Artists: Francisco De Goya (1746-1828)

I've always said, "If you can't find a friend, make one."

31 DAYS OF HORROR MOVIES.

11 — MAY ( 2002 )

Gott weiß, ich will kein Engel sein.

and let me grow within you

Hunger is obviously a major theme in Hannibal—it’s literally the cannibal show—but the difference in how that’s portrayed with Hannigram is intriguing.

Hannibal was starving for connection before he had Will, and then everything changed for him. As Bedelia tells Will, “Did he daily feel a stab of hunger, and find nourishment at the very sight of you? Yes.” Hannibal’s hunger is sated by so much as the sight of Will. A mere look at him is enough to satisfy him.

But Will is different. Rather than being sated by his connection with Hannibal, it is the very thing that makes him hungry. There’s a frame in the Italy chapter that makes it look like he’s trapped in a starvation cage. In the script for his sailing scene, he’s literally described to look hungry:

Both Hannibal and Will have a possessive, obsessive, all-consuming love for one another, but it affects them quite differently. Hannibal is nourished by the very sight of Will, but for Will, no amount of the profound attention he experiences from Hannibal can fully sate his hunger—it’s a high he can’t help but chase. It fuels his pathological need to return to Hannibal again and again, no matter how self-destructive it is. I think this is why Will is more outwardly possessive of Hannibal than Hannibal is of Will. Hannibal wants Will to be his; Will wants Hannibal to be no one else’s. Both forms of possession, but Will’s is more jealous because of the way he experiences Hannibal’s attention. It’s a high, it’s a hunger—it’s a need, not a want.

This happened to @sleahlicious and I, oh my god.

it's march 2024. you're on tumblr. you see a gifset of a movie in which an angry brunette appears to be torturing some sad blonde twink. interesting. you watch the movie. you feel really normal about it. you open tumblr. you search "the passenger (2023)”. the trajectory of your life is changed forever.

@sleahlicious

Vasiliy Poryagin

“Hitchcock’s blocking of this scene is extraordinarily suggestive. Framed in the doorway, these two male doubles occupy a shockingly small amount of screen space that forces them into physical intimacy. Or, perhaps, it is Sam that does the forcing. Preventing Norman from leaving the office and catching Lila as she darts away, Sam places his body directly against Norman’s. Indeed, Norman looks down, crotchward, in surprise.”

David Greven, Psycho-Sexual: Male Desire in Hitchcock, De Palma, Scorsese and Friedkin, pg 78