#gabriel byrne
Aww, cute lil retreat you say. I don’t have the mental bandwidth to disagree.
Let’s purge the evil in me and plunge deep into the sea of troubles.
Reblog if you wish to join me.
Sakın bana küfredeyim deme seni küçük bok!Sakın sesini bana karşı bir daha yükselteyim deme!Ben senin annenim .Anlıyor musun?Tek yaptığım ,senin için endişelenmek,her dediğini yapmak ve seni savunmak.Karşılığında ise tek gördüğüm suratındaki o mal ifade.Her yerinden kin ve küçümseme akıyor.Sürekli canı sıkkın haldesin.Artık kız kardeşin de öldü.Onu özlediğini, bunun bir kaza olduğunu ve acı çektiğini biliyorum.Keşke tüm bunları geri alabilseydim.Keşke tüm bu yaptıklarını unutabilmeni sağlasaydım ama kız kardeşin öldü artık.Bir daha geri gelmeyecek.Ne beyhude çaba ama!Sanki bu bizi bir araya getirebilecekmiş gibi.Çıkıp da “özür dilerim” diyebilseydin yada yaptıklarınla yüzleşebilseydin keşke.Belki de o zaman birşeyleri kurtarabilirdik.Ama sen hiçbirşeyin sorumluluğunu alamıyorsun.O yüzden bunu kabullenemiyorum.Ve affedemiyorum da, çünkü kimse yaptığı şeyleri kabul etmiyor
Ayin / Hereditary
Post link
The Keep (1983)
Directed by Michael Mann
Doomsy’s Rating: 78/100
I think everyone that follows my blog closely at this point realizes I have certain directors whose body of work as a whole I absolutely adore. Michael Mann is, in my opinion, one of cinema’s true visionary geniuses, and has done more for the medium than nearly any director working today. Even The Keep,which most cinephiles would agree is Mann’s weakest film (not his fault, to be fair; studio interference led to a severely compromised vision) is so full of beautiful composition and highly unorthodox storytelling that you can easily lose yourself in the expansive gothic dream world the film lives in. It’s a strange inclusion in Mann’s catalog, as it remains the director’s only entry in the horror genre. Actually, calling it a horror film is to undermine its true nature — a spooky atmospheric, fairy-tale set in the modern day, replacing Philistines with Nazis and sort of re-imagining Jewish folklore for the neon-drenched, synth-heavy 80s vibe Mann pretty much invented.
Gabriel Byrne (who I normally view as a subpar and irritating screen presence) and Jurgen Prochnow are sensational as two Nazi officers so swept up in their poisonous ideologies, so intent on enveloping everything in their path, that they are at a loss when they become absorbed themselves in a spiritual realm of something that to them is a sinister being, but for Ian McKellen’s professor character, is a creature whose mere existence results from the evil of the outside world. The story of the Golem, which was appropriated by the Nazis as a symbol of the retrograde culture of the Jews, is instead presented as a lonely creature trapped away from the world, whose humanity can only exist in the body of a man from nowhere. The physical manifestation of the Golem’s soul is in the form of leather-jacketed, motorcycle-riding Scott Glenn.
The Keep also has the distinction of containing one of Michael Mann’s only proper love scenes, impressive given his extensive filmography.The sex between the Golem (in Scott Glenn’s body) and Alberta Watson (as McKellen’s daughter) is as artsy, passionate and ethereal as any I’ve ever seen. It’s amazing how many colors Mann uses in this scene, starting in sepia and finishing in an almost cyan iridescence that drips off the screen and overwhelms the senses.
I suppose one of the reasons this film is looked badly upon in Mann’s filmography is that he a) disowned it, and b) had very little say in what ended up on screen. It is here where I must disagree — while the film is effectively incomplete and over two hours were cut against Mann’s wishes, his stark and gorgeous world-building is on full display and almost everything goes right for me by the end. If I have a reservation about the film in totality, it would be a lack of proper character development, although again, this is not the actors’, nor Mann’s fault.To me, in the form it exists today, The Keep is still an essential Mann film, featuring all his trademarks and boasting some of his most luscious and sensuous production design to date. A must watch.
Also, make the effort to listen to the pulsing, phantasmagoric Tangerine Dream score on YouTube, it’s a perfect sound for a quiet night.
Post link
Hereditary (2018) Dir. Ari Aster, Cin. Pawel Pogorzelski
“My mother was a very secretive and private woman. She had private rituals, private friends, and private anxieties.”
Post link
Hello everyone! We are back!!! Before The Royals season 3 approaches, it’s the awards season first with Carrie Pilby premiering at the prestigious Toronto International Film Festival (TIFF) last week! William was joined with co-stars Bel Powley (who plays the titular character), Vanessa Bayer (Tara), Jason Ritter (Matt), screenwriter Kara Holden, and director Susan Johnson, which brings us to an important fact that this is one of the few films with more women leading the roles in both onscreen and offscreen! The film is still waiting worldwide distribution but if you want to get an idea of what the film is about, check out these reviews! (Not free from spoilers, though.)
ByrneHolics (a fansite dedicated to Gabriel Byrne, who also stars in the film)
Photos courtesy of JustJared
More updates to come next!
Post link
STIGMATA (1999)
dir. Rupert Wainwright
Jesus said, the Kingdom of God is inside you, and all around you, not in mansions of wood and stone. Split a piece of wood, and I am there, lift a stone, and you will find me.
I need to put this page on hold for sometime. As they say “Life is what happens to you while you’re busy making other plans”.
See you soon… I hope!
The Capital trailer premiered on Hulu. It’s the latest work from Oscar winner Costa-Gavas. Coming to theaters starting October 25th.
Capital - Exclusive Trailer (Movie Trailers) (by Hulu)
Exclusive Tumblr poster premiere! The new poster for Capital.
A mid-level banker is installed as CEO in this edge-of-your-seat, darkly comic thriller about the murky side of capitalism. From Academy-Award winning political filmmaker Costa-Gavras.
Starring Gad Elmaleh and Gabriel Byrne. In theaters October 25th.
More at cohenmedia.net/Capital
Post link
