written and directed

EVERYTHING EVERYWHERE ALL AT ONCE 2022, dir. Daniel Kwan, Daniel Scheinert

Alejandro Marco Montalvo

Louis Veray, (1885), detail of La Moissoneuse endormie Ph. Gerard Hermand

I finally understood how he could be happy running around so free. It’s because he has a place he can always return to.

Carrie (1976)

Stills from the abstract film “Light Rhythm.” Close Up. 1930.

Internet Archive

“Li-zhen’s beautiful cheongsams express her predicament, as she is torn between old and new. In harmony with the set designs, the stylised flowers that adorn many of her dresses evoke the changing seasons and the transitory nature of life, drawing on traditional Chinese cultural themes. More than half the patterns are abstract, denoting a contemporary Western style that is also evident in her beehive hair-do, and her expensive jewelry, handbags and shoes. The cheongsams encapsulate [the] opposing forces of tradition and modernity, revealing a femininity at once sexualised and constricted.” — Pam Cook, Screening the Past : Memory and Nostalgia in Cinema.

‘花樣年華’ IN THE MOOD FOR LOVE (2000) dir. Wong Kar-wai —costume design by William Chang, tailored by 瀚艺 & 年華時裝公司

HIROSHIMA MON AMOUR, 1959 dir. Alain Resnais

You think you’re in love, but love is something different.

Les Parapluies de Cherbourg (1964) dir. Jacques Demy

This verdigris will overtake your swords and your coins and your battlements and, try as you might, all you hold dear will succumb to it. Your skin, your bones, your virtue.

The Green Knight (2021) dir. David Lowery

DER HIMMEL ÜBER BERLIN — aka WINGS OF DESIRE (1992), dir. Wim Wenders

Audrey Hepburn during filming of the 1957 Allied Artists production Love in the Afternoon, Gambais, 1956 - photographed by George Konig.

When there’s no more room in hell, the dead will walk the Earth.

All the Colors of the Dark / Tutti i colori del buio (1972) dir. Sergio Martino

Happy Together (1997) dir. Wong Kar-wai