Eduardo Padilla @Undiddley

https://t.co/WShH2bWHIR https://t.co/eOs8vLhyzp 💀 Joined September 2014

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stewie garlic @strwberryvape

23 hours ago

"Suicide is selfish" sorry do you want me to kill you too

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Eduardo Padilla @Undiddley

21 hours ago

@pollitaconpapos 🐯❤️ Obrigado. Ya viste la peli Sisi? Sino pa rolartela.

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Eduardo Padilla @Undiddley

2 days ago

@desarzonado Entre los deprimidos pobres (que mueren de inanición) y los deprimidos ricos (que mueren de saturación) estamos nosotros, los deprimidos a crédito.

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no conoces deprimidos pobres porque se matan, mueren de hambre conoces deprimidos ricos porque se medican se van de vacaciones al mediterráneo aprenden arquería, cetrería hacen psicodramas donde se vengan de sus padres y luego se regalan una prostituta filipina de edad dudosa

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Eduardo Padilla @Undiddley

4 days ago

Ojala el Pulpo Paul vaticine el final de nexos.

Waldo Jeffers @IvnOrte20382273

4 days ago

Ojalá que mañana en la mañanera Azuky haga referencia a la polémica de nexos.

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Eduardo Padilla @Undiddley

4 days ago

Escribí un texto chiflado / poema / escena de diálogo / test psicométrico poetripiados.com/las-manos-inve…

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Y'alldabaoth @FadedAfRuatha

6 days ago

I am going to reduce my drug use by moving to Drug City with my close personal friend Mr. Drugs

1976 Live @50YearsAgoLive

6 days ago

David Bowie moves to West Berlin with his old friend Iggy Pop in the hopes that they will escape the spotlight and reduce their drug use.

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Eduardo Padilla @Undiddley

6 days ago

youtube.com/watch?v=9jQftA…

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Eduardo Padilla @Undiddley

6 days ago

Tuiter: me debes cientos de horas de amargura, por exponerme a tal cantidad de miseria humana. Pero yo te debo más de un tera de cine pirata y sublime. Estamos a mano, y sigamos adelante.

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Eduardo Padilla @Undiddley

a week ago

En la Odisea de Nolan hay una gran denuncia contra la gran violencia (con música sentimental de fondo) seguida casi al instante por un baño de sangre a la John Wick. Gringada absoluta.

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HIDEO_KOJIMA @HIDEO_KOJIMA_EN

a week ago

The Backrooms A world where nostalgia and novelty attack you in the form of "art." I'm blown away. It reminds me of pseudo-3D games from the 2D era, back in the dawn of RPGs and the Family Computer (NES), before polygons and textures existed. Simulated 3D spaces built from looping, repetitive visuals: digital labyrinths unconstrained by the rules of architecture. I used to draw maps on graph paper just to keep track of where I was. That sense of confinement. That feeling of anxiety. Both are revived here in live action. The art direction is clever, incorporating elements of art, architecture, and psychology. This is a 21st-century liminal-space version of "CUBE," a work of surrealism and cubism in which video games of the 1980s and the modern world connect across dimensions.

A24公式 @A24HPS

a month ago

全米・世界44カ国 𝗡𝗼.𝟭 　『#バックルームズ』予告解禁　￣￣￣￣￣￣￣￣￣￣￣￣￣￣　 ―脳を侵食する映像体験ー　現実の　　“裏側”へ　　　　　─━─━─━─━─━ 　　　　　　落ち　　　　　　　　　　る無限に　続く　都市伝説の黄　色い　部屋踏み込む勇気はあるか

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Lance Cooper @lmauricecpr

a week ago

The United States has had more than one hundred and fifty years to label the Ku Klux Klan a terrorist organization and has never done so. The fact that the Black Panther Party was dismantled by the US government but the Klan still exists tells you a lot about this country.

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Eduardo Padilla @Undiddley

2 weeks ago

Que el alto espíritu de esta canción te acompañe el resto de la semana. youtu.be/r4TEwVnjNdU?si…

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Eduardo Padilla @Undiddley

2 weeks ago

youtube.com/watch?v=hyLKcH…

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Eduardo Padilla @Undiddley

2 weeks ago

youtube.com/watch?v=pRPmdu…

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DepressedBergman @DannyDrinksWine

3 weeks ago

Béla Tarr on how the concept of time works in "Sátántangó" (1994): "Interviewer: Did you have any problems when you first wanted to make the film in the ‘80s? How did you start work on the film? Tarr: It was mostly a political problem. We couldn't start in the ‘80s because of censorship from the communist government at the time, but by the early ‘90s it became possible to do it and it took four years to do, from 1990 to 1994. You have to understand. This man [Lázsló] was living in the Hungarian lowlands, and he saw a lot of things in the reality of how people were living, and of course he transformed it and created this beautiful novel. I understood when I started working on this project that I cannot do any kind of adaptation. I had to go back to the Hungarian lowlands, like him. I had to see how life is going on out there, and I had to find the film language, I had to figure out how I can get the same stuff that he did in the novel. By the end, I spent two years in the Hungarian lowlands filming, I can tell you I know all the houses, I know all f***ing roads, I know everything in this part of the country. By the end of my time there I could find the way to film and afterwards we could use the dramaturgical structure of the novel, and of course we did not have a script, we had only the novel and my vision. That's all we had. Interviewer: What about the sense of time that you found in that place? Tarr: Hey man, if you are sitting in the Hungarian lowlands, I'm sure it's the same in the desert in, let's say, Arizona, when you are out there: there is no time, no distance anymore, you can go hours, weeks, and you don't see anything. You are out of time; you have a different sense of time then when you are living in a town. And so, the slowness of the drama came from this. You know, you have to understand that first you have to know the life of the places and then afterwards you have a feeling for how you have to film it." ("I Am Interested in the World, Not Just in Filming It": Béla Tarr on "Sátántangó", David Perrin, MUBI, 2019) P.S: Remembering the great Hungarian filmmaker, Béla Tarr, on his 71st birthday!

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Eduardo Padilla @Undiddley

3 weeks ago

Lo más gracioso de todo es que estoy 99% seguro de que Trump le apostó una fortuna a victoria de Argentina con gol de Messi y ahora va a tener que castigar al enano abriéndole un dossier por lavado de dinero o terrorismo.