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Persistence Of Cinema

@persistence.of.cinema

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Monihara (1961) Satyajit Ray “Just because you are a ghost now does not mean that you have the right to meddle with other people’s lives and harm them. Why don’t you simply mind your own business and let the living mind theirs? Our two worlds are different... If one interferes with the other, there can only be disaster and calamity.” - Excerpt from ‘I am a Ghost’ in ‘Ghosts, Supernatural and Tales of the Uncanny’, written and illustrated by Satyajit Ray #satyajitray #rabindranathtagore #monihara by @persistence.of.cinema
Harlan County USA (1976) Barbara Kopple Barbara Kopple’s Academy Award–winning Harlan County USA unflinchingly documents a coal miners’ strike in a small Kentucky town. With unprecedented access, Kopple and her crew captured the miners’ sometimes violent struggles with strikebreakers, local police, and company thugs. With a haunting soundtrack—featuring legendary country and bluegrass artists Hazel Dickens, Merle Travis, David Morris, Sarah Ogan Gunning, and Florence Reece—the film is a heartbreaking record of the thirteen-month struggle between a community fighting to survive and a corporation dedicated to the bottom line. #documentary #harlancountyusa #barbarakopple by @persistence.of.cinema
Bong Joon Ho & Robert Pattinson on Hitchcock’s Psycho & Shōhei Imamura‘s Vengeance Is Mine #bongjoonho #robertpattinson #alfredhitchcock #shoheiimamura by @persistence.of.cinema
Jafar Panahi faces a new five-year prison sentence in Tehran, along with the confiscation of his assets and frozen bank accounts. Despite the constant threat of state persecution, Panahi returned to Iran earlier this year following his Palme d’Or win at Cannes for It Was Just an Accident, continuing his lifelong commitment to artistic resistance and making cinema on his own terms. by @persistence.of.cinema
Homebound (2025) Neeraj Ghaywan “Homebound started with this op-ed essay in The New York Times. It was a true story that happened in India, and it was a story of friendship and what happened to these friends during the journey during the pandemic. Now, when I read this story, it was obviously quite gut-wrenching and it was very moving, and I wanted to use that as a base friendship, as a strong way to talk about our bigger concerns that the world is now grappling with, which is that what makes migrants leave their homes in rural India or across the world? What are the things that motivate them? It’s not just jobs, it’s not just money, it’s also existential.” - Neeraj Ghaywan #homebound #neerajghaywan #indiancinema by @persistence.of.cinema
“A film is quite a different medium to a book. Film should not be a fully illustrated, all talking, all moving version of a printed work, but should be itself, a thing of itself. In that way it uses a novel in the same way that a playwright might use a novel— as a jumping off point from which he will create a completely new work. So no, I have no compunction about changing a book. If you take a serious view of filmmaking, you have to consider that films are not an illustration or an interpretation of a work, but quite as worthwhile as the original. It’s a film inspired by the book, in which my collaborator and partner is Kafka. That may sound like a pompous thing to say, but I’m afraid that it does remain a Welles film and although I have tried to be faithful to what I take to be the spirit of Kafka, the novel was written in the early twenties, and this is now 1962, and we’ve made the film in 1962, and I’ve tried to make it my film because I think that it will have more validity if it’s mine.” - Orson Welles Film: The Trial (1962) Orson Welles #orsonwelles #franzkafka #thetrial by @persistence.of.cinema
Jeremy Allen White on Miller’s Crossing (1990) Coen Brothers #millerscrossing #jeremyallenwhite #coenbrothers by @persistence.of.cinema
Senna (2010) Asif Kapadia The documentary film’s narrative focuses on Ayrton Senna‘s racing career in Formula One, from his debut in the 1984 Brazilian Grand Prix to his death in an accident at the 1994 San Marino Grand Prix, with particular emphasis on his rivalry with fellow driver Alain Prost. Unlike a traditional documentary, it has no formal commentary or retrospective “talking head” interviews, and relies primarily on archival racetrack and broadcast news footage, voiceover narration, and home video clips provided by the Senna family. #ayrtonsenna #senna #formula1 #asifkapadia by @persistence.of.cinema
‘IF I GO WILL THEY MISS ME’, starring Danielle Brooks & J. Alphonse Nicholson, is now available on Digital. The film follows a young boy reconnecting with his incarcerated father, whom he sees as a Greek god, as mysterious visions begin to surround his world. Director Walter Thompson-Hernández kept rehearsals to a minimum, encouraging his actors to draw from their own lives. Danielle Brooks improvised this emotional scene after he asked her the simple question: “What would you say to your son?” by @persistence.of.cinema
“The reason I wanted to make this film about Tenzing was first to redress that historical balance, because he’d never really been at the centre. He was more of a supporting character in the story. But it was also about everything that Tenzing had been through in his life just to get to the starting line of Everest, let alone ascend the mountain. That story to me was fascinating – the sheer number of obstacles he had to overcome just to get to that place. One of my earliest films about the Sherpas [Sherpa, 2015] was because I was really interested in this idea that mountaineering for them is a job, but Chomolungma is a deity that they worship, and that the landscape means something spiritual and very different to what it means to western climbers who come and climb the mountain. I wanted audiences to see that point of view.” - Jennifer Peedom Film: Tenzing (2026) Jennifer Peedom #tenzing #mounteverest #tenzingnorgay #edmundhillary #jenniferpeedom by @persistence.of.cinema
Jean-Luc Godard during May 1968 Protests in France #jeanlucgodard #godard by @persistence.of.cinema
Burden of Dreams (1982) Les Blank Werner Herzog begins work on his 1982 epic “Fitzcarraldo” but soon runs into serious setbacks, from casting problems to his own stubborn refusal to use special effects. After having to reshoot much of the film because the lead actor was recast, his crew must then haul an old-fashioned steamboat over a mountain using manpower alone. With a resolve bordering on insanity, Herzog struggles to realize his vision, vowing to see the film completed — even if it leads to his undoing. #wernerherzog #burdenofdreams by @persistence.of.cinema

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