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frankehstein · 5 months

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BLACK SWAN

2010 | dir. Darren Aronofsky

#horroredit #horrorgifs #horrorfilmgifs #filmgifs #movieedit #movie gifs #gifset #horror #black swan #darren aronofsky #natalie portman #nina sayers #swan lake #movie / black swan (2010).#director / darren aronofsky.#format / gif.#m.edit

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tygerland · 1 year

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Natalie Portman in Black Swan (2010)

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389 · 11 months

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Darren Aronofsky, Paul Schrader, Ari Aster

#directors #movies #cinema #film #darren aronofsky #paul schrader #ari aster #u

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goryhorroor · 2 years

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directors + their favorite movies

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virtuouslibertines69 · 5 months

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"And yet at the same time - if you can understand it - you were dearer to me than ever, and I stroked your forehead and kissed your hair, and at that moment my love for you was both tender and sad." - Eyes Wide Shut (1999) dir. by Stanley Kubrick Still from Requiem for a Dream, dir. by Darren Aronofsky

#quote #movie #still #eyes wide shut #stanley kubrick #requiem for a dream #darren aronofsky #art #director

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guillotineman · 1 year

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#The Whale #The Whale movie #The Whale 2022 #Darren Aronofsky #Aronofsky #director #filmmaker #Samuel D. Hunter #Rob Simonsen #Soundtrack #music #theme #Brendan Fraser #Sadie Sink #Hong Chau #drama #movie #2022 #cinema

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galileo-figero · 2 years

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Biggest red flag directors to idolize, hands down:

-Lars Von Trier

-Darren Aronofsky

-David Fincher

-Eli Roth

#lars von trier #darren aronofsky #eli roth #david fincher #Movies #Directors #Red flags #Gone girl #Fight club #the girl with the dragon tattoo #Hostel #Cabin fever #Black swan #requiem for a dream #mother!#dudebros #neckbeard #edgelord

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dreamgirledward · 2 years

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sorry to say it but people trying SO HARD to get these crazy talented, highly acclaimed directors to mention taylor swift or start a dialogue about her as a director (which..... pls tell me when have we literally ever put music video directors and musicians directing their own mvs on the same level as film directors????) are only making themselves look stupid at this point. this kind of reverence for celebrities (read: singers) is why harry styles thinks he can act or talk about filmmaking like he knows literally anything at all. they all have nothing to say because no, darren aronofsky did not watch all too well. of course he's going to ignore that question. why are you even asking him that.

#and u know what! i study filmmaking and media! i understand the different approaches to directing in various mediums!#i respect mv directors and editors !! but like can we pls get real!!!#it's embarrassing !#sorry to swifties i have people in my life that love her and i will never be mean about that but this is getting ridiculous #i NEEDED to say this omg #she did NOT need to be here for tiff and tbh i think her being included at all has overshadowed #a whole lot of indie and indigenous filmmakers that really needed the support and STILL do #im not even gonna tag her bc like her fans are actually insane when you say ONE thing about her #tiff 2022 #the whale #darren aronofsky #sammy.txt

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nellarw95 · 3 months

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Happy Birthday Darren +55 🥳🎂🎈🎁🎉

Buon Compleanno 🥳🎂🎈🎁🎉

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samprestonbigbadabruce · 1 year

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Film Premise Challenge: One Director, Two Actors, One Genre - Entry Thirteen.

This will be a semi-regular series, where someone has to nominate a Director, minimum of two Actors, and a Genre, preferably ones who have not worked together before. I will then come up with a premise / story based on those parameters. Some of these may be more detailed than others, but overall, it’s mainly a bit of fun. If anybody would like to submit an idea, then please do!

Entry Thirteen, the director nominated is…Darren Aronofsky. The nominated actors, of which there were two, are…Portia Doubleday, and Amanda Seyfried. The chosen genre is…Horror-Thriller.

Before I hide the premise, I would like to say that this is one of my favourite pieces I’ve written so far on this challenge, just because of the level of detail. i hope you also enjoy!

Okay, the movie is directed in split screen throughout. Left side has blue lighting and undertones, while the right side has orange/yellow lighting and undertones. This is vital, as at times the two main characters will match on the split screen.

The left side is Portia, shows her waking up in an expensive apartment. She works in a rich office, involved in meetings & presentations as a manager. She's cold, aloof, she gets ready in the morning to silence & is almost mechanical in her routine.

The right side is Amanda. She wakes up in a smaller but more expressive apartment. She's happy, positive, she gets ready to music in the morning. She is a Kindergarten teacher, highly involved and passionate, lots of friends.

It's important to mention they are both intelligent & good at their jobs. During a presentation/lesson, both Portia & Amanda get a papercut at the same time, with a shot of both of them bleeding & crying out at the same time. As this happens, they both get a flash of each other.

Both women begin to feel unnerved, as they both start seeing images of one another in mirrors, & they think they're being followed by an old man in a trenchcoat, played by Mark Margolis. At one point, Portia gets chased through the city as Amanda experiences a panic attack.

Both women get attacked in their apartments, Amanda's involves her music crackling & Margolis' voice calling her name, while Portia's apartment has her windows banging & television switching to her name being said. It ends with both having the other's name written in a mirror.

Portia travels out of the city to a small town, where she knocks on a large-ish house. The same time, Amanda gets a bus to a small house, where she knocks. The camera stands behind both women as the door opens, to the same man but slightly different, as he calls both "Daughter".

Portia sits at a table opposite her parents, while Amanda sits between her parents on a sofa. The parents have different hair & clothes in each, but definitely same people. Amanda is consoled & tells the whole story, while Portia is a bit more reserved in her story.

Both Portia & Amanda ask their parents about the other's name, and the shocked parents reveal to both that the mum was originally pregnant with twins. However, there were complications during the birth, & only one survived, with the other stillborn. They are each other's twin.

Portia leaves & drives to the woods, while Amanda walks to the same woods near her parents' house. Amanda is in shock, while Portia breaks down. They are sat on the same bench, but are actually still alone. They both feel something there, & realise Margolis is nearby.

You see a calm Amanda & emotional Portia both ask Margolis why are they being haunted, & Margolis reveals they're wrong. They aren't haunting one another. Neither has actually been born yet. And the woods cut to a dark, empty void, where Portia & Amanda are finally together.

As Portia & Amanda meet for the first time, shocked & confused, Margolis reveals the truth: they're actually both still in the womb. He allowed both 30 years of imagined life to decide which should be born, but he can't choose. Instead, they will be given a challenge to decide.

Margolis tells them both they will awaken & the first to reach a chosen point to push a button will survive, & the other will die. Portia & Amanda wake up in each other's home, trying to make the button. Portia's car (transferred between worlds) crashes, Amanda has to run, misses busses, split screen.

The chosen point is the hospital ward where they were born, & they arrive at the same time, tackling one another to try & get to the button. It ends with both crashing through a window, bleeding & hurt as they lay opposite one another, the button a few feet away.

As they both lay hurt, Amanda mentions how Portia's apartment looked lonely. Portia said she was shocked by Amanda's musical alarm clock. Portia asks what their parents were like. Amanda admits she always wanted a sister. They talk, smile, laugh, & cry. They talk of their dreams.

To both their surprise, Portia asks "What happens if we press the button together?" They look at one another, help each other to their feet, and holding hands, walk to the button. As the screen splits, this time Amanda on left, Portia on right, they press the button together.

We cut to the parents unpacking in a new house. We don't get proper look at them, so can't tell from which timeline. There's a knock at the door, & the dad goes away to answer. As we focus on the Mum holding her stomach, we hear a voice shout "Hi Dad". Cut to black.

#Film #Premise #Challenge #Director #Actor #Genre #Story #Writing #Prompt #Samuel #Preston #BigBadaBruce #Darren #Aronofsky #Portia #Doubleday #Amanda #Seyfried #Horror #Thriller

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istandwithrussiaandpalestine30 · 2 years

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Black Swan (2010): Director Darren Aronofsky

#filmedit #horroredit #moviegifs #filmtvdaily #userbbelcher #usermaryhope #dailyhorrorfilms #fyeahmovies #horrorfilmgifs #filmtvcentral #dailyfilmsource #cinemapix #mila kunis #natalie portman #thriller #my edits

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leonardcohenofficial · 4 months

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tagged by @herbaklava @timrothencrantz and @wutheringdyke to post my top nine new-to-me watches of the year—thank you all! in no particular order (l-r, top row to bottom row):

skinamarink (kyle edward ball, 2023) great freedom (sebastian meise, 2021) earth mama (savanah leaf, 2023) nineteen eighty-four (michael radford, 1984) enys men (mark jenkin, 2022) marina abramović & ulay: no predicted end (kasper bech dyg, 2022) paris 5:59: théo & hugo (olivier ducastel and jacques martineau, 2016) nationtime (william greaves, 1972) giants and toys (yasuzo masumura, 1958)

while i hit my continual goal of half of the films by women and nonbinary filmmakers, i still definitely need to keep up with deliberately seeking out films by directors of color! tell me your faves if you’ve seen any of these; do we think i can hit 150 titles in 2024? 👀🎬🍿🎥

i'll tag @sightofsea / @lesbiancolumbo / @nelson-riddle-me-this / @draftdodgerag / @edwardalbee / @majorbaby / @radioprune / @glennmillerorchestra / @deadpanwalking and anyone else who'd like to do this!

my full watchlist is included under the cut, favorites of the year are bolded in red:

The Final Exit of the Disciples of Ascensia (Jonni Phillips, 2019)

Nothing Bad Can Happen (Katrin Gebbe, 2013)

Dive (Lucía Puenzo, 2022)

The Menu (Mark Mylod, 2022)

The Wonder (Sebastián Lelio, 2022)

The Whale (Darren Aronofsky, 2022)

Shapeless (Samantha Aldana, 2021)

Skinamarink (Kyle Edward Ball, 2023)

Avatar: The Way of Water (James Cameron, 2022)

Actual People (Kit Zauhar, 2021)

Honeycomb (Avalon Fast 2022)

Warrendale (Allan King, 1967)

Women Talking (Sarah Polley, 2022)

This Place Rules (Andrew Callaghan, 2022)

Nationtime (William Greaves, 1972)

Deep End (Jerzy Skolimowski, 1970)

Incident in a Ghostland (Pascal Laugier, 2018)

Keane (Lodge Kerrigan, 2004)

I Start Counting (David Greene, 1970)

Bones and All (Luca Guadagnino, 2022)

Tár (Todd Field, 2022)

The Most Dangerous Game (Ernest B. Schoedsack and Irving Pichel, 1932)

These Three (William Wyler, 1936)

Dead End (William Wyler, 1937)

The Sport Parade (Dudley Murphy, 1932)

We're All Going to the World's Fair (Jane Schoenbrun, 2021)

Ratcatcher (Lynne Ramsay, 1995)

Smile (Parker Finn, 2022)

Holiday (Isabella Eklöf, 2018)

When Women Kill (Lee Grant, 1983)

Softie (Samuel Theis, 2021)

My Old School (Jono McLeod, 2022)

Beyond The Black Rainbow (Panos Cosmatos, 2010)

The Diary of a Teenage Girl (Marielle Heller, 2015)

Infinity Pool (Brandon Cronenberg, 2023)

Murina (Antoneta Alamat Kusijanovic, 2021)

The Banshees of Inisherin (Martin McDonagh, 2022)

Doubt (John Patrick Shanley, 2007)

Enys Men (Mark Jenkin, 2022)

Bully (Larry Clark, 2001)

My King (Maïwenn, 2015)

Festen (Thomas Vinterberg, 1998)

Marina Abramovic & Ulay: No Predicted End (Kasper Bech Dyg, 2022)

Elles (Małgośka Szumowska, 2011)

Poison Ivy (Katt Shea, 1992)

ear for eye (debbie tucker green, 2021)

Spring Blossom (Suzanne Lindon, 2020)

God's Creatures (Saela Davis and Anna Rose Holmer, 2023)

I Blame Society (Gillian Wallace Horvat, 2020)

Bama Rush (Rachel Fleit, 2023)

Is This Fate? (Helga Reidemeister, 1979)

Paris 5:59: Théo & Hugo (Olivier Ducastel and Jacques Martineau, 2016)

Madeline's Madeline (Josephine Decker, 2018)

The Strays (Nathaniel Martello-White, 2023)

Here Is Always Somewhere Else (René Daalder, 2007)

The Weather Underground (Sam Green and Bill Siegel, 2002)

American Revolution 2 (Mike Gray, 1969)

Judas and the Black Messiah (Shaka King, 2021)

Underground (Emile de Antonio, Mary Lampson, and Haskell Wexler, 1976)

Saint Omer (Alice Diop, 2022)

Baby Ruby (Bess Wohl, 2022)

Welcome to Me (Shira Piven, 2014)

Clock (Alexis Jacknow, 2023)

Knock at the Cabin (M. Night Shyamalan, 2023)

Blue Jean (Georgia Oakley, 2022)

Soft & Quiet (Beth de Araújo, 2022)

Jesus' Son (Alison Maclean, 1999)

The Rehearsal (Alison Maclean, 2016)

Violent Playground (Basil Dearden, 1958)

Grizzly Man (Werner Herzog, 2005)

A Banquet (Ruth Paxton, 2021)

Jagged Mind (Kelley Kali, 2023)

The Night Porter (Liliana Cavani, 1974)

Good Boy (Viljar Bøe, 2023)

Sanctuary (Zachary Wigon, 2022)

Little Girl (Sébastien Lifshitz, 2020)

Séance on a Wet Afternoon (Bryan Forbes, 1964)

Massacre at Central High (Rene Daalder, 1976)

Summer of Soul (Amir "Questlove" Thompson, 2021)

Bad Things (Stewart Thorndike, 2023)

Still (Takashi Doscher , 2018)

Lake Mungo (Joel Anderson, 2008)

The Vanishing (George Sluizer, 1988)

The Ringleader: The Case of the Bling Ring (Erin Lee Carr, 2023)

Giants and Toys (Yasuzo Masumura, 1958)

Spoonful of Sugar (Mercedes Bryce Morgan, 2022)

Double Lover (François Ozon , 2017)

Hereditary (Ari Aster, 2018)

Bodies Bodies Bodies (Halina Reijn, 2022)

Don't Call Me Son (Anna Muylaert, 2016)

Great Freedom (Sebastian Meise, 2021)

Mother! (Darren Aronofsky, 2017)

The Mind of Mr. Soames (Alan Cooke, 1970)

The Bloody Child (Nina Menkes, 1996)

Bunker (Jenny Perlin, 2021)

Polytechnique (Denis Villeneuve, 2009)

Scouts Honor: The Secret Files of the Boy Scouts of America (Brian Knappenberger, 2023)

The Woodsman (Nicole Kassell, 2004)

Giant Little Ones (Keith Behrman, 2018)

The Killing of a Sacred Deer(Yorgos Lanthimos, 2017)

Nineteen Eighty-Four (Michael Radford, 1984)

Saltburn (Emerald Fennell, 2023)

Renaissance: A Film by Beyoncé (Beyoncé Knowles-Carter, 2023)

May December (Todd Haynes, 2023)

Free Chol Soo Lee (Julie Ha and Eugene Yi, 2022)

Girl (Lukas Dhont, 2018)

Queen of Hearts (May el-Toukhy, 2019)

Streetwise (Martin Bell, 1984)

System Crasher (Nora Fingscheidt, 2019)

Burden (Richard Dewey and Timothy Marrinan, 2016)

As Above, So Below (Larry Clark, 1973)

The Captive (Chantal Akerman, 2000)

Run Rabbit Run (Daina Reid, 2023)

Subject (Jennifer Tiexiera and Camilla Hall, 2022)

Earth Mama (Savanah Leaf, 2023)

Woodshock (Kate Mulleavy and Laura Mulleavy, 2017)

Swept Away (Lina Wertmüller, 1974)

Meadowland (Reed Morano, 2015)

Brainwashed: Sex-Camera-Power (Nina Menkes, 2022)

La Ciénaga (Lucrecia Martel, 2001)

Zola (Janicza Bravo, 2021)

The Starling Girl (Laurel Parmet, 2023)

Night Comes On (Jordana Spiro, 2018)

Dance, Girl, Dance (Dorothy Arzner, 1940)

#so many good films this year!#so funny that the ones that people have really strong feelings on i did not really like this year (minus skinamarink which was incredible #and still absolutely haunts me—some of the other 2023 releases were :/)

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vampirecorleone · 8 months

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"The famous bath scene in 'Requiem for a Dream' was directly inspired by the bath scene in this movie. Another example of director Darren Aronofsky using this film for inspiration." | "The film was originally conceived as a live-action feature, but became an anime when several backers abruptly pulled out in pre-production."

Perfect Blue (1997) dir. Satoshi Kon

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listenanddie · 4 months

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Pi (1998)

Director: Darren Aronofsky

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guillotineman · 2 years

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The Whale (2022, dir. Darren Aronofsky)

#The Whale #2022 #Darren Aronofsky #Aronofsky #director #filmmaker #auteur #Brendan Fraser #first image #image #drama #movie #cinema #venezia 79

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13eyond13 · 1 month

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For book ask game, no. 13, 14, 18, 25, 26. Thx :D

Ooh thanks for sending me more book asks!

13. Name a book with a really bad movie/tv adaptation:

Watchmen (2009) by Zack Snyder was a pretty mediocre adaptation of the graphic novel by Alan Moore, from what I remember of both of them (haven't revisited either of them in a long time, but distinctly remember having this opinion back when I first read it... like oh ok, so THIS is what it's actually supposed to be like).

I feel like as a director Zack Snyder is very good at creating epic movie trailer moments or music videos with stylish visuals (this trailer for it looked pretty exciting to me at the time it was new):

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BUT then once you go to the theater and try to sit through one of his movies they usually just end up being just the most soulless drawn-out superficial and boring stuff, like watching a 3 hour long commercial. From what I remember a lot of the creative and innovative storytelling and the depth in the original Watchmen comic comes entirely from how it is presented to the reader on the page, too (with stuff like the layout of the panels and the stories-within-stories "Black Freighter" chapters that were cut out of the film entirely that cleverly parallel the present-day action, etc). Definitely recommend reading the graphic novel over watching this movie!

14. Name a book where the movie/tv adaptation is better than the original: Requiem for a Dream (2000) was a better experience as a crazy edgy depressing movie than it was as a novel by Hubert Selby Jr. to me:

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I first saw this movie without having any idea what to expect when I was about 16, and even though it's pretty shocking in parts and upsetting to watch I remember really loving it back then and thinking of it as one of my favourite films at the time (I think I had a higher tolerance for certain kinds of edgelord stuff in my stories back in those days sometimes too, haha). This movie has always felt bit like a comic or a live action horror cartoon to me somehow? I think that it kinda goes too far a bit and nearly verges on comedy instead of tragedy at the end due to just how absurd and nightmarish it gets, but perhaps that almost unbelievable heightenedness of it all is kind of why it often feels a bit like a comic or a cartoon to me, too. And I still think there's quite a bit here to enjoy even despite the edginess as well. I think the acting is often very good, the soundtrack and the sound effects and the stylish visuals are great, and that the whole thing effectively creates a lot of very strong emotions like tension and dread and tenderness and wistfulness and loneliness and horror. It's maybe the only Darren Aronofsky film I actually like?

HOWEVER whenever I read the book that it was based on a few years ago I could barely get past the stylistic choices of the writer to enjoy what was being said (he wrote it in the 70s in sort of a dated stream-of-consciousness type writing style without many paragraph breaks or any quotation marks for separating the dialogue or the inner monologue from the prose, which I just found really annoying and off-putting to read). And the part about the book I liked the best, which was the colourful and extremely memorable dialogue and the slang that the characters use, was taken almost verbatim from the book and brought to life well on the screen too, so the whole time I was reading it I was just wanting to hear it said by the movie characters again instead. idk, I think it's a movie I'd definitely watch again sometime, but not a book I'd ever read again. Just more entertaining and less of a slog that way.

18. Which character from a book is the most like you?

Oh, very good question! Hmm... there are certain characters I relate to a lot for various reasons, but i don't know if anybody would say I'm extremely like them, probably? Of the books I've read more recently I feel like I'm sort of a bit of a Frodo character or something, maybe... his personality and his peaceful lifestyle before he gets sent on his adventure just feel very much like how I'd probably be living and socializing with everybody in the Shire myself, and the way he handles stuff like the burden of the ring on him and his reasons for doing things and how he worries about his friends who insist on sticking by his side and acts sort of secretive and more reserved feels relatable to me as well.

25. If you could be a character from a book for just one day who would you be and why? (Bonus: any specific day in the story?)

I want to be Wilbur the pig from Charlotte's Web getting a buttermilk bath and then eating the trough full of leftovers he gets (as a kid I remember thinking the lengthy descriptions of all the table scraps he was eating sounded really good for some reason, and the buttermilk bath sounded delicious to me as well lol).

26. If you could be a character from a book for their entire life who would you be and why?

I think it'd be pretty fun to be Lestat from the Vampire Chronicles because from what I remember he never feels guilty or angsty about much for too long, and he just knows how to have a good time no matter what. Even when he gets super bored or super depressed and then goes catatonic for a while he always eventually manages to bounce back and find something or someone new and interesting to get enthusiastic about and involved with again. He experiences things deeply and in an open-minded way while still never getting too burnt out by it or jaded about it either. If ever I were cursed to become immortal then I think his is the kind of personality that would make it the most enjoyable, anyway.

[bookish asks]

#ask #anon #books #movies #p

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