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children of paradise would be the greatest film of all time even if it hadn't been made under nazi occupation. the circumstances of its production make its achievements all the more unique.
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Aug 13, 2018 04:31
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It's a Wonderful Life would be about perfect if it was a little less christian. It's still drat good though, just a little cringey in a couple spots and doesnt translate to other cultures as well as it could. I guess Meet John Doe would be better to spread a similar message? It's just not quite as good of a film.
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Aug 13, 2018 05:50
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FeastForCows posted:Maybe talk a bit more about why they are your favorite movies instead of just putting down a list of titles. Please? It's not that I think anyone is wrong or whatever, it's just far more interesting and convincing to see why someone thinks their favorite movie is the must watch of all time. I mean, for gently caress's sake, I argued for Christopher Nolan's Inception, of all movies. I said earlier in this thread, but it really does something for me that no other movie has come close to.
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Aug 13, 2018 06:03
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People loving love making lists.
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Aug 13, 2018 07:15
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Fine: 20s: Passion of Joan of Arc - I haven't seen it in a bit but I have vivid memories of how astonishingly active it is. Falconetti's performance is, obviously, one for the literal ages, but beyond that, Dreyer's framing and editing is so clever and suggestive. The lighting is beautiful, and I'm particularly enamored with how people are always being framed against bright concrete, faces against stark voids. 30s: Vampyr - Moody in the opposite way, but just as abstract. Where Dreyer has everyone in the blinding light of history in Joan of Arc, he cleverly swallows the screen with the haze of the present in Vampyr. We know the outcome of Joan of Arc, and we are present to condemn, and Vampyr is, to intense effect, the reverse - we don't know what's going to happen, and neither do the characters. And again, in Joan of Arc, all the characters act with absolute conviction, and in Vampyr, there's nothing but doubt. Every step made is into a shadow. 40s: Rope - Theoretically, Hitchcock made better movies, but this is probably my favorite. It's campy, perverse, and completely simple - the body is right there, and we're given the insane pleasure of watching everyone nearly literally dance around it. The long takes are enormously effective. Hitchcock's use of the frame and editing in other films is genius, but his constriction here creates a different atmosphere that I find really beguiling. Characters are framed in ones, twos, threes, fours, and the maintaining of the space is a big part of what provokes the suspense - we, and they, are as much trapped as the body in the trunk. 50s: The Music Room - This is a deeply observant film, which is always pleasurable. Ray has a lot of interesting things to say about pride, greed, and mortality, and he says them gracefully and knowingly. It's poetic enough to be intoxicating, but real enough to be psychologically gripping, and then there's all that great music that helps us understand exactly what's being lost. 60s: Cleo from 5 to 7 - It's not an understatement to say that this movie totally rearranged how I watch movies. The way it's both playful and essayistic makes for a provocative and engaging viewing experience - everything in a scene relates to other things in other scenes, the film is perpetually commenting on and analyzing itself, and prompting the audience to play along. Cleo walks into a hat store and tries on a bunch of hats, appearing in dozens of mirrors at once, and it's not the deepest metaphor, but Varda's style is so sly and witty that it becomes rich and satisfying. And it's just a nice movie, too - it's affirming to see Cleo move from artifice to human engagement. 70s: Autumn Sonata - Like Rope, Bergman has made better films (Bergman himself once suggested that this film was "Bergman doing Bergman"), but, also like Rope, I love the juicy theatricality that's on display here, and the way the interior locations are used to entrap both the characters and the audience. The piano scene is one of the greatest film scenes, I think, it's one of those where, when I rewatch it, I think, can I sit through this again? But I do because something about it is captivating - Bergman manages to illustrate the interior processes of the characters in vicious detail, giving us that satisfying feeling of voyeourism. 80s: Drowning by Numbers - Possibly Greenaway's second-best movie, but my personal favorite for how insidious it is. Everything about it is sickening and cruel, all the worst human elements are on display, and it's fun for that, naughty and juvenile and queasy. It's like being a kid and getting tipsy at a grown-up party, and you don't understand what's happening and everything seems kind of menacing, but you have this sense of being initiated into what's really going on. If the suffering in this film is surreal, it's only, or so it's easy to feel when watching this, as a magnification of the nonsense games we play in our own lives. 90s: Double Life of Veronique - I love that this movie has a little of everything in it. It's so succinct in how it outlines so many of the mysteries of being alive, and still retains the actual mystery itself - it asks as many questions as it provides suggestions, both being introspective and invoking introspection. Kieslowski creates a mood and doesn't break the spell at any time from the beginning of the film to the end, and there's so much feeling contained in between that it's overwhelming. Everyone exists simultaneously, we are always in the company of the world. What does that mean to us, as singular human beings? 00s: Punch-Drunk Love - This is a kooky, threatening film that successfully communicates the monstrous intensity of living anxiety. Nothing merely is in this film, everything has maximum impact - Anderson depicts life as an uneasy dreamscape with the unruly and equal capability for being both viciously nightmarish and apocalyptically beautiful. It's a noirish western through the lens of modern industrial suburbia - Sandler's character lives in an empty, despairing apartment that's so real that it hurts to look at. There's nothing unreal or fantastical about it, but the tone of the film makes it seem like it's too much of what it is. It's a movie about the too-muchness of life. 10s: Marjorie Prime - I love how alien this film is, it reminds me of the moments from Synecdoche, New York where you realize that a distressing amount of time has passed. This is a sad, sad movie, mournful and beautiful and eerie. We feel the way that the characters are locked into their mortality, and the facility of their attempts to reach the dead. There's a terrific moment somewhere in the midst of the film where we suddenly realize that the character we're looking at isn't real, and it's a sensational narrative and emotional jolt. It's an outstanding achievement of dramatic thought.
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Aug 13, 2018 18:27
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Yes, these are my Letterboxd reviews. I'm not writing new poo poo. 00s: The Impossible Voyage Yes, it feels essentially like a remake of A Trip to the Moon. But I like this one a bit more. The sets are more lavish, the effects are more interesting, and the overall journey is more exciting and funny. 10s: Intolerance Griffith is much better at cinematic technique than he is at moralizing. Here he showcases both. His statements about the indignities caused by "intolerance" are dubious. What precise role intolerance played in the dramatic outcomes of the four stories remains murky to me. It comes off like an overly zealous attempt to put a digestible label on some very complex events and situations. He even shoehorns the term into the intertitles as a way to solidify the point. "Defeated by intolerance..." etc. Maybe instead of Intolerance the film should be titled Bad People Doing Bad Things. But forget all that. Here's the good news. Griffith's simplistic moral statements are far, FAR outweighed by the absolutely KILLER cinematic skill on display. Not only is showing the four separate stories a really great idea, but the whole thing is a technical marvel. The word "epic" is used a lot to describe this movie, but only when you see it will you understand just how accurate the term is. This film has production design that would be the envy of every modern big budget Hollywood film. The Babylon segments are an absolute spectacle of detailed, gargantuan-scaled art design. And the battle sequences would make Peter Jackson drool. It's exhilarating and incredibly entertaining. While it does have Griffith's trademark simplistic themes, it doesn't live or die by them. It succeeds by its ludicrously ambitious scale perfectly realized. This is the first Griffith film that I can say I really love. 20s: Greed I watched the 4 hour reconstructed version. I've heard people say this version is less of a movie than the traditional 2 hour cut, intended more as an academic companion piece, or simply a way to catch a glimpse of von Stroheim's true vision. I disagree with these assessments. This was very much a complete, cohesive movie watching experience. The still photos blended in with the rest quite well. In fact, thinking back on the movie, which parts were motion and which were static isn't immediately obvious in my recollection. It all gelled together seamlessly enough. The depiction of the way money can strip away ones humanity was never overbearing or trite. Von Stroheim eases us in to the characters, giving them time to feel authentic, and their plights believable. Despite its length, I was hooked the whole way through. I began to really care about these people. I've seen a lot of silent movies, and I can confidently say that this is the one that has most affected me on an emotional level. Even Murnau's Sunrise, as evocative as it is, didn't hit me like Greed did. It pulled me in deep. For many years I've cited The Cabinet of Dr. Caligari as my favorite silent, but I think it just got dethroned. I loved this movie. It's an absolute masterpiece. 30s: Stagecoach One of the best casts ever. Each actor creates a unique, fun character, and they have wonderful chemistry together. Thomas Mitchel is especially memorable as the drunk but well-meaning doctor. And John Wayne doesn't bug me here nearly as much as he usually does. The dialog is clever and downright funny at times, and the climactic Apache attack is legitimately thrilling. This is an all around great Golden Age western. 40s: Children of Paradise I just don't get it. I hear people talk about great movies all the time. We all know them. Casablanca. The Wizard of Oz. Gone with the Wind. The Godfather. Why, WHY isn't Children of Paradise regularly included in this common cinematic vernacular? This is a capital G Great movie. And not just great from a cinephile's perspective, but it's by all rights a crowd pleaser, a film that should be a household name. My best guess is because it's in French. Very unfortunate. It's a supremely romantic film, though the idea of mutual love is presented as an ever elusive goal. It frames the concept of love in a very grounded, almost uncomfortably realistic way. Maybe we'd give up everything we have for something else that we long for deep down. It makes us care. We care about who ends up loving who. We care about the outcomes of these characters. We cheer some on, we boo others, but we thoroughly understand everybody. The impeccable writing ensures this. In his introduction to the film on the Criterin disc, Terry Gilliam points out how rare it is to see a big budget studio film that's also a poetic work of art. I couldn't agree more. It's impressive in scope, but also stunning in its measured tone and nuances. It's rythmic and calculated, perfectly paced and ingeniously crafted. It's both a technical marvel and an intimate character examination. I can't think of a single thing wrong with this movie. It's flawless. If only us Americans didn't have to read subtitles, this might be the most talked about classic of all time. 50s: House on Haunted Hill I admit that it's mostly nostalgia talking, but I just adore this movie and could watch it a thousand times. The acid pit, the skeleton, the terrifying old lady, the very crappy looking disembodied head, an hilariously contrived plot, and Vincent Price hamming it up like only he can; what's not to love? 60s: 2001: A Space Odyssey Every shot is an example of controlled, meticulous film making. Extraneous shots are nowhere in sight. Instead, Kubrick streamlines his camera's gaze to the big picture of things, be it a long shot of a conference meeting or the moons of Jupiter orbiting the giant planet. The film is a mind blowing achievement in special effects - I have to keep reminding myself that it was made in 1968. It's a beautiful, thought-provoking piece of technical art that deserves every bit of praise it receives. 70s: Taxi Driver As perfect a film as I've seen. An exquisite example of all the pieces coming together flawlessly. Deniro's portrayal of the disturbed and lonely Travis Bickle is nothing short of iconic. Herrmann's brilliant score resonates in our minds. Schrader's haunting narration perfectly demonstrates a mind going mad. Scorsese's camera shows the dark, grimy streets of New York filled with crime and decay. It culminates into one of the most disturbing and unforgettable descents into madness ever filmed. 80s: Amadeus The movie is called Amadeus, but it's about Salieri, a jealous, sad, cold, bitter man, played with haunting perfection by F. Murray Abraham. The film is a moving illustration of what happens to a man when he mistakenly judges the merits of his own life by comparing it to those of others. It's also a chilling example of what can happen when a person looks solely to God as the perpetrator of one's misfortunes. Simply an amazing movie. 90s: Satantango One of the most fascinating movie-watching experiences of my life. I must confess that I split it up over multiple nights. I both regret this decision and don't. On one hand, Tarr himself says the correct way to watch this is uninterrupted. I can definitely see a benefit to that. On the other hand, splitting it up over multiple nights gave it the effect that many great television shows also have; I found myself constantly thinking throughout the day about what I had watched the night before and anticipating what I would see that evening. It allowed the characters, the town, the mood of the whole thing to seemingly take on a life of its own inside my psyche. I really haven't been able to get my mind off of it for the entire time I've been chipping away at it. So what do I think of the movie? I think Satantango is one of the boldest things ever committed to film and one of the finest films I've ever seen. It's a movie that plays by its own rules, and in doing so enlightens its audience about what films are actually meant to do. And the film is incredibly faithful to those rules. Yet the rules are so unique that I never felt that I could predict what was about to happen. Every new scene, shot, bit of dialog or camera movement was a pleasant surprise. I anticipated every next shot the same way I would anticipate a plot revelation in a "typical" movie. It's incorrect to think about films strictly in terms of "what happens." Here Tarr doesn't show us "events", but rather lives, moods, and feelings. No other movie that I've seen allows for this much reflection on what you're watching as you're watching it. The long stretches where nothing is "happening" allowed me to reflect on what I was seeing, to really dwell on the visuals, and to let the mood envelop me. This breathing room gives a considerable weight and significance to everything that happens. This movie has, hands down, the most masterful camera work I've ever seen. Much like Damnation and Werckmeister Harmonies, Tarr demonstrates the utmost control and patience with every shot. Only here these traits are even more pronounced. Since there's so much time to examine every shot, the details linger in my mind. The movie was over 7 hours long, yet if I sat and thought hard enough I bet I could recall nearly every single shot. I think the most impressive thing about this is that the "extremeness" of it all (the length, the languid pace, the lack of "events") never feel extreme or excessive. Shots are never tedious. Although they're long, they always seem to end when they ought to. And they never felt superfluous, always seeming to have weight and significance. Much like the other two films, Satantango has a great textural tactility to it. Here I noticed this with the sound as much as anything else. For instance, when The Doctor sits, looks out the window scribbling in his notebook, and pours his fruit brandy, my attention was drawn to the minute sounds - the cork popping from the glass jar, the sound of lead scratching on the paper, The Doctor's wheezing and grumbling. These sounds added so much life to the scene. And the whole movie was this way. The sound of the pattering rain, the accordion music, etc. The result is an absolutely entrancing experience. That's all the rambling I'll do for now. Bottom line: One of the best things I've ever seen. 00s: There Will Be Blood An excellent movie. From the very first shot Anderson is able to conjure a relentlessly unsettling atmosphere and sustain it for the entirety of the movie. The haunting, often dissonant music helps achieve this, as does the beautiful cinematography and deliberate pacing. The movie is also a supurb character study. This aspect, of course, could not have been achieved if not for the brilliance of Daniel Day-Lewis. He creates one of the most frightening and intriguing characters I've ever seen. 10s: The Turin Horse Being similar in style and tone to Tarr's past films, this one focuses more on repetition to convey a sense of monotony. Tarr does his usual phenomenal job of creating a haunting world filled with detail, and we get plenty striking shots that linger in our minds. Lacking, however, are his unpredictable camera movements - we get a few, but not as many. Nevertheless, this is a gorgeous movie that left me shaken, moved and contemplative. Only Tarr could make bleakness and tedium this beautiful.
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Aug 13, 2018 18:38
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Magic Hate Ball posted:Cloud Atlas is insanely good. It is so loving good that I want to go back in time and slap myself for thinking it wasn't very good the first time I watched it. It's one of the few times I've ever done a complete 180 on my opinion of something. Along with Sense8 I think it's the best thing the Wachowskis have ever done, easily.
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Aug 13, 2018 19:05
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There's something very pure and almost edibly cinematic about Cloud Atlas.Spatulater bro! posted:Yes, these are my Letterboxd reviews. I'm not writing new poo poo. Lazy! I strive to provide only the freshest poo poo possible.
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Aug 13, 2018 19:12
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Lurdiak posted:People loving love making lists.  , beats effort posting
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Aug 13, 2018 19:13
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Spatulater bro! posted:40s: Children of Paradise What makes you think it isn't? Any look at French cinema is pretty much guaranteed to mention it at some point.
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Aug 13, 2018 22:33
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I dunno, I think the New Wave and Renoir tower over most American cinephiles' understanding of French cinema, such that a director like Carné or the entire movement of poetic realism cannot really stand out except to those who would want to dig deeper.
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Aug 13, 2018 23:04
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Samuel Clemens posted:What makes you think it isn't? Any look at French cinema is pretty much guaranteed to mention it at some point. Nobody I've asked about it has even heard of it 
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Aug 13, 2018 23:27
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The Good, the Bad and the Ugly. Because we have never seen so many men wasted so badly. *ecstasy of gold starts playing*
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Aug 14, 2018 01:15
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Antifa Poltergeist posted:The Good, the Bad and the Ugly. It's such a perfect movie.
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Aug 14, 2018 02:18
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MonsieurChoc posted:It's such a perfect movie. It really is, even the added scenes they did for the dvd/bluray edition added some nice touches , although old man Eli voice is jarring. "If you work for a living, why do you kill yourself working?"
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Aug 14, 2018 11:03
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Inglorious Basterds - amazing, tense opening scene, the basement scene is somehow even more tense, resulting in a shootout that lasts about 5 seconds. The acting is amazing all-round (of course Waltz is the standout, making a Nazi Jew hunter so damned charming), the touches of humour in the accents, the direction, the music, everything is just top notch.
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Aug 15, 2018 15:42
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Blue Velvet Other movies have had the effect of provoking dizzying, creeping fear in me, but this was the first. It's the first movie I watched with my mouth agape, wondering how this thing even existed or was made. It seems like a movie made by an alien who only had a vague idea of how people interacted with each other, but somehow nailed the sense of rot that exists just below the surface of the suburban life I grew up with. I keep writing stuff about this and erasing it because it all seems like David Lynch cliches. It's as unpredictable and scary and beautiful as any movie I've seen, and features the best leading ladies in Rossellini and Dern and the best villain in Hopper, that have ever been put to film. Other movies have made me feel the way Blue Velvet does, but Blue Velvet made me fall in love with movies. More importantly, it taught me how to love movies the way I still love them.
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Sep 7, 2018 04:00
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There are a lot of movies I love in here, and lots more that I want to see based on what you've said about them. My favorite movie is not very high-brow, and since I have poor vocabulary regarding film it's hard for me to articulate why I love it so much, but it's almost certainly Raiders of the Lost Ark. Despite its flaws and the nausea-inducing behind-the-scenes discussions regarding whether Marion should have been a literal child when she had her affair with Indy, it's just one of those movies I go back to repeatedly, and if I catch it on television I'll decide to just watch that next scene and then stay until the end. Other movies that hold a special place in my heart: Amélie, Ghostbusters, Pan's Labyrinth, The Shawshank Redemption, The Silence of the Lambs, The Thing.
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Sep 7, 2018 23:31
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Dig! Legitimately the best documentary I have ever seen. The mere fact of its existence is actually kind of insane - Ondi Timoner began filming The Brian Jonestown Massacre in 1995, and Anton introduced her to The Dandy Warhols. This was before either of them were even on anyone's radar. She spends the next 7 years filming them - which is also exceptional given that the first full year or two of that process still involved them being largely unknown bands. That she put so much effort into documenting them seems eerily prescient. But the people! Anton Newcombe, "the greatest 60s revivalist since the 60s", the Charles Manson of West Coast psyche-rock. You see him rise, fall, rise, and fall again, over and over, indulging in the excesses of heroin with none of the glamour, you see him record every instrumental part and vocal for an entire song - it takes about 5 minutes in the film, and took less than an hour in real life. This, by the way, is the song, so you know I'm not full of poo poo: https://www.youtube.com/watch?v=d0FVYGg-KIA Motherfucker did all of that in less than an hour, including the mixing. And Joel! The court jester of BJM, the tamborine player, the Bob Nastanovich of the band! The heart and soul, the only one who never once gets angry or fights with the rest of the band. And the Dandy Warhols! Courtney Taylor, who wishes he were Amadeus but is really Justin Timberlake! Zia McCabe, who is always delightful! And the other two guys that nobody cares about, one of whom had all his footage cut from the documentary because he's an rear end in a top hat! And the STORY! The indie rock diss tracks "Not if you were the last junkie on Earth" and "Not if you were the last Dandy on Earth", both of which are amazing pop songs. God drat it is so good. SO GOOD.
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Sep 8, 2018 10:10
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I saw it on the first page and after thinking on it, I think I have to agree: Speed Racer I love the massive amount of heart that it has, I love the colors and the performances and the bits of surreality but yeah I think ultimately I love how genuine and full of shameless enthusiasm and love it is it's like the ultimate un-cynical movie and I think that makes it my favorite movie
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Sep 8, 2018 15:36
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I feel so basic here but probably Fury Road. It was basically a miracle a movie that good could be made with mostly practical effects and real stunt people in 2015 by the original director. It works as such an incredibly good action movie on the surface but there's so much more going on with it when you pay attention to the details. It's a story of healing and victims taking back their lives and taking the terrible things they've suffered and freely choosing to transform them into good things that help people instead of hurting, disguised as a two hour car chase with lots of explosions. I was just having an argument about this earlier today with someone (who might have been trolling me) refusing to accept there's anything more to it than exploding cars. I tried digging up the original thread for the movie since I remember there being lots of effort posts going into the symbolism etc. Seeds vs anti-seeds, Joe symbolically pissing on everyone with the water in the beginning vs the milk mothers giving it freely at the end, Max being used as a blood bag vs offering his blood to save Furiosa and all that stuff. Anybody have a link to that thread anymore? (picking just one movie is so impossible though, I almost could've gone with Ferris Bueller or Forrest Gump or even freakin Mary Poppins just as easily since I was basically looking for 'movie I could rewatch over and over forever' as a major part of the criteria) Zoe fucked around with this message at 04:23 on Sep 9, 2018 |
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Sep 9, 2018 03:43
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Predator It single handedly kicked off my love of creature-centric sci-fi horror movies. The creature design is, imo, still the best ever created and of course it's just a kickin' rad action movie that is infinitely quotable.
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Sep 10, 2018 20:20
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Wall-E And not just the first third/half of the movie either, though that certainly is what helps it to rise above. It’s just beautifully crafted, animated, scored, etc. I even went into it with low expectations and ended up seeing it 4 times in theaters (I never see a movie in theaters more than once). It’s not the deepest film, but it knows that and it just revels in its simplicity. It’s difficult to describe why it’s my favorite specifically apart from the fact that it just connects with my brain to produce this pure form of happiness.
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Sep 15, 2018 07:17
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You know, gently caress it, my new favourite is Last Temptation of Christ because it'S beautiful and touching and magical and philosophical and has great acting and an amazing soundtrack. https://www.youtube.com/watch?v=XWuN3baaui8 I'm not a christian but I loving love this movie.
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Sep 15, 2018 14:40
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The Labyrinth is my very favorite! Was the very first movie I saw in theater with my dad back in 87' After it came out on VHS then every weekend till I accidentally broke the video stores tape. Fast forward 20+ years Then I got to see it for the second time in theater as an adult. Still just as amazing. Since I live in the Seattle area I also got to checkout the MoPop Jim Henson exhibit and see David Bowie's and Jennifer Connelly's costumes from my very favorite part of the film. I was waaaaay overwhelmed with joy to talk. I kinda freaked out the other people looking like a crazy lady crying over some costumes...  
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Sep 16, 2018 17:36
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I just saw Last Temptation of Christ for the first time a couple months ago and was really blown away by it. It seems all everyone wants to talk about is how ‘controversial’ it was (which after seeing it I didn’t really see what the big deal was). Willem Dafoe was an amazing Jesus and I really liked the slightly hallucinogenic visuals and atmosphere. Also Labyrinth is the poo poo. I just picked up the 4k version and it’s a real stunner. That and Neverending Story are two of my fav movies of all time and it’s a shame that they don’t make those kind of epic movies for kids anymore. imo.
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Sep 17, 2018 02:05
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FalsePriest posted:I just saw Last Temptation of Christ for the first time a couple months ago and was really blown away by it. It seems all everyone wants to talk about is how ‘controversial’ it was (which after seeing it I didn’t really see what the big deal was). Well, there's the problem. A lot of the people who were bothered by it just didn't see it. 
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Sep 17, 2018 09:38
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The Last Temptation of Christ was the first movie I ever "saw" -- not that I remember it. My parents took me to it as an infant.
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Sep 17, 2018 14:39
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Someone sold the film to my mother as a fairly standard Gospel adaptation, and to her credit, I think she made it all the way until the scene where Jesus rips out his own heart before she decided that it wasn't the thing for her.
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Sep 17, 2018 15:11
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Eternal Sunshine of the Spotless Mind is a movie I can watch over and over and find something different to love each time. Joel and Clem are characters I relate to in different ways, both of their insecurities about themselves and relationships spoke to me when I first saw the film as a 19 year old who had never been in a serious relationship. It's beautifully shot and I love the practical effects and editing that exists in all of the moments Joel is escaping his own memories and hiding in his mind. I do the film a disservice with my inability to articulate why I love it so much and why is speaks to me, but it's heart warming and heart wrenching and chaotic and beautiful and reminds me to always treasure the good memories despite the bad ones.
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Sep 17, 2018 21:04
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I saw Eternal Sunshine the night it opened, when I was 15 years old. I invited the girl I had a crush on & my best friend, and they ended up making out 30 minutes into the movie. I learned a lot about sadness that night
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Sep 18, 2018 13:10
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china bot posted:I saw Eternal Sunshine the night it opened, when I was 15 years old. I invited the girl I had a crush on & my best friend, and they ended up making out 30 minutes into the movie. I learned a lot about sadness that night I love this.
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Sep 18, 2018 17:35
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