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MAPPA really highlighted Fujimoto's love for movies

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time is slippery these days. i keep waking up surprised by the date - that late? i haven't gotten used to the summer weather yet. i am holding my breath. i am hoping nobody notices i am scrambling. i am hoping it looks easy, an effortless plunge. i am so worried about not having time that i spend a lot of time frozen, trapped in indecision. if i never start anything, i can never really be behind in it, either.

i tell others - i just bit off more than i can chew.

i was raised: that's not an excuse. life handed me a wicker basket of spined and rotting goods and told me - here's too much to handle. others will just expect it out of you. now stop crying and get ready to chew.

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Matosinhos

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by:  シモフリ

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(...) ir para a cama com uma mulher e dormir com ela, eis duas paixões não apenas diferentes como quase contraditórias. O amor não se manifesta pelo desejo de fazer amor (este desejo aplica-se a uma incontável multidão de mulheres) mas pelo desejo de sono partilhado (desejo que se refere a uma única mulher).

Milan Kundera, A Insustentável Leveza do Ser

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Não existe nenhuma forma de verificar qual é a boa decisão, porque não existe nenhuma comparação. Tudo é vivido imediatamente pela primeira vez e sem preparação. Como se um ator entrasse em cena sem nunca ter ensaiado. Mas o que pode valer a vida, se o primeiro ensaio é já a própria vida? É o que faz que a vida pareça sempre um esquisso. Mas nem sequer «esquisso» é a palavra certa, porque o esquisso é sempre o esboço de qualquer coisa, a preparação de um quadro, enquanto o esquisso que é a nossa vida é um esquisso de nada, um esboço sem quadro.

Milan Kundera, A Insustentável Leveza do Ser

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Sunlit Reading Room, Carl Vilhelm Holsøe 

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Sicily, Italy

Sergio Larrain, 1959

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Plants Embedded in Wax Sprout from Fragile Hands in Memory-Infused Works by Valerie Hammond

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Paul von Spaun (1876 - 1932) 

Breaking Waves

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Black Cat sitting in a box at an old bookstore in Mexico City (2016)

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She never crossed the line. If there’s one thing I hate, it’s people who cross the line. Parasite (2019) dir. Bong Joon-ho

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While working on the film, Bong Joon-ho called Parasite a “staircase movie”. It is an upstairs-downstairs film that explores every available rung on the ladder of class aspirationalism. The movie starts in the half-basement apartment of the Kim family, with windows that barely peer above the ground. Half-basements are distinctively Korean spaces in urban centers like Seoul, and while the Kim house is firmly below ground, it still “wants to believe it’s above the ground.” 

 A story about two homes — the upstairs family and the downstairs — reveals yet another lurking underneath. The original housekeeper confesses that her husband has been stowed away in a secret bunker underneath the Park house for four years. The Kims are shocked by the state of his living conditions.

In the end of the film, the father becomes the new resident in the bunker, hiding from the police in the last place they’d look to find him. The Parks move out, only to be replaced by a German family. The particularities may have changed, but everyone’s station has remained the same. There would always be a wealthy person to live upstairs, just as there would be another poor person positioned beneath them. - by E. Alex Jung

Parasite | 기생충 | Gisaengchung (2019) dir. Bong Joon Ho, production design by Lee Ha Jun

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The Tree of Life sprouts from monuments of death.