@pscentral event 05: from your decade clueless (1995)
FERRIS BUELLER, SLOANE PETERSON and CAMERON FRYE in FERRIS BUELLER’S DAY OFF (1986) dir. John Hughes
Run mad as often as you choose but do not faint.
MANSFIELD PARK (1999) dir. Patricia Rozema
Leave the gun. Take the cannoli.
THE GODFATHER (1972) dir. Francis Ford Coppola
Harold and Maude (1971) dir. Hal Ashby
There's actually nothing wrong with the guy from harold and maude this is just what being 19 is like
You made me somebody they’re gonna remember. Bonnie and Clyde (1967) dir. Arthur Penn
Cha Cha Real Smooth (2022) dir. Cooper Raiff
DAKOTA JOHNSON as DOMINO in CHA CHA REAL SMOOTH (2022) | Dir. Cooper Raiff
French Kiss (1995) dir. Lawrence Kasdan
French Kiss (1995) dir. Lawrence Kasdan
COOLEY HIGH (1975) dir. Michael Schultz
“[PARIS IS BURNING] is a city film, in which the locale enables a practice that nevertheless cannot be undertaken entirely in the open, and so remains an underground cultural phenomenon. The film exposes an unacknowledged side of New York, a city that stands for the urban melting-pot, a notion that is rigorously questioned by the representation of those who are excluded. At the same time, New York City represents a destination for those who run away from home trying to find an alternative to the traditional family when it is experienced as oppressive.” (Barbara Mennel, Cities and Cinema)
️THE BUILT ENVIRONMENT IN MEDIA (🧱) PARIS IS BURNING (1990), dir. Jennie Livingston — and spaces for the ball subculture in New York City
One morning, over at Elizabeth’s beach house, she asked me if I’d rather go water skiing or lay out. And I realized that not only did I not want to answer that question, but I never wanted to answer another water sports question or see any of these people again for the rest of my life.
Bottle Rocket (1996) dir. Wes Anderson
Popstar: Never Stop Never Stopping + quotes I think about often
daniel plainview about to drink your milkshake
“If this continues it won’t be long before you have nothing left.”
THE BATMAN (2022) dir. Matt Reeves



