✶. Welcome to the Arachne Chrysalis Reverie ᯓ ★.︶︶︶︶︶︶︶︶︶︶︶︶. ೀ ೀ © s1llybatz. ⠀☆ ︶︶︶︶︶ ☆ ︶︶︶︶︶ ☆

Tl cleanse ❤️. Look at my adorable wife, my boingo sploingo :-)

RT @guitaristsangel:

RT @guitaristsangel: a short essay on soulbonding, and my response. remember! every bond is different. this is just my personal take. (con….

RT @JuneWasHere1: Another banded tussock moth I found the other day

RT @keibleh: drowning in you #ALNST #mizisua

Forgot the tag💔. #arachnechrysalis.

neither of them moves for a long time yet the love still survives. Their bond is one that undergoes many ruptures, to the point of existing on a more symbolic plane; it is a love of sealed letters and lingering memories, but one that never dissolves, only changes form.

In trying to hold on without disrupting the delicate balance between them, Sol ends up trapped in a cycle of almosts. She doesn’t walk away, but she doesn’t step forward either. She waits, for a moment that feels safe enough, or for Kafka to turn around. But the truth is:+.

so she lingers in the in-between, writing drafts of confessions she never sends, replaying moments in her mind to find the right words she’ll never say aloud. In trying to hold on without disrupting the delicate balance between them, Sol ends up trapped in a cycle of almosts. .

something as precious as her love for Sol, even if it means never consuming it. Sol, on the other hand, is like Su: she lives between the desire to express herself and the fear of breaking what exists, even if it is fragile, +.

They choose to leave each other behind, but will carry each other forever in some corner of their souls. Kafka and Sol also share this kind of renunciation, especially Kafka, who, being more scarred by painful relationship experiences, understands the need to protect+.

at least in each other's presence. At the end of the film, Chow buries a secret in a stone wall, sealing his story with Su forever. There is no reconciliation, only memories remain. .

that attachments bring far away. But when they are face to face, they are able to perceive the artifice, and that is the starting point for dismantling their masks, at least in each other's presence. At the end of the film, Chow buries a secret in a stone wall, sealing his story+.

Kafka and Sol also live on this threshold between reality and performance. Both are locked into roles and archetypes that are only the facade of their being, keeping parts of themselves hidden as a way to keep those around them at a distance and, therefore, also keep the pain+.

⌛ Theater, unspoken confessions, and memories. Chow and Su rehearse the confrontation with their spouses, imagining how it would have been—pretending to be the traitors, playing roles in an intimate theater. It is a way of processing the pain while keeping it at a distance.

It is not the red of possession and passion, but of the wound, of the tension that never dissipates. The love is still there, alive, pulsating, but continually pierced by the stifling forces of fate.

🌹 The color red . Red is always lurking in In the Mood for Love: on the walls, in Su's clothes, in the light of the rooms. It is passion that never explodes, desire barely restrained. Kafka and Sol, as a pair, have red as their symbolic color for precisely this reason.=

Kafka and Sol also inhabit this kind of space: they often remain silent even when sharing moments together. It takes time for them to open up, and even then there are things they prefer not to express. Still, they perfectly interpret each other's looks and gestures.

Su and Chow rarely express their feelings out loud. There is mutual respect for each other's boundaries and wounds. The silence between them is not empty, but filled with tension, longing, and care. They communicate through gestures, repetitions, and constant presence.

objects and memories they keep from each other). Each repetition of the moments routinely shared between them is like a way of saying, “I'm still here". Su and Chow rarely express their feelings out loud. There is mutual respect for each other's boundaries and wounds. .