little-men

anonymous asked:

@ all the Dads. What if you found out Dadsona was an alien? Not like, 'little green men' nonsense. More like, alien refuge nonsense and they just came to Earth to make a new life before meeting you

Robert: “I CALLED IT!” “NO YOU DIDN’T!” 

Craig: “Wait, how did you hide this in college?” “You being drunk 70% of the time helped” “Oh..”

Hugo: “Very funny” “It’s not a joke.” “Uh huh, where’s your antennae?” “I’M NOT THAT KIND OF ALIEN”

Brian: *faints*

Mat: “Groovy” “Really? Not bothered by this?” “It explains why you liked Ska so much” “MAT”

Joseph: “This is because I’m religious isn’t it?” “no, this is because I’m not from earth!” *considers it and then passes out*

Damien: *instantly leaps into asking dadsona about heir culture, history and traditions*

And then, and THEN, fucking Skinner takes Mulder’s side in front of Mulder’s FATHER which we don’t know, for the first time ever!!!!  FUCK Little Green Men was so fucking good!

The main reason I am in love with reputation (No capital R, because iTunes says so,) is because of the feeling that comes along with it. It’s the feeling of looking back at past loves and being able to shrug them off. They’re there, and they shaped who you are, yet they no longer define you. You’re no longer listening to a sad song and reminiscing about them. You look at these people who were part of your life, specially those who hurt you and used you, and are completely unaffected by them. 

For me it gives me a feeling of pure freedom. It makes me take a deep breath and want to move forward with my life. Towards something better, not longer hanging to the “what could’ve been”… Instead knowing that what comes next will be better… It will be. 

Also… 

This new album makes me feel like a fucking badass, who walks around in black high heels all the time, and uses men like little play things that I don’t give a fuck about; very empowering. You know, the whole “I need no man in my life”

… Then call it what you want starts to play and makes me want to get married and have a golden retriever and cuddle in front of a fireplace waiting for christmas

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Favorite Films, 2016

  1. Moonlight (dir. Barry Jenkins)
  2. Lemonade (dir. Kahlil Joseph and Beyoncé Knowles Carter)
  3. Certain Women (dir. Kelly Reichardt)
  4. Little Men (dir. Ira Sachs)
  5. Elle (dir. Paul Verhoeven)
  6. 13th (dir. Ava Duvernay)
  7. American Honey (dir. Andrea Arnold)
  8. The Fits (dir. Anna Rose Holmer)
  9. Green Room (dir. Jeremy Saulnier)
  10. 88:88 (dir. Isiah Medina)
  11. Toni Erdmann (dir. Maren Ade)
  12. 20th Century Women (dir. Mike Mills)
  13. Pete’s Dragon (dir. David Lowery)
  14. Personal Shopper (dir. Olivier Assayas)
  15. The Handmaiden (dir. Park Chan-wook)
  16. Paterson (dir. Jim Jarmusch) 
  17. Neon Bull (dir. Gabriel Mascaro)
  18. The Invitation (dir. Karyn Kusama)
  19. 10 Cloverfield Lane (dir. Dan Trachtenberg)
  20. La La Land (dir. Damien Chazelle)
  21. Mountains May Depart (dir. Jia Zhangke)
  22. Wiener-Dog (dir. Todd Solondz)
  23. The Love Witch (dir. Anna Biller)
  24. Everybody Wants Some!! (dir. Richard Linklater)
  25. The Eyes of My Mother (dir. Nicolas Pesce)

Honorable Mentions (in alphabetical order): Arrival (dir. Denis Villeneuve) | Batman v. Superman: Dawn of Justice (dir. Zack Snyder) | A Bigger Splash (dir. Luca Guadagnino) | Don’t Breathe (dir. Fede Alvarez) | Jackie (dir. Pablo Larraín) | Julieta (dir. Pedro Almodóvar) | Krisha (dir. Trey Edward Shults) | Kubo and the Two Strings (dir. Travis Knight) | Louder Than Bombs (dir. Joachim Trier) | Manchester by the Sea (dir. Kenneth Lonergan) | No Home Movie (dir. Chantal Akerman) Things to Come (dir. Mia Hansen-Løve) | Train to Busan (dir. Yeon Sang-ho) | The Wailing (dir. Na Hong-jin) | The Witch (dir. Robert Eggers)

Films I Missed: Aquarius | Cameraperson | Cosmos | The Edge of SeventeenEmbrace of the Serpent | Fences | Fire at Sea | Henry Gamble’s Birthday Party | Hidden Figures | I Am Not Your Negro A Monster CallsNeruda | Nocturama O.J.: Made in America | The Ornithologist | Right Now, Wrong Then | Shin Godzilla | The Woman Who Left

vimeo

after a stupid long time, i’m finally able to post my rmit grad film, for fear of little men! this thing represents 8 months of delirious work surviving off pizza shapes and academic fear alongside my friends, please enjoy

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Little Men (2016) dir. Ira Sachs
“Hey. I’m not talking to my mother anymore. Why not? She said you can’t come over. Why doesn’t she want me over? I don’t know. I don’t think your dad wants me around anymore, either. I won’t talk to my parents, then, either. Really? Really. Not unless they apologize. It’s not gonna be easy, you sure you can handle it? I can handle it.
You’re a great friend, Jake.
You too.

fandayo  asked:

Hi! I saw your small film and I was wondering if you could provide background information to it? I really loved the style and animation and the ending left me feeling so shocked bc I did not expect it to end the way it did. (It was p sad)

Hi! I hope you don’t mind if I post this publicly, I’ve had a few questions like this so I’ll give you guys some background on how it was made/my original intention. If you’re interested, I’ve put a lot of my development work in this tag.

From very early on in my development process I wanted to do some kind of fairytale. I wanted it to be kind of spooky, kind of sad, and kinda contemplative. I love the fluid nature of folk tales and myths and lore, in that they represent generations of fear and wonder being passed on and on and changed to represent the natures of the people telling them. I also love how environment-based they are. Some of my favourite stories growing up were stories those where the environment itself was a powerful narrative force. 

While looking for a fairytale to use as a baseline, I was recommended William Allingham’s ‘The Fairies’, which is where my title ended up coming from. I’d already been looking at stuff from Midsummer Night’s Dream and a favourite play of mine, ‘The Weir’, both of which alight on the topic of changelings, and it felt like a good place to start. Irish fairytales came up again and again, and it’s along those lines that I did the bulk of my research. Originally, my film was going to be majorly based on these lines:  

They stole little Bridget/For seven years long;/When she came down again/Her friends were all gone./They took her lightly back,/Between the night and morrow/They thought that she was fast asleep,/But she was dead with sorrow./They have kept her ever since/Deep within the lake,/On a bed of flag-leaves,/Watching till she wake.

The little girl in my film was referred to as Bridget throughout my production process, to my mind she is a changeling child taken long before the setting of the film. Originally the story was going to be about a traveller haunted by a ghostly girl, and who eventually discovers her body, kept preserved in the woods by fairies for years. Fairies are a chaotic, natural force, they’re a living embodiment of the environment they’re conjured out of. To my mind they’re completely amoral, they have no understanding nor interest in the consequences of their actions, which is also a trait I associate with young children. Combining those two forces to make Bridget my antagonist felt like a better way to upset my audience’s idea of right and wrong. Ultimately, Bridget is not ill intended, she’s not trying to trick the mother, she’s not trying to kill the baby. What she wants is a friend, and she just happens to have supernatural forces at her disposal to make that happen. 

I wanted the film to feel like a fairytale, but not disney. My style and mood references were Ivan Bilibin’s illustrations, Ghibli films like Princess Mononoke and Spirited Away, Frederick McCubbin’s paintings, and Over the Garden Wall. I wanted it to address the pervasive nature of storytelling, and how it can alter our choices and perspective (the innkeeper turning the mother away at the beginning is both foreshadowing and a comment on those who turn away the weak out of exaggerated, ignorant fear), and the inalienable power of natural forces over human beings. The mother is distraught and grief-stricken, but Bridget, and the fairies, and the forest, don’t care. She is nothing to these greater forces; her loss is completely senseless and awful and yet there is no greater evil to rail against. I don’t know if I achieved it, but I wanted the only malicious choice made in the whole film to be the innkeeper’s. The mother is a victim of natural forces, but she is first and foremost the victim of human indifference to her suffering. You cannot hold the fairies responsible for the death of her child any more than you could hold a drought responsible for the deaths of environmental refugees. Those to blame are those who saw people in need and did nothing, or worse; turned them away. 

Anyway this has gotten too long. Ultimately: I love horror stories, and I love nature as a narrative force, and I love examining storytelling as a moral tool, and to me, old fairytales encompass all of that. I wanted to make a spooky film with spooky woods and a spooky ghost child and that’s what I DID.

It Ain’t Me: Part 7

Jungkook x reader ft. Yoongi

Request: Can you make a fake text about how bf hears a rumor about y/n and decides to break up without even knowing the true facts

Genre: Angst

Words: 2.4 K

Part 6 | Part 8




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The Mysterious Little People of Alaska

The most common name for them is Inukin and they’re generally small in stature but big in strength and supernatural powers. They dress like Natives and have Native habits like smoking, but pull off their hats and hoods and you see their pointed little heads and ears.

In 1993, the Arctic Sounder ran accounts, republished in the Anchorage Daily News, from people who had seen or heard stories of Inukin. Flora Penn described seeing a little man sitting on the root of a driftwood tree smoking a pipe while she was out berry picking with a friend on a trip up the Noatak River in Northwest Alaska. 

“He had a pointed head, a big nose and pointed ears. We tried to hide and watch him for about an hour. He just smoked and looked around. Suddenly he jumped up and began to run toward the high mountains,” Penn told the Arctic Sounder.  Old stories say that the little people used to stay with the big people long ago. Until one time a little person’s child was playing with the big people’s kids. Just playing and a dog gobbled up the baby of the little person. Ever since then the little people could never stay among the people. 

Joe Sun a villager recalls a story her heard “I hear from my parents in the Maniilaq area that there was this man hunting. He had a real rifle. (Not the old kind that you had to load through the barrel with a rod.) He saw a caribou he wanted to get close to, to have a shot at it. He saw another person trying to hunt this caribou too. When this man, a big man, got close to shoot the caribou it changed into a little man. The big man jumped at the little man who escaped and began running and climbing up the mountain.”