Nicholas S. Rubashov vs. Oedipus The King

A blog about the mundane, puppies, joy, hatred, pain and inconsistencies.


Available today on Blu-ray from the Cohen Film Collection: Abbas Kiarostami’s The Wind WIll Carry Us

"Palme d’Or winning-director Abbas Kiarostami’s acclaimed film documents the arrival of an engineer and his colleagues from Tehran in a remote village in Iranian Kurdistan. Assumed by the locals with whom they form an ambivalent relationship to be archaeologists or telecom engineers, the visitors’ behavior and keen interest in the health of an ailing old woman appear strange and their true motives are shrouded in mystery. Haunting and visually stunning, The Wind Will Carry Us is an absorbing abstract meditation on life and death and the divisions between tradition and modernity that stands among Kiarostami s best works."

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García Márquez / Kurosawa



In October 1990, Colombian novelist Gabriel García Márquez visited Tokyo during the shooting of Akira Kurosawa’s penultimate feature, Rhapsody in August. García Márquez, who spent some years in Bogota as a film critic before penning landmark novels such as One Hundred Years of Solitude and Love in the Time of Cholera, spoke with Kurosawa for over six hours on a number of subjects.

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Praise for a Color
Yellow infers from itself papayas and their pulp,penetrable yellow.At noon: bees, sweet stinger and honey.Whole eggs and their nucleus, the ovum.This interior thing, miniscule.From the blackness of the blind viscera,hot and yellow, the miniscule speck,the luminous grain.Yellow spreads and smooths, a downpourof the pure light of its name,tropicordial.Yellow turns on, turns up the heat,a charmed flute,an oboe in Bach.Yellow engenders.
—Adélia Prado. Art: Helen Frankenthaler.


Praise for a Color

Yellow infers from itself papayas and their pulp,
penetrable yellow.
At noon: bees, sweet stinger and honey.
Whole eggs and their nucleus, the ovum.
This interior thing, miniscule.
From the blackness of the blind viscera,
hot and yellow, the miniscule speck,
the luminous grain.
Yellow spreads and smooths, a downpour
of the pure light of its name,
Yellow turns on, turns up the heat,
a charmed flute,
an oboe in Bach.
Yellow engenders.

Adélia Prado. Art: Helen Frankenthaler.

"There are always bits of myself in my films but sometimes people don’t know that. I used to feel very distant from my films. In my earlier films, I really kept myself out of the picture. But now every film is more or less a personal experience, from dreams or from people close to me. That’s why I keep making films in certain locations. They are mostly places where I cherish my childhood memories. I keep revisiting them to try to—how do you say—reinterpret my memories. […] I think this is one of the reasons I make films: my personal memories are always interwoven with those from various other sources, reading, listening and traveling (my own travels and those of others). It was hard then to remember the real past clearly, so I made films without knowing how true they really were. This was an important detail; it was like waking the dead and giving them a new soul, making them walk once more. It is the same when writing, sometimes it is just our imagination, arising from our desire to remember, as Gabriel García Márquez wrote: ‘The memory is clear but there is no possibility that it is true.’" — Apichatpong Weerasethakul

(Source: strangewood)

Billie Holiday

—Willow Weep for Me


Billie Holiday - Willow Weep for Me

Personal favorite of Haruki Murakami, from his book 村上ラヂオ (Murakami Radio).

Click here for more of his favorite songs!