@carliedilll: Follow for all the Harry Potter costumes! #harrypotter #harrypotterworld #halloween #costumes

carliedil
carliedil
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Friday 09 October 2026 03:35:25 GMT
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brendonuriehat
sophie ୭ৎ :
I'ma Be Harry Potter bc he's cute and my hair is short like his and I'm a girl
2026-10-10 02:22:36
1
ariannadingus7
ariannadingus7 :
im using what I have at home to be Hermione Granger for Halloween
2026-10-09 17:17:43
1
athena.377
Draco 🐍🐍🐍🐍🐍🐍 :
I’m being Hermione for Halloween too
2026-10-16 11:52:53
0
mk_ere
🍂 𝙷𝚊𝚛𝚛𝚢 𝙿𝚘𝚝𝚝𝚊𝚑 🍂 :
Have you done Draco??
2026-10-09 16:28:50
36
livyy450
livyy450 :
DOBBY
2026-10-09 04:12:17
12
kjnull41
Kjnull41 :
Can you please do Luna or Ginny
2026-10-09 20:01:59
13
mela50107
MELA~* :
By the way, I cut my hair to look like Hermione’s and it looks exactly like hers
2026-10-13 05:29:10
1
oliviarodrigogirly9
𖤐⭒๋࣭ ⭑💜Olivia Girl💜 ☆⋆。𖦹°‧ :
Do ginny
2026-10-09 21:35:39
1
artbysamanthacalifornia
ArtBySamanthaCalifornia :
Now do Nagini
2026-10-09 23:50:56
1
stellac4244
˚*・༓☾ 𝒔𝒕𝒆𝒍𝒍𝒂 ☽༓・🩰🇮🇪🍝 :
McGonagall next
2026-10-10 01:47:06
1
sydneythesciencekid34986
sydneyslytherin :
I love thises
2026-10-09 19:32:54
1
l_b7309
💋🇲🇽🌺𝕷𝖊𝖘𝖑𝖎𝖊🌺🇲🇽💋 :
Omg so pretty
2026-10-10 00:21:56
1
sophia.gonzalez512
sophiagonzalez2664 :
Iunalovegood
2026-10-09 19:20:39
1
strangerthingsloveru
strangerthingslover⚯͛ :
The hair is too dark
2026-10-11 01:54:42
4
ariannadingus7
ariannadingus7 :
can you do Lily Evans next
2026-10-09 17:18:44
1
kjnull41
Kjnull41 :
Awesome because she is my favorite character from Harry Potter
2026-10-09 19:59:49
2
kjnull41
Kjnull41 :
I love it
2026-10-09 20:00:55
1
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Other Videos

BIRTH (2004), dir. Jonathan Glazer This is my favourite film ever, and I got to see it on the big screen, on 35mm, for the first time yesterday at the Prince Charles Cinema. Putting a little something I wrote on my Letterboxd here:  I kneel at the altar of Harris Savides, Glazer’s DP, responsible for the astonishing cinematography of BIRTH. One need look no further than the film’s ghostly colour palette and its chiaroscuro to witness his genius. Everything has an oily painterliness, a sense of decadence and patina, almost like a beautiful Rembrandt forgotten in some corner of a museum.  BIRTH oscillates between this painterly interplay of light and shadow and something closer to tenebrism, the dramatic opposition of illuminated forms against vast expanses of inky blackness. Savides had a particular knack for making black seem blacker, lending the image an ominous strangeness that here only amplifies the film’s paranormal undertow. I kneel at the altar of Nicole Kidman, too, who delivers her magnum opus in a masterclass of subtlety, precision and control. The long opera-house sequence is chilling to witness on the big screen, allowing you to study her face at length and lose yourself in the nuances of every expression, every flicker of feeling she seems to suppress or betray, all against Alexandre Desplat’s monumental score. Glazer’s decision to explore the transcendence of love through this story is a brave one. The bathtub scene alone, which provoked controversy on the film’s release, teeters on the obscene, yet it’s this transgression that gives BIRTH its edge. What better way to convey the madness of love than to push it to a place where tenderness and something so unsettling become indistinguishable? Anna’s love for her dead husband has outlasted death itself, and her longing to have him back gradually becomes so consuming that she is willing to put her sanity, her entire belief system, and even the law at stake for the possibility of being with him again. So I kneel at the altar of Jonathan Glazer, too, for giving me this gift, but above all for giving us some of the most extraordinary close-ups of Lauren Bacall’s beautiful, ageing face.
BIRTH (2004), dir. Jonathan Glazer This is my favourite film ever, and I got to see it on the big screen, on 35mm, for the first time yesterday at the Prince Charles Cinema. Putting a little something I wrote on my Letterboxd here: I kneel at the altar of Harris Savides, Glazer’s DP, responsible for the astonishing cinematography of BIRTH. One need look no further than the film’s ghostly colour palette and its chiaroscuro to witness his genius. Everything has an oily painterliness, a sense of decadence and patina, almost like a beautiful Rembrandt forgotten in some corner of a museum. BIRTH oscillates between this painterly interplay of light and shadow and something closer to tenebrism, the dramatic opposition of illuminated forms against vast expanses of inky blackness. Savides had a particular knack for making black seem blacker, lending the image an ominous strangeness that here only amplifies the film’s paranormal undertow. I kneel at the altar of Nicole Kidman, too, who delivers her magnum opus in a masterclass of subtlety, precision and control. The long opera-house sequence is chilling to witness on the big screen, allowing you to study her face at length and lose yourself in the nuances of every expression, every flicker of feeling she seems to suppress or betray, all against Alexandre Desplat’s monumental score. Glazer’s decision to explore the transcendence of love through this story is a brave one. The bathtub scene alone, which provoked controversy on the film’s release, teeters on the obscene, yet it’s this transgression that gives BIRTH its edge. What better way to convey the madness of love than to push it to a place where tenderness and something so unsettling become indistinguishable? Anna’s love for her dead husband has outlasted death itself, and her longing to have him back gradually becomes so consuming that she is willing to put her sanity, her entire belief system, and even the law at stake for the possibility of being with him again. So I kneel at the altar of Jonathan Glazer, too, for giving me this gift, but above all for giving us some of the most extraordinary close-ups of Lauren Bacall’s beautiful, ageing face.

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