A natural phenomenon for this year's March equinox, three supermoons, and the March 25 solar eclipse.

“There was a silence different from all other silences, an ashen light, and then darkness – total stillness. I thought that during an eclipse even our feelings stop. Out of this came part of the idea for L'eclisse.”

– Michelangelo Antonioni talking about experiencing a solar eclipse, possibly the total eclipse of 1961 which showed up in the film Barabbas (1961).

During several moments in the film, the main characters' mannerisms foreshadow the looming solar eclipse.

A favourite film, director, or producer for Luc Besson's birthday (1959).

 

Having only seen three of Delvaux's films, I feel I can safely say his work is hypnotic, but not in the common sense. We see a world through both Delvaux's and his protagonists eyes, and experience their duality as one. This displacement is a recurring theme in Delvaux's work, the work of a man raised in one world and speaking the language of another, both worlds bearing the same name, Belgium.

 

This slow tear is also the theme is his best known film, De man die zijn haar kort liet knippen [The Man Who Had His Hair Cut Short] (1965), in which a schoolteacher loses himself after a pupil graduates. When we think we are firmly seated in Delvaux's universe, we fall back, like that moment just before sleep sets in. And again, in his tragically under-seen Belle from 1973. Now it's a poet who finds a woman living in a ramshackle hut in Belgium's peatland, her language an unknown. With only one main speaker, the duality forms in the poet's words, in his attempts to give her root.

 

And so do we, the viewers. We hang on to that root, Delvaux's, only to sink back into our own loss of words.

Green for Irish-American Heritage Month (USA).

“He remembers those vanished years. As though looking through a dusty window pane, the past is something he could see, but not touch. And everything he sees is blurred and indistinct.”

– caption

“Our past doesn't belong to us.”

“Three days ago, at exactly 0600 – because that is really not the time – on February 5 – because that is really not the date – this freighter, which shall be nameless, sailed from a certain Far Eastern port. Its destination: The Port of Los Angeles, Wilmington, California. This is fact.”

– narrator

Covers February 26–28, 1936.

”'I know how you feel,' Reiko says quietly. 'And I will follow you wherever you go.'”

– intertitles

Someone owns a pet on Love Your Pet Day (UK)

“I'm sharing my husband with a cat. This is humiliating!”

– Nakajima

Shōzō is torn between his ex-wife and his current spouse, but really just wants to spend time with Lily, his cat.

A movie about romance, of the Mafia, for St. Valentine's Day.

 

Musicians Joe (Tony Curtis) and Jerry (Jack Lemmon) witness a killing by the Mob at the St. Valentine's Dance where they were hired to perform. In an attempt to escape the Chicagoan gangsters, they go overcover as Josephine and Daphne (“Well, I never did like the name Geraldine.”) in an all-gall jazz band, and fall head over heels for ukelele player Sugar Kane (Marilyn Monroe).

“Real diamonds! They must be worth their weight in gold!”

– Sugar Kane Kowalczyk

The opening shootout was directly inspired by the February 14 1929 Saint Valentine's Day Massacre (graphic), and shares an actor from one of its most famous adaptations, Scarface (1932); George Raft as the wonderfully named Spats Colombo.