[adeledazeeeem]

trying to make friends who are obsessed with the same ships as you

[bongjoonhoe]

Reese Witherspoon and Julianna Margulies

in The Morning Show 2x04

[caroldanversenthusiast]

adèle haenel’s talent in the film industry will be missed but her taking this stand is so important

[tenemos-que-hablar]

Q: But in the end, the movie was about a man, you know? It was like a man was the reason why you both got together and he was the reason that you split.

Yeah, because in real life, this is what it is, you know? We know as women, we are spread out in the world. We are the only oppressed people that would not be a population. People from a particular nationality that would be oppressed, they live together, they can rebel. As women, we are spread out among couples and families and our oppression is very intricate with our love story, our family’s stories. That’s the way it works. We know that if we just regard the world, that we are going to be turned into objects again once we are not together anymore. This is how it works. We don’t make a happy end that would calm the world and say “no don’t worry, thank you for letting us be alive.” No, no. You are not letting us be alive enough.

Adèle Haenel discusses the “not-so-happy ending” of Portrait of a Lady on Fire with FredCarpet || published March 6, 2020

[hedaslayer]

Look at me.

[joyland2022]

Gazing at Portrait of a Lady on Fire, Film With No Filter

Full article: filmwithnofilter dot wordpress dot com/2019/12/26/portrait-of-a-lady-on-fire-gaze/

[captainpeachperfect]

Portrait of Lady on Fire (2019) / Orpheus and Eurydice (1862)

[hedaslayer]

Keep still.

[humanveil]

Do all lovers feel they’re inventing something?

I know the gestures. I imagined it all, waiting for you.

Portrait de la jeune fille en feu | Portrait of a Lady on Fire (2019) dir. Céline Sciamma.

[hedaslayer]

I imagined it all, waiting for you.

[taliasburns]

Portrait of a Lady on Fire

(2019) Dir. Céline Sciamma

[grey-wardens-archive-deactivate]

Central to the film is a reclamation of the Orpheus myth, a version of which the three young women read aloud together one night. Sophie registers distress at Orpheus’s fatal, selfish incompetence in looking back at Eurydice when he was told not to, and Marianne suggests he may have done it on purpose, preferring to lose the woman and savor, instead, the romance of his grief, making not “the lover’s choice, but the poet’s.” But it’s Héloïse who removes, for once, the fixation on Orpheus, his failings, and his loss. What if, she says to Marianne with an edge of defiance, it was Eurydice herself who chose art over staying together, who rather than leave the underworld with Orpheus, stopped and called out “Turn around,” preferring to remain down there and be preserved in poetry. A kind of freedom and a kind of permanence, rather than, as eighteenth-century marriage looks to be, an unwilling exchange of one for the other. —  In Portrait of a Lady on Fire, Love is a Work of Art

[hedaslayer]

“I wanted to challenge politically the kissing scene, which traditionally either has the surprise kiss scene thanks to a rain shower for instance, or the obvious kiss scene thanks to mustard on the corner of the lips, for instance, and it is generally carefully scripted as ‘They kiss.’ Or ‘They passionately kiss.’ And then it’s on the actors’ shoulders. It seems to rely a lot on them because it’s their bodies and fluids and interaction, but it shouldn’t be. It’s fake. It’s not about finding the magic. Actors should always be part of the elaboration of an idea, especially with intimate scenes. So I wanted to craft a scene that would embody the sexiness of consent. People who are questioning the idea of asking for consent in France, they do exist. They are brave fighters for the culture of French gallantry who say that asking for consent would not be sexy, it will break the mood. Some of the French critics thought the film lacked flesh, precisely because to them eroticism is about conflict. […] At some point I came up with the idea of them having to unveil their mouths like they would undress themselves. So I put a scarf, justified by a strong wind, pressed on their lips and thinking you would see their heavy breathing through the moving cloth.”

Céline Sciamma on creating a new first kiss

[h-f-k-deactivated20230406]

—You were right. I am scared. Do all lovers feel they’re inventing something? I know the gestures. I imagined it all, waiting for you. —You dreamt of me? —No. I thought of you. PORTRAIT OF A LADY ON FIRE DIR. CÉLINE SCIAMMA

[lordofseagulls]

[evanzbuck]

Carson & Greta + physical touch

[bongjoonhoe]

PORTRAIT OF A LADY ON FIRE (2019) dir. Céline Sciamma