[ladyonfire28]

Hi guys ! As you know already, I’m pretty inactive on my blog and even if I wish I could be more present, work and life in general make it a bit difficult to keep up with social media and all.

But I recently made a twitter/ X side account where I’m much more present : @tadaatent

I’ll be very happy to hear from y’all if you wanna follow 🙂

I miss you guys, I hope everyone is well 🫶🏻

[theladydi]

“fuck ice and free palestine!!”

— hannah einbinder's speech at the emmys (2025)

[graciehart]

x

[snowbairdd]

THE WORLD TO COME (2020) dir. Mona Fastvold

[vonlipvig]

BRITT LOWER YOU ICON

[freya-skye-deactivated20251007]

TRAMELL TILLMAN Supporting Actor in a Drama Series acceptance speech at the 77th Emmy Awards.

He made history as the first black man to win for Outstanding Supporting Actor in a Drama Series.

[hayden-christensen]

CONGRATULATIONS to the cast and crew of SEVERANCE: SEASON TWO (2025) on their 2025 EMMY AWARD WINS!

[hunterschafer]

SORRY, BABY 2025 — dir. Eva Victor

[slayerbuffy]

Sorry, Baby — 2025, dir. Eva Victor

[meepwexler]

JUMP TO HELLY _ R

[ladyonfire28]

Hi! I just wanted to say thank you for all your posts about POALOF. I think everyone from this fandom should have a few portraits. Hope you’ll like this one:)

——————————————————–————————–—————

OH MY FUCKING GOD I AM  *LITERALLY* SCREAMING THIS IS FUCKING UNREAL WHAT THE FUCKING FUCK !!!!!!!!!!!!!!!!! 

Designit you’re like my favorite artist out there I CAN’T BELIEVE THIS.  I look so much better in this than in the original photo lmao this is insane !!!!!!!!!!!!! THANK YOU!!! 

(sorry for all the swearing and excitement but what the HELL!!!)

[kestrel-of-herran]

tenderness transcends severance

[meepwexler]

"See you at the Equator"

[brittadam-archives]

Britt and Adam at the Televerse Panel in LA x

[brittlesoldier]

More pictures of Britt and Adam from yesterday

source (x)

[mulderscully]

PICTURE THIS (2025) dir. Prarthana Mohan

[morningmightcomebyaccident]

Christel Baras in Water Lilies (2007), Tomboy (2011), Portrait of a Lady on Fire (2019), dir. Céline Sciamma.

[ladyonfire28]

Christel Baras did an interesting interview on a podcast called Women in Motion where she talked about her job as a casting director. This was probably recorded mid-2019. And she talked about how she met Adèle and then Céline with Water Lilies but also about how she thought of Noémie for Portrait. So here are the parts where she talks about them !

Discovering Adèle when she was 11 years old

9:20 - 11:18 

It was back in winter 2000, with my assistant we were giving papers to kids after they were leaving school. But at this time I could go in a lot of schools and so I could observe kids in schools yards. But we found her brother first - where was it ? Montreuil ? - Yes Montreuil. And on that paper we would say that they should come with their friends or relatives and so one day Adèle came with her brother. She impressed me immediately.

 - Why ? 

Well she didn’t change much, she was very strong-willed, very clear about what she was saying, very determined. She had very strong opinions on the society we were living in, on the state of the world. Honestly i was “wow”. I was so in, I was so excited, it was crazy. She had that look.

- Are there really faces that make an impression on you immediately ?

Yes. But not only faces. That’s why we try to sit somewhere and talk with them and listen to them. - there’s also the personality then - Of course yes because while I’m talking with her I’m projecting myself, I’m thinking about my plan and all the interesting ideas. Sometimes the person has a stronger personality than what we were looking for. And this is where there is a lot of potential. This can give more depth to the story and the character. - More than what we would have hoped for ? - yeah definitely.

Reading the script of Water Lilies and meeting Céline

11:18 - 12:18 : 

- So Adèle Haenel will do this movie, Les Diables, and then a few years later, the producer Bénédicte Couvreur calls you and wants you to meet a young director who just got out of La Fémis, who wrote a screenplay called Water Lillies. And that script blows you away instantly. And this is Céline Sciamma. And here you say “wait a minute I know someone for that role”.

Yes. We don’t have the same recollection of this with Céline which is funny. She was talking about this with me last time and I didn’t remember that. From what I remember from all of this… well first I read the script and olalala I was so excited… And yeah at first I immediately knew I was going to look for Adèle, but I also immediately saw us at Cannes. The story was so amazing. And I used to run into Adèle in Montreuil, so I went to see her one day to tell her that there was an incredible film with an incredible character, with a fascinating director and that she had to meet Céline.

The audition process for Marianne in Portrait

12:18 - 13:40 :

- So tell me about the audition process of the last film of Céline Sciamma, Portrait of a Lady on Fire, what kind of actresses were you searching for that period film, but which is also very contemporary ? Do you talk together about the kind of femininity you are looking for ?

We mostly talked about the power of the feelings that had to be shared, that power, that sensation. With Céline we work a lot, we’re very focused. The audition is really about focusing for a long time and to only think about this. The first question was to know if the painter could be from a foreign country, if she could be a daughter of a Flemish or a Spanish painter from instance. She could have come from a lot of countries. We tried things. But eventually the accent was more of a problem than anything else. So Adèle was already going to be the lady who got out of the convent and we couldn’t fail with that couple. Quite quickly I thought about Noémie, whom I knew for quite a long time, since she started her career. But I felt bad I thought it was too easy, Noémie was already in my circle of actresses and all. But when we put them together side by side, it was incredible.

Women’s status in the french film industry 

13:45 - 18:30 

- Did you have the feeling, when you met those young women Adèle Haenel, Céline Sciamma, that it was also a new generation of women that was coming in the French film industry ?

Oh yes with Céline definitely. A very big encounter. - What’s different ? - Well first of all, what she tells, also the courage she has, the determination. It impressed me a lot at first. And it’s the script, the story the filmmaker wants to tell. And suddenly we’re with young women who are connected to the world we live in today. And also with what is happening today, which was coming for a long time and that existed for a long time  - you mean the empowerment and liberation of women ? - Yes of course, exactly. There was a kind of logic in that time of my career. It was extraordinary to meet Céline, it was like having a little sister.

- Is it different to work with male and female directors ? Is the relationship different ? What they’re asking for ?

Yes and it’s also about how we’re going to address things. How we are going to work on female and male characters. Now we also have a generation of male directors who move forward too.

- Who for instance ?

Well right now I think of Louis Garrel because I worked with him this year - For L’homme fidèle - Yes - That film has very interesting female characters  - Indeed. This is moving things forward. And there’s also the question of the period of time and also the behaviors. There are behaviors that we will always have to bear. - You mean behaviors that cross the line - Yeah of course, the machismo for instance. That will always happen. 

- But do you feel like it’s evolving or not ?

Yeah I still feel like there are less bad behaviors than before. A lot of men think about it and let their guard down. We have to put power in the right place. 

- And also, even if men and women think differently, and that women are now more supportive of each other, do you feel like women react differently too today ? 

They’re stronger, they feel stronger, supported, so yes of course. The fact that there are more women doing those jobs make them more supportive of each other. For many years men thought friendship existed only between men. In the 50’s, 60’s, a lot of men would say this. When I was very young there was an interview that shocked me. Jacques Brel, Georges Brassens were talking about friendship and for an hour they would explain that women weren’t capable of being friends and I remember how that shocked me. So I think it also educates men to see women working. It’s important for us because we can breathe, we can have dreams in that industry, but it also educates men. A father who only had daughters is different from a father who only had sons.