Tarr’s camera gazes, quietly, and lets the world unfold without intervention. There are no easy tropes. No gentle guiding hands leading us into the “feelings” we’re supposed to have. No manipulation. Nothing is designed to give us hope, and if it were, that would be a lie. It’s just there. 

Paired with his notorious summer palette and voyeuristic-like filmmaking, each frame of Éric Rohmer's films are a treat to look at. In this journal, I'd like to take a look at some of my favorite stills from a filmmaker I have grown to love in just under a year. 

Les Blank had always been that kind of filmmaker that I pictured when I heard the term "artist", even without the fancy cameras or rigs or lighting set-ups. Most famously known for his 20-minute film Werner Herzog Eats His Shoe (1980), Les Blank takes the approach of celebrating everyday lives and events, and loving the people that are next to you. We'll be looking at a few of Les Blank's films that had the most profound impact on me, and why I consider him one of my favorite filmmakers. 

Looking at any popular parody or recreation of Anderson's filmmaking, the common denominator always lands somewhere having to do with precise attention to detail, eccentric props and costume design, or hand-crafted detailing in every coordinate of the frame. In an industry where most films are watered down by special effects, larger-than-life set locations, and little to no association between visual construction and storytelling, Wes Anderson challenges the norm with his personal, 'antique store display window' use of scene. 

In today's journal, I'll be writing about some of my favorite outfits that show up in Rohmer's filmography. Including business casual from Love in the Afternoon (1972), to summer stripes from Pauline at the Beach (1983), each outfit on this list serves as a final touch to every last detail in a Rohmer film. 

What does it mean to be thankful of your favorite statue, shadows reflected in empty rooms, or to eat with your hands? Why is it important to make plans with your mother, or to record your lover sleeping? What good is life if it’s always perfected? Anne Charlotte Robertson films the answers; that what makes up life are the little things, and in all entries of her diary of raw emotion, stereo narration and music, was the influence that led me to start documenting the flecks and fragments of life.