happy valentines day from albert brooks

quaaludes + birds + twisted failing romance.

love,
albert brooks


https://www.youtube.com/watch?v=cRVOhLLb-8U


35mm all weekend...



*2nd ludes scene on screen in 2 months*

Days without Love: featuring UPSTREAM: COLOR, BLUE JASMINE & 12 YEARS A SLAVE

some people don't have anything substantial inside of them. some people aren't addicts or artists or water signs or other such sensitive types, and they haven't listened closely enough to feel themselves die every day that they don't live for a love or for a spiritual principle bigger than their own self will.

Some people think they admire and love, but they admire without being able to see.

here is a clip of someone thinking they love someone who does not love her boyfriend..she is dying and she is dying from addiction which she adopted to ease the pain of dying every day from not loving or being loved.

UPSTREAM: COLOR.

isolation is death.
Increased connection - increase mass- multiplicity of color.

be connected in real ways in real love.

some of it is mysterious. connection and separation and identity are nebulous and confounding in this film. also, his character is an addict who doesn't use anymore.

Do you want to survive or do you want to LIVE?

can you feel yourself dying more every morning you wake up to go out into the world unloved?  Keep your head down! The people who live and love don't want to see you or remember you are still a little alive , or rather, not all dead.

RIFIFI A TOKYO: French Fights in the Eastern Empire

 Jacques Deray's RIFIFI A TOKYO (1962) is painted in thick strokes, yet damn effective as a mod-noir caper film.  The moody eyes of its varied Japanese and French protagonists give more narrative information than is in the somewhat thin script, or what i can sense of it with the horrible subs I've acquired.

I am left with the images of car chases in industrial Tokyo, quick, clean cutting, and the nervous sensual lure of Barbara Lass.  Whether she is imploring with a straight on gaze or adorably dancing to Japanese music in her hotel room, Lass' appeal is perhaps the foregrounded subject of the film.

The pared down economy of the narrative style is echoed in the way the film captures the movements of cars.  There are chases, yet they are glimpsed in cleaved sections; reasons for motion unclear.  A car advances; a car reverses...each action is life or death.  

The gangsters  in Deray's film are stealing jewels, but the characters are suspicious, antagonized, never glamorous.

ESCAPES CAUGHT ON FILM

DRUGSTORE COWBOY

JESUS' SON

DRUGSTORE COWBOY

CHRISTIANE F.

PANIC IN NEEDLE PARK

ANOTHER DAY IN PARADISE

GIA

ENTER THE VOID