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Homesickness.

Yayat Hidayat.

11,822 subscribers

55,137 Aufrufe • vor 1 Jahr •via X (Twitter)

Anya Rossi• Live Now

Private livecam show

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Profilbild von mwahh :*

mwahh :*vor 1 Jahr

Video yg pertama sampe inget dialognya : "kaga cewe, kaga warisan abis dibabat. Biarin, kalo meninggal kaga gua panggul ke kurung batang. Aki aki........

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👤vor 1 Jahr

Kisahe wong tulus

Profilbild von Wong Koq Unik Unik Yo

Wong Koq Unik Unik Yovor 1 Jahr

Liat nih @keaneofficial lagu lu dibuat vc gini n tetep bagus

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um_um_mesumvor 1 Jahr

@_sepiaaaa

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fuckshitvor 1 Jahr

bang request Mom jeans yang death cup🙏

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Yayat Hidayat.vor 1 Jahr

Sabar mas, banyak yg req

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Son Of Marymvor 1 Jahr

Mandra was right, semua nyakitin

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Bolaemonvor 1 Jahr

Realita ini pokoknya prinsip prinsip!

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bayu wicakvor 1 Jahr

Walaupun ketutup musik nya, udah pasti pada Tau momen mandra treak 'nyakitiiiiiiin semua'

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Prinsip!

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Akira Kurosawa on his experience watching 'Solaris' (1972) & drinking vodka with Andrei Tarkovsky in Moscow: "I met Tarkovsky for the first time when I attended my welcome luncheon at the Mosfilm during my first visit to Soviet Russia. He was small, thin, looked a little frail, and at the same time exceptionally intelligent, and unusually shrewd and sensitive. I thought he somehow resembled Toru Takemitsu, but I don’t know why. Then he excused himself saying, “I still have work to do,” and disappeared, and after a while I heard such a big explosion as to make all the glass windows of the dining hall tremble hard. Seeing me taken aback, the boss of the Mosfilm said with a meaningful smile: “You know another world war does not break out. Tarkovsky just launched a rocket. This work with Tarkovsky, however, has proved a Great War for me.” That was the way I knew Tarkovsky was shooting 'Solaris' (1972). After the luncheon party, I visited his set for Solaris. There it was. I saw a burnt down rocket was there at the corner of the space station set. I am sorry I forgot to ask him as to how he had shot the launching of the rocket on the set. The set of the satellite base was beautifully made at a huge cost, for it was all made up of thick duralumin. It glittered in its cold metallic silver light, and I found light rays of red, or blue or green delicately winking or waving from electric light bulbs buried in the gagues on the equipment lined up in there. And above on the ceiling of the corridor ran two duralumin rails from which hanged a small wheel of a camera which could move around freely inside the satellite base. Tarkovsky guided me around the set, explaining to me as cheerfully as a young boy who is given a golden opportunity to show someone his favorite toybox. Bondarchuk, who came with me, asked him about the cost of the set, and left his eyes wide open when Tarkovsky answered it. The cost was so huge: about six hundred million yen as to make Bondarchuk, who directed that grand spectacle of a movie “War and Peace,” agape in wonder. Now I came to fully realize why the boss of the Mosfilm said it was “a Great War for me.” But it takes a huge talent and effort to spend such a huge cost. Thinking “This is a tremendous task” I closely gazed at his back when he was leading me around the set in enthusiasm. Concerning Solaris, I find many people complaining that it is too long, but I do not think so. They especially find too lengthy the description of nature in the introductory scenes, but these layers of memory of farewell to this earthly nature submerge themselves deep below the bottom of the story after the main character has been sent in a rocket into the satellite station base in the universe, and they almost torture the soul of the viewer like a kind of irresistible nostalghia toward mother earth nature, which resembles homesickness. Without the presence of beautiful nature sequences on earth as a long introduction, you could not make the audience directly conceive the sense of having-no-way-out harboured by the people “jailed” inside the satellite base. I saw this film late at night in a preview room in Moscow for the first time, and soon I felt my heart aching in agony with a longing to returning to the earth as quickly as possible. Marvellous progress in science we have been enjoying, but where will it lead humanity after all? Sheer fearful emotion this film succeeds in conjuring up in our soul. Without it, a science fiction movie would be nothing more than a petty fancy. These thoughts came and went while I was gazing at the screen. Tarkovsky was together with me then. He was at the corner of the studio. When the film was over, he stood up, looking at me as if he felt timid. I said to him, “Very good. It makes me feel real fear.” Tarkovsky smiled shyly, but happily. And we toasted vodka at the restaurant in the Film Institute. Tarkovsky, who didn’t drink usually, drank a lot of vodka, and went so far as to turn off the speaker from which music had floated into the restaurant, and began to sing the theme of samurai from Seven Samurai at the top of his voice. As if to rival him, I joined in. For I was at that moment very happy to find myself living on Earth. Solaris makes a viewer feel this, and even this single fact shows us that Solaris is no ordinary SF film. It truly somehow provokes pure horror in our soul. And it is under the total grip of the deep insights of Tarkovsky. There must be many, many things still unknown to humanity in this world: the abyss of the cosmos which a man had to look into, strange visitors in the satellite base, time running in reverse, from death to life, strangely moving sense of levitation, his home which is in the mind of the main character in the satellite station is wet and soaked with water. It seems to me to be sweat and tears that in his heartbreaking agony he squeezed out of his whole being. And what makes us shudder is the shot of the location of Akasakamitsuke, Tokyo, Japan. By a skillful use of mirrors, he turned flows of head lights and tail lamps of cars, multiplied and amplified, into a vintage image of the future city. Every shot of Solaris bears witness to the almost dazzling talents inherent in Tarkovsky. Many people grumble that Tarkovsky’s films are difficult, but I don’t think so. His films just show how extraordinarily sensitive Tarkovsky is. He made a film titled 'Mirror' (1975) after Solaris. Mirror deals with his cherished memories in his childhood, and many people say again it is disturbingly difficult. Yes, at a glance, it seems to have no rational development in its storytelling. But we have to remember: it is impossible that in our soul our childhood memories should arrange themselves in a static, logical sequence. A strange train of fragments of early memory images shattered and broken can bring about the poetry in our infancy. Once you are convinced of its truthfulness, you may find Mirror the easiest film to understand. But Tarkovsky remains silent, without saying things like that at all. His very attitude makes me believe that he has wonderful potentials in his future. There can be no bright future for those who are ready to explain everything about their own film." ("Akira Kurosawa on watching ‘Solaris’ with Andrei Tarkovsky", Cinephilia & Beyond)

Akira Kurosawa on his experience watching 'Solaris' (1972) & drinking vodka with Andrei Tarkovsky in Moscow: "I met Tarkovsky for the first time when I attended my welcome luncheon at the Mosfilm during my first visit to Soviet Russia. He was small, thin, looked a little frail, and at the same time exceptionally intelligent, and unusually shrewd and sensitive. I thought he somehow resembled Toru Takemitsu, but I don’t know why. Then he excused himself saying, “I still have work to do,” and disappeared, and after a while I heard such a big explosion as to make all the glass windows of the dining hall tremble hard. Seeing me taken aback, the boss of the Mosfilm said with a meaningful smile: “You know another world war does not break out. Tarkovsky just launched a rocket. This work with Tarkovsky, however, has proved a Great War for me.” That was the way I knew Tarkovsky was shooting 'Solaris' (1972). After the luncheon party, I visited his set for Solaris. There it was. I saw a burnt down rocket was there at the corner of the space station set. I am sorry I forgot to ask him as to how he had shot the launching of the rocket on the set. The set of the satellite base was beautifully made at a huge cost, for it was all made up of thick duralumin. It glittered in its cold metallic silver light, and I found light rays of red, or blue or green delicately winking or waving from electric light bulbs buried in the gagues on the equipment lined up in there. And above on the ceiling of the corridor ran two duralumin rails from which hanged a small wheel of a camera which could move around freely inside the satellite base. Tarkovsky guided me around the set, explaining to me as cheerfully as a young boy who is given a golden opportunity to show someone his favorite toybox. Bondarchuk, who came with me, asked him about the cost of the set, and left his eyes wide open when Tarkovsky answered it. The cost was so huge: about six hundred million yen as to make Bondarchuk, who directed that grand spectacle of a movie “War and Peace,” agape in wonder. Now I came to fully realize why the boss of the Mosfilm said it was “a Great War for me.” But it takes a huge talent and effort to spend such a huge cost. Thinking “This is a tremendous task” I closely gazed at his back when he was leading me around the set in enthusiasm. Concerning Solaris, I find many people complaining that it is too long, but I do not think so. They especially find too lengthy the description of nature in the introductory scenes, but these layers of memory of farewell to this earthly nature submerge themselves deep below the bottom of the story after the main character has been sent in a rocket into the satellite station base in the universe, and they almost torture the soul of the viewer like a kind of irresistible nostalghia toward mother earth nature, which resembles homesickness. Without the presence of beautiful nature sequences on earth as a long introduction, you could not make the audience directly conceive the sense of having-no-way-out harboured by the people “jailed” inside the satellite base. I saw this film late at night in a preview room in Moscow for the first time, and soon I felt my heart aching in agony with a longing to returning to the earth as quickly as possible. Marvellous progress in science we have been enjoying, but where will it lead humanity after all? Sheer fearful emotion this film succeeds in conjuring up in our soul. Without it, a science fiction movie would be nothing more than a petty fancy. These thoughts came and went while I was gazing at the screen. Tarkovsky was together with me then. He was at the corner of the studio. When the film was over, he stood up, looking at me as if he felt timid. I said to him, “Very good. It makes me feel real fear.” Tarkovsky smiled shyly, but happily. And we toasted vodka at the restaurant in the Film Institute. Tarkovsky, who didn’t drink usually, drank a lot of vodka, and went so far as to turn off the speaker from which music had floated into the restaurant, and began to sing the theme of samurai from Seven Samurai at the top of his voice. As if to rival him, I joined in. For I was at that moment very happy to find myself living on Earth. Solaris makes a viewer feel this, and even this single fact shows us that Solaris is no ordinary SF film. It truly somehow provokes pure horror in our soul. And it is under the total grip of the deep insights of Tarkovsky. There must be many, many things still unknown to humanity in this world: the abyss of the cosmos which a man had to look into, strange visitors in the satellite base, time running in reverse, from death to life, strangely moving sense of levitation, his home which is in the mind of the main character in the satellite station is wet and soaked with water. 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🔥🚨DEVELOPING: There are currently viral claims that there is a man named Kenji Takahashi who owner of Kurohana Sushi restaurant in Los Angeles was arrested for plotting to assassinate dancing food creator BigGroove after offering him to do a food review at his business. I HAVE VERIFIED ALL OF THIS IS FALSE. Kenji Takahashi doesn’t exist and the Sushi restaurant doesn’t either, small social media creators started this lie to generate clicks with the help of AI, this is the world we live in now, everything can be created through AI, the location, the suspect, and even the arrest documents. We have to be prepared for this new world we live in, please be careful before believing what you read.

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… pek pek? 🥺 Today we’re unpacking the chaotic mind of Salina EsTitties 👹 and debriefing from the madness that is All Stars 11 ⭐️🤭 Is Salina leaving with the golden boot again? Did vivacious really read the 🐶 💩 out of her? Do her and April have beef 🫣? Join as we Cut up, Kiki, and Walk down memory lane 🐖💦 #rupaulsdragrace #rpdr #dragrace #allstars #as11

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as someone in college and officially in her 20s i badly needed to hear this 🥺 thank you yeonjun ❤️‍🩹 🦊: just because you don’t know what your dream is yet 🦊: it absolutely does not mean you are falling behind 🦊: there is no set timetable for figuring out what you love to do

as someone in college and officially in her 20s i badly needed to hear this 🥺 thank you yeonjun ❤️‍🩹 🦊: just because you don’t know what your dream is yet 🦊: it absolutely does not mean you are falling behind 🦊: there is no set timetable for figuring out what you love to do

‎ . ݁⋆ lishie 𖣂 ݁˖ . ݁

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A wholesome kitchen chat between Roger and Janey ❤️ #MyMumYourDadUK #MyMumYourDad

A wholesome kitchen chat between Roger and Janey ❤️ #MyMumYourDadUK #MyMumYourDad

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> be Ferrari > spend 8 decades selling cars based on the sound they make > hire Jony Ive - the guy who killed the headphone jack and shipped the butterfly keyboard - to design your first EV > wait 4 years. unveil the "Luce" in Rome > charge $640,000 for 280 miles of range. a $50K Mustang Mach-E does 300 > 0-60 in 2.4 seconds. so does a used Tesla Plaid for a tenth of the price > weigh 4,982 lbs - basically a Ford F-150 > 4 doors, 4 seats, a hatchback trunk Ferrari proudly calls "the largest luggage capacity we've ever offered" > Ive at the launch: "it's not styled" > actual designers call it "soulless," compare it to a Honda, a kit-car, and "a Lotus Elise for the EV era" > because EVs are silent, you bolt an accelerometer to the motors and run an algorithm that filters "unpleasant frequencies" and amplifies "musical" ones > US deliveries: Q2 2027 $640,000. for a 5,000-pound sedan with a synthesized soul. designed by the man who killed the headphone jack.

> be Ferrari > spend 8 decades selling cars based on the sound they make > hire Jony Ive - the guy who killed the headphone jack and shipped the butterfly keyboard - to design your first EV > wait 4 years. unveil the "Luce" in Rome > charge $640,000 for 280 miles of range. a $50K Mustang Mach-E does 300 > 0-60 in 2.4 seconds. so does a used Tesla Plaid for a tenth of the price > weigh 4,982 lbs - basically a Ford F-150 > 4 doors, 4 seats, a hatchback trunk Ferrari proudly calls "the largest luggage capacity we've ever offered" > Ive at the launch: "it's not styled" > actual designers call it "soulless," compare it to a Honda, a kit-car, and "a Lotus Elise for the EV era" > because EVs are silent, you bolt an accelerometer to the motors and run an algorithm that filters "unpleasant frequencies" and amplifies "musical" ones > US deliveries: Q2 2027 $640,000. for a 5,000-pound sedan with a synthesized soul. designed by the man who killed the headphone jack.

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Lifts🏋🏼️🤍

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Just being a strong girl🍑🤍

Just being a strong girl🍑🤍

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It’s important for people to see videos like this so they understand how to carry themselves in public.

It’s important for people to see videos like this so they understand how to carry themselves in public.

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