Candles for Diwali*. Today's and tomorrow's theme are virtually interchangeable.

 

When an old crone gives birth to a beautiful baby, a young virgin claims the child as hers. With the Immaculately Conceived wonder put on display – to the child's contemporaries, the court of Cosimo de' Medici attending a reenactment of the events, and us film viewers – He protects the false Virgin from losing her chastity and blurs the walls between staging and gospel.

 

* “Diwali, one of the major religious festivals in Hinduism, Jainism, and Sikhism, lasting for five days from the 13th day of the dark half of the lunar month Ashvina to the second day of the light half of the lunar month Karttika. The corresponding dates in the Gregorian calendar usually fall in late October and November.” (source).

[Favourite] psychological horror*

“A premonition of a horror film”

– tagline

Real horror is not found in broken dinner plates or corpuscular masses of light. It's in what the mind does with that input, in how those lux morph into human-like shapes. In how gusts of wind becomes larynx-touched voices. Cut up the neatly filed research papers and be left with the whispers of the mind.

 

* the Bales 2025 Film Challenge for October is horror-themed as opposed to date-based, and is all about favourites. Expect non-horror and films I believe to be relevant instead.

Cerulean, or blue: in food or fashion*

“I'm just fine. I have everything here. I have the TV. You can see the whole world”

– the mother

How could I not pick at least one instalment of Kieślowski's Trois couleurs trilogy. Here's blue, the liberté of the tricolor. Blue occurs as the sky to fall through, the room without life, and the cloth that binds.

 

* the Bales 2025 Film Challenge for August is not date-related but lists, for the most part, the colours of the rainbow.

Green: a building or structure*

“That's all the people we've got now. We'll get there somehow.”

Where the old folks' hands push the cart, the green's worn off. That doesn't change anything about its importance. A lifeline, bread, is delivered once a week and with delivered, it means that the carriage is left on the rails, several kilometers away from Zhikharevo, or Township Nr. 3, which in its turn is about 80 km away from Saint Petersburg. It takes the seniors about two hours to get the wagon to their hamlet. We get to witness ten minutes or so. It lasts a lifetime.

 

As of 2002, only three people lived in Zhikharevo. I wonder how the wain comes home now.

 

* the Bales 2025 Film Challenge for August is not date-related but lists, for the most part, the colours of the rainbow.

Yellow: a building or structure*

“Just when I really needed a raincoat, he returned to my side. It would be so great if it could rain forever.”

– Punkie

* the Bales 2025 Film Challenge for August is not date-related but lists, for the most part, the colours of the rainbow.

A film scene with a bike for World Bicycle Day

 

Jean (Marc Barbé) follows the route of the Tour de France. He sees women, picks them up, takes them out. Claire, infatuated with him, is taken in by his darkness. At night, the cyclists continue the course.

An LGBTQ actor, director, or character over 55 for Honor Our LGBT Elders Day (USA)

“Ich bin meine eigene Frau” (“I am my own woman/wife”)

– Charlotte von Mahlsdorf, in response to her mother's request to settle and get married

The extraordinary life of Charlotte von Mahlsdorf, Berliner, gender bender, Nazi killer (her own father, with a wooden rolling pin, mind you), prisoner, custodian, museum founder, barmaid, Stasi informer (arguably), den mother to the GDR's LGBT+ youngsters, but most of all, her own woman.

A film set in April.

“We split up on April Fool's Day. So I decided to let the joke run for a month. Every day I buy a can of pineapple with a sell-by date of May 1. May loves pineapple, and May 1 is my birthday. If May hasn't changed her mind by the time I've bought thirty cans, then our love will also expire.”

– He Zhiwu, Cop 223

A World War I film: a day in recognition of the forced deportations and genocide in Armenia, 1915 — 1923.

“Parfois ils disent que nos images sont esthétiques, mais nous disons que les images esthétiques sont des images hautement étiques. Pour nous éthique et esthétique marchent ensemble. Re-filmer signifie re-signifier.”

– Yervant Gianikian and Angela Ricci Lucchi in conversation with Daniele Dottorini, 2007 (via)

Re-purposed propaganda reels show citizens – displaced, dehumanised – turned into prisoners of war, and finally into corpses.