#Never Rarely Sometimes Always

[oneinchbarrier]

[haotwo]

[camyfilms]

NEVER RARELY SOMETIMES ALWAYS 2020

Don't you ever just wish you were a dude?

[ittakestwopod]

[samsdei]

Théodore Pellerin

[lonesomedreamereccentriclover]

Talia Ryder

[neoyan]

Never Rarely Sometimes Always Director Eliza Hittman

[thatfraudcassandra]

30 days of film: Alphabet

Favorite N movie

Nick and Norah's Infinite Playlist (2008)

Never Rarely Sometimes Always (2020)

[thebowerypresents]

Julia Holter Bathes Webster Hall in Sumptuous New Music on Friday Night

Julia Holter – Webster Hall – May 17, 2024

Some artists dip in and out of your life as you cycle through the ebbs and flows of the day-to-day. I’d followed Julia Holter from her start in the 2010s but for some reason waivered in my attention. When she provided music for the 2020 film Never Rarely Sometimes Always, Holter popped back into my mind, and it made so much sense that soundtracks had become part of her repertoire. She naturally produces soundscapes that envelop your soul from her art-pop sensibilities that flow between ambient and electronic waves.

NPR’s Lars Gotrich describes her best: “Julia Holter’s music exists in tiny universes, colliding in torch songs and bits of cosmic cabaret that are as reverent as they are perverse. The most minute details and the plainest words suddenly form a grandiose spectacle.” Holter continues experimenting with her sixth studio album, Something in the Room She Moves, which dropped in March and offers tinges of jazzy blues notes. On Friday night at Webster Hall, the Los Angeles musician bathed the room in sumptuous melodies.

With Dicky Bahto’s film For Julia Holter (no. 1) projected throughout the night, the stage was set for art school band vibes. Holter opened with “Sun Girl,” with Devin Hoff banging the neck of his bass to provide a percussive, reverbing beat. Longtime collaborator and spouse Tashi Wada played bagpipes on “Silhouette” as the singer released sirenlike howls. Fan-favorite “Marienbad” arrived earlier than intended after Holter prematurely played its opening keys to the crowd’s delight. She went with it, jokingly saying, “This is ‘Feel You’,” which was actually the next song.

The singer-songwriter-composer-producer delighted in the joy of playing in New York City, allowing her to welcome several guests to the stage. Opener Nyokabi Kariũki and singers Gemma Castro and Ana Roxanne joined Holter for an a cappella version of “Meyou,” and in the set’s second half, saxophonist Danny Meyer gave an extra bluesy longing to “These Morning” and “Talking to the Whisper.” The headliner returned to older material on “Sea Calls Me Home,” and drummer Beth Goodfellow provided backing vocals on “I Shall Love 2.” For the encore, Holter did a solo rendition of “Materia” before the band returned to conclude with “Why Sad Song” and crowd-pleaser “Betsy on the Roof.” —Sharlene Chiu | @Shar0c

Photos courtesy of Lexi Yob | @filmbyyobby

[bizibizyapanfilmler]

Eliza Hittman tarafından yazılan ve yönetilen film, genç bir kızın kürtaj olmak için arkadaşıyla birlikte yaptığı zorlu yolculuğu anlatır.

Filmin ana karakteri Autumn, Pennsylvania'da yaşayan 17 yaşında bir genç kızdır. Gebelik testi pozitif çıkan Autumn, kürtaj yapmak için ailesinden ve yerel sağlık sisteminden yardım almakta zorlanır. Bunun üzerine, en yakın arkadaşı Skylar ile birlikte New York'a kaçarlar.

Hassas ve samimi anlatımıyla, seyircilere derinden etkileyici bir deneyim sunan film, genç bir kızın kendi bedenine ve kendi kararlarına saygı duyma mücadelesini, birlikte hareket etmenin gücünü ve sağlık hizmetlerine erişimdeki engelleri vurgular.

[ot9000]

17歳の瞳に映る世界 Never Rarely Sometimes Always

Directed by Eliza Hittman 2020 USA

[oneinchbarrier]

[solar093-art]

some adventures can get too dangerous... so it's time to summon friends :)

[mwagneto]

i left my phone in my room and picked up an actual physical book and sat down on the balcony and read the whole thing can everyone please be so so proud of me

[swiggity-swexual-i-am-asexual]

Reminder for the dpxdc writers!

Yeah I know lots of us get canon and fanon confused and some never watched Danny Phantom which is why I’m going to *friendly remind everyone* that if you don’t want to use the Ghost King Danny thing, it’s—it’s fanon. Like. You do not need to go out of your way to make it Not A Thing, if you find it’s hindering your plot line or whatever. You don’t have to write around it. At this point, you might need to clarify it’s not something you’re doing, since it’s so common, but like—if I have to read one more plot where they’re twisted up in knots to avoid it, like. Pls. You can do what you want and that includes this, we already disregard canon all the time, you can buck common fanon as well I’m—

That’s not to say I’m against Ghost King Danny, but I’m starting to think it’s one of those things people are afraid to stray from because they think it’s it’s one of the more… pillar parts? Of Danny’s character and canon? When it’s, like, not. If you want to write in reasons why he’s not king and etc etc you CAN, it’s your story and maybe it even serves your plot or tone or you just want to, but you can also just not even have it be a consideration. You’re free to just not do it.

[gothsuguru]

doing the heavy lifting in a convo can be so tiring omfg