Actress Tilda Swinton, 2005. Photo: Corinne Day.
Tilda Swinton as the Ancient One in MCU - around #1000 icons at 200x100, slightly sharpened. A smallish batch, part of a massive sorting undertaking of the MCU movies - trying to get some stuff out for smaller roles / lesser used peeps that might be more in need of resources.
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WWDITS Wednesday. S01E07. Gifset 11/12 The Trial
The other vampires don’t believe Guillermo could have killed the Baron, so they sentence the housemates to death. Then Guillermo accidentally kills another vampire, with no witnesses.
Women In Cinematography:
Tilda Swinton 🎭
Female Perversions (1997)
Uh sure ok
Kinda weird but I liked it.
It gets gay! Heck yeah!
It’s a beautiful story about surviving patriarchy and learning to support other women instead of enforcing patriarchy yourself. I think. There was some internalized homophobia I think? Unless when Rene said she didn’t want “that kind of relationship,” she meant an unhealthy one and not a gay one. Anyway pretty good.
A Bigger Splash (2015), dir. Luca Guadagnino
Tilda Swinton, nell'immagine della marchesa Kazati, è mozzafiato.
Louise Kazati-aristocratica italiana, bellezza rock, musa di poeti e artisti, mecenate delle belle arti. La contessa, la marchesa. La leonessa dell'era dell'oppio e la dea della decadenza. "... Era nota per le sue stranezze che hanno sbalordito la società europea per quasi tre decenni. La brillante regina del balletto russo tra i suoi compagni di classe era una leggenda. Ha stupito il pubblico con le sue azioni. Ad esempio, camminare con i leopardi al guinzaglio o indossare serpenti vivi come gioielli.. . " "Lady Gaga del XX secolo" - questo è come l'ha definita una delle edizioni moderne. 📷📷 Nato: 23 gennaio 1881, Milano
tilda swinton, avatars 400x640
-Only Lovers Left Alive
Tilda Swinton in 2013 by Tim Walker
Tilda Swinton, Timothee Chalamet, David Bowie. Manip for @thinwhiteduke . [Closeup of this Timmy, with makeup, in a separate post ]
Day 5 of a #December marathon of Timmy edits. Planning on 27 so stay tuned. Consider this fandom property. Repost, re-edit etc. No credit necessary. [ Main tumblr Artblog tumblr Instagram ]
Ben ropes Adam and Eve into doing another question-and-answer session with him. Things get uncomfortable.
Wes Anderson’s The French Dispatch surprisingly has a lot in common with Dune. They were released on the same day, they boast some of the most stacked casts in years (including a prominent Timothee Chalamet role in each), and they are, quite frankly, a whole lot of sensory overload. Finally, and most importantly, I consider both to be some of my favorite films of the year.
The main reason why I like it is that Anderson goes all the way in with his style and, idk, Wes Anderson-ian proclivities. Not only does it have his standard “dollhouse” aesthetic and strong animation influences, but added to that are an overwhelmingly large amount of framing devices. The French Dispatch is ostensibly a tribute to The New Yorker, and reflects this in visuals, plot, and structure. Centered around a magazine in the 1950s-70s detailing the goings-on of a town in France, the film presents itself as an issue of the magazine, with three independent “features” telling a story of their own. That’s just one of many ways Anderson decides to tell his stories, for absolutely no reason. Sometimes the film is a magazine, sometimes it’s a play, sometimes it’s a televised interview, and sometimes it’s even an animated cartoon, and I completely dig it! Things like this are what make it Dune-levels of sensory overload, where there’s simply too many details crammed into 103 minutes of screentime. The writing even follows the New Yorker theme, being so detailed and pretentious that it makes the film even harder to follow. The combination of its dense directing choices and writing might be a turn-off to some, but I believe the film still pulls it off, following its iconic quote of “Just Try To Make It Sound Like You Wrote It That Way On Purpose.” Despite all this conceptual and stylistic heavy-handedness, color, one of Wes Anderson’s strongest tools isn’t really present. 80% of the film is shot in black and white, but Anderson’s directing is so strong that its absence is barely noted. If anything, the camerawork, set design, and acting add more “color” than the few random cuts where it is present. At the end of the day, The French Dispatch is quite similar to Annette, another one of my favorite movies of the year, where there were so many times where I just had to go “damn… the director really did that?” and it’s amazing.
Like another director with the last name Anderson (hint: he directed The Master), Wes Anderson is a maestro at bringing out fantastic performances from the actors he works with. As I’ve mentioned before, the cast is absurdly stacked, to the point that a LOT of big names are stealthily squeezed in with few to no lines of dialogue. For what it’s worth, I didn’t even notice Oscar regulars like Christoph Walz and Saoirse Ronan making appearances until my dad and sister pointed it out. Cameos aside, the actors that Anderson centers in each segment of the film are what really drive it forward in his wonderful and unique stew of quirks and details. Benicio Del Toro and Frances McDormand deliver their best as per usual. Timothy Chalamet and Wes Anderson are an actor-director match made in heaven, particularly because of Anderson’s fantastic comedic command of youthful awkwardness, giving Timmy much more material to work with than he had in Dune. However, the true star of the show is Jeffery Wright, arguably giving a career best performance. Portraying a stand-in for James Baldwin and a prolific New Yorker food critic, Wright embodies a perfect combination of genius and obliviousness and delivers a once-in-a-lifetime monologue that opens a lot of doors to the true theme of this film. That monologue, in my opinion, is what really elevated The French Dispatch from Just Another Wes Anderson movie to one of my favorite films of the year and will stay in my head for every rewatch.
The French Dispatch is one of the greatest testaments to how far Wes Anderson can take the medium of film to something so unique, funny, and personal. It is, by far, tied with Pigas my favorite movie of the year (so far!) Ten stars out of ten.
mmm thinking about Rhowan's wings again. She doesn't have any in canon in the game universe but I still think about them. What they look like. She'd have owl wings, short and broad with thick round feathers, for maneuverability and silence. A silent hunter's wings. White and tawny gold, held delicately just off the ground. Always conscious of where they are. Soft and warm. Powerful.
I feel like they wouldn't be real in game, but I almost want people to see... something. Like an after-image. Like you're not sure you're seeing anything at all. In the heat of battle, you look over when Rhowan is full of her love and her rage and she's keeping hordes of enemies back, and you can see... something. When she's healing the wounded and someone is on the brink of death, and her hands are nothing but bright sunlight and her eyes are gleaming and gold, and at her back there's... something. It's like a mirage.
I like the idea. I've always kind of thought about it in the back of my mind. I don't think they're real. Maybe it's just the hazy thoughts of someone close to death, or the adrenaline racing through their veins.
But for a moment there's wings on the commander's back.