elle (@cinearwen) header
elle (@cinearwen) profile picture

⠀filmtwt false prophet sacrifice material patron saint

༊*·˚ ⠀21 ⠀nb ⠀☭
Joined July 2022
Photo by elle (@cinearwen)Photo by elle (@cinearwen)Photo by elle (@cinearwen)Photo by elle (@cinearwen)Photo by elle (@cinearwen)Photo by elle (@cinearwen)Photo by elle (@cinearwen)Photo by elle (@cinearwen)Photo by elle (@cinearwen)Photo by elle (@cinearwen)
all of camp miasma laid out in front of your eyes but all you could see was me
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sebastián was not a facist nor "upholding fascism." the facist regime succeeded until franco's death and was then handed off under a different title. si genuinamente saliste de ver la bola negra creyendo que sebastián era un fascista sin sentimientos no creo que merezcas respirar
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sebastián cuando rafael saltó por la ventana
Fool me once Ok love you Fool me twice Ok love you
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funny how americans expect the rest of the world to know every bit of their history and understand their historical movies perfectly and yet a spanish movie comes out there and no one cares to look for some historical context
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do people know that the spanish civil war was won by the fascist regime and that lead to a 40 year fascist dictatorship so no people didn't get punished for standing on the fascist side is very important you guys know that
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now i'll wear these scars for life i loved you when it hurt inside to but in the lowlight you know i'd do anything for you
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my honey's heart is blue and a second offbeat
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Replying to @coltwound
nicole dollangager tried to sell me columbine merch
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Joan Baez by Dick Rowan, 1963.
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if you fell in love with me, i’d let you
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estaba muy asustado sebastián, pero te encontré
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between this and recent discourse on miasma being "too masturbatory," i think an odd resistant to evolution aftertaste is left in these critic's mouths whenever a film depicting queer experiences not just takes itself seriously, but allows itself to take up space to be grand
“La Bola Negra,” a new film by Javier Ambrossi and Javier Calvo, dramatizes gay repression and liberation across three interconnected stories. At first, the year is 1937 and viewers are thrust deep into the Spanish Civil War, where a Nationalist soldier and a wounded Republican freedom fighter exchange furtive glances. By the end, it’s 2017, and a Madrid-based historian need only look to Grindr to satisfy an urge. The movie “wants to be a sweeping historical epic of gay longing—a film about what it means to be a man who desires other men in times of war and peace,” Justin Chang writes. Instead, the directors have produced “a film that insists, arrogantly and aggressively, on its own monumentality”. Even compelling performances from Glenn Close, Penélope Cruz, and Lola Dueñas fail to rescue the extravagantly overwrought film. Read Chang's full review: newyorker.com/culture/the-cu…
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what is with shoving queer stories into a corner wherein they need to be timid and ashamed. nothing more nor less
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she's such a nerd (lovingly)
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la estrecha relación entre una estudiante de letras y federico garcía lorca
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this poster oh mi amor trágico
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i cannot wait to rewatch la bola negra now i have read lorca poems and scathed the topsoil surface of his work. i suffer from blood loss and sentimental value toward this particular moment in my life. ambu mluance
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aguanto la respiración cada vez que veo la escena de carlos en el bar. y esto no es ni la mejor parte
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la bola negra at the london film festival is among few films i feel alleviated to have experienced surrounded by people (reclusive introvert that i am) taut stillness and silent weight felt across an audience cannot not touch your heart
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"angry daughter" who listens to the sundays and bakes apple cinnamon muffins the moment i am left alone
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