Last night’s @cheunoodlebar ramen rumble: Eli Collins of @pubandkitchen vs. Justin Petruce of @petrucephilly. Congrats to Justin for taking the win! | #philly #tastingticket #ramen @hylolabs (at Cheu Noodle Bar)

test0258- into the depths | #vscocam #philly
07.21.14 /21:26/ 1

Star Wars opening day across America, 1977


Elvis doing karate
07.20.14 /14:36/ 4
test0256- summer kids | #vscocam #philly
07.19.14 /19:51/ 2
test0255- still-life with 2 whips and fresh kicks | #vscocam #philly
07.19.14 /11:32/ 1



Real Shit.Friggin Indiana Jones reppin’ Wu Tang. 

Thats han solo

07.19.14 /11:26/ 2722


Ivan’s Childhood (1962)

"Andrei Tarkovsky’s Ivan’s Childhood bears the unmistakable stamp of a calling-card film. In his book Sculpting in Time, Tarkovsky describes Ivan’s Childhood as his ‘qualifying examination.’ Taking over the reins of a project he hadn’t originated, Tarkovsky soon realized the occasion would permit him to prove his mettle as a director, if only to himself. Tarkovsky and DP Vadim Yusov determined to turn a fairly conventional war film into a poetic reverie drenched in a doom-laden atmosphere conveyed by shadowy high-contrast cinematography, poetically resonant lighting schemes, and intricately choreographed camera movements.”

Budd Wilkins, Slant Magazine

Tarkovsky’s debut has much in common with the works of his fellow Soviet filmmakers, and the influence that The Cranes Are Flying had on it is even greater than is generally acknowledged. For his graduation project, Tarkovsky had tried to approach The Cranes Are Flying’s legendary cameraman, Sergei Urusevsky, who had also shot Chukhrai’s austere revolution drama The Forty-first (1956). Urusevsky’s mastery of the camera greatly impressed Tarkovsky, and many of the decisions related to mise-en-scène, camera movement, and scene choreography in Ivan’s Childhood clearly follow the aesthetic model introduced by the cinematographer. Tarkovsky wanted the film to look as if Urusevsky had shot it, and his DP, Vadim Yusov, managed to accommodate him.

Dina Iordinova, Criterion Collection

Alternative Candidate Rating: 4.5/5


The Tarnished Angels (1957)

In this 1957 adaptation of William Faulkner’s novel Pylon, the director, Douglas Sirk, mines exotic Americana—the rustic carnival, supercharged with industrial technology—for an enduring philosophical strain of proto-feminist endurance in a land that’s both made and menaced by its intrepid warriors. With its tangled shadows, fun-house mirrors, wrenching angles, and glaring lights, the wide-screen black-and-white photography evokes the psychological dislocations and distortions of the film’s band of reckless and rootless outsiders and expressionistically thrusts Sirk’s direction front and center even as the script’s grand melodrama puts the teller of tales at the heart of the story.

Richard Brody


All That Heaven Allows (1955)

“[T]he frothy May-September (well, closer to June-July) romance All That Heaven Allows is the fountain from which directors as disparate as Rainer Werner Fassbinder, Todd Haynes, and John Waters have all drunk, marking it as the most influential of the 20-plus films Sirk directed during the 1950s. And why shouldn’t it be? For as much material as Sirk’s films gave postmodernists and camp-spotters to work with, the economy of cinematic technique and the density of emotion All That Heaven Allows donates to its supposedly flimsy scenario are as abundant as any Brechtian distancing device. Yes, its frames within frames and deliberate camera moves can be picked apart in a sophomore-level film class with the rest of them, but the film is no ‘either/or’ text meant to read in one specific way to one demographic, and an entirely different way to the other side of the generation-gender-irony gap. It’s both rapturous and clinical, warm and cold.

Eric Henderson, Slant Magazine 


Day for Night (1973)


After the Rehearsal (Ingmar Bergman, 1984)


Avtovo metro station, St. Petersburgby Andrew Miksys
07.18.14 /22:41/ 2467
Canvas  by  andbamnan