cinemetrics:

fifty three or fifty four years of london film festival posters.

[nevver]

you never go full retard.

chasing criterions: #501 — paris, texas [wenders, 1984]

the time it’s taken me to get around to seeing wim wenders’ beguilingly eccentric, intimately epic paris, texas will remain a point of apology for ages to come; and this odd, expansively gorgeous rendering of the shattered family unit finding the means to reconstruct itself will endure for a long time indeed.

where wings of desire upped the art-house ambition and spiritual grandeur, paris, texas shoots for a lower-key domesticity in its insight that, like within the waco-set segments of terrence malick’s tree of life, resonate simply because they are so true and human. through the land- and cityscapes of its titular state — what wenders called ‘america in miniature’ — this rounded, understated ensemble [with harry dean stanton its implacable pillar] deliver scene after exquisitely drawn scene unpicking the american dream with a heartbreaking poise and lyricism only buffered by the dramatic and singular vision of longtime wenders d.p. robby müller. there’s no other way to put it: as i can only assume is the stead in which it’s been regarded for nearly thirty years, paris, texas remains an undimmed masterpiece. 

[femburton]

michael caine in some movie.

why more photographers who are filmmakers should shoot photographs of filmmakers.

[blyve]

UNCLE.