Filmmaking Feticist

Joined February 2011
45,118 Photos and videos
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We Need Humanity. (πŸŽ₯βž•πŸŽ™)^
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Mr Dante Fontana by Piero Piccioni From "Fumo Di Londra" Soundtrack, 1966 πŸ“ΊπŸ“»πŸŽΆ Alberto Sordi #botd πŸŽ‚πŸŽ­πŸ‘¨πŸ»β€πŸ¦±πŸŽ© - "Mr Dante Fontana?" - "Chi mi chiama? Chi mi chiama?" -"Nobody, nobody, nobody calls you!" youtu.be/lOKK63i2Uc8?si=CGQG…
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Federico DeVirgiliis retweeted
Hugo Pratt Corte Sconta uno dei luoghi molto amato da Corto. Sestiere di Castello Venezia
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Hugo Pratt #botd πŸŽ‚ disegnato da Milo Manara πŸ–ŒοΈπŸŽ‚
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You May Need Some More Evening Coffee, A Very Big One. It’s Still Monday, After All πŸŽ₯πŸ™οΈπŸ•΅πŸ»β€β™‚οΈβ˜•οΈ^πŸŽ¬πŸŽžοΈπŸ“½οΈ
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Happy heavenly birthday to Eisner Hall of Famer, "Corto Maltese" creator and "Sgt. Kirk" and "Ernie Pike" co-creator, the great Hugo Pratt.
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Alberto Sordi, "Detenuto in attesa di giudizio" (Nanni Loy, 1971). πŸ–€
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Fumo Di Londra, 1966 Regia di Alberto Sordi #botd πŸŽ‚ πŸŽ₯πŸŽ‚πŸŒ«οΈπŸ“°πŸš¬πŸ‘¨πŸ»β€πŸ¦±πŸŽ©πŸŽ­πŸŽ¬πŸŽžοΈπŸ“½οΈ
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LunedΓ¬ Americano πŸͺ¨πŸ–οΈπŸ—½πŸ©²πŸ©³πŸ©΄πŸ‘‘πŸ•ΆοΈπŸ’₯πŸ₯ŠπŸ›οΈπŸš€πŸ©ΈπŸ•ŠοΈπŸ‡ΊπŸ‡Έ
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Federico DeVirgiliis retweeted
Fine Della Domenica πŸŽ₯🏨πŸ”ͺπŸ©ΈπŸ‘±πŸ»β€β™€οΈπŸšΏπŸ‘΅πŸ»πŸŽ¬πŸŽžοΈπŸ“½οΈ
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Tom Gauld @tomgauld
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Una signora divina, un signore barbuto e un altro signore mangiando un gelato. 🍦
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Happy 75th birthday Aleksandr Sokurov ~ Russian Ark (2002) #botd
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My latest @GuardianBooks cartoon
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β€œIn giardino il ciliegio Γ¨ fiorito agli scoppi del nuovo sole,
il quartiere si Γ¨ presto riempito di neve di pioppi e di parole” Lettera, 1996 Francesco Guccini, 14/6/1940 Tanti Auguri Maestrone 🍷
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Domenica Pomeriggio Mondiale β›ͺοΈπŸ””πŸŽΆβš½οΈπŸ©΄πŸ†πŸŽ‰
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Federico DeVirgiliis retweeted
Live Like a Cop, Die Like a Man (1976)
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THE IPCRESS FILE (1965) is a masterclass in β€œframe within the frame” cinematography. Director Sidney J. Furie and cinematographer Otto Heller turned doors, windows, lamps, shelves, file cabinets, walls, and foreground objects into visual architecture. The result is not just β€œcool framing.” It changes how we watch the film. Michael Caine’s Harry Palmer is constantly boxed in, observed, obstructed, and trapped inside layers of bureaucracy and espionage. The compositions make the audience feel like we are spying on the spy. Every frame has tension. Composition is story.
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