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greensparty · 10 months

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Stuff I’m Looking Forward to in August

We are now deep into the Summer. No holidays this month, but here is what’s on my radar:

Movies:

Dreamin' Wild

This musical biopic is about brothers recording an album in the 70s and then the album finally gets discovered thirty years later. There’s a lot of musicians who have had similar experiences (Death comes to mind) but this is based on Donnie Emerson and his family. Opens 8/4.

Strays

Alright, I admit a bunch of celebrities voicing dogs didn’t have me at first, but I’m looking forward to it because it’s directed by Josh Greenbaum, director of one of my favorite documentaries of the last decade Too Funny to Fail and the trailer got me laughing. Opening 8/18.

You Are So Not Invited to My Bat Mitzvah

Adam Sandler has been on a roll lately and in his newest starring / producing vehicle, his actual wife and daughters co-star in this bat mitzvah comedy. Netflix premiere on 8/25.

Music:

Neil Young Chrome Dreams

Recorded from 1974 to 1977, this Neil Young album was never released. In 2007, he released the sequel to the widely bootlegged album. Excited to see it’s official release on 8/11 (review coming soon).

Aerosmith Greatest Hits

In 1980, Aerosmith released their Greatest Hits album filled with 10 hits from the 70s. It is one of their biggest selling releases (12 times platinum). It was re-issued in 1997 with more tracks. There have been other compilations since then, but this new deluxe edition of 44 tracks is coinciding with their upcoming farewell tour. Album drops 8/18 (review coming soon).

Joe Strummer and the Mescaleros Live at Acton Hall

Recorded on Nov. 15, 2002, this benefit concert was one of the final live appearances of Joe Strummer before his death on Dec. 22, 2002. Especially noteworthy about this concert is that Strummer was joined onstage for some songs by his old Clash bandmate Mick Jones. In 2012, there was a Record Store Day release of this, but this marks the first official release on vinyl and CD and remastered. Album drops 8/18 (review coming soon).

Alice Cooper Road

Call this my Summer of Alice Cooper: in June I got to review his super group Hollywood Vampires’ live album, then I got to cover the re-releases of School’s Out and Killer, and just last week I saw Hollywood Vampires live in Boston. Now the King of Shock Rock is back with his 22nd solo album, dropping 8/23 (review coming soon).

TV:

Ahsoka

Rosario Dawson stole some scenes as Ahsoka Tano on The Mandalorian. Now the character is getting her own limited series taking place post-Episode 6 around the time of Mandalorian. Disney + premiere on 8/23

Conventions:

FAN EXPO Boston

The annual Boston comic con hits the Boston Convention and Exhibition Center. Good news is that even with the WGA and SAG strikes, celebrities can attend and sign and even do some panels (as long as it’s not about struck work). This year’s guests include Henry Winkler, William Shatner, Hayden Christiensen, Jason Lee, Peter Weller, Robin Wright and more. The fun happens from 8/4 to 8/6.

#stuff i'm looking forward to #dreamin' wild #bill pohlad #strays #josh greenbaum #you are so not invited to my bat mitzvah #sammi cohen #neil young #aerosmith #joe strummer and the mescaleros #Alice Cooper #ahsoka #FAN EXPO Boston #film geek #music nerd #tv #convention

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usuallywisestarlight · 2 years

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"Dreamin' Wild" llega al Festival de Venecia con Beau Bridges, Casey Affleck, Jack Dylan Grazer, Zooey Deschanel, Bill Pohlad, Walton Goggins y Noah Jupe. Foto ©M. Angeles Salvador

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#Beau Bridges #Bill Pohlad #Casey Affleck #Dreamin&039; Wild #Festival de Venecia #Jack Dylan Grazer #Noah Jupe #Walton Goggins #Zooey Deschanel

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wayzata · 1 month

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Lindsay Pohlad Announces "Eloise" Restaurant Adjacent to The Grocer's Table

In a move that promises to further enrich Wayzata’s culinary scene, Lindsay Pohlad unveils plans for “Eloise,” a new restaurant adjacent to her acclaimed establishment, The Grocer’s Table. Named after her mother-in-law, Eloise Pohlad, the new venture aims to capture the essence of timeless elegance and community spirit. Guests of The Grocer’s Table often liken their experience to dining in the…

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#Eloise #Lindsay Pohlad #Wayzata Restaurants

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bigbuxbolds · 1 month

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who's the angry twins fan that did this to pohlads wiki page 😭😭

#minnesota twins #twins ownership slashed the salary budget during the off season #which was one of the reasons why the polanco trade happened #n why we didnt make a whole lotta big deals for new players #so a lot of people r blaming the twins slow start on pohlad #this edit is so funny tho #never come across a wiki vandalism in the wild before #it was apparently made 5 days ago dksjj

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popentertainment-interviews · 8 months

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Bill Pohlad, Donnie Emerson and Nancy Emerson

In Their Wildest Dreams

By Jay S. Jacobs

Thirty-some years is a long time for it to take to become an overnight success.

Just ask brothers Donnie and Joe Emerson. In the late 1970s, they were teenagers living on a sprawling farm in the tiny town of Fruitland, Washington. They were both fascinated by music – particularly Donnie, who was a singer, songwriter and multi-instrumentalist. (Joe played the drums.) Seeing their passions, the Emerson’s parents Don Sr. and Salina built a state-of-the-art recording studio on the farm.

The boys recorded an album called Dreamin’ Wild, which was released on the family’s own Enterprise & Co. record label. (Donnie was 15, Joe was 17 when Dreamin’ Wild was released.) The album was a slight success locally, but never really gained much traction. In fact, Don Sr. ended up selling much of the farmland off to finance his son’s musical dreams. Donnie continued working in music – performing locally with his own band (which featured his wife Nancy on drums) and running a marginally successful local recording studio. Joe gave up on music, working on the family farm.

And that was pretty much it, until it wasn’t.

Fast forward to 2008, when a used copy of Dreamin’ Wild was bought by a record collector named Jack Fleischer at an antiques store. When Fleischer listened to the album he was pretty blown away, particularly by the song “Baby.” Fleischer started to spread the word amongst his record geek friends and over the next few years the album got enough buzz in collector circles that the album was re-issued on CD by the acclaimed boutique label Light in the Attic Records. This rerelease led to a writeup in The New York Times.

This was how filmmaker Bill Pohlad learned about the Emersons. At first, he was not sure he wanted to make a movie about their story – the popular documentary Searching for the Sugarman was out at about the same time and told a similar story of delayed fame. However, once he met the Emersons he changed his mind.

This has led to the film Dreamin’ Wild, starring Casey Affleck as Don Emerson, Walton Goggins as Joe, Zooey Deschanel as Nancy and Beau Bridges as Don Jr. Released to theaters earlier this year, the film has become a surprise success – not unlike the record which inspired it.

We recently got a chance to chat with Donnie and Nancy Emerson and Bill Pohlad about the long, strange trip of Dreamin’ Wild.

Donnie, you and your brother made an album over 40 years ago. At the time, nobody really noticed it. Then with the reissue many years later and now the movie, how crazy is it that it has been rediscovered after all this time?

Donnie Emerson: There are different stages, aren’t there. We did it, and then it took off. Now it's taking off again with the film. It's a never-ending journey. It's just an unbelievable, exhilarating time. {It will] be exciting to go out and start playing and doing the music. It's going to be awesome.

Bill, how did you find out about the Emerson Brothers? What made you think that that was the story you wanted to tell?

Bill Pohlad: Jim Burke, a producer friend of mine, and a producer on the project, brought the story to me, asking me to direct it. There was only the article in The New York Times. I mean, I thought that story was great, but not until I met Donnie and Joe, for real, the real people, that it really clicked for me, seeing the kind of people they were and the family as a whole. I just thought they were so extraordinary that the story had to be told.

So much of the Emerson story is about the family. Joe may not have been quite as into music as Donnie was, but he was willing to put himself out there because his brother was into it. The parents were putting the farm up and taking a chance on their son. How important was it for all of you to tell the story of the parents, the family and how that related to the music?

Bill Pohlad: You could have told just the basic story of Donnie's recording, and then, and then it being rediscovered. But it was really, as I say, about the family and the interactions and inner relationships and how different that was for me. And for most movie audiences.

Donnie, it was a little bit darker than I expected. You look at the guilt that was built up and how you and Nancy had been working on music for many years and part of you was a little bit uncomfortable with going back to the old music when you had newer music. How important was it for you to look at both the eras of your music and the ways that things have changed over the years?

Donnie Emerson: I came to realize an appreciation of that other music that I did in the past. Trying to bring it forward, realizing how it was that my approach to doing that music was different than it was in different time periods. In the 90s, and then on to the 2000s and whenever. It was different. I started creating differently. Then I started appreciating how I used to record back then just using eight tracks. I pull that forward to what I'm doing now, which I still struggle with, because that's where the purity is in the music is being stripped down. You have to think ahead when you're recording like that. I'm trying to take that and appreciate that time period and bringing it forward. I get caught up in the DAW – digital audio workstation. You have all the tracks and it kind of dilutes your creative process.

Nancy Emerson: Can I say something about your question? Because I love that question.

Of course.

Nancy Emerson: When I was playing with Donnie, we’ve played together for 38 years so far. We’ve been married 38 years playing. We were doing some of his songs in the 90s and in the early 2000s. We've always done some of those songs from Dreamin’ Wild. He didn't care how we did it. I’d play congas. We'd have a saxophone player. He didn't care how we did it. He loved to create, so I said, “Donnie, you’ve got these songs. Can we use your songs?” That is the only reason why I play with them is because songwriting, [they are] original songs. But as soon as the album came [back] in 2011, got released in 2012, everything had to be exactly like the album. It almost drove me crazy because everything I was doing, he's like, no has to be like Joe and I did it. It’s been kind of tough.

Donnie Emerson: It’s been tough…

Nancy Emerson: The truth is, it is kind of dark, when you said the movies darker. It has been rough because he changed. All of a sudden, he had to conform to what the fans wanted, what the record label now wanted. Then the movie comes to pass. We're getting it now though. (laughs) We're working it out now.

Donnie Emerson: They’re sliding it in.

Nancy Emerson: They are his songs, you know? But we do our own songs together, too. But with Dreamin’ Wild, it was tough, because he's like, “It has to be done like this.” I said, “You do realize we're in 2012, now, and 13 and 14. Joe tried really hard at Bumbershoot [Music Festival] in Seattle and Joe’s like... (mimes drumming awkwardly) He's looking at Joe. This is 2014. I’m watching both of them. It's not sounding like the album live on stage in Seattle. But it is what it is. You got to come to peace with it.

What was it like to see Casey Affleck and Zooey Deschanel portraying you? Did you speak with them while they were working on the film so they could get a handle on who you are?

Donnie Emerson: Is that for Nancy?

That's for both of you.

Nancy Emerson: Casey got a hold of him about a year and a half prior on Zoom. He already was doing zoom, and phone calls. Then Casey was coming to our house. Casey spent a lot of time. He sat at our table. He stayed the night outside our house in a tent one night. He was cooking here. The man was watching Donnie like this. (Puts her face into her hand.) I could see Casey changing – his look, his mannerisms, everything within a year. Zooey, we didn't have as much time because she took the role closer to the film. But she's got it. She's a pro. She's got everything.

Donnie Emerson: I’ve got to say, there isone scene that I just absolutely love. Bill shot this scene where we go to the [news]stand for The New York Times. So real.

Bill, how involved were you in the casting process? When did you know that you'd found the right people to play the different characters?

Bill Pohlad: As a director, I oversee or make all the decisions with regard to that, because you have to know that these people can really deliver on the script. Obviously, I knew Donnie a little bit by this point, by the time we cast. You just see Casey as an actor and the work he's done over the years, and you kind of know or have a feeling that he can bring those two things together. Donnie has a particular style about him that you really want to be able to portray. I felt like Casey could do that without much work. I don't mean that. He obviously worked at it. But it seemed more natural for him to be able to slot into that kind of character.

This is the second music bio that you've done. You also did Love and Mercy, about Brian Wilson, who was mentioned in the screenplay of this film, too. Wilson is such an over-the-top genius, but he also had a lot of demons. On the other hand, Donnie and Joe were both much more normal, down to earth types of guys. Why did you think the fact that this was just about two brothers wanting to make music and going on over the years that adds interest to the story?

Bill Pohlad: Again, it depends on how you want to look at a character. You can take it as deep as you want. In other words, not to say that Donnie has as many demons as Brian does, or whatever, I don't want to compare those two like that. But I mean, you look at a person like Donnie, and the more you look at them, the deeper it becomes. I got to know Donnie over the period of writing the script and knew that there was a lot going on there that might not meet the eye. That was the desire to portray that.

How has the movie changed your live performances? Do you get more people coming in to see the shows now?

Donnie Emerson: Well, we've been off right now. We're getting prepared to go on tour. We've got a new agency that's going to be handling us. It's awesome, you know? We're going to be able to do the old stuff from the past and new stuff, as well. Obviously, Nancy and I wrote in the film together,

Nancy Emerson: The ending song “When A Dream Is Beautiful.” We've actually been promoting that and performing it in LA and New York. We're going to be doing that song. So the live performance scene, we've only did about three of them. Just to promote right now.

Donnie Emerson: It's not normal for us to do that, to not be playing. We're used to playing a lot. This is so not normal for us. We're, we're used to playing a lot of dates a year. But we decided to pull back and do more helping with the film, obviously.

Nancy Emerson: When we perform live again, it'll have a stronger purpose.

One last very quick question. Did your parents see the movie and what did they think? They played such a big part in the music, too.

Donnie Emerson: My dad's a quiet guy. He's quiet. But when he first saw the screen, what did he do, Nancy? He stood up.

Nancy Emerson: His mom and dad were sitting behind me because we all sat separately. But the mom and dad of course, sat together. I watched them smile and cry. I kept looking over. I didn't know what was more entertaining, the movie for me to watch, or watch them. (Donnie and Bill laugh.) They were loving. They live an hour and a half away from Spokane. They've come in three or four times so far to see the film. He's 92. She's 89, and she doesn't drive. She's never driven. But they're coming in for the movie.

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#Donnie Emerson #Nancy Emerson #Bill Pohlad #2023 #Director Interviews #Dreamin' Wild #Jay S. Jacobs #Youtube

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jonathanmoya1955 · 8 months

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Dreamin’ Wild: The Fate of Second Chances

Roadshow Attractions Movie info via Rotten Tomatoes: Dreamin’ Wild, the true story of love and redemption, is about what happened to singer/songwriter Donnie Emerson and his family when the album he and his brother recorded as teens was rediscovered after thirty years of obscurity and was suddenly hailed by music critics as a lost masterpiece. While the album’s rediscovery brings hopes of…

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#bill pohlad #biography #Casey Affleck #drama #Dreamin’ wild #movie #movies #music #Poem #Walton Goggins

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straycatboogie · 1 year

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2022/11/29 English

BGM: The Beach Boys' "God Only Knows"

Today was a day off. This morning I went to Aeon as usual and read John Irving's "A Prayer For Owen Meany" again. John Irving's this novel gives me a certain nostalgia. Now I am enjoying the part that describes the childhood of the main characters, and I can feel that even I can go back to my childhood because of its content and style. It reminds me of oil on canvas. It was painted carefully again and again. A truly decent work so I am impressed by it as the work of one of the greatest storytellers from America. I want to keep on reading it. It would leave a footprint in my memory.

I enjoyed The Beach Boys' "Pet Sounds" I say that The Beatles are still my favorite. But of course, "Pet Sounds" is an evergreen one. It lets me think that getting older is not bad. A really great masterpiece. I can't see how this life will become. God only knows. Now I enjoy Jazz, The Beach Boys, and John Irving. But the day I enjoy Haruki Murakami would come again. I want to enjoy what would happen in my life, or I should admit that I could do anything else. Life is once. I want to enjoy the precious my 50s quietly.

This afternoon I watched Bill Pohlad's "Love & Mercy". This movie describes the charisma from The Beach Boys Brian Willson's life from two aspects. I might become a crybaby as a child so I cried a little when I watched the ending. Brian must be a genius so he had to struggle with the madness in himself. He tried to make great music with his talent. The soulmate appears in this movie at last, and she sets Brian free. So Brian starts his new life. It must be a movie like a dark horse. Brian starts controlling his life.

In the evening I watched Sally El Hosaini's "The Swimmers". I have been impressed by Netflix because it suggests this kind of great movie by reading my taste. This describes swimmers who became refugees trying to go to Rio Olympics. I felt that this was a great roleplaying game. It has no wasted essence like the athlete's body (so it might need some "waves" in storytelling). Will this director become a great one who will work internationally like Danny Boyle? I should follow this person.

#diary #english #sally el hosaini #bill pohlad #john irving #a prayer for owen meany #the beach boys #brian wilson #pet sounds #netflix

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idasessions · 5 months

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My Top 10 Films of 2023:

1) The Holdovers, dir. Alexander Payne 2) Anatomy of a Fall, dir. Justine Triet 3) Asteroid City, dir. Wes Anderson 4) Are You There, God? It’s Me, Margaret, dir. Kelly Fremon Craig 5) Poor Things, dir. Yorgos Lanthimos 6) BlackBerry, dir. Matt Johnson 7) You Hurt My Feelings, dir. Nicole Holofcener 8) The Royal Hotel, dir. Kitty Green 9) Air, dir. Ben Affleck 10) Dreamin’ Wild, dir. Bill Pohlad

#pretty pretty good #watched in '23 #the holdovers #anatomy of a fall #asteroid city #are you there god? it's me margaret #poor things #blackberry #you hurt my feelings #the royal hotel #air #dreamin' wild #are you there god its me margaret #dreamin wild

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autogynocrat · 2 months

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I was offended, you offended me, when I first saw “love and mercy directed by Paul dano and john cossack 2014.” I was going to send a long angry message about how it’s actually Lovd & Mercy (2014) dir. Bill Pohlad starring Paul Dano and John Cusack, and I’d say something like “thimbo moment” or one of my many other silly catchphrases that make me your favorite anon. But then I remembered long ago when you were just calling me “Paul Dano guy” and before that “Love and War anon.” You are remembering more and more bits and pieces. Someday, maybe five or six years from now, you’ll wake up in the morning and say “oh! It was Love & Mercy, it came out in 2014, it was directed by Bill Pohlad, and it starred Paul Dano and John Cusack! Now that I remember, I can watch it!”

Interestingly, did you know there was originally going to be a third main actor? Love & Mercy (2014) dir. Bill Pohlad starring Paul Dano and John Cusack is set in the 60s (Paul Dano) and the 80s (John Cusack), but they originally wanted another section in the 70s where Brian Wilson spends his time in bed eating cheeseburgers and doing drugs. They cut it out completely, but left a lot of illusions to it in the 80s portion.

Did you know when the real Brian Wilson watched Love & Mercy (2014) dir. Bill Pohlad starring Paul Dano and John Cusack, he started to feel actual fear due to how accurate Paul Giamatti’s portrayal of Eugene Landy was?

Did you know that after the release of Love & Mercy (2014) dir. Bill Pohlad starring Paul Dano and John Cusack, Paul Dano actually played live with Brian Wilson on stage? Them singing “You Still Believe In Me” has been uploaded to youtube in a video named danobelieve

Did you know for the soundtrack of Love & Mercy (2014) dir. Bill Pohlad starring Paul Dano and John Cusack, they expertly blended actual Beach Boys session tapes with new recordings by the cast on film to make it both as accurate and natural as it could? Musician biopics to this day often do the same thing!

omg

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leonardcohenofficial · 1 year

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i watched 120 new-to-me films this year; here are the posters from a few of my favorites in no particular order!!

faults (riley stearns, 2014) out of the blue (dennis hopper, 1980) wake in fright (ted kotcheff, 1971) entergalactic (fletcher moules, 2022) histoires d'amérique: food, family and philosophy (chantal akerman, 1989) the woman king (gina prince-bythewood, 2022) waking life (richard linklater, 2001) on the count of three (jerrod carmichael, 2021) thank you and good night (jan oxenberg, 1991)

i’ll tag @lesbiancolumbo / @draftdodgerag / @localpubliclibrary / @calicoskiesacoustic / @jerrylandis / @columbosunday / @harrierdoobie / @sightofsea and anyone else who’d like to do this!! 🌟

entire watchlist from 2022 is below the cut:

the world to come (mona fastvold, 2020)

nancy (christina choe, 2018)

la bouche de jean-pierre (lucile hadžihalilović, 1996)

run (aneesh chaganty, 2020)

the mosquito coast (peter weir, 1986)

mass (fran kanz, 2021)

a field in england (ben wheatley, 2014)

angels wear white (vivian qu, 2017)

a cape cod christmas (john stimpson, 2021)

shook (jennifer harrington, 2021)

outing riley (pete jones, 2004)

love & mercy (bill pohlad, 2014)

small engine repair (john pollono, 2021)

the fallout (megan park, 2021)

clemency (chinonye chukwu, 2019)

red elvis (thomas latter, 2022)

calendar girls (nigel cole, 2003)

the little hours (jeff baena, 2017)

out of the blue (dennis hopper, 1980)

aya of yop city (marguerite abouet and clement oubrerie, 2013)

fresh (mimi cave, 2022)

jesus camp (rachel grady, 2006)

bamboozled (spike lee, 2000)

master (mariama diallo, 2022)

the world of us (yoon ga-eun, 2016)

jezebel (numa perrier, 2019)

the cat, the reverend and the slave (alain della negra and kaori kinoshita, 2009)

cohabitation (lauren barker, 2022)

the queen of versailles (lauren greenfield, 2012)

secret ceremony (joseph losey, 1968)

the northman (robert eggers, 2022)

the silent partner (daryl duke, 1978)

in secret (charlie stratton, 2013)

the ground beneath my feet (marie kreutzer, 2019)

the man who haunted himself (basil dearden, 1970)

woodlands dark and days bewitched: a history of folk horror (kier-la janisse, 2021)

the miseducation of cameron post (desiree akhavan, 2018)

roadrunner: a film about anthony bourdain (morgan neville, 2021)

karen dalton: in my own time (richard peete and robert yapkowitz, 2020)

fire music (tom surgal, 2018)

histoires d'amérique: food, family and philosophy (chantal akerman, 1989)

fruit of paradise (věra chytilová, 1969)

a different image (alile sharon larkin, 1982)

preparations to be together for an unknown period of time (lili horvát, 2020)

candyman (nia dacosta, 2021)

fan girl (antoinette jadaone, 2020)

chicago 10 (brett morgen, 2007)

pray away (kristine stolakis, 2021)

mavis! (jessica edwards, 2015)

M (yolande zauberman, 2018)

wake in fright (ted kotcheff, 1971)

thomasine & bushrod (gordon parks, 1974)

desire me (released uncredited; jack conway, george cukor, mervyn le roy, and victor saville, 1947)

faults (riley stearns, 2014)

premature (rashaad ernesto green, 2019)

mother joan of the angels (jerzy kawalerowicz, 1961)

the loft (erik van looy, 2014)

the black phone (scott derrickson, 2022)

no exit (damien power, 2022)

nope (jordan peele, 2022)

paprika (satoshi kon, 2006)

our eternal summer (émilie aussel, 2021)

playground (laura wandel, 2021)

not okay (quinn shephard, 2022)

everything everywhere all at once (daniel kwan and daniel scheinert, 2022)

pressure point (hubert cornfield, 1962)

sharp stick (lena dunham, 2022)

on the count of three (jerrod carmichael, 2021)

martha marcy may marlene (sean durkin, 2011)

waking life (richard linklater, 2001)

sicaro (denis villeneuve, 2015)

arrival (denis villeneuve, 2016)

this magnificent cake! (emma de swaef and marc james roels, 2018)

chevalier (athina rachel tsangari, 2015)

young and wild (marialy rivas, 2012)

alice (krystin ver linden, 2022)

shame (steve mcqueen, 2011)

good madam (jenna cato bass, 2022)

black bear (lawrence michael levine, 2020)

speak no evil (christian tafdrup, 2022)

wet sand (elene naveriani, 2021)

the catholic school (stefano mordini, 2021)

poly styrene: i am a cliché (celeste bell and paul sng, 2021)

the violators (helen walsh, 2015)

the woman king (gina prince-bythewood, 2022)

the killing kind (curtis harrington, 1973)

oleanna (david mamet, 1994)

entergalactic (fletcher moules, 2022)

the more the merrier (george stevens, 1943)

primrose path (gregory la cava, 1940)

watcher (chloe okuno, 2022)

enemy (dennis villenueve, 2013)

darlin' (pollyanna mcintosh, 2019)

sissy (kane senes and hannah barlow, 2022)

till (chinonye chukwu, 2022)

black panther: wakanda forever (ryan coogler, 2022)

the hunt (thomas vinterberg, 2012)

the other side of the underneath (jane arden, 1972)

barbarian (zach cregger, 2022)

the intervention (clea duvall, 2016)

sorry to bother you (boots riley, 2018)

the silent twins (agnieszka smoczyńska, 2022)

tahara (olivia peace, 2020)

arranged (diane crespo and stefan schaefer, 2007)

swimming (luzie loose, 2018)

#like (sarah pirozek, 2019)

babysitter (monia chokri, 2022)

chico and rita (tono errando, fernando trueba, and javier mariscal, 2010)

pleasure (ninja thyberg, 2021)

john the violent (tonia marketaki, 1967)

fat girl (catherine breillat, 2001)

lemon (janicza bravo, 2017)

thank you and good night (jan oxenberg, 1991)

what about me (rachel amodeo, 1993)

the KKK boutique ain’t just rednecks (camille billops and james hatch, 1994)

sun don’t shine (amy seimetz, 2012)

zero fucks given (emmanuel marre and julie lecoustre, 2021)

piggy (carlota pereda, 2022)

ladyworld (amanda kramer, 2018)

wolf's hole (věra chytilová, 1987)

#we'll see if i can do 150 films next year lmao

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villainesses · 2 years

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Sometimes your inner voice wants to express itself and every once in a while, every blue moon, your soul... comes out to play.

Love & Mercy (2014) dir. Bill Pohlad

#love & mercy #john cusack #paul dano #elizabeth banks #moviegifs #filmedit #.gifs #photoshop therapy #i will be thinking about nothing else aside from liz banks as melinda ledbetter for the next three to five days thanks #alexa play ONE KIND OF LOVE DOT MP3!!!

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halljavalge · 8 months

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Source: hverdagslykkelise

ℍ𝐚𝓵ｌ נ𝐀 𝔳คĻǤẸ - pohlad. Lingonberries

#lingonberries

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glennmillerorchestra · 1 year

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i was tagged by the wonderful maddie @leonardcohenofficial to post the posters from my favorite new-to-me watches of the year!! (in purely aesthetic order)

rope - alfred hitchcock (1948) sunset boulevard - billy wilder (1950) deep end - jerzy skolimowski (1970) i’m not there - todd haynes (2007) brewster mccloud - robert altman (1970) carol - todd haynes (2015) ladies and gentlemen, the fabulous stains - lou adler (1982) what’s up doc? - peter bogdanovich (1972) the effect of gamma rays on man-in-the-moon marigolds - paul newman (1972)

i'll tag @frogeye-pierce @thebuffalospringfeild @iwrotemrtambourineman and @juliebarnes!!!!

i only made it through half my goal of 100 new-to-me movies this year (life was. crazy) but the 52 i did watch will be under the cut!

edge of the city - martin ritt (1957)

the grand budapest hotel - wes anderson (2014)

licorice pizza - paul thomas anderson (2021)

dazed and confused - richard linklater (1993)

brewster mccloud - robert altman (1970)

the tragedy of macbeth - joel coen (2021)

my own private idaho - gus van sant (1991)

my beautiful laundrette - stephen frears (1985)

dead reckoning - john cromwell (1947)

keep off my grass! - shelley berman (1975)

raising arizona - joel & ethan coen (1987)

top hat - mark sandrich (1935)

the man who fell to earth - nicolas roeg (1976)

chicago - rob marshall (2002)

the blues brothers - john landis (1980)

little miss sunshine - jonathon dayton & valerie faris (2006)

sunset boulevard - billy wilder (1950)

i'm not there - todd haynes (2007)

love & mercy - bill pohlad (2014)

walk hard - jake kasdan (2007)

mysterious skin - gregg akari (2004)

whip it - drew barrymore (2009)

sophie scholl: die letzten tage - marc rothemund (2005)

when harry met sally - rob reiner (1989)

the watermelon woman - cheryl dunye (1996)

shiva baby - emma seligman (2020)

juno - jason bateman (2007)

carol - todd haynes (2015)

what's up doc? - peter bogdanovich (1972)

the philadelphia story - george cukor (1946)

die fälscher - stefan ruzowitzky (2007)

but i'm a cheerleader - jamie babbit (1999)

the twilight saga: eclipse - david slade (2010) <- THIS WAS NOT MY CHOICE but it was technically new to me. i want to emphasize my friend forced me to watch this with her

velvet goldmine - todd haynes (1998)

magical mystery tour - bernard knowles & the beatles (1967)

the shape of water - guillermo del toro (2017)

all that heaven allows - douglas sirk (1955)

i was a male war bride - howard hawks (1949)

the effect of gamma rays on man-in-the-moon marigolds - paul newman (1972)

ladies and gentlemen, the fabulous stains - lou adler (1982)

the breakfast club - john hughes (1985)

airplane! - jerry & david zucker & jim abrahams (1980)

maleficent - robert stromberg (2014) <- twilight friend pick lmfao

chi-raq - spike lee (2015)

a league of their own - penny marshall (1992)

rope - alfred hitchcock (1948)

pearl - ti west (2022)

get out - jordan peele (2017)

one cut of the dead - shinichiro ueda (2017)

deep end - jerzy skolimowski (1970)

the hours and times - christopher munch (1991) <- random number generator decided my gay john lennon fate with this one :/

glass onion - rian johnson (2022)

#i'm not upset about not meeting my goal because there was a steep drop-off in august that correlated to big life events. i'm okay with #living out and about in the world. there will be more movies to watch next year :)) i like going through the list and remembering every #detail of where and why i watched the movies i did and with who etc etc. also is carol a controversial pick idk i liked it. i like haynes

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