Se a verdade aparece de início como harmonia entre a coisa e sua expressão, então, em seguida, ela é produzida pela coisa mesma, ou seja, as grandes paixões. A verdade, então, transforma-se um postulado de estilo voltado contra o critério onipotente da décence.
Palavras ao vento, Douglas Sirk, 1957
Centro Cultural Banco do Brasil, São Paulo - 35mm
“My mother was very funny. Had a great sense of humor. Yeah, that’s right. She was so funny, she ran off with this big, fat butcher.”
A morte de um bookmaker chinês, John Cassavetes, 1976
Cinemateca brasileira, São Paulo - 35mm
Richard: No place like home.
Maria: What?
Richard: I said, Have you ever been to Rome?
Faces, John Cassavetes, 1968
Cinemateca brasileira, São Paulo - 35mm
Soon I will be done
With the troubles of the world
Troubles of the world
Troubles of the world
Soon I will be done
Troubles of the world
I’m going home to live with God
No more weepin’ and wailin’
No more weepin’ and wailin’
No more weepin’ and wailin’
I’m going home to live my Lord
Soon I will be done
With the troubles of the world
Troubles of the world
Troubles of the world
Soon I will be done
Troubles of the world
I’m going home to live with my Lord
Imitação da vida, Douglas Sirk, 1959
Centro Cultural Banco do Brasil, São Paulo - 35mm
Sarah: Just please tell me what this play doesn’t express.
Myrtle: Hope.
Noite de estréia, John Cassavetes, 1977
Cinemateca Brasileira, São Paulo - 35mm
