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An outdoor, wide-angle photograph in overcast lighting, capturing a large, ancient, and deeply gnarled leafless tree with a significantly twisted, prostrate trunk lying almost horizontally on the dark ground. The tree's dense network of bare branches reaches up. To the right, there is a portion of an old building with textured stone walls and brick accents near the base. The ground is a mix of bare earth and asphalt with a yellow line.
​A close-up photograph capturing a stunning, single cactus flower in full bloom, emerging from its spiny green body. The flower, which dominates the upper half of the image, is delicate and funnel-shaped. Its many overlapping petals are primarily with a subtle, very pale pink gradient towards the tips, catching the bright sunlight which gives them depth and shadow. The center of the flower features a vibrant lime-green core surrounded by numerous delicate, golden-yellow stamens. The delicate bloom contrasts with the dark green, ribbed cactus body beneath it, which is heavily covered in clusters of sharp, brownish-yellow spines.
An aerial, high-angle shot of a person standing at the center of a complex, circular crop circle flattened into a golden wheat field. A scene from Disclose Day.
A low-angle photo, from a low perspective, of a single dandelion with fluffy white seed heads. To the right, numerous tiny dandelion seeds can be seen floating in the air. The sky in the background is a muted shade of blue-grey. In the upper left corner of the image, dark, slightly out-of-focus tree branches and leaves hang down.
A production still from the film Jojo Rabbit (2019), showing Rosie (Scarlett Johansson) and Jojo (Roman Griffin Davis) walking with their bicycles along a European street, set against a backdrop of period details and a chalk notice board.
An outdoor photograph of a young black goat kid with prominent, long, floppy ears, standing in a dense, lush green pasture and looking directly at the camera with an inquisitive gaze. Several other goats, both black and brown, are scattered in the background among wild grasses and broad-leafed plants, out of focus. Natural daylight.
A screenshot of a digital movie profile for the 1985 film Calamari Union, directed by Aki Kaurismäki. Analysis: The journey from the working-class district (Kallio) to the affluent haven (Eira) is portrayed as a deadly, epic odyssey. By exaggerating the physical danger of a short geographical trip, Kaurismäki suggests that for the marginalized, crossing class boundaries is structurally impossible. By naming the characters Frank, the film erases their individuality. They function not as distinct agents but as an atomized mass. This reflects a critical view of how socioeconomic structures render the individual anonymous and replaceable. The deadpan, emotionless acting functions as a Brechtian alienation effect. It prevents the audience from finding emotional comfort in the characters' plight, forcing a detached observation of the hopelessness of their social conditions. Pekka serves as the reality principle within the collective delusion. He represents the material reality and working-class roots the others are desperately trying to mask. The narrative machinery grinds him down just like the others, proving that in their socioeconomic position, neither conformity (Frank) nor individuality (Pekka) offers an escape.
A scene from film In This Corner (and Other Corners) of the World (2016). Director Sunao Katabuch
A smiling face drawn on the snow.
A visual featuring flowers in various colours. Pink-toned variegated petunias are in the foreground.
A textured painting in earth tones featuring a girl walking in profile towards the left. She wears a voluminous white dress and walks barefoot. Strapped to her back with rope is a large, heavy bundle of white flowers that look like tulips. In her hands, she gently holds a small white bird at chest level, gazing at it. The background is an abstract, beige-grey surface with rough, visible brushstrokes, giving the image a rustic and serene atmosphere.
Movie posters: Save The Green Planet (2003) Bugonia (2025) Kinds of Kindness (2024) Nobody (2021)
The final scene of the last episode of Six Feet Under. An aerial view shows a dark blue sedan driving away down a long road through a vast desert landscape towards a hazy, orange-brown horizon.
A close-up of a small, pale gecko with textured skin resting on a teal green plastic grid surface.
Georgi Gospodinov's novel Death and the Gardener.
A matchbox with a picture of the Maiden's Tower in Istanbul on it.
A scene from the film Frankenstein. Director Guillermo del Toro (2025) A small, lone silhouette of a person stands in the center of a vast, dark, and flat horizon. The sky above is clear, showing the deep color gradient of a sunset or sunrise, transitioning from a thin line of bright orange at the horizon up to a dark, deep blue.
A scene from the film Frankenstein. Director Guillermo del Toro. A wide, desolate, and snow-covered battlefield at dusk, strewn with dead soldiers and destroyed artillery. Small, flickering fires dot the landscape, casting a dim, reddish glow on the snow. In the misty background, several dark, skeletal windmills stand starkly against the cold, gray sky, suggesting a world where nature's power is harnessed amidst human destruction.
Frankenstein movie poster. Director Guillermo del Toro. 2025
Hümayun Erşadi. A scene from the film The Taste of Cherries.
A close-up shot captures a lucky four-leaf clover standing out in the center, surrounded by three-leaf clovers and blades of green grass.
The poster is dominated by a bright, fiery orange-yellow sunset that fills the top half. In the bottom half, silhouetted in dark black, is a single man riding a lawnmower, which is pulling a large trailer or wagon. The film's title, "THE STRAIGHT STORY," is written in large, simple white letters across the center. Below the main image, the text includes the director's name, David Lynch, and the quote: "Lynch's tribute to the human spirit.
A wide-angle shot captures a flock of birds perched on several parallel utility wires against a clear, pale blue sky. The wires stretch diagonally across the frame, with the birds appearing as small, dark silhouettes.
A vibrant cluster of pink and orange flowers basks in the sunlight, with lush green leaves surrounding them.
A tranquil, sun-dappled glade is shown from a low angle, with lush green trees creating a natural canopy.
This is a scene from Akira Kurosawa's film 'Dreams.' It shows two men by a river. On the left, a younger man kneels on the bank, observing an elderly man on the right, who is seated and working on a wooden structure. Large wooden water wheels are visible in the peaceful river behind them.
This is a black-and-white, close-up photograph of a marble statue of two figures, a man and a woman, depicted from the chest up. The background is a solid, dark black, which makes the white and gray tones of the weathered statue stand out sharply.
This is a still from the 2016 science fiction film Arrival, directed by Denis Villeneuve. The image captures the moment where Dr. Louise Two person are standing before the heptapods, the extraterrestrial beings who communicate through a non-linear, circular form of writing. The dark, flowing ink-like symbols are a visual representation of the heptapods' language, which allows them to perceive time simultaneously, rather than sequentially.
A low-angle shot of a riverbed with a small reflecting the sky. Large, smooth rocks and sparse green and brown vegetation fill the rocky terrain, with trees in the background under a clear blue sky.
A scene from the film Temple Grandin
An image with 4 film posters. In order: 1. Where the Crawdads Sing / Dir. Olivia Newman 2. In Bruges / Dir. Martin McDonagh 3. Pain & Glory / Dir. Pedro Almodóvar 4. Calamari Union / Dir. Aki Kaurismäki
A woman with her back to the viewer ascends a wide, stone staircase. She is dressed in a dark green, utilitarian jacket and trousers, with a backpack slung over one shoulder. The lighting from above highlights the worn texture of the concrete steps and walls. White, block letters are painted onto the steps, partially obscured by her movement, but clearly spell out "THE TRUTH WILL SURFACE". The overall atmosphere is somber and somewhat mysterious.
A purple flower
A somber movie poster for "Best Wishes To All" directed by Yuta Shimotsu. The central figure is a young East Asian woman with long, dark, straight hair and bangs, looking directly at the viewer with a sorrowful expression. Her left eye appears red and irritated, with a single tear visible on her cheek. There are subtle streaks that could be blood or dirt around her mouth and chin, suggesting distress or injury. The background is a muted, hazy gray-blue, possibly depicting a foggy or overcast sky over a distant, indistinct landscape of mountains or hills. The title "Best Wishes To All" is written in a stylized white script in the upper left corner of the poster.
My father's flowers.
The image shows the front cover of a book titled "Sosyoloji Zanaatı: Epistemolojik Ön Hazırlık" (The Craft of Sociology: An Epistemological Introduction). The authors listed at the top are Pierre Bourdieu, Jean-Claude Chamboredon, and Jean-Claude Passeron. Below the title, there's a paragraph of text, and then a quote in quotation marks: "Ars Inveniendi". To the right of the text, there's a sketch of a donkey with a somewhat mischievous expression, which is the emblem of the publisher, HERETİK. The Turkish translator and presentment are listed as Levent Ünsaldı.
This image features a split view, with the left side depicting Max Jerry Horowitz in a monochrome setting, seated at a desk and typing on a typewriter. He is a claymation figure with a distinctive large nose and a small red hat. On the right side, in color, is Mary Daisy Dinkle, also a claymation figure, with large glasses, a red nose, and various notes or stamps attached to her head. She appears to be writing or drawing. The overall image showcases the distinct visual style of the stop-motion animated film "Mary and Max," highlighting its two main characters in their respective environments.
The image is a collage of numerous scenes from the French film "Amélie" (original title: Le Fabuleux Destin d'Amélie Poulain). Each small rectangular frame captures a different moment, mostly featuring the protagonist, Amélie, portrayed by Audrey Tautou, often with her distinctive short, dark haircut. The collage showcases a variety of her expressions and activities throughout the movie. Some frames show her looking pensive, curious, smiling, or serious. There are close-ups of her face, as well as shots that include elements of her whimsical world: a garden gnome, a skull, a letter, a small box, and other characters. The overall impression is a vibrant and diverse collection of stills that encapsulate the unique visual style and narrative of the film. The color palette across the frames tends towards warm tones, reds, and greens, consistent with the film's aesthetic.
A collection of about twenty books, primarily on linguistics and language, stacked on a wooden table. On the left, a tall stack of books stands, with titles like 'DİLİN AYNASINDAN' (From the Mirror of Language) by Guy Deutscher, 'DİLİN BELİRSİZLİĞİ' (The Uncertainty of Language), 'DİLİN EN GÜZEL TARİHİ' (The Most Beautiful History of Language), 'DİLİN TARİHİ' (The History of Language), 'DİL BİLİM SÖZLÜĞÜ' (Linguistics Dictionary), 'NİETZSCHE ve DİL' (Nietzsche and Language), 'DİLİN KÖKENİ ÜZERİNE' (On the Origin of Language), and 'TARİHÖNCESİNDE DİL' (Language in Prehistory). On the right, a shorter stack includes books such as 'DİLİN KISA TARİHİ' (A Short History of Language) by David Crystal, 'DİLİMİZ, DİLLERİMİZ' (Our Language, Our Languages), 'DOĞA ve DİL ÜZERİNE' (On Nature and Language) by Noam Chomsky, 'ÂDEM İLK HANGİ DİLİ KONUŞUYORDU?' (Which Language Did Adam First Speak?), 'DİL VE MİT' (Language and Myth), and 'DİL NASIL ORTAYA ÇIKTI?' (How Did Language Emerge?). In the foreground, a book titled 'DİL MİTİ' (The Language Myth) is partially visible, laid flat.
A slightly elevated dirt path, covered with scattered fallen leaves, curves gently to the left as it leads into a dense, verdant forest. Lush green trees and undergrowth line both sides of the path, creating a tunnel-like effect. The light appears to be dim, suggesting late afternoon.
Juliette Binoche and Benoît Magimel in The Taste of Things. A softly lit image shows a woman with short, dark, slightly wavy hair wearing a light-colored, button-down shirt. She holds a large, shiny copper bowl and tilts it to pour a pale liquid into a smaller bowl. To her right stands a man with medium-length, wavy light brown hair and a beard stubble, wearing a light-colored shirt and a darker vest. He is looking down towards the pouring. The movie title, "the TASTE of THINGS," is written in a stylized white font across the center of the image.
A nighttime, upward-facing photograph. The sky is dark and starless. In the lower part of the photograph, various trees with different shades and textures of green branches and leaves are visible. The tree on the left stands out with its dense and dark green foliage. In the center and on the right, there are trees with sparser branches and small leaves in yellowish and brownish tones. Slender branches hanging from above also have the same yellowish and brownish hues. In the upper left corner, a bright, white light source illuminates the leaves of the trees.
Three large billboards are lined up along the edge of a field and a road at twilight, under a dark and gloomy sky. At the top of the poster, the words "THREE BILLBOARDS" are written in large, red letters. Below this, the word "OUTSIDE" appears in smaller, white letters. At the very bottom, the text "Ebbing, MISSOURI" stands out in a cursive, orange font. The sky is covered with dark gray and black clouds, while a sunset glow in shades of orange and yellow is visible on the horizon line. The billboards are seen from behind.
A close-up shot captures a white mug filled with a warm tea, with a bright yellow lemon wedge partially submerged within. The mug has a sturdy handle extending to the left. Perched on the rim of the mug, towards the back, is a small, vibrant budgerigar. The bird has a yellow head, a blue patch near its beak, and delicate blue and white scalloped patterns across its wings and back. Its dark eye is clearly visible as it seems to look towards the right of the frame. The background is softly blurred, but hints of a light-colored surface with abstract, muted green and gray circular designs can be seen beneath the mug. To the right, a wooden surface is visible, suggesting a table setting. The lighting appears soft and natural, highlighting the textures of the lemon peel and the bird's feathers.
This is a low-angle, upside-down shot of a patch of wildflowers against a bright blue sky dotted with fluffy white clouds. The perspective makes it appear as if we are lying on the ground looking up through the flowers. Several types of flowers are visible: Pink Flowers: In the foreground and slightly to the left, there are clusters of pink flowers with hooded upper petals and lobed lower petals. Purple Flowers: Scattered throughout the frame are numerous small, tubular purple flowers with green bracts. Yellow Flowers: A few small yellow flowers are also interspersed among the purple and pink blooms. The overall impression is a vibrant and colorful display of spring wildflowers reaching towards the sunlight.
On the textured gray of the ground, a long, slender object rests. At first glance, its sinuous form could be mistaken for a snake basking in the sun, but closer inspection reveals it to be a simple piece of wood.
Two female characters from Yosujiro Ozu's Tokyo Twilight. A scene from the film
A scene from the film Shoplifters. Director Kore-eda Hirokazu.
This photograph captures a scene where clear water collects in a small pool. Water can be seen flowing into the pool from two different points. The bottom of the pool is covered with dark-colored stones, and green aquatic plants float on the surface of the water. In the lower left corner, there are mossy rocks and a few green plants. The photograph captures a calm and peaceful moment of nature.
"Five years in the making, Woman Make Film consists of forty "episodes" narrated by Tilda Swinton, Jane Fonda, Adjoa Andoh, Sharmila Tagore, Kerry Fox, Thandie Newton and Debra Winger." The documentary features women directors.
Reflections
A scene from Princess Mononoke by Hayao Miyazaki.
A close-up shot of several small daffodils green sprouts emerging from dark, textured soil. The sprouts are just beginning to grow, with only the tips visible above the surface of the earth. The soil appears moist and clumpy, suggesting recent rain or watering. The focus is on the sprouts in the foreground, with some blurred greenery visible in the background, hinting at other plants growing nearby. The lighting is natural, highlighting the contrast between the green sprouts and the brown soil.
Side view of a cat sitting on a garden wall. The cat has black fur except for the front. In the background you can see the branches of the trees with their leaves falling and the cirrostratus clouds covering a part of the blue sky like a veil.
Symmetrical image of a canyon reflected in water. A clear sky. Date 5 January 2025
The Girl with The Needle movie poster. Director Magnus Von Horn. A woman among many women. There is a needle above the poster lettering. There is fear on the woman's face and at the same time she has a frightening expression.
The Square film poster
Silhouetted against a twilight sky, a flock of birds roosts on a street lamp.
Photograph of director David Lynch reflected in red light.
Three ducks with white feathers and orange beaks. They're strolling on the yellowed grass.