The mirror has been shattered.
But what do the splinters reflect?
Can you tell me that?

(via mabellonghetti)

The Hour of the Wolf is the hour between night and dawn. It is the hour when most people die, when sleep is deepest, when nightmares are most real. It is the hour when the sleepless are haunted by their deepest fear, when ghosts and demons are most powerful. The Hour of the Wolf is also the hour when most children are born.

I am only interested in the views of two people: one is called Bresson and one called Bergman.

”Film has dream, film has music. No form of art goes beyond ordinary consciousness as film does, straight to our emotions, deep into the twilight room of the soul. A little twitch in our optic nerve, a shock effect: twenty-four illuminated frames in a second, darkness in between, the optic nerve incapable of registering darkness. At the editing table, when I run the trip of film through, frame by frame, I still feel that dizzy sense of magic of my childhood: in the darkness of the wardrobe, I slowly wind one frame after another, see almost imperceptible changes, wind faster — a movement.”

(via swintons)

The Seventh Seal, 1957

“Is it so terribly inconceivable to comprehend God with one’s senses? Why does he hide in a cloud of half-promises and unseen miracles? How can we believe in the faithful when we lack faith? What will happen to us who want to believe, but can not? What about those who neither want to nor can believe?” - Antonius Block

(via swintons)

Tarkovsky for me is the greatest, the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream.

-Ingmar Bergman.

(via thisisappallling)

satindrapedframe:

Life trickles in from the outside, and you’re forced to react. No one asks if it is true or false, if you’re genuine or just a sham. Such things matter only in the theatre, and hardly there either. I understand why you don’t speak, why you don’t move, why you’ve created a part for yourself out of apathy. I understand. I admire. You should go on with this part until it is played out, until it loses interest for you. Then you can leave it, just as you’ve left your other parts one by one.
(Persona,1966, Ingmar Bergman)

(via satindrapedframe-deactivated201)

oldhollywood:

Bibi Andersson & Liv Ullmann in Persona (1966, dir. Ingmar Bergman)

“ My words mean nothing to you. People like you can’t be reached. I wonder whether your madness isn’t the worst kind. You act healthy, act it so well that everyone believes you. Everyone except me, because I know how rotten you are.”