Carol Aird + cigarettes
Source: katherinestreep
A sampling of aperture framing in Carol (Todd Haynes, 2015)
In one aesthetic stroke these apertures simultaneously articulate the film’s themes of isolation, enclosure, and entrapment, as well as those of intimacy, fetishism, and photography.
Cate Blanchett on the set of Carol (2015) dir. Todd Haynes
glaukopis
“It would be Carol, in a thousand cities, a thousand houses, in foreign lands where they would go together, in heaven and in hell.” Patricia Highsmith, The Price of Salt
Happy April 17th (Carol/Therese Reunion) (ﾉ◕ヮ◕)ﾉ*:･ﾟ✧
I looked at a lot of films from, per se, women filmmakers. I looked at Andrea Arnold; I looked at Lynne Ramsay’s work. Those are the two that come to mind. I think a woman’s gaze is different. Like, Blue Is the Warmest Color — is that the title? right? I always get it wrong — to me, is absolutely a male point-of-view of female sexuality. I think Todd [Haynes]… maybe because, being gay, he’s much more sensitive to a woman’s point of view. It’s in the details: things that are suggested without the overtness. And maybe that’s the difference between male sexuality and female sexuality, you know? Maybe that’s it. I don’t know, but… or we’re all male and female. So that part of us.
intoxicating chemistry indeed
flung out of space
Friday, April 17th 1953 - Oak Room, Ritz Tower Hotel
It’s Carol, Carol as Therese has always seen her and as she will see her evermore like in a dream or a single, defining memory, substantial yet elusive. She moves towards her… Carol watches with a smile burning in her eyes. Therese has nearly arrived.
