Femi Benussi and Rita Calderoni in Questa libertà di avere… le ali bagnate (Alessandro Santini, 1971)
From L’alphabet des Lesbiennes, special edition of Playfilm, undated (early 1970s)
Via Au carrefour étrange

Femi Benussi and Rita Calderoni in Questa libertà di avere… le ali bagnate (Alessandro Santini, 1971)

From L’alphabet des Lesbiennes, special edition of Playfilm, undated (early 1970s)

Via Au carrefour étrange




Still from The Deadman by Peggy Ahwesh, 1989 (Based on Le Mort by Georges Bataille, the story of Marie and her last night of extremes)
Also

Still from The Deadman by Peggy Ahwesh, 1989 (Based on Le Mort by Georges Bataille, the story of Marie and her last night of extremes)

Also




Still from Tears of Eros by Peggy Ahwesh, 1996 "A lexicon in the style of Georges Bataille"

Still from Tears of Eros by Peggy Ahwesh, 1996 
"A lexicon in the style of Georges Bataille"




liquidnight:

Kiss Me Deadly (1955, dir. Robert Aldrich)
[via  If Charlie Parker Was a Gunslinger, There’d Be a Whole Lot of Dead Copycats]

liquidnight:

Kiss Me Deadly (1955, dir. Robert Aldrich)

[via If Charlie Parker Was a Gunslinger, There’d Be a Whole Lot of Dead Copycats]




Florinda Bolkan and Anita Strindberg in Lizard in a Woman’s Skin (Lucio Fulci, 1971)
From L’alphabet des Lesbiennes, special edition of Playfilm, undated (early 1970s)
Via Au carrefour étrange

Florinda Bolkan and Anita Strindberg in Lizard in a Woman’s Skin (Lucio Fulci, 1971)

From L’alphabet des Lesbiennes, special edition of Playfilm, undated (early 1970s)

Via Au carrefour étrange




batarde, kawahineaihonua:

Twin Peaks: Fire Walk With Me (David Lynch, 1992)

batardekawahineaihonua:

Twin Peaks: Fire Walk With Me (David Lynch, 1992)




Isabella Rossellini in Blue Velvet (David Lynch, 1986)

Isabella Rossellini in Blue Velvet (David Lynch, 1986)




Stills from Ziarno (Grain) by Teresa Tyszkiewicz, 1980

Watch here

"The film Grain, deprived of any apparent beginning and end, is a dynamic and expressive account of the confrontation of a human being with the surrounding reality and negotiating one’s own boundaries in the world. Similarly to Day After Day, the artist enters here in a spontaneous and extremely physical contact with the environment. This time, however, she does not investigate material culture and its influence on the self and gender performativity, but unveils the underlying structure of human iconosphere.

She juxtaposes her body with the archetypal images of dirt, pleasure, triviality, luxury, incessantly shifting accents of her interaction with the world, with her insatiable touch reducing her very self to the level of a scrap of animated matter. Visions full of abstract beauty intertwine to create an elaborate content-related and visual structure. The film was also eagerly interpreted in the feminist context. The artist investigates here the problems of female sexuality in the contemporary sphere of meanings and symbols.” 

— D. Crowley, The Art of Consumption, in 1,2,3… Avant-gardes. Film/Art Between Experiment and Archive, eds. Ł. Ronduda, F. Zeyfang, Warsaw 2006; Ł. Ronduda, Polish Art of the 70s Avant-garde, Warsaw 2009




Stills from Young Adam (David Mackenzie, 2003)




Stills from Silver Nerve by Tunga, 1987

Also




vyr, shihlun:

Spellbound, Alfred Hitchcock. 

vyrshihlun:

Spellbound, Alfred Hitchcock. 




Stills from Syntagma by Valie Export, 1983

Also




frenchtwist:

Pour vos beaux yeux (For Your Beautiful Eyes) by Henri Storck, 1929
with screenplay by Félix Labisse

You can watch this short film (6min 41sec) at the link.



Surviving Life / Přežít svůj život (Jan Švankmajer, 2010)

Also (+)




blue-of-noon, earlyfrost:

Marlene Dietrich veiled by cigarette smoke in Shanghai Express (dir. Josef von Sternberg, 1932).

blue-of-noonearlyfrost:

Marlene Dietrich veiled by cigarette smoke in Shanghai Express (dir. Josef von Sternberg, 1932).