Possession and Picasso: Beyond the Frame

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Instead of employing the color black to represent the state of death and mourning, Zulawski paints Anna and Mark’s flat with the same colour Pablo Picasso felt rigidly comfortable with during his “Blue Period” between 1901 to 1904 (comparison is seen above; left is a cropped image of Picasso’s “Blue Nude”). According to Zulawski in several interviews regarding the production history of his film, his analysis of divorce was directly influenced by his own separation with his wife:

“…when I returned to Poland I saw exactly what the guy in Possession sees when he opens the door to his flat, which is an abandoned child in an empty flat and a woman who is doing something somewhere else. It’s so basically private. Now I can go back to it many years later, but even the dialogue in certain kitchen scenes and certain private scenes is like I just wrote it down after some harrowing day” (Film Comment).

The flat fashions itself as a literal site of mourning for the estranged Mark, who returns to it as if expecting Anna and the memories associated with their once intact marriage still linger.


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We were compartmentalised in four individual boxes, divided by white lines and coloured backgrounds. Apparently, each colour represented our personality. I was stuck with blue.

I don’t even like the colour blue.

They gave me blue collared shirts, blue high-top sneakers, and even a blue iPhone. I didn’t even know they came in that colour, but they managed to find one for me. My name was engraved on the back in gold. In a way, since I was thrown into all of this, I was born again. A newborn dressed in baby blue, with my face powdered everyday and cheeks tinted an intense pink with various lipstick stains from anonymous women. My eyes are still not used to bright lights. When I think of my mother, all I see in my head are the cuticles of her fingernails.

My mother doesn’t even have to worry about the baby pictures she never took now – she never had time to take photos of me due to her illness – because there’s a new photo of me in glossy print practically everyday, available for pick-up in every cornerstone. She keeps all the cut-outs in a little album, preserved in laminated folds.

I even lost a tooth a few months ago. Security misjudged certain things, such as the physics behind a moving fist.

The tooth was quickly replaced, and the old one that was knocked out of my mouth was sold to a winning bidder by the name of Cady Rose on eBay around 4:03 AM on a Tuesday.




i really love blues and grays, mixed in with blotches of rolled-up white. school uniforms are combined with brown satchel backpacks, adding colour to the hallways that act as containers for repetition. i think of forbidden material scribbled on notes, the blurring of eyes when you’re about to fall asleep in the middle of lecture, and surprise nosebleeds that lead to unexpected confrontations with people you fancy in the lavatory.

i think of running ink on parchment due to unexpected contact with rain

a friend fixing my shirt collar (never experienced something so intimate in my life, his hands brushing against the nape of my neck)

to keep busy, I imagine redrawing the curved lines of liquid eyeliner on my teacher’s eyelids. they’re always uneven, and fade away by the end of the day.

Ezra Miller Fashion Analyses, Part II


Ezra Miller’s OkCupid profile picture.


Ezra Miller in a photo sent to the casting director for New Girl. He wanted to play Zooey D’s character but failed to attract the appeal of the producers, who felt he wasn’t “manic pixie dream girl” material, but just “manic”. Despite this pitfall, he still continues to wear the flower crown he made with items from the Dollar Store’s trash boxes. He plans to sell a few on Etsy this coming season.

Miller also filed a lawsuit against fashion blogger Tavi Gevinson, claiming that her online magazine Rookie stole his ingenious hair piece concept. No word from Gevinson as of yet.


Shocking New York City residents everywhere, a bootleg, mafia boss-ferret-alien creature who looks remarkably like actor Ezra Miller showed up at the red carpet premiere for The Ides of March. 

Judging by the photo above, he seems to be using the self-made, “Occupy Wall Street” publication in his hands as legitimacy papers (his notion of a “relic of the masses”, apparently), but it’s obvious that he found it on the sidewalk somewhere after he fell to Earth from whatever planet that dutifully accepted – well, for awhile – his existence. As expected, he didn’t fool anyone. The fur wasn’t even real.

Snoop Dog was the only person brave enough at the premiere to approach him, and was overheard saying to Miller, “Yo, that’s a dope jacket.”

Ezra Miller Fashion Analyses, Part I


Ezra Miller pulling his best “Johnny Depp in almost every role he plays” impression.


In other news, Ezra Miller needed clothes to attend an awards ceremony so he did what any rational human being would do: mug Pee-wee Herman and a young ring-bearer at a local wedding ceremony. Judging by the smug look on his face in this photo, he tricked the two oblivious nobodies next to him that he was actually wearing Valentino.

PETCO assisted with his perm after he successfully convinced the stylists with his acting abilities that he was, in fact, a cocker spaniel.


ezra miller’s red carpet checklist:

  • feather from a random bird of prey: ✓
  • rainbow LGBTQ button one can find at Hot Topic: ✓
  • A Chinese Rui Fu Xiang-inspired long-sleeve velvet robe that you can literally buy at a street corner on Canal St. (this is probably true): ✓
  • prayer beads: ✓
  • a hair brush:
  • coherency and logic:

Exhibitionist Display in Paul Morrissey’s “Trash”


Paul Morrissey’s film Trash (1970; produced by Andy Warhol) opens on an offbeat note, as a black screen with floating, leftward-bound neon green typography presents the principal cast. The music playing over the opening title sequence evokes the sense of entering a primitive avenue of entertainment: the instrumentals – trumpets, the banging of piano keys, and miscellaneous wind instruments – seem to be inspired by the likes of Hanna-Barbara cartoons. Much like how Enter the Void (2009; dir. Gaspar Noe) used the booming vibrations of LFO’s ‘Freak’ with an onslaught of typographic design to serve as a literal gateway to the film’s descent into the belly of Japan’s underground drug and sex scene, Trash introduces the audience to its circus of heroin users and marginalized youth with the help of a vaudeville-like introduction.

However, unlike Enter the Void, Trash allows the spectator to watch the downfall of its characters in a more relaxed realm of visual pleasure. Its episodic format offers a glimpse into the characters’ dejected realities, and refrains from outright assaulting the spectator with gruesome imagery or complex cinematic techniques in terms of editing. The scenes depicting intravenous drug use are repetitious in function and form, and the extremity of the act finds itself overshadowed by the film’s other integral purpose: the erotic display of Joe Dallesandro’s body. The camera, in addition to displaying the horrors of drug addiction, fixes its gaze (with much comfort) directly on the addict itself.

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Taste of Cherry: Sisyphus and a Mulberry Tree

The film Taste of Cherry (1995) immediately alienates its audience with an opening shot of a man with dark, enormous hollows under his eyes and bruised lips as he peers outside his car. He sits in silence, the charged ambiance of the city serving as the only source of life and noise outside the comfort of his vehicle. As he quietly and meticulously navigates the circus that is Tehran’s busy streets, laborers of all shapes and sizes hassle him for work: the men flock to his car window with enthusiasm, hoping their subtle glances toward the man would grant them a day of work. However, the man behind the car repeatedly rejects the laborers advances, and continues to look out the window for a particular person – or something, it’s still not clear five minutes into the film – as he drives out of the main street to the barren, industrial outskirts of town. The dialogue between Mr. Badii and the workers conveys a sexual undercurrent, heightening the feeling of uncertainty in regards to what is really taking place. A typical member of the audience might begin to question about the film: What is this somber-looking man searching for, and what type of labor requires him to seek a highly specialized worker in the varied and vast landscape of Tehran?

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