#festival!ellie

[elliespeach]

fantasizing about protective festival!ellie

warnings: 18+ explicit sexual descriptions, drug use, alcohol use, very Very brief choking kink, implied homophobia, mild possession, pet names

an: an offering until i finish part 2 of you belong to me i thought of this at work and knew she would be a festival girlie okokenjoy

she def tried to convince u to let her buy an airtag and stick it in ur outfit just in case she lost you in the crowd “you could just call me els” “what if ur phone dies” she pouted

she wore a simple button up that was unbuttoned with a sports bra underneath, her abs showing which made ur toes curl and loose basketball shorts. meanwhile u had to spend hours trying to find what to wear, always earning a “everything looks so good on you baby” as ellie watched u change for the 8th time

“absolutely not” she protested one of the more scandalous outfits u tried on, typically she wouldn’t care and actually liked ur skin showing to be able to flaunt you around “you know how these people are there, i don’t need you being ogled all night”

no bc watching her dance at the actual festival was intoxicating, grinding up behind you going with the beat of the music, grabbing ur ass and feeling u up in a way that felt hungry

also note she had a blunt resting in her mouth while she danced on u AHH

im also picturing her in a backwards worn out ball cap do with that what u will,, ok carrying on

u were only crossed, as when u suggested trying something a bit harder ellie def had something to say "idk babe u dont even take well to being too high sometimes" "fine but were doing shots!"

so u both were wasted, she guided ur hips with her hands to spin you around to face her the strobe lights started going crazy for the drop of the song that was playing

ellie hit the blunt while u watched not even questioning it bc she was so fucking fine while doing

she inhaled slightly and leaned in, grabbed ur neck face and blew the smoke into your mouth for u after u exhaled she wrapped her free arm around ur waist pulling u closer in

this time she kissed u and kissed u hard, still grinding to the music while doing so ofc

her hand wandering around ur back down to ur ass and when the kiss ended u continued dancing and ellie took a quick glance around

she saw a guy poking at his friend then pointing to u and her and immediately protective mode was activated

"cmon, i gotta go to the bathroom" grabbing ur hand and not even giving u the chance to respond "ellieeeeeeeee"

u guys were towards the back because "i dont wanna lose u in the crowd plus i think i would suffocate"

"els we just went to the bathroom" "i saw some guys staring at us, i didn't like the looks of it" she was very occasionally glancing in the direction where u guys came from, obviously worried

"lets go finish this and then go back" she suggested and brought u to the back of one of the food stands,, holding ur hand the entire time of course kinda too tight like she was white knuckling that shit

u guys passed it back and forth a few times before the redness of your perfect eyes, being crossed, and full on craving u overwhelmed her

"els!" u giggled as she sucked on ur exposed neck, marking every single square inch she possibly could before moving to ur jaw

ellie being ellie she lightly bit ur earlobe sending shockwaves thru u n feeling the surge of confidence ((and bc shes a cocky shit)) she goes "let those try guys come near you, you're mine"

immediate butterflies. immediate pulsing in ur pussy like oh my GOD and being so horrendously down bad u say "i'm yours"

instinctively u stretched ur arms over her shoulders and as soon as u started to move ur hands thru her hair in pleasure she threw the remaining blunt to the ground and literally picked u up

like hoisted u up so that ur legs were around her waist, one of her hands placed itself on ur back the other firmly on ur ass

this was all mid kiss btw

she spun around and crashed ur back into the back of the food stand and bc shes so strong she could hold you there basically by holding herself so close to you

she reached a hand down feeling ur pussy thru the very light shorts u had on "no underwear, huh baby?" all u could do was shake ur head the feeling of her touching u was overwhelming to say the least "and already so wet, tsk tsk"

u blushed but thank god it was dark bc she wouldve teased u about it and u wanted so badly for her to just kiss u again u leaned in slightly as if asking permission

"and so needy" "please, els" "what was that?" she paused her fingers on ur core and u whined "words princess, i need words"

sigh, anyway

leaving the festival she knew u were drained and let u piggy back most of the way to the car, she drove back home letting u sleep peacefully in the passenger seat

when u guys got back home she was fully prepared to carry u in but u woke up

but u were way to tired to get ready for bed so she undressed u, showered u, and put u in one of her tee shirts and ultimately put u to bed only to be interrupted by her coming to cuddle only a short time later

[twipsai]

doodle dump 2: the misc one! featuring splatoon, dragon ball, and some ocs :D

SPLATOON ZONE

1 - grandfest shiver!!!

2 - my Agent 8 and New Agent 3 ocs :D

3 - Gorge doodle trying to emulate the splatoon style

4 - splatband ocs being silly (Hadal and Lag)

5 - my player character doodle

6 - summer nights outfit with Hadal

8 - summer nights Shiver,,, theyre not even my fav idol i just love drawing them ig

9 - PAUL!!!! i drew these right after his new design was shown :D

DRAGON BALL ZONE

10, 11 - GOKU DRAWING PRACTICE YAYYYY drew him as some sonic official art

12 - Goten and kid Trunks! im watching buu saga rn and i really liked their interactions,, bffs!

13 - Gohan and future Trunks cuz i got a little too obsessed with dragon ball whoops

14 - kid trunks reminds me of a cockatoo

15 - traditional doodles from class cuz honestly dragon ball has been infecting my brain its a problem. help

16 - perfect cell

android - 17

18, 19 - this was literally the entire cell saga. it would cut from Trunks going through hell to Goku and Gohan having so much fun training in the hyperbolic time chamber

OC ZONE

20, 21 - Ellie and Mae in a sketchy style i was trying

22, 23 - biamg profile shots except for Will cuz i hate that guy

24 - an oc i havent shown off here, Terabyte!

25 - a miserable Will i drew cuz i dont like him

[floydsglasses]

Two people I didn't know I needed to see standing in a room together (not to mention we get little to no content of Jay at all)

Also I didn't believe Google at first when they said that he is 6,4, now I believe 😭

[xxx-ang3l-w1th-a-sh0tgun-xxx]

I know I asked before but I would also love to request seveb other ones if you could pretty please, worried I might be seeming rude and way too many 😅

Could there be one saying, this user loves the Cornetto Trilogy!!

(The icon being the three flavours of cornettos please <3)

Another being between,

.This user loves Shaun of the Dead

.This user loves Hot Fuzz

.This user loves The World's End

(If possible could the icons be of Simon Pegg's characters please!)

.This user loves Daniel Isn't Real (Preferably have the picture be of Miles Robbins character!)

. This user loves the Inbetweeners (Could it be of the main four, Simon, Will, Jay and Neil)

.This user loves The Festival (Could the icon pretty please be of Nick, Joe Thomas's character)

If not then its alright!! I hope you have a lovely, awesomeness of a day and thank you!! <3

ofc! and you definitely don't seem rude at all!! feel free to request more if you want any other ones :D

feel free to reblog/download and use on your profile but keep my username visible ty! :)

[whileiamdying]

‘I’m Still Here’ Review: Walter Salles Returns Home With the Powerful Story of a Broken Family’s Resistance

Premiering at Venice, the film stars Fernanda Torres as a mother of five children who reinvents herself as a lawyer and activist after suffering a devastating loss at the height of Brazil’s military dictatorship.

BY DAVID ROONEY SEPTEMBER 1, 2024 @ 11:48AM

Fernanda Torres in 'I'm Still Here.' COURTESY OF VENICE FILM FESTIVAL

Walter Salles’ 1998 international breakthrough, Central Station, earned an Oscar nomination for the magnificent Fernanda Montenegro. Now in her 90s, the actress turns up toward the end of the director’s first feature in his native Brazil in 16 years, the shattering I’m Still Here(Ainda Estou Aqui), in a role that requires her to speak only through her expressive eyes. What makes the connection even more poignant is that she appears as the elderly, infirm version of the protagonist — a woman of quiet strength and resistance played by Montenegro’s daughter, Fernanda Torres, with extraordinary grace and dignity in the face of emotional suffering.

Many powerful films have been made about the 21 years of military dictatorship in Brazil, from 1964 through 1985, just as they have about similar oppressive regimes in neighboring South American countries like Chile, Argentina and Uruguay. The human rights abuses of systematic torture, murder and forced disappearances represent an open wound on the psyches of those nations, for which cinema has often served as a vessel for collective memory.

It’s not often, however, that the spirit of protest against the horrors of junta rule is viewed through such an intimate lens as I’m Still Here. That aspect is deepened by evidence throughout the film of Salles’ personal investment in the true story of the Paiva family after patriarch Rubens (Selton Mello), a former congressman, was taken from his Rio de Janeiro house in 1971, ostensibly to give a deposition, and never seen or heard from again.

Salles met the family in the late 1960s and spent a significant part of his youth in their home, which he credits as foundational to his cultural and political development. That accounts for the coursing vitality of the early scenes, as the five Paiva siblings dash back and forth between the house and the beach, and an extended family of friends of all ages seems to be constantly dropping by for drinks and meals and music and lively conversation.

There are sweet throwaway moments like two of the sisters dancing and singing along to the Serge Gainsbourg-Jane Birkin wispy make-out classic “Je t’aime … moi non plus,” without understanding the words. Just watching how one of the youngest kids, Marcelo (Guilherme Silveira), sweet-talks his way into keeping a stray dog they found on the beach conveys the warmth, spontaneity and affectionate scrappiness of the Paiva household dynamic. The young actors playing the kids are all disarmingly natural and appealing.

The first blunt intrusion into the family’s bubble of closeness and comfort comes when eldest daughter Vera (Valentina Herszage) is out with a group of friends and their car is pulled over at a tunnel roadblock. It’s a disturbing scene in which we see teenagers — just minutes earlier cruising along, sharing a joint and laughing — ordered at gunpoint to stand against a wall while military officers question them, searching their faces for any resemblance to the “terrorist killers” they’re looking to apprehend.

An occasional hushed phone conversation or private exchange with a friend suggests Rubens’ involvement in something that needs to be kept quiet. But the script by Murilo Hauser and Heitor Lorega, based on the book by Marcelo Rubens Paiva, saves those details until long after Rubens is taken into custody. That puts us in the same position as his wife and children, wondering what their father could possibly have done to place him in the regime’s crosshairs.

The chill of uncertainty is hardest on Rubens’ wife Eunice (Torres), who does what she can to hide what’s going on from the youngest kids. But having armed strangers in their house and a car parked across the street to keep a constant eye on them is tough to explain, and the older siblings are aware something is very wrong.

The situation escalates when Eunice is hauled off for interrogation. With Vera away in London with family friends, the next oldest, 15-year-old Eliana (Luiza Kozovski), is forced to accompany her mother, with bags put over their heads to keep them from knowing where they are being taken.

The interrogation scenes, set in a grim building with confinement cells, are harrowing. Eunice is sequestered for 12 days. Denied contact with the family lawyer, she’s kept completely in the dark about what’s happening to her daughter and is unable to learn where her husband is being held. She’s coerced over and over to identify people in photo files as possible insurgents, but aside from her husband, she recognizes only one woman who teaches at her daughter’s school. Her isolation and fear are made worse by the constant screams of people being tortured coming through the walls.

There are many moments of raw tenderness after Eunice is released — notably when one of her daughters watches from the bathroom doorway, her face a mix of sorrow and terror, as her mother showers away 12 days of grime.

With the government refusing to acknowledge even that her husband was arrested, Eunice continues fishing for information, talking to Rubens’ friends who tell her the military is “shooting blind,” going after random people based on almost nothing concrete. Unable to make bank withdrawals without her husband’s signature, she struggles to keep up with expenses. At the same time, she begins studying the family lawyer’s case file, foreshadowing her eventual decision to relocate with the five children to São Paulo and return to college.

The chief focus of Marcelo Rubens Paiva’s book is essentially his mother’s quiet heroism — first as she single-handedly shoulders the responsibility of keeping the family together and protected, concealing her grief when the inevitable is confirmed, and subsequently when she earns a law degree at 48 and becomes active in a number of causes. That includes pushing for full acknowledgment from authorities of disappeared people like Rubens after democracy is returned to the country.

Salles’ heartfelt film jumps forward 25 years and then by almost 20 more, allowing us to absorb Eunice’s self-reinvention not in big crusading speeches but simply in her dedication to the work of keeping memories alive and not letting the abuses of the past be swept away.

Perhaps the most beautifully observed arc of the film is the gradual rebuilding of the family. As the children grow up and marry and grandchildren come along, they transition back into a noisy, joyful clan much like the one depicted in carefree scenes at the start. Even the simple process of sorting through boxes of family photos is viewed as a loving act of reclamation in a final stretch that will have many audiences in tears.

Torres (one of the stars of Salles’ terrific early film, Foreign Land, co-directed with Daniela Thomas) is a model of eloquent restraint, showing Eunice’s private pain and her necessary fortitude by the subtlest of means. Only once during the film does she raise her voice in anger after a sad occurrence, beating on the windows of the parked car watching the house in Rio and screaming at the two stone-faced men inside.

The final scenes in which Montenegro steps into the role are bittersweet, as Eunice has become nonverbal and uses a wheelchair, in steep decline with Alzheimer’s. The poignancy is almost overwhelming as we watch her gently lean in, her eyes lighting up and a hint of a smile forming, when Rubens’ photograph appears in a television program on the heroes of the resistance.

The movie looks gorgeous. Adrian Teijido’s agile cinematography uses 35mm to great grainy effect to evoke the ‘70s and Super 8mm home movies shot during that decade provide lovely punctuation. The other key asset to the film is Warren Ellis’ score, which starts out pensive and quietly troubling before shifting almost imperceptibly into a much more emotional vein with the surge of feeling that accompanies the forward time jumps.

While it could use a less generic international title that’s not also a well-known Stephen Sondheim song, I’m Still Here is a gripping, profoundly touching film with a deep well of pathos. It’s one of Salles’ best.

[emryliz]

No, don't look away. ...You're just have to look at me

[heckyeahhm64]

[oleander4]

𝑫𝒂𝒓𝒌𝒏𝒆𝒔𝒔 & 𝑳𝒊𝒈𝒉𝒕 / 𝑪𝒉𝒂𝒏𝒈𝒆 & 𝑵𝒆𝒘 𝑩𝒆𝒈𝒊𝒏𝒏𝒊𝒏𝒈𝒔

𝑟𝑒𝑗𝑒𝑐𝑡𝑖𝑜𝑛 𝑣𝑠 𝑠𝑢𝑝𝑝𝑜𝑟𝑡

𝑙𝑜𝑠𝑠 𝑣𝑠 𝑏𝑜𝑛𝑑

𝑠𝑒𝑙𝑓-𝑢𝑛𝑐𝑒𝑟𝑡𝑎𝑖𝑛𝑡𝑦 𝑣𝑠 𝑠𝑒𝑙𝑓-𝑐𝑜𝑛𝑓𝑖𝑑𝑒𝑛𝑐𝑒

ℎ𝑜𝑝𝑒𝑙𝑒𝑠𝑠𝑛𝑒𝑠𝑠 𝑣𝑠 ℎ𝑜𝑝𝑒

𝑛𝑜𝑡 𝑓𝑜𝑢𝑛𝑑 𝑡ℎ𝑒 𝑟𝑖𝑔ℎ𝑡 𝑝𝑒𝑟𝑠��𝑛 𝑦𝑒𝑡 𝑣𝑠 𝑓𝑖𝑛𝑎𝑙𝑙𝑦 𝑓𝑜𝑢𝑛𝑑 𝑡ℎ𝑒 𝑟𝑖𝑔ℎ𝑡 𝑝𝑒𝑟𝑠𝑜𝑛

My interpretation of the 2nd and 4th theme of the Barris Winter Festival @barris-event-blog

[sincericida]

ANDREW GARFIELD having a good time in Glastonbury Festival.

OMG, the last pic... Everyone is looking directly at the camera but he thought he was taking the group selfie, help 🤭

[saeculorum-art]

Contribution to the Barris Winter festival 💙 @barris-event-blog

[stardestroyerss]

Sundance Film Festival

[pedropascal24-7]

Freaky Tales cast and directors/writers at Sundance

[stylestream]

Ellie Bamber | Vivienne Westwood gown | Toronto Film Festival | 2024

[camedownonamoonbeam]

A rose must remain with the sun and the rain

Or its lovely promise won't come true

To each his own, to each his own

And my own is you

What good is a song if the words just don't belong?

And a dream must be a dream for two

No good alone, to each his own

For me there's you

If a flame is to grow there must be a glow

To open each door there's a key

I need you, I know, I can't let you go

Your touch means too much to me

Two lips must insist on two more to be kissed

Or they'll never know what love can do

To each his own, I've found my own

One and only you

One and only you

[emryliz]

Thank you...for continuing to look at me. ...I'm... looking at you too. Forever, only you