view
Les trois couronnes du matelot [Three Crowns of the Sailor] (Raúl Ruiz, 1983)
Jul
25
1958
Prostitute María (Nadège Clair) sitting on her bed. The bed is covered in dolls. DP: Sacha Vierny.
“On the night of July 25, 1958 I killed Ladislaw Zukarevitch, antique dealer, my mentor, my master in the art of polishing diamonds, my tutor at Warsaw Theological School.”
– the student
view
Estate violenta [Violent Summer] (Valerio Zurlini, 1959)
Jul
25
1943
A large radio on a small pedestal. A perpetual wall calendar next to it reads DOMENICA 25 LUGLIO. DP: Tino Santoni.
view
L'eclisse [The Eclipse] (Michelangelo Antonioni, 1962)
Jul
10
Mon
Vittoria (Monica Vitti, bottom left) at the Borsa – the Rome Stock Exchange. A clock top-right indicates it's Monday, July 10, 12:31 pm.. DP: Gianni Di Venanzo.
“Everything's crashing here.”
– Vittoria's mother
view
La dame dans l'auto avec des lunettes et un fusil [The Lady in the Car with Glasses and a Gun] (Anatole Litvak, 1970)
Jul
10
Vendredi
A man with a lot of swagger and rolled up blueprints is about to enter a room with a prominent Coca-Cola machine and a jazzy leather swivel chair on display. An electronic flip clock tells the time and date. It's 17:52. DP: Claude Renoir.
view
Le démon dans l'île [Demon Is on the Island / Demon of the Island] (Francis Leroi, 1983)
Jun
28
1947
Dr. Gabrielle Martin (Anny Duperey) reads her digital patient file. It mentions her day of birth, June 28, 1947. DP: Jacques Assuérus.
“Don't think too much, it could affect your health, Gabrielle.”
– Dr. Marshall
view
L'immortelle (Alain Robbe-Grillet, 1963)
Jun
23
Sat
A man's hand holds a crumbled up diary page for Saturday June 23. There are no calendar entries. DP: Maurice Barry.
“You're a foreigner and you're lost.”
view
La montagne infidèle [The Infidel Mountain] (Jean Epstein, 1923)
Jun
22
1923
Unrestored film stock showing extensive damage to both the celluloid and the depicted structure. In 2024, the reels were rediscovered in Spain and restored by the Filmoteca de Catalunya (via). DP: Paul Guichard.
Filmmaker Jean Epstein and his cameraman Paul Guichard made their way to the Etna on June 22, 1923. This was merely five days after the eruption started.
“Sicily! The night had a thousand eyes. All sorts of smells shrieked at once. An unfurled coil of wire brought our car, swathed in moonlight as if surrounded by mosquito netting, to a halt. It was hot. Impatient, the drivers broke off singing the most beautiful love song, striking the car with a monkey wrench and insulting Christ and his mother with a blind faith in their efficacy. In front of us: Etna, the great actor who bursts onto the stage two or three times each century, whose tragic extravagances I had arrived to film. An entire side of the mountain was a blazing spectacle. The conflagration reached up to the reddened corners of the sky. From a distance of twenty kilometers, the rumbling at times seemed to be a triumphal reception heard from afar, as if a thousand hands were applauding in an immense ovation.”
– Jean Epstein, Le Cinématographe vu de l’Etna (1926) (via)
view
Un posto ideale per uccidere [An Ideal Place to Kill / Oasis of Fear] (Umberto Lenzi, 1971)
Jun
19
champagne
A white hand places a champagne filled coupe on a tiled floor, right in front of a tabby cat. Said Highness is also enjoying a full plate of carefully prepared seafood. DP: Alfio Contini.
view
Jun
12
Belmondo and a white woman in a Cheongsam – both looking straight at us – awkwardly sit at a small round table in some sort of nightclub-ish establishment. There are cigarettes, an empty glass, and an ice bucket in front of her. DP: Nicolas Hayer.
“I don't give a damn. But I have the jewels and I need the money.”
– Silien
view
Le temps des loups [The Heist] (Sergio Gobbi, 1970)
Jun
12
1938
Dillinger (Robert Hossein) followed by Stella (Virna Lisi). DP: Daniel Diot.