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Who’s the real you? The person who did something awful, or the one who’s horrified by the awful thing you did? Is one part of you allowed to forgive the other? — 	Rebecca Stead, Goodbye Stranger

Who’s the real you? The person who did something awful, or the one who’s horrified by the awful thing you did? Is one part of you allowed to forgive the other? — Rebecca Stead, Goodbye Stranger

Wes Anderson will always be a constant role model for me in terms of shot composition. I love his style & use of space.

Wes Anderson will always be a constant role model for me in terms of shot composition. I love his style & use of space.

Glenda Jackson as Queen Elizabeth I in 'Mary, Queen of Scots', by Terry O'Neill, 1971 - NPG x34557 - © Iconic IMages/Terry O’Neill

Glenda Jackson as Queen Elizabeth I in 'Mary, Queen of Scots', by Terry O'Neill, 1971 - NPG x34557 - © Iconic IMages/Terry O’Neill

La Ballade de Narayama Réalisateur : Shōhei Imamura

La Ballade de Narayama Réalisateur : Shōhei Imamura

Picnic at Hanging Rock (1975) Directed by Peter Weir.  With Rachel Roberts, Anne-Louise Lambert, Vivean Gray, Helen Morse. During a rural picnic, a few students and a teacher from an Australian girls' school vanish without a trace. Their absence frustrates and haunts the people left behind.

Picnic at Hanging Rock (1975) Directed by Peter Weir. With Rachel Roberts, Anne-Louise Lambert, Vivean Gray, Helen Morse. During a rural picnic, a few students and a teacher from an Australian girls' school vanish without a trace. Their absence frustrates and haunts the people left behind.

Son of Saul Movie Set Photo 3

Son of Saul Movie Set Photo 3

[Last Films I Saw] Fitzcarraldo & Burden of Dreams (1982) [7/10]

[Last Films I Saw] Fitzcarraldo & Burden of Dreams (1982)

[Last Films I Saw] Fitzcarraldo & Burden of Dreams (1982) [7/10]

To take a form like nonfiction cinema -- as vast as it is experimental and as controversial as it is misunderstood -- and whittle it down to 20 essential titles, seems almost an impossible task.

To take a form like nonfiction cinema -- as vast as it is experimental and as controversial as it is misunderstood -- and whittle it down to 20 essential titles, seems almost an impossible task.