pink-bullets

[pink-bullets]

[pink-bullets]

In The Mood For Love, 2000 Cinematography: Christopher Doyle, Pung-Leung Kwan, Ping Bin Lee

[pink-bullets]

Irises, Vincent van Gogh, 1890.

[pink-bullets]

[pink-bullets]

Floating Weeds (Yasujiro Ozu, 1959)

[pink-bullets]

[pink-bullets]

[pink-bullets]

Messages to the Public, Jenny Holzer, 1982

[pink-bullets]

One heart is not connected to another through harmony alone. They are, instead, linked deeply through their wounds. Pain linked to pain, fragility to fragility. There is no silence without a cry of grief, no forgiveness without bloodshed, no acceptance without a passage through acute loss. That is what lies at the root of true harmony.

Colorless Tsukuru and His Years of Pilgrimage by Haruki Murakami

[pink-bullets]

[pink-bullets]

Chinatown 2 : Alex Gaidouk

[pink-bullets]

[pink-bullets]

Kintsugi (金継ぎ) (Japanese: golden joinery) is the art of fixing broken pottery with lacquer resin dusted or mixed with powdered gold, silver, or platinum. As a philosophy it speaks to breakage and repair becoming part of the history of an object, rather than something to disguise

[pink-bullets]

“Wong’s chief inspiration for Chungking Express was a short story entitled ‘On Seeing the 100% Perfect Girl One Beautiful April Morning’ by the Japanese novelist Haruki Murakami. The story is about the mutability of perceptions, and begins with the sentence, ‘One fine April morning, I passed my 100% woman on a Harajuku back street.’ Chungking Express similarly begins with a chance encounter, which becomes a motif in the first episode… Wong develops the themes of chimerical relationships with the same evanescence displayed in Murakami’s short story. People’s lives just touch but never interpenetrate (maybe they do not even touch but just brush past, mere possibilities, foregone opportunities to connect, impermanence). Like Murakami, Wong injects a sense of magical element into everyday life but with a sense of fatal consequences. Like Murakami, he invokes icons from popular culture to suggest the part that memory plays.” (From Wong Kar-wai by Stephen Teo, 50-51)

[pink-bullets]

[pink-bullets]

Spring is Here | Bill Evans

[pink-bullets]

Sven Jonson, Solitude, 1936