pipeschapmanss - Tumblr blog

[pipeschapmanss]

KILLING EVE SEASON 4 TRAILER

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god it’s been a while since i’ve been in here, good news is: life is too busy! worked my ass off, failed some important things, i got stressed as fuck, i got married, i travelled, i came out to the entire workplace in the end of year party and they gave me wedding gifts! also i’m permanent employee now, i have a dog, a cat, grandmother moved in, we will probably move houses and maybe cities, my now wife wants 4 kids, i’m trying to pass the things i failed, and after it we will adopt a new dog, very tired and trying to stay a bit more calm this year, very happy, heart is full 

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excerpt from who cares if it’s a choice? snappy answers to 101 nosy, intrusive, and highly personal questions about lesbians and gays by ellen orleans, june 1994

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jbland.blakeson, screenwriter:

rosamund pike, an intellectual:

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Rosamund Pike and Eiza González as Marla and Fran in I Care A Lot (2020)

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I’m a lioness. And I will do whatever I need to do to protect the people I care about.

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SHELBY AND TONI in THE WILDS (2020)

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VENDREDI 19:26

#they’re back bitches

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for @tsjernobyl ♥

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Maybe It’s a WLW Thing: 6/? ↳ Kieutou, Crisana, & Mayla + Apology make outs

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AMMONITE (2020) dir. Francis Lee

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HAPPIEST SEASON (2020)

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Kristen Stewart really out here living my lesbian fantasy.

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One of the most touching things about the film is how you deal with memory in a love story.

It’s a bit the same dynamic: that a love that is lived is a love that’s received. That’s why often in love stories, it’s necessary that relationships end so that we can bring them with us and not leave them in the theater. In the end, the frozen image of a couple walking towards the horizon doesn’t leave us with much. So, it’s the idea that what has been lived can be looked at and can nourish our future loves. I really believe in that, in memory as a dynamic.

- Painting Love: Céline Sciamma Reveals Her Philosophy of Love in Portrait of a Lady on Fire

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HAPPIEST SEASON (2020) dir. Clea Duvall

bonus:

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Central to the film is a reclamation of the Orpheus myth, a version of which the three young women read aloud together one night. Sophie registers distress at Orpheus’s fatal, selfish incompetence in looking back at Eurydice when he was told not to, and Marianne suggests he may have done it on purpose, preferring to lose the woman and savor, instead, the romance of his grief, making not “the lover’s choice, but the poet’s.” But it’s Héloïse who removes, for once, the fixation on Orpheus, his failings, and his loss. What if, she says to Marianne with an edge of defiance, it was Eurydice herself who chose art over staying together, who rather than leave the underworld with Orpheus, stopped and called out “Turn around,” preferring to remain down there and be preserved in poetry. A kind of freedom and a kind of permanence, rather than, as eighteenth-century marriage looks to be, an unwilling exchange of one for the other. —  In Portrait of a Lady on Fire, Love is a Work of Art

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sappho fragment 80 (l-p 126)