o azul da juventude

Can you hack your mind being riddled With the wrong memories

[jeunesse-talking]

L’Effrontée (1985), directed by Claude Miller. 

“One of Claude Miller's most acclaimed works, and winner of the Prix Louis-Delluc in 1985, L'Effrontée is an extraordinarily engaging film with its heartrending portrait of adolescence. You get the impression that Miller himself was suffering from teenage fits whilst making the film - the mood constantly shifts between insane optimism and morose despondency, thanks to clever use of music and visually contrasting scenes. The film's impact, however, has probably less to do with this technical wizardry and more to do with a solid,non non-sense piece of acting - from Charlotte Gainsbourg. In her first substantial film role, Gainsbourg is magnificent. Her sensitive portrayal of a thirteen year old girl captures the harrowing insecurity and irrational behaviour of adolescence, without resorting to the kind of manipulative sentimentality or loud mouthed histrionics which most cinema audiences have come to expect of teenage actors. No surprise that this promising young actress was awarded a César in the Meilleur espoir féminin category for her part in this film. Her co-star, the ever-delightful Bernadette Lafont, also picked up a César, for best supporting actress. For its honest, perceptive depiction of early adolescence, L'Effrontée bears some similarity to FrancoisTruffaut's 1959 film, Les Quatre cents coups. Claude Miller worked for a while as Truffaut's assistant director, and his mentor's influence can be seen in many of his films. Like Truffaut, several of Miller's films are concerned with childhood and adolescence. Miller followed up L'Effrontée with a film which Truffauthad planned to make before his death, La Petite voleuse, another striking study of teenage rebellion, againstarring Charlotte Gainsbourg.” 30/09/2020 L'Effrontee (1985) [The Hussy] - Claude Miller - film review www.frenchfilms.org/review/l-effrontee-1985.html 

[jeunesse-talking]

Do

{✂️ 📌🗓️📁📥}

While (painting <= 0)

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[jeunesse-talking]

✂️ Vs 📻

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[cheryllynneaton]

Fran Lebowitz on Race and Racism

The way to approach it, I think, is not to ask, “What would it be like to be black?” but to seriously consider what it is like to be white. That’s something white people almost never think about. And what it is like to be white is not to say, “We have to level the playing field,” but to acknowledge that not only do white people own the playing field but they have so designated this plot of land as a playing field to begin with. White people are the playing field. The advantage of being white is so extreme, so overwhelming, so immense, that to use the word “advantage” at all is misleading since it implies a kind of parity that simply does not exist.

It is now common—and I use the word “common” in its every sense—to see interviews with up-and-coming young movie stars whose parents or even grandparents were themselves movie stars. And when the interviewer asks, “Did you find it an advantage to be the child of a major motion-picture star?” the answer is invariably “Well, it gets you in the door, but after that you’ve got to perform, you’re on your own.” This is ludicrous. Getting in the door is pretty much the entire game, especially in movie acting, which is, after all, hardly a profession notable for its rigor. That’s how advantageous it is to be white. It’s as though all white people were the children of movie stars. Everyone gets in the door and then all you have to do is perform at this relatively minimal level.

Additionally, children of movie stars, like white people, have at—or actually in—their fingertips an advantage that is genetic. Because they are literally the progeny of movie stars they look specifically like the movie stars who have preceded them, their parents; they don’t have to convince us that they can be movie stars. We take them instantly at face value. Full face value. They look like their parents, whom we already know to be movie stars. White people look like their parents, whom we already know to be in charge. This is what white people look like—other white people. The owners. The people in charge. That’s the advantage of being white. And that’s the game. So by the time the white person sees the black person standing next to him at what he thinks is the starting line, the black person should be exhausted from his long and arduous trek to the beginning.

[jeunesse-talking]

1 - Victor Man,  Untitled, 2013, Oil on canvas, 100 x 67 cm.  2-  Victor Man, Untitled, 2012. Oil on linen mounted on wood, 27 x 19 cm. Victor Man Born 1974 Lives in Rome and Cluj, Romania Gladstone Gallery

[jeunesse-talking]

Never Rarely Sometimes Always (2020) by Elizabeth Hittman “Whatever your decision is is totally fine, as long as it's yours”

[jeunesse-talking]

All paintings, 2020 - 2018, oil on canvas by  Francisco Rodriguez b. 1989, Santiago, Chile Lives and works in London, UK

[jeunesse-talking]

AnaPrata Série Retratos da Bia | Bia’s Portraits Series

2016

técnica mista sobre papel | mixed media on paper

29.7 x 21 cm

[jeunesse-talking]

Drôle d’Époque  (2018) by Clara Luciani  “Qu'est-ce qu'on va faire de toi? Tu marches même pas droit T'as l'allure de ton père Les cheveux en arrière T'as pas l'air, t'as pas l'air, t'as pas l'air d'une femme D'une femme Où sont passés tes seins Ta cambrure de félin? Tantôt mère nourricière Tantôt putain vulgaire Conduis-toi, conduis-toi, conduis-toi comme une femme Comme une femme Comme une femme Moi j'ai pas l'étoffe, pas les épaules, pas les épaules Pour être une femme de mon époque On vit vraiment une drôle d'époque Tu voudrais voir en moi Ta mère et ta sauveuse Que je porte ma croix En restant amoureuse Mais je sais pas, je sais pas, je sais pas être cette femme Cette femme Être cette femme Moi j'ai pas l'étoffe, pas les épaules, pas les épaules Pour être une femme de mon époque On vit vraiment une drôle d'époque Moi j'ai pas l'étoffe, pas les épaules, pas les épaules Pour être une femme de mon époque On vit vraiment une drôle d'époque Moi j'ai pas l'étoffe, pas les épaules, pas les épaules Pour être une femme de mon époque On vit vraiment une drôle d'époque”

[startreklesbian-deactivated2020]

Portrait de la jeune fille en feu (2019) dir. Céline Sciamma

[jeunesse-talking]

Portrait de la jeune fille en feu (2019) Céline Sciamma

[jeunesse-talking]

Simone de Beauvoir no seu estúdio no bairro de Monteparnasse  

[jeunesse-talking]

The Cost of Living - a working autobiography (2018) Deborah Levy                                                                                                                                                                       ONE  “As Orson Welles told us, if we want a happy ending, it depends on where we stop the story. One January night I was eating coconut rice and fish in a bar on Colombia’s Caribbean coast. A tanned, tattooed American man sat at the table next to me. He was in his late forties, big muscled arms, his silver hair pinned into a bun. He was talking to a young English woman, perhaps nineteen years old, who had been sitting on her own reading a book, but after some ambivalence had taken up his invitation to join him. At first he did all the talking. After a while she interrupted him. Her conversation was interesting, intense and strange. She was telling him about scuba-diving in Mexico, how she had been underwater for twenty minutes and then surfaced to find there was a storm. The sea had become a whirlpool and she had been anxious about making it back to the boat. Although her story was about surfacing from a dive to discover the weather had changed, it was also about some sort of undisclosed hurt. She gave him a few clues about that (there was somoene on the boat who she thought should have come to save her) and then she glanced at him to check if he knew that she was talking about the storm in a disguised way. He was not that interested and managed to move his knees in a way that jolted the table so that her book fell to the floor. He said, ‘You talk a lot don’t you?’ She thought about this, her fingers combing out the ends of her hair while she watched two teenage boys selling cigars and football shirts to tourists in the cobbled square. It was not that easy to convey to him, a man much older than she was, that the world was her world too. He had taken a risk when he invited her to join him at his table. After all, she came with a whole life and libido of her own. It had not occurred to him that she might not consider herself to be the minor character and him the major character. In this sense, she had unsettled a boundary, collapsed a social hierarchy, broken with the usual rituals.” p.7

[kafk-a]

“Algren had written to her [Simone de Beauvoir] when he feared their transatlantic love affair was ending, to tell her the truth about the things he wanted: ‘a place of my own to live in, with a woman of my own and perhaps a child of my own. There’s nothing extraordinary about wanting such things.’

No, there is nothing extraordinary about all those nice things. Except that she knew it would cost her more than it would cost him. In the end she decided she couldn’t afford it. When Algren begged her to leave Paris and live with him in Chicago, she wrote, ‘I could not live just for happiness and love. I could not give up writing and working in the only place where my writing and work may have meaning.’”

Deborah Levy, from The Cost of Living

[jeunesse-talking]

A Vida Invisível (2019) de Karim Aïnouz Brasil

[jeunesse-talking]

Laurits Andersen Ring ~ Danish painter, 1854-193 Young girl and young boy Looking out the window

[jeunesse-talking]

1 - On the Balcony,1955–7 by Peter Blake Oil paint on canvas 1213 × 908 mm Tate 

2 - Boy with paintings, 1957-9 by Peter Blake Oil and enamels on wood Pallant House Gallery

3 - Self-Portrait with badges , 1961 by Peter Blake Oil paint on board 1743 × 1219 mm Tate

“At the core of Blake’s work is his fascination and engagement with the world of popular culture and entertainment, including music, film and sport. This self-portrait shows his interest in America with objects such as the denim jacket (rare in Britain at the time), baseball boots, badges, and the magazine dedicated to Elvis Presley, who had just become well-known in Britain. Blake uses these items like a 17th-century portrait painter, to suggest his interests or achievements.” Gallery label, October 2019