Café Lumière (2003) Dir. Hou Hsiao-hsien
my bloody valentine’s (very minimal) loveless’ publicity
“For the rest of the earth’s organisms, existence is relatively uncomplicated. Their lives are about three things: survival, reproduction, death—and nothing else. But we know too much to content ourselves with surviving, reproducing, dying—and nothing else. We know we are alive and know we will die. We also know we will suffer during our lives before suffering—slowly or quickly—as we draw near to death. This is the knowledge we “enjoy” as the most intelligent organisms to gush from the womb of nature. And being so, we feel shortchanged if there is nothing else for us than to survive, reproduce, and die. We want there to be more to it than that, or to think there is. This is the tragedy: Consciousness has forced us into the paradoxical position of striving to be unself-conscious of what we are—hunks of spoiling flesh on disintegrating bones. Nonhuman occupants of this planet are unaware of death. But we are susceptible to startling and dreadful thoughts, and we need some fabulous illusions to take our minds off them. For us, then, life is a confidence trick we must run on ourselves, hoping we do not catch on to any monkey business that would leave us stripped of our defense mechanisms and standing stark naked before the silent, staring void.”
Mädchen Amick photographed by Harry Langdon, 1992.
Chinese director Wong Kar Wai (L) and member of the Jury, Chinese actress Maggie Cheung laugh 18 May 2007 as they attend the ‘Anniversary Exhibition Starway’ on the beach of the Carlton Hotel in Cannes, southern France, during the 60th edition of the Cannes Film Festival. Photo by AFP Getty Images