Film Stills

First: Carol Reed’s ‘The Third Man’ c. 1950

Second: Baz Luhrmann’s ‘Romeo + Juliet’ c. 1996

Third: Katsuhiro Otomo’s ‘Akira’ c. 1988

Fourth: Michael Mann’s ‘Thief’ c. 1981

Fifth: Quentin Tarantino’s ‘Pulp Fiction’ c. 1994

Sixth: Gaspar Noe’s ‘Enter the Void’ c. 2009 

The sense of unhappiness is so much easier to convey than that of happiness. In misery we seem aware of our own existence, even though it may be in the form of a monstrous egotism: this pain of mine is individual, this nerve that winces belongs to me and to no other. But happiness annihilates us: we lose our identity.
—  Graham Greene, The End of the Affair

Ok @macrolit I see your The End of the Affair, and I raise you two vintage editions along with The English Patient and Oscar & Lucinda (aka my ode to Ralph Fiennes literary adaptations). I really love these editions of The End of the Affair. They are so different and lovely in their own ways.

“I got good news and bad news. Bad news is you’ll never be the same. You’ll never be whole. Ever. What was taken from you can’t be replaced. Your daughter’s gone. Now the good news – as soon as you accept that, as soon as you let yourself suffer, allow yourself to grieve … You’ll be able to visit her in your mind, and remember all the joy she gave you. All the love she knew. Right now, you don’t even have that, do you? He said, “that’s what not accepting this will rob from you.” Take the pain … Take the pain, Martin. It’s the only way to keep her with you.“

— Cory Lamber, Wind River (2017)