(Source: viviling, via velvette-noir)

velvette-noir:

Belle De Jour (1967)

velvette-noir:

Belle De Jour (1967)


Motorpsycho (1965)
la-petite-souris:

Bring on summer.

la-petite-souris:

Bring on summer.

(Source: gentleconsideration)


The Blood Spattered Wife (1972)
IMDb synopsis: 
After getting married with her husband, Susan travels with him to his isolated manor. The sexual drive of the husband is intense, and Susan feels revulsion towards his sexual games and perversions. Susan notes that there are only paintings of his male ancestors and none of their wives and she learns that thir pictures are kept in the basement. When she sees the painting of Mircalla Karstein, a.k.a. Carmilla, without her face, her husband tells that Carmilla killed her husband during their honeymoon. During the night, Susan has dreadful nightmares about Carmilla. When Susan’s husband finds a naked woman buried on the beach, he brings her home and finds that she is Carmilla. Susan is seduced by the woman and they have a lesbian relationship. Meanwhile her husband realizes that his life is in danger and Carmilla is a vampire.
Male fantasies, male fantasies, is everything run by male fantasies? Up on a pedestal or down on your knees, it’s all a male fantasy: that you’re strong enough to take what they dish out, or else too weak to do anything about it. Even pretending you aren’t catering to male fantasies is a male fantasy: pretending you’re unseen, pretending you have a life of your own, that you can wash your feet and comb your hair unconscious of the ever-present watcher peering through the keyhole, peering through the keyhole in your own head, if nowhere else. You are a woman with a man inside watching a woman. You are your own voyeur.
written by

Margaret Atwood, The Robber Bride (via helplesslyamazed)

Again Atwood just gets it.

(via walterbasedjamin)

(Source: courcel, via suziecarmichael)

stormtrooperfashion:

Moa Åberg in “Beauty” by Camilla Akrans for Vogue Italia, March 2013

stormtrooperfashion:

Moa Åberg in “Beauty” by Camilla Akrans for Vogue Italia, March 2013

nosex:

LA FEMME PUBLIQUE (ANDRZEJ ŻUŁAWSKI, 1984)

nosex:

LA FEMME PUBLIQUE (ANDRZEJ ŻUŁAWSKI, 1984)

(via velvette-noir)

tropicacid:

jane in la piscine (1969)

tropicacid:

jane in la piscine (1969)

(Source: to-thecape, via velvette-noir)

epicnudesofcinema:

Carla Brait & Angela CovelloTorso

epicnudesofcinema:

Carla Brait & Angela Covello
Torso

magic-of-cinema:

L’amant 1992 / Jean-Jacques Annaud

magic-of-cinema:

L’amant 1992 / Jean-Jacques Annaud

Quand est-ce le vrai amour commence?
Au début, c’était un incendie, les éclipses, les courts-circuits, la foudre et les feux d’artifice; l’encens, des hamacs, des médicaments, vins, parfums, puis spasmes et du miel, de la fièvre, de la fatigue, de la chaleur, des courants de feu, fête liquide et orgies, puis rêves, visions, des bougies, des fleurs, des photos, puis des images sur des contes de fées, les dernières nouvelles, les pages d’un livre, un poème, puis des rires, puis la chasteté.
A quel moment le coup de couteau s’enfonce si profondément que la chair commence à pleurer d’amour ?
Au début, le pouvoir, la puissance, puis la plaie et l’amour, et l’amour et la crainte, et la perte de soi, et le don, et l’esclavage. Au début, j’ai décidé, moins aimé, puis plus, puis l’esclavage. L’esclavage à son image, son odeur, la soif, la faim, la soif, l’obsession.
written by Anaïs Nin (via carnets-intimes)

(via au-fil-de-mes-envies)