Reblogged from Assume Yes:

Seven Japanese schoolgirls stay at a haunted house. I saw this film’s trailer a while ago (it’s embedded below, without subtitles because they’re unecessary), and, suffice to say, it stuck in my mind. It looked insane. And it is. This is the kind of film that plays with the limits of form and medium as much as possible. In that way it reminded me of Scott Pilgrim vs the World. It is also a cinematic mash-up of styles (the blurb on my DVD says “bubblegum teen melodrama and grisly phantasmagoria”) and …

Tokyo Story (1953), Yasujirô Ozu.

Brigitte Helm in Metropolis (Fritz Lang, 1927)

AMAZING!

Marriage license, did you say marriage license? Oh I love you Adam, Alex, Peter, Brian, whatever your name is.

Reblogged from The Sticky Egg:

Colin Firth has been called a prince on several occasions. Last night, he got a chance to showcase his skills. As last year’s BAFTRA Best Actor Award winner for The King’s Speech, he was called upon to present the 2012 Best Actress BAFTRA Award at last night’s ceremony.  (I watched the festivities on DVR this morning during breakfast.) Meryl Streep won for The Iron Lady, but the events that followed prove that winning ain’t always easy. As Streep started walking toward the stage, she realized she had …

“I’m just a storyteller, and the cinema happens to be my medium. I like it because it re-creates life in movement, enlarges it, enhances it, distills it. For me, it’s far closer to the miraculous creation of life than, say, a painting or music or even literature. It’s not just an art form; it’s actually a new form of life, with its own rhythms, cadences, perspectives and transparencies. It’s my way of telling a story.”

Federico Fellini

House on Haunted Hill (William Castle, 1959)

“I regret to have to advise you that we cannot approve your production Ecstasy that you submitted for our examination yesterday for the reason that is our considered unanimous judgment that the picture is definitely and specifically in violation of the Production Code. This violation is suggested by the basic story…in that it is a story of illicit love and frustrated sex, treated in detail without sufficient compensating moral values…”

— Joseph Breen, Hays Office in 1936 regarding the film ‘Ecstasy’