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#franco fraticelli – @genevieveetguy on Tumblr
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Cinema can fill in the empty spaces of your life

@genevieveetguy / genevieveetguy.tumblr.com

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This generation of females, who feel the impulse to learn how to kick males, I believe is dangerous. It’s more than matriarchy! This is the prelude to the Apocalypse.

Rita the Mosquito (Rita la zanzara), Lina Wertmüller (1966)

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- Why don’t you want to miss it? - You can’t leave those poor comrades in the lurch. They say there’ll be 30,000. Imagine 30,000 in the square. - I’m a metalworker. I march with the metalworkers. - Well, I’m off. - Off, my ass. You’re a metalworker’s woman. Your solidarity’s with me, not them. You don’t even know them. Those construction workers. Big deal. 30,000 ruffians, Sicilians and Calabrians. They won’t be marching. They’ll be taking advantage of the confusion to feel up women. - Come off it. You can’t be jealous of 30,000 construction workers. - That’s not the point. I’m against the march for political reasons. - Sure come on. Tell it the way it is. You’re ashamed to admit you’re eaten with jealousy. - I can’t help it. Imagining them looking at your backside sends me wild. - Communists shouldn’t be jealous. What would that lead to?

The Seduction of Mimi (Mimì metallurgico ferito nell'onore), Lina Wertmüller (1972)

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- What the hell is going on? - I can’t stay alone in that hotel anymore, thinking about it. Look how shaky my hand is. I’m always thinking about it, about that moment when I’ll have to shoot. And shit, I feel like I’m dying. I feel a pain right here. I’m scared shitless. That’s why I wanted to take that poor guy there. To see if I could win it over? - You won, right? And now you’re not going to be upset, are you? Fear is normal. The Fascists are not scared and kill people, but you... You’re an anarchist.

Love and Anarchy (Film d'amore e d'anarchia, ovvero 'stamattina alle 10 in via dei Fiori nella nota casa di tolleranza...'), Lina Wertmüller (1973)

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The impulse had become irresistible. There was only one answer to the fury that tortured him. And so he committed his first act of murder. He had broken the most deep-rooted taboo, and found not guilt, not anxiety or fear, but freedom. Any humiliation which stood in his way could be swept aside by the simple act of annihilation: Murder.

Tenebrae (Tenebre), Dario Argento (1982)

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- I think that a woman's gotta be independent so she can... - Oh, don't start with me about all that woman's stuff. It is a fundamental fact... men are different from women. Women are... weaker; well, they're gentler. - They're what? Weaker? Gentler? - What on earth are you doing? - Come on, Tarzan. Why don't you try me? - What's that? - Arm wrestling. Come on. Then we'll see who's weaker! - Oh, don't be ridiculous! - You backing out?

Deep Red (Profondo rosso), Dario Argento (1975)

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In other words: "Quandum ubique, quandum semper, quandum ad omnibus creditur est", which means that magic is everywhere, and all over the world, it's a recognized fact.

Suspiria, Dario Argento (1977)

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