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“Audrey Hepburn at Costa Azurra” by Terry O’Neill.
Still from “Liberdade”, by Gabriel Abrantes and Benjamin Crotty,  2011. Luanda, Angola. Liberdade, an Angolan boy, stands with Betty, who is Chinese. The two young lovers ride the storms of adolescence in a journey that will take them to see the most incredible urban and natural landscapes Angola: China’s Shanghai karaoke from Bahia to ship graveyard in Santiago Beach. Through this exploration, Liberdade and Betty are trying to forge their identity and confront their ethnicity.Gabiel Abrantes is one of the most interesting young filmmakers contemporaries (of course the statement is questionable, as any other, let alone when it comes to cinema), his style film after film begins to become clear and more precise, to structure a recognizable poetic , a world-view images for all film-style “tropicalist.” In 2010 he founded the Lisbon film production company “A Mutual Respect”, a young production company engaged in the production of low-cost experimental cinema, attentive to the language of cinema. To Abrantes is a cinema complex in its whirling reproduction of narrative schemes recursive, in its cinema fact return issues and situations, as well as the fact of its sign each film with co-directors different (in this case Benjamin Cotty, most frequently Daniel Schmidt), as if to emphasize the ontological impossibility of being single author of a cinematographic work. In his films tend to put polarity, distant worlds, different visions, which for some reason the captain face to face, all by September extraordinary natural that leave the audience amazed. Underground runs well as a continuous class conflict between the characters and the company or between them. (Description from an article originally pubished in Italian at  Rapporto Confidenziale)
“Mickey & Mallory Knox”, by Sidney Baldwin.
forgottencityiram: Andrei Tarkovsky and his mother, Maria Vishnyakova.
Andrey Tarkovsky’s working diary. Notes about “MIrror”.
Béatrice Dalle, 37º2 Le Matin. Photography by Jean-François Robin.
Lauren Bacall. Unattributed.
“La Fin du Monde”, Abel Gance, 1931.
Richard Serra, Hand Catching Lead, 1968.
I’m ready for love. Malcolm McDowell, Stanley Kubrick & crew, staging the rape scene of “A Clockwork Orange”. Unattributed.
“Norma Jeane Dream” by Roger Guetta.