The poster of Fruit of Paradise is by Eva Švankmajerová, of Pearls of the Deep is by Jiří Balcar, of The Apple Game is by Jaroslav Fiser. I couldn’t identify the artist of the Daisies poster.
RIP Věra Chytilová.
His name is Berkin Elvan. Berkin Elvan was 15 years old when he got hit by a tear gas capsule on his way to buy bread. He was not a “gezi protester”, he was just a kid who left home to buy food. 269 days ago Berkin Elvan was alive and his weight was 45 kg. When his death declared this morning, he was 16 years old and only 16 kg. He is killed by police brutality, he is killed by the government. He is killed by Turkish press that takes direct orders from the prime minister. Still, the police who pulled the trigger is not known. Probably because no judge or prosecutor gives a damn about who your killer is, while they are busy saving the governments ass from corruption allegations.
Today, we are living in a damn country that you can’t be sure if you can come back to your home alive or if not, whether your murderer will be found. We are sick, tired and angry. But not dead yet.
His name is Berkin Elvan, and he will be 16 years old, forever.
“He does still surprise me and he makes me hungry to work with him and see what he does and comes up with. [The Master] was something that I came up with because I wanted to spend more time with him. We’d worked together a lot, five times. But it was never enough. It was a supporting part or something like that. It never felt like we’d gotten super dirty enough together" - Paul Thomas Anderson
La Vie d’Adèle / Blue is the Warmest Colour (2013)
This ending is one of my absolute favourites and I love it for multiple reasons. The fact that it’s an open ending perfectly matches the (French) title of course: there’s still so much ahead of Adèle, yet here the movie ends, because it solely exposed the first two chapters of her life. She physically turns a corner in this scene, which relates to the character on a higher, more metaphorical level of course, as well as it clearly marks a narrative break in the story: the end of “her” second chapter. The fact that this film chooses a cinematography that forces the audience to never let loose of it’s protagonist and is therefore for 95% shot in an all-revealing close-up, makes it one of the reasons to watch and cherish it. Nevertheless, this film ends with a (medium to) long shot of Adèle which is quite remarkable, as if she is ultimately free to go. She’s no longer bound by the oppressive close-up: both director and audience are now forced to release her at last. And, of course, she’s dressed in blue, referring to the one girl she unwarily fell in love with and has (unintentionally) defined her character and life.