And January 9.

“Dry your eyes, baby; it's out of character.”

– Devlin

A Shakespearean play or quote for the Bard's (assumed) birthday (1564).

Sweet love, renew thy force; be it not said Thy edge should blunter be than appetite, Which but to-day by feeding is allay’d, To-morrow sharpen’d in his former might:

So, love, be thou; although to-day thou fill Thy hungry eyes even till they wink with fullness, To-morrow see again, and do not kill The spirit of love with a perpetual dulness.

Let this sad interim like the ocean be Which parts the shore, where two contracted new Come daily to the banks, that, when they see Return of love, more blest may be the view;

Or call it winter, which, being full of care, Makes summer’s welcome thrice more wish’d, more rare.

– William Shakespeare, sonnet 56 (Fair Youth)

Accompanied by Coil's brooding lust and Judi Dench's solemn recital of 14 of Shakespeare's sonnets, men cross dreamlike landscapes and dark desires.

A cruise ship in remembrance of the sinking of the Titanic on April 14–15, 1912.

 

Mestiza Daïnah, who accompanies her illusionist husband on the luxury cruise ship he works on, loves to flirt and tease the other sex, including the ship's engineer Michaux. When she disappears, suspicion falls not only on Michaux, but also on her Black husband.

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