“I once had a dream, or a vision, and I imagined that dream to be of importance to other people, so I wrote the manuscript and made the film. But it is not until the moment when my dream meets with your emotions and your minds that my shadows come to life. It is your recognition that brings them to life. It is you indifference that kills them. I hope that you will understand; that you when you leave the cinema will take with you an experience or a sudden thought—or maybe a question. The efforts of my friends and myself have then not been in vain…”
— Ingmar Bergman

Sunset Boulevard | Billy Wilder | 1950
Shirin | Abbas Kiarostami | 2008
Taxi Driver | Martin Scorsese | 1976
Goodbye, Dragon Inn | Tsai Ming-liang | 2003
Stranger Than Paradise | Jim Jarmusch | 1984
Vivre Sa Vie | Jean-Luc Godard | 1962
The Aviator | Martin Scorsese | 2004
Tropical Malady | Apichatpong Weerasethakul | 2004
Amélie | Jean-Pierre Jeunet | 2001
#ALLMYMOVIES | LaBeouf, Rönkkö & Turner | 2015


‘Elaborating on the well-known aesthetics of the everyday of Ozu’s cinema…, anchored in stationary shots, Alain Bergala defines it as one in which 'the technique precedes the action, and never follows it’…, which, among other things, give rise to Ozu’s so-called 'empty spaces’ or 'still lifes’, that is, domestic spaces momentarily devoid of human presence in which one feels 'the absolute anteriority of the being-thereness of things, of their physical presence’… Likewise, the camera in Tsai [Ming-liang] demonstrates a certain indifference to human presence and on-screen action, meaning that it often remains firmly in place before or after characters have entered or left the screen…’

- Tiago de Luca, 'Sensory everyday: Space, materiality and the body in the films of Tsai Ming-liang’, Journal of Chinese Cinemas, Volume 5 Number 2 (2011), p.165.