مآ أجمّل أنْ تصمتْ
فيْ ؤجهْ منْ ينتظرْ منِك الخِصَاموما أجمل أنْ تضحك
فيْ وجهْ منْ يُنتظرْ منك البكـاءْHow beautiful is it to stay silent
When someone expects you to be enraged from them.
And how beautiful it is to laugh
When someone thinks you are going to shed tears.
(Source: desertwinds)
Look at Eric Rohmer’s films. They, too, feature extended sequences of walking and talking, and he grants his actors an element of shambling freedom of the sort that seems lacking in Bergman’s film. But Rohmer’s images, too, are radically precise—as is the tension that his characters confront in them. Rohmer is a closet surrealist, and his taut visual patterns combine with his conflict-laden stories and his dialectically repressed characters to suggest a world of furious, even violent, yet latent desires. Kept firmly under pressure, these desires result in a world of aesthetic refinements that, however, should never be mistaken for daintiness or mere prettiness, and demand to be understood in terms of their animal energies.
Bat la pluie contre mon visage
C’est l’orage qui gronde au loin
Tes démons sont de passage
Fige le temps, arrête mes sentiments
Mes émotions font face alors à tes éléments
À quoi me sert ton visage d’ange ?
Je t’écris ce que mon cœur dit saisi par l’ennui
lunatique - margaux avril
tooo muchh
(Source: youcomplete-myheartbeat)
