All About Lily Chou-Chou

For me, only Lily is real.

Maybe I'm writing here because I wanna shout, "I'm here"!

Riri Shushu no subete (Shunji Iwai, 2001)

Everyone's everyone.

What was once before you - an exciting, mysterious future - is now behind you. Lived; understood; disappointing. You realize you are not special. You have struggled into existence, and are now slipping silently out of it. This is everyone's experience. Every single one. The specifics hardly matter. Everyone's everyone. So you are Adele, Hazel, Claire, Olive. You are Ellen. All her meager sadnesses are yours; all her loneliness; the gray, straw-like hair; her red raw hands. It's yours. It is time for you to understand this.

Walk.

As the people who adore you stop adoring you; as they die; as they move on; as you shed them; as you shed your beauty; your youth; as the world forgets you; as you recognize your transience; as you begin to lose your characteristics one by one; as you learn there is no-one watching you, and there never was, you think only about driving - not coming from any place; not arriving any place. Just driving, counting off time. Now you are here, at 7:43. Now you are here, at 7:44. Now you are...

Gone.

Synecdoche, New York (Charlie Kaufman, 2008)

Voy a hacerte una foto

- vaya...
- qué?
- voy a hacerte una foto, para no olvidarme nunca de tí, ni de todo esto.
- de acuerdo, yo también.

Mi amor, me voy antes de que te vayas tú

Mi amor, me voy antes de que te vayas tú, me voy antes de que dejes de desearme, porque entonces sólo nos quedará la ternura, y sé que no será suficiente. Me voy antes de ser desgraciada. Me voy llevando el sabor de nuestros abrazos, llevando tu olor, tu mirada, tus besos. Me voy llevándome el recuerdo de los mejores años de mi vida, los que me diste tú. Siempre te he amado, no he amado a nadie más. Me voy para que nunca me olvides.

Mathilde

Le Mari de la Coiffeuse (Patrice Leconte, 1990)

Eres una chica muy guapa

- Dime, ¿has hecho tú esas fotografías de ahí?.

- Sí, soy aficionada a la fotografía. ("Mis pinitos"... ¡¡parezco idiota!!)

- Son, son fantásticas, muy buenas, tienen cierta calidad... (Eres una chica muy guapa)

- Me gustaría aprender fotografía, profesionalmente claro. (Seguro que piensa que soy tonta)

- Ha de ser muy interesante, ¿sabes?, porque es una nueva forma de Arte, y aún no han surgido un conjunto de criterios estéticos. (Me pregunto qué tal estará desnuda)

- ¿Criterios estéticos?, ¿quieres decir si una foto es buena o no?. (No eres lo suficientemente lista para él, párate ahí)

- El, el medio entra como una condición de la misma forma del Arte... eso... (No sé ni lo que digo. Está notando que soy superficial)

- Verás... no, no creo que en mí sea todo instintivo, no. Quiero decir que lo siento, ¿sabes?. Sólo intento sentirlo y no pensar mucho en ello. (Dios, espero que no resulte ser un imbécil como los demás)

- Pero aún así necesitas una serie de líneas estéticas para que estés en una perspectiva social. (Dios, pareces la radio FM... ¡¡relájate!!)

- En fin...

Annie Hall (Woody Allen, 1977)

5 Centimeters Per Second

Akari Shinohara: Hey... They say it's five centimeters per second.
Takaki Toono: What do you mean?
Akari Shinohara: The speed at which the sakura blossom petals fall... Five centimeters per second.

Hoy día vi esta película :) y me provoco escribir algo acerca de ella. Me gusto muchísimo; quizás era el momento preciso en mi vida para verla y puede que si, pues se podría decir que la película me encontró a mi.

Visualmente es hermosa. Esta llena de nieve y lluvia y pequeños detalles que te crean un remolino de emociones, casi indescriptibles.

Byôsoku 5 senchimêtoru (Makoto Shinkai, 2007)

Hay frases que nos llenan el alma

"No se debe nunca escuchar a las flores. Sólo se las debe contemplar y oler. La mía perfumaba mi planeta, pero yo no era capaz de alegrarme de ello."

Hoy de casualidad abrí fuerte una puerta en el mueble donde tenia colgada una rosa que había encontrado hace un tiempo en el suelo del malecón. Se cayeron todos los pétalos, y quedó desnuda, como si nunca la hubiese hecho mía.

They've let you change.

"There are so many different ways to be connected to people. There are the people you feel this unspoken connection to, even though there's not even a word for it. There's the people who you've known forever who know you in this way that other people can't because they've seen you change. They've let you change."

Yi Yi

"Why is the world so different from what we think it is?"

Edward Yang (2000)

We'll start a jazz band

Bob: I don't want to leave.
Charlotte: So don't. Stay here with me. We'll start a jazz band.

For days and days

X: I must have you alive. Alive, as you have already been every evening, for weeks, for months.
A: I have never stayed so long anywhere.
X: Yes, I know. I don't care. For days and days. Why don't you still want to remember anything?

L'année dernière à Marienbad (Alain Resnais, 1961)

So, I want to try something.

Celine: So, I want to try something.

Jesse: What?

Celine: [hugs him] I want to see if you stay together or if you dissolve into molecules.

Jesse: How'm I doing?

Celine: Still here.

Jesse: Good, I like being here.

It's too late. It's over.

Angela: Please, God, I know I've cut English, and done a million other terrible things, including not even completely believing in you, but please, please help me to pass this midterm. Oh, God, who am I kidding? It's too late. It's over.

UP

"Thanks for the adventure. Now go have a new one. Love, Ellie."

You could be me, just like that.

When I came home and looked in the mirror, I thought "But we look alike".

Don't misunderstand me.

You're more beautiful.

But somehow... I think I could change myself into you if I tried.

I mean, inside.

You could be me, just like that.

But your soul would be too big. It would stick out everywhere!

Persona (Ingmar Bergman, 1966)

without memories, without plans

"This time he is close to her, he speaks to her. She welcomes him without surprise. They are without memories, without plans. Time builds itself painlessly around them. Their only landmarks are the flavour of the moment they are living and the markings on the walls"

La jetée (Chris Marker, 1962)

..so unfair.

Angela: I can't take this. I feel sick.

Rayanne: Look, I was there.

Rickie: And I was practically there from hearing it so many times.

Rayanne: And he is definitely semi-interested.

Angela: So you think he...

Rayanne: I think part of him is partly interested in you. Definitely. I mean, he's got other things on his mind.

Angela: But that's the part that's so unfair. I have nothing else on my mind. How come I have to be the one sitting around analyzing him in like microscopic detail, and he gets to be the one with other things on his mind.

Rickie: That is deep.

Be me, for a little while.

Let the Right One In (Tomas Alfredson, 2008)

Oskar: Who are you?
Eli: I'm like you.
Oskar: What do you mean?
Eli: [accusing tone] What are you staring at? Well?
Eli: Are you looking at me?
Eli: [points her finger at Oskar] So scream! Squeal!
Eli: Those were the first words I heard you say.
Oskar: I don't kill people.
Eli: No, but you'd like to. If you could... To get revenge. Right?
Oskar: Yes.
Eli: Oskar, I do it because I have to.
Eli: Be me, for a while. [pause]
Eli: Please Oskar... Be me, for a little while.

La Tele

Tengo una tele nueva. En realidad no es nueva; antes estaba en la salita y ahora esta en mi cuarto. El único problema es que aún no me acostumbro a la idea de tener la tele ahí, al lado de la puerta; casi siempre que quiero entrar o salir de mi cuarto, me olvido (lo cual no tengo idea por qué pasa ya que es relativamente grande) y me choco contra ella.

Pensé entonces en que no es la primera vez que paso por una situación similar; pues, es común que busquemos siempre aferrarnos a la rutina, a lo tradicional, a pesar de que el cambio nos traiga un beneficio. ¿Por qué nos rehusamos a darle un lugar a lo nuevo y nos seguimos chocando contra el pasado una y otra vez? ¿Por qué?

"So we beat on, boats against the current, borne back ceaselessly into the past."

Charlotte

"I tried taking pictures, but they were so mediocre. I guess every girl goes through a photography phase. You know, horses... taking pictures of your feet"