por falar em totò

Passarinhos e Passarões (1966), de Pier Paolo Pasolini.

La Jetée (1962), de Chris Marker.

os amantes

Os Amantes Crucificados (Japão, 1954), de Kenji Mizoguchi, amanhã, ali.

about Mark Strand

We have done what we wanted.
We have discarded dreams, preferring the heavy industry 
of each other, and we have welcomed grief
and called ruin the impossible habit to break.

And now we are here.
The dinner is ready and we cannot eat. 
The meat sits in the white lake of its dish. 
The wine waits.

Coming to this
has its rewards: nothing is promised, nothing is taken away. 
We have no heart or saving grace,
no place to go, no reason to remain. 

this is the girl

and 'failing' rising

The spring sea rising
and falling, rising
and falling all day.

diziam-me que a poesia de cummings era uma questão de exaltação

I will wade out
                        till my thighs are steeped in burning flowers
I will take the sun in my mouth
and leap into the ripe air
                                       Alive
                                                 with closed eyes
to dash against darkness
                                       in the sleeping curves of my body
Shall enter fingers of smooth mastery
with chasteness of sea-girls
                                            Will i complete the mystery
                                            of my flesh
I will rise
               After a thousand years
lipping
flowers
             And set my teeth in the silver of the moon

Leaning

The Night of the Hunter (1955), de  Charles Laughton.

nas palavras de jacques rivette, o primeiro poema didático

O Rio Sagrado (The River, 1951), de Jean Renoir.

um manifesto

L'amore in città (1953), Zavattini, Risi, Maselli, Lizzani, Lattuada, Fellini e Antonioni.

titanik bar

  

excelente.

Num prefácio de Maria Filomena Molder à obra A desumanização da arte, de Ortega y Gasset pode ler-se, em resposta ao próprio Ortega, o que é a arte ao pé da vida? Goethe responde por nós: uma coisa morta, excelente.