Enter The Void (Gaspar Noé, 2009)

cinematography: Benoît Debie

“We'll never die?”

Never.”

Enter the Void (2009) dir. Gaspar Noé

˚｡⋆⋆˚⋆˚⋆Enter the Void (2009) dir. Gaspar Noé ⋆˚｡⋆ ˚｡⋆⋆˚

Enter the Void (Gaspar Noé, 2009)

Gestatten, liebe Cluberer: Can #Uzun, jüngster Torschütze der #FCN-Geschichte. 🥇

Favorite Opening Titles: 'Enter the Void'

I will never forget the first time I watched this Gaspar Noe film. “Enter the Void” was screening at the Laemmle Sunset 5 (which has since become another AMC Dine-In Theater), and I had been very, very eager to check out his long-awaited follow-up to his powerful and devastating “Irreversible.” Noe has always been a playful filmmaker when it comes to title credits, regardless of whether appear…

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there's something about... something about Munkustrap turning away at the last possible second that I can't quite articulate but it reminds me of.. of things

I don't know. These are all different examples. but there's gotta be something in the literary tradition of turning away from a loved one that can be pointed out here. there's gotta be a through line. i'm not sure what it is but it's there

Nathaniel Sherman

The world is not ready for the big brother, Bartimaeus Trilogy, live adaptation

☆★☆★→ the guys of wabang, wy // here to stay ←☆★☆★

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@arrthurpendragon @nerdysuperchick @bobfloydsbabe @crescentwolf @ahopelessromanticwritersworld @onebigfangirlworld @newlibrary @yanna-banana @blue-aconite @gigisimsonmars @laracrofted

something about the abject horror of death

T.S. Eliot, The Waste Land // Un Chien Andalou (1929) dir. Luis Buñuel // Paul Bowles, The Sheltering Sky (1949) // William S. Burroughs, Queer (1985) // Francisco Goya, Saturn Devouring His Son (c. 1819-1823) // Julia Kristeva, Powers of Horror: An Essay on Abjection (1980) // Pink Floyd - The Wall (1982) dir. Alan Parker // Nathaniel Hawthorne, “Young Goodman Brown” (1835) // Mark Z. Danielewski, House of Leaves (2000) // Elliott Smith, “Don’t Go Down” (2004)

♥︎♥︎♥︎

In the interval of silence he stole forward until the light glared full upon his eyes. At one extremity of an open space, hemmed in by the dark wall of the forest, arose a rock, bearing some rude, natural resemblance either to an alter or a pulpit, and surrounded by four blazing pines, their tops aflame, their stems untouched, like candles at an evening meeting. The mass of foliage that had overgrown the summit of the rock was all on fire, blazing high into the night and fitfully illuminating the whole field. Each pendent twig and leafy festoon was in a blaze. As the red light arose and fell, a numerous congregation alternately shone forth, then disappeared in shadow, and again grew, as it were, out of the darkness, peopling the heart of the solitary woods at once. "A grave and dark-clad company," quoth Goodman Brown. In truth they were such.