o nariz de Jules Dassin

Bon Iver

Sergeant Rutledge

"Apart from serving as one of the key inspirations and reference points for Pedro Costa’s digital Portuguese masterpiece Colossal Youth (2006), this unusually expressionistic western by Ford—centered on the trial of a black cavalry officer (Woody Strode) accused of rape and murder, and structured around a good many flashbacks—is especially notable for its very theatrical lighting schemes. But it’s also potent, above all, because of the rare emotion that Strode brings to the title part. The political incorrectness that seems inextricably tied to some of Ford’s finest insights and moments comes to the fore in Strode’s climactic scene at the trial. Even if some other aspects of this film are labored and formulaic, this is a far more plausible attempt by Ford to deal with ethnic persecution and racism than his lamentable Cheyenne Autumn (1964)—which purports to make amends for Ford’s earlier treatment of Native Americans and then ultimately avoids dealing with them at all by treating them like ersatz Holocaust Jews." - Jonathan Rosenbaum

aqui: ten underappreciated John Ford films

Joe Henry

"Every truth carries blame
And every light reveals some shame
Progress rides with thieves and whores
The stowaways of civil war,"

frio de morte.

(um dia inteirinho sob o signo "Pierrot le fou". Caralho caralho caralho.)

Há quem dê graças a Deus por poder viver no inferno.

Cérebro mirrado por ano e tal de mutismo. Uma pessoa fica com o enjoativo sentimento de estar a enterrar-se, mas de ainda se encontrar bem longe do fundo.

Ando metido num sonho falso. Durante o qual, bem entendido, tudo é irreal como num sonho, mas em que o sonhador também está, do início ao fim, consciente da sua precariedade e finitude.

Ben Shahn

Handball, 1939
The Museum of Modern Art, New York


Untitled (Houston Street Playground, East Houston Street, New York City), 1932–35
Fogg Art Museum

**


Three Men, 1939
Fogg Art Museum


Untitled (Lower East Side, New York City), 1933–34
Fogg Art Museum