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l'insostenibile leggerezza dell'essere

@ilterremotodentro

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goremaya

leading lady screams

possession (1981) dir. andrzej żuławski

twin peaks (1990-91) dir. david lynch

inland empire (2006) dir. david lynch

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wellthatsprettyokay

My Brilliant Friend / L’amica Geniale Some gay thoughts and scenes, Elena Greco had in book 1 that didn’t make it into the tv show(S01) 

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wellthatsprettyokay

My Brilliant Friend / L’amica Geniale  Some gay thoughts and scenes, Elena Greco had in book 2 that didn’t make it into the tv show(S02)

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segretecose
"La maturità consisteva nell'accettare la piega che aveva preso l'esistenza, senza agitarsi troppo. Io ero la signora Airota, una donna intristita dall'acquiescenza e che, tuttavia, per combattere l'avvilimento, si era messa a studiare quasi in segreto l'invenzione della donna da parte degli uomini. Defoe, Flanders. Flaubert, Bovary. Tolstoj, Karenina. Scoprivo dappertutto automi di donna fabbricati da maschi, di nostro non c'era nulla. E quel poco che insorgeva diventava subito materia per la loro manifattura."

– L'amica geniale, Storia di chi fugge e di chi resta (Stagione 3, Episodio 7 "Ancora tu")

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metamorphesque

  ― Elena Ferrante, The Story of a New Name

[text ID: Is it possible that our parents never die, that every child inevitably conceals them in himself?]
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raspberrysgod

when elena ferrante said “there are people who leave and people who know how to be left” and when richard siken said “someone has to leave first. this is a very old story. there is no other version of this story.” and when sally rooney wrote “if i told you where my car is right now, i don’t think i’d be able to leave, i think i would have to stay here just in case you changed your mind about everything” and when mikko harvey said “the number of hours we have together is actually not so large. please linger near the door uncomfortably instead of just leaving. please forget your scarf in my life and come back later for it.”and when karese burrows wrote “i have never seen a door that doesn’t look like you leaving. look at me writing this poem. even here i don’t mean anything i say. except that I still want you. that whatever is in me still loves you deeply. it is a light i can’t turn off. i clap my hands and nothing happens.” and when margarita karapanou said “i never expected you to actually finish anything. you were always leaving. i always picture you with a suitcase in your hand.”

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maaarine

The Story of the Lost Child (Elena Ferrante, 2014)

“Gasping for breath, she cried out that the car’s boundaries were dissolving, the boundaries of Marcello, too, at the wheel were dissolving, the thing and the person were gushing out of themselves, mixing liquid metal and flesh.

She used that term: dissolving boundaries.

It was on that occasion that she resorted to it for the first time; she struggled to elucidate the meaning, she wanted me to understand what the dissolution of boundaries meant and how much it frightened her.

She was still holding my hand tight, breathing hard. She said that the outlines of things and people were delicate, that they broke like cotton thread.

She whispered that for her it had always been that way, an object lost its edges and poured into another, into a solution of heterogeneous materials, a merging and mixing.

She exclaimed that she had always had to struggle to believe that life had firm boundaries, for she had known since she was a child that it was not like that—it was absolutely not like that—and so she couldn’t trust in their resistance to being banged and bumped.

Contrary to what she had been doing, she began to utter a profusion of overexcited sentences, sometimes kneading in the vocabulary of the dialect, sometimes drawing on the vast reading she had done as a girl.

She muttered that she mustn’t ever be distracted: if she became distracted real things, which, with their violent, painful contortions, terrified her, would gain the upper hand over the unreal ones, which, with their physical and moral solidity, pacified her;

she would be plunged into a sticky, jumbled reality and would never again be able to give sensations clear outlines.

A tactile emotion would melt into a visual one, a visual one would melt into an olfactory one, ah, what is the real world, Lenù, nothing, nothing, nothing about which one can say conclusively: it’s like that.

And so if she didn’t stay alert, if she didn’t pay attention to the boundaries, the waters would break through, a flood would rise, carrying everything off in clots of menstrual blood, in cancerous polyps, in bits of yellowish fiber.”

Screencaps: My Brilliant Friend 1x04