fact, you can do me a favor: don't even think about me. I'm war. Help me kill."

It's a Friday once again!

Isabella Rossellini as Dorothy Vallens behind the scenes of Blue Velvet, David Lynch, 1986.

«There is a distinct difference between ‘suspense’ and ‘surprise’… Let’s suppose that there is a bomb underneath this table between us. Nothing happens, and then all of a sudden, ‘Boom!’ There is an explosion. The public is surprised»

Romy – Portrait eines Gesichts (released internationally as Romy: Anatomy of a Face) is a highly intimate, 1967 West German television documentary directed by the avant-garde filmmaker Hans-Jürgen Syberberg.

Portrait de la jeune fille en feu (Portrait of a Lady on Fire), Céline Sciamma (2019)

Sommarlek (Summer Interlude), Ingmar Bergman (1951)

Contes Immoraux, Walerian Borowczyk (1974)

Jean-Luc Godard on why politicians are afraid of movies. Dick Cavett Show, USA, 1980. «The whole world is afraid of images.»

Jean-Luc Godard’s Sympathy for the Devil is one of the most celebrated films from his political period. Shot in London at the height of 1968 — the year of the student uprisings — the film is an avant-garde experiment that blends rock counterculture with Marxist theory.

According to Antonioni, a film that can be described in words is not truly a film: silence is the narrative element through which solitude is articulated, without explicit dialogue. When language fails, let the image speak through its own nature. L’Eclisse, Michelangelo Antonioni (1962)

Il ministro israeliano Itamar Ben Gvir accoglie festoso gli equipaggi della Flotilla. Non solo viola i basilari principi dei diritti umani, sottoponendo inermi cittadini stranieri a umiliazioni e arresti illegali, ma ordina di far riprendere l’operazione. Video: Otzma Yehudit

Le forze israeliane hanno aperto il fuoco con proiettili di gomma contro alcune imbarcazioni della Global Sumud Flotilla. Le informazioni sono comprovate da un video girato a bordo e dalle agenzie Reuters/Anadolu.

«I think the idea came from watching friends that had recently gotten married or had children. I’ve never had children or been married and I was fooling around with them, asking, ‘Are you sure? Is this going to work? Is this a good idea? Can’t you see all these families falling apart?’»

Sátántangó, Béla Tarr (1994). The film depicts a rural Hungarian community slowly disintegrating in a landscape of constant rain and mud. Amid betrayal, alcoholism, and collective despair, the hope of salvation turns out to be illusory.

N. a pris les dés…, Alain Robbe-Grillet (1972)

Andrei Tarkovskij on the set of Stalker, 1979. The backstage footage of Stalker was filmed by the crew of Mosfilm, the historic Soviet film studio that produced the movie.

Bullet Ballet, Shinya Tsukamoto (1998)

Trisha Brown in Watermotor. Video filmed and directed by Babette Mangolte at the Merce Cunningham Studio, New York (1978)

Millions commemorating the 78th anniversary of the Nakba.

«Quello che voglio dire è questo: impariamo a usare le parole perché facciamo parte di una cultura. Di un certo modo di vivere. Di un modo pratico di fare le cose. Alla fine, parliamo come parliamo proprio per via di quello che facciamo.» Wittgenstein, Derek Jarman (1993)