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mur--murs

Isabella Rossellini by Sergio Alocci

Vogue 1970

#isabella rossellini

malandi

mutuals do this

dolefuldream

Blue Hotel by Eric Dufour photographies on Flickr.

s-u-f-j-a-n-s-t-e-v-e-n-s

Be well

#Sufjan Stevens

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Audrey Hepburn, circa 1969.

Werner herzog

Kate Bush, 1985

“… and dream of sheep.”

#kate bush

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The mortifying ordeal of knowing ME

ladyonfire28

Céline explains the complexity of filming the abortion scene

( @bereaving GIFs are so good that i’ve given up on picking just a few of them. I just take all of them now lol)

“The abortion scene is the kind of scenes that are extremely difficult to film. We are at the end of the first week, we are on a set that we will only visit once, we are in a kind of museum. It’s not a dreamy decor. There are extras, there are characters who will only play once. Here is Christelle Barras, the casting director and also excellent actress.

And above all there is a very big stake in this scene : there is a young child and the scene is built around him.

When we are about to shoot a scene like this we have a feeling of loneliness because we have no point of reference, we have very little representation, we are not dialoguing with the history of cinema. So there is little pleasure in being a pioneer. Pioneering is a way of giving medals to people who feel they are doing something for the first time.

But it’s not enough, it’s not enough to go through the scene, you have to dream it. There has to be an extra desire in it, you need something that belongs to the film. And what belongs to the film is this child.

Shooting with a child requires maximum comfort for the child and therefore minimum comfort for you. And it’s also trusting in a very long take. We do a series of takes, I sit right next to them, close to Luàna Bajrami. I talk to her all along. And it’s about telling her when does it start and when does it end, paying very close attention to the child and trusting her very much.

It was originally planned that the child put his hand on her chest, but obviously that’s a screenplay indication. He dried her tears.

It’s not miracles, it’s decisions.”

Click here to see more translated parts of the DVD commentary

fuckyeahwomenfilmdirectors

Another layer in this scene is that Christel Baras, who plays the abortionist, is very close to lead actress Adèle Haenel. Baras was the one who cast Adèle in her debut film The Devils, in 2002. After making the film Adèle misteriously quit acting for 5 years and only returned in 2007 with the film Water Lilies which was Céline Sciamma’s debut film. In 2014 Adèle won her first César Award (France’s equivalent to the Oscars) and Baras was one of the people she thanked when she won Best Supporting Actress saying she was the one who started and then re-started her acting career.

In an interview in 2019 Adèle came forward to explain that her absence from film from 2002 to 2007 was because the director of her first film had sexually harassed her and tried to groom her into a sexual relationship from the time she was 12 until she was 15 years old. She said that she completely gave up acting as a result and it was only a chance encounter with Baras, who was casting Water Lilies, that made her continue acting and launched her into a meteroric career in France (since Water Lilies Adèle has been nominated for 7 César Awards in 12 years, winning twice). During a long interview with Mediapart explaining her sexual abuse and talking about why she came forward she credited Baras as being one of the people who saved her life.

#portrait of a lady on fire