#para one

[genevieveetguy]

Niki, Céline Sallette (2024)

[grrlmusic]

Daft Punk - The Prime Time Of Your Life (Para One Remix) (Official Audio)

[hibiscusbabyboy]

"Bobby Soxers and Black Socks"

[wildoute]

[disease]

Visit Original Link

CRYSTAL CASTLES // KNIFE FIGHT • vs. “Prime Time Of Your Life (Para One Remix)” [.MP3, circa 2006-2010]

[celinesfiamma]

The Petite Maman soundtrack is on Spotify (and probably other platforms).

Here are the lyrics to La Musique du Futur:

Des voix d’enfants chanteront de nouveaux rêves Le rêve d’être enfant avec toi Le rêve d’être enfin loin de toi Le rêve d’être enfant loin de toi Le rêve d’être enfin avec toi La chanson n’aura pas peur de dire ce qu’on a dans le cœur Le rêve d’être enfant avec toi Le rêve d’être enfin loin de toi Le rêve d’être enfant loin de toi Le rêve d’être enfin avec toi La chanson n’aura pas peur de dire ce qu’on a sur le cœur Si mon cœur est dans ton cœur Ton cœur Ton cœur est dans mon cœur Ma chanson n’aura pas peur de dire ce qu’on a dans le coeur Si ton cœur est dans mon cœur Mon cœur Mon cœur est dans ton cœur

[inziladun]

Para One - La Jeune Fille en Feu

from this article on Slate (x):

The lyrics to “La Jeune Fille en Feu” do mean something, although not necessarily exactly what they were intended to. It’s impossible to make out the whispers, but the central chant is clear enough: “Non possum fugere.” Google Translate renders that as “I am not able to escape all,” so “I cannot flee,” more or less, which would speak to both the inevitable feeling of falling in love and the way Sciamma’s characters are constrained by their time and place. In the song’s coda, the lyric is “Nos resurgemus,” which means “We rise,” also fitting for a movie about women building a space from which they can transcend their surroundings.

In one interview, Para One said that the text was written by Sciamma , and that she preferred to keep its translation and meaning a mystery. But at a recent Q&A, Sciamma says that she started with an aphorism from Thus Spake Zarathusthra and imperfectly translated it from French to Latin using Google Translate. The original aphorism is usually rendered in English as “The higher we soar, the smaller we appear to those who cannot fly,” but reverse-engineering Sciamma’s translation is basically impossible because of the number of languages involved. For completeness sake, here’s the original German, which has a different sentence structure than the English version:

Du gehst über sie hinaus: aber je höher du steigst, um so kleiner sieht dich das Auge des Neides. Am meisten aber wird der Fliegende gehasst.

It’s easy to see how you could get “Nos Resurgemus” from “we soar,” and “fly” and “flee” are equally close—in fact, Google Translate renders “those who cannot fly” in English as “Qui non possum fugere” in Latin. But you don’t have to get into the weeds of translation to suss out the song’s meaning: The aphorism is about transcending the people and things that hold you down, and so is “La Jeunne Fille en Feu.” What’s so remarkable about its use in Portrait of a Lady on Fire is the way the song embodies its own meaning, creating and delimiting a liberating space right at the film’s center. The parsimonious use of music in the rest of the film makes the bonfire scene completely overwhelming for characters and audience alike, so intense that it is almost unbearable. The music is beautiful, it is transporting, it is rapturous. As though the pure, clear notes of the choir could shatter everything that binds Marianne and Héloïse to their time and their place and their limits. As though, in the space created by music, we could be free.