Coco [ricó].

Magnifique. Brillant. Surprenant. Formidable.

Quem tiver hipótese de se deslocar às duas únicas cidades [Lisboa e Porto] onde este filme se encontra em exibição, por favor vão vê-lo!! Custa-me entender como é que um filme como este possa estar disponível em apenas duas salas de cinema em todo o país [e atenção que em Lisboa, nas Amoreiras, é na sala VIP...ohlálá]. Será Coco menos que Piaf, ou Audrey menos que Marion?
Ri, chorei e saí completamente inspirada por alguém desconforme e com um estilo completamente intemporal.

Coco avant chanel [2009]

Breakfast in the afternoon.

Uma tarde alternada de doses de ben-u-ron e filmes inacabados, resulta nesta feliz coincidência.

BRAVO!
GENIUS!
Um suspiro para Audrey, uma vénia para Cillian.

Breakfast at Tiffany's daqui.
Breakfast on Pluto daqui.

Hell yeah.

Walt Kowalski: You're wrong, eggroll, I know exactly what I'm talking about. I may not be the most pleasant person to be around, but I got the best woman who was ever on this planet to marry me. I worked at it, it was the best thing ever happened to me. Hands down. But you, you know, you're letting Click-Clack, Ding-Dong and Charlie Chan, just walk out with Miss What's-her-face. She likes you, you know? Though I don't know why!

Thao Vang Lor: Who?

Walt Kowalski: Yum Yum. You know, the girl in the purple sweater. She's been looking at you all day, stupid!

Thao Vang Lor: You mean Youa?

Walt Kowalski: Yeah... Yum Yum... yeah... nice girl... nice girl, very charming girl... I talked with her... yeah. But you, you just let her walk out right out with the Three Stooges. And you know why? 'Cause you're a big fat pussy. Well, I gotta go. Good day, pussycake.

' Gran Torino ' [2008]

E S A R I N T U L O M D P C F B V H G J Q Z Y X K W. *

' J'ai décidé de n'est plus jamais me plaindre. Je vien m' apercevoir que à par mon oeil, il y avait deux choses ne sont pas paralysés, mon imagination et ma mémoire. '

' Le Scaphandre et le papillon ' [2007]
* alfabeto utilizado para comunicar com pessoas que
sofrem de síndrome 'locked in'.

Os vencedores. *

Penélope Cruz
[Vicky Cristina Barcelona]

Kate Winslet
[The Reader]

Sean Penn
[Milk]

Heath Ledger
[The Dark Night]

Slumdog millionaire [2008]

*no post número cem.

Goodnight Benjamin.

Benjamin Button: (...) And if only one thing had happened differently: if that shoelace hadn't broken; or that delivery truck had moved moments earlier; or that package had been wrapped and ready, because the girl hadn't broken up with her boyfriend; or that man had set his alarm and got up five minutes earlier; or that taxi driver hadn't stopped for a cup of coffee; or that woman had remembered her coat, and got into an earlier cab, Daisy and her friend would've crossed the street, and the taxi would've driven by.(...)

Cruz Vs Johansson.*

Maria Elena: You'll always seek to duplicate what we had. You know it.

*pensei que iria ficar dividida, mas não!
Ganha a Penélope.

Devo alertar que o filme acaba às 3h45.*

' Nullah: Mrs. Boss! We gotta get those fat cheeky bulls into that big bloody metal ship!'

Fotos d'aqui.

*Boa noite, são 3 bilhetes para o Australia, para a sessão da meia-noite!

F*cking Hilarious.

[Linda: You should put up a note in the ladies locker room.]

[Chad: Put up a note? "Highly classified shit found: Raw intelligence shit, CIA shit?" Hello, anybody lose their secret CIA shit? I don't think so! ]

"Burn after reading" [2008] | Coen brothers

Hitchcock Classics

Rebecca, 1940
Keira Knightley and Jennifer Jason Leigh

Photograph by Julian Broad

Strangers on a Train, 1951
Emile Hirsch and James McAvoy

Photograph by Art Streiber

Vertigo, 1958
Renée Zellweger

Photograph by Norman Jean Roy.

The Birds, 1963
Jodie Foster

Photograph by Norman Jean Roy

Dial M for Murder, 1954
Charlize Theron

Photograph by Norman Jean Roy

Rear Window, 1954
Scarlett Johansson and Javier Bardem

Photograph by Norman Jean Roy

Psycho, 1960
Marion Cotillard

Photograph by Mark Seliger

...mais Aqui.

O soberbo sem côr.

'So this is permanence; love-shattered pride. What once was innocence, has turned on its side.'

in Control [2007]

'Lars and the real girl'

Lars: ' See they're even fake so they'll never die. '

Palavras para quê...(II)

Charlotte: Why do they switch the r's and the l's here?

Bob: Uh... for yuks. You know? Just to mix it up. They have to amuse themselves, 'cause we're not making them laugh.

(...)

Charlotte: I just don't know what I'm supposed to be.

Bob: You'll figure that out. The more you know who you are, and what you want, the less you let things upset you.

Palavras para quê...(I)

'Lost in Translation' by Sofia Coppola