"In blue the prison is created by both emotions and memory. Julie probably wants to stop loving her husband because it would make it far easier for her to live. That’s why she doesn’t think about him. That’s why she’s forgotten. That’s why she doesn’t visit the cemetery and never looks through old photographs. When someone brings her old photographs, she says she doesn’t want to see them. We don’t actually show this in the film but it becomes clear later on that she’s refused them. She wants to forget all this. But is it really possible to forget? There comes a moment when she starts to feel fine. She starts to function normally, smile, go for walks. So it is possible to forget or at least try to forget. But suddenly there’s jealousy and she can’t get rid of it … In a way, Julie is in a static situation, she’s constantly waiting for something, waiting that something will change. She’s extremely neurasthenic — because that’s what she decided to be — and the film, in a sense, has to follow her, follow her way of life and her behaviour.”
— Krzysztof Kieślowski on Trois couleurs: Bleu (1993)
Nicolas Cage & Willem Dafoe, "Wild at Heart" (David Lynch, 1990).
A lot of people want to be in control in the cinema, to be made to feel secure. I go against those conventions, for good or bad. I want to create a permanent state of unease. I want the audience to ask, ‘What the fuck is going on?’ If they ask that, they can start to let go a bit. Some people don’t. Some people can’t. But if you go with it, then trust me: you’re in for a ride.
happy birthday to NICOLAS WINDING REFN;
Endless List of Favorite Films
In The Mood For Love