#troiscouleurs

[leon-moh-cah]

[mediaben]

Ben Whishaw : « Je suis conscient que je n’ai pas les attributs d’une masculinité classique »

[CROSSWORD] A guest at the Champs-Élysées Film Festival last June, the magnetic British actor presented "Passages" by Ira Sachs (released on June 28), in which he plays with finesse and fragility a man whose companion gradually moves away to move towards a woman. An opportunity to explore his journey with him through quotes from the tormented poets he has played (John Keats, Bob Dylan) and artists who are important to him (Ann Carson, Elizabeth Harrower).

Published on 25.07.2023 By Quentin Grosset

All my movies are confrontations with myself.  Ira Sachs, interview in TROISCOULEURS, No. 198, June 2023

It’s quite rare to come across filmmakers who make work as personal as Ira’s. I sense something authentic in his films. He doesn’t have that very American way of thinking, like, ‘What should we take away from a work?’ If films were only reducible to a message, if it was enough to read a slogan to understand them, why go see them? Cinema should open us up to things we can think about, things we can experience.

Nothing is in itself good or bad, except if thought makes it so.  William Shakespeare, Hamlet, circa 1600

That line is brilliant. When Hamlet says it, it’s simple, it’s prose, it’s not iambic pentameter [the most common type of line in English poetry, consisting of five syllables, with one unstressed followed by one stressed - ed.]. And yet, you could think about it endlessly. I remember it when I need to get out of a difficult situation. That way, I convince myself that if I’m in trouble, it’s my overworked mind that’s getting me into it… Hamlet is important in my life. It’s the role that made me famous [he played it in London in 2004 for the Royal Shakespeare Company; he was then the youngest actor – 23 – to have played the role, ed.]. I felt like I understood everything about this guy. I knew the play was written 400 years ago, but I felt very close to it. Through Hamlet, I spoke as a young person living in England in the early 2000s. Now that I'm older, I won't have the same intimacy with this text.

Bright Star, would I were steadfast as thou art John Keats, "Last Sonnet"

John Keats is very connected for me to Jane Campion’s Bright Star [in this film released in 2010, Ben Whishaw played the British poet - ed.]. I was 27. I could talk about Keats indefinitely. He died at 25, and everything he accomplished he did in the space of five years. He was someone open to doubts, to mystery, to uncertainty too. I suppose that’s a quality, to abandon oneself to the unknown. It was the poetic space he knew how to inhabit. This quote evokes for me his nature as a rebellious, uneasy child.

Time will heal our bruised hearts," she said. Our aim is to ensure our freedom and our security, and it is the people who prevent us from achieving it.  Miriam Toews, Women Talking

The patriarchy must be demolished: it's a system that's fucked up for men too. I'm aware that I don't have the attributes of classic masculinity, but I'm at a stage in my life where I don't think about that. I feel a certain freedom, I don't care how people define me.

I saw Mary Poppins when I was three years old. There is, of course, nothing openly queer in it … and, at the same time, perhaps it is totally queer.  Todd Haynes, to TROISCOLEURS, April 2023

I knew Todd Hayes really liked this movie [Ben Whishaw starred in its 2018 sequel, Mary Poppins Returns], but I never talked to him about it. For me, too, it was my first movie. My dad must have recorded it on VHS. I knew every moment, every song like the back of my hand. I’d be interested to ask Todd why he sees it as a queer movie—because I really agree with him. Mary Poppins seems harmless; she’s a nanny, a profession that isn’t necessarily valued by society. But she’s also completely revolutionary—she’s a witch! You can’t define her, she’s just magical. She changes the world, and what I love most about it is that she never explains herself; she’s impenetrable and independent.

I was attracted to the strangeness of his mind, just as a psychiatrist might be seduced by an interesting case.  Elizabeth Harrower, In Certain Circles

I met Elizabeth Harrower in Australia [Australian literary legend, she died in 2020 - ed.]. I wanted to adapt one of her books, The Long Prospect [psychological novel published in 1958 - ed.], which hasn’t happened yet. There’s something about that book that obsesses me… I need to make that film. Anyway, she was brilliant. She’s one of the few people I’ve met who made me feel like a little baby. Yet she was the kindest artist in the world. Her analysis of abusive relationships, power dynamics, her approach to tyrants, psychopaths, their victims, the way they are linked in a kind of hideous dance, it’s extraordinary. This quote is probably spoken by one of her heroines, whom I imagine being helplessly attracted to a narcissistic man. Elizabeth Harrower was interested in this: why do we sometimes go towards self-destruction?

Sometimes, actors arrive on set and they have their performances all figured out. They don’t want to unpack it, they just want to film it as if they are the only person in the scene. That is just so disturbing to me. Jane Campion, interview in The Guardian, November 2021

I think actors need structure—but within that structure, it’s all improvisation. You never know what the actor opposite you is going to do, how they feel, how they understand their character. You have to be open to everything. Jane Campion—who changed my life, it’s no exaggeration to say that—taught me a lot about that. When you’re a young actor, you do a lot of preparation at home before auditions. Then you learn to let go, to lay yourself bare, to become more available to the moment. But it’s difficult because we’ve created defenses, safeguards. You need someone like Jane to tell you, ‘If you want your character to come alive, let go of everything you planned when you rehearsed in front of the mirror. Because no one wants to see that.’ When I arrived on set, I was terrified. Well, no, not terrified, more in a state of nervousness and curiosity.

Nouns name the world. Verbs activate the names. Adjectives come from somewhere else. Anne Carson, Autobiography of Red

I don’t know exactly what that means, but I think I feel it. I love words. Whenever I’m asked to read poetry, I see it as a great privilege. I think language is very undervalued today. As if it were just transactional. When it can absolutely be linked to incantation, spells, prayer, all these things that make the world mysterious. Some of Anne’s texts are beyond me, but I still love them, I feel them. For me, that’s what poetry is, in fact.

[mlleclaudine]

Adèle Haenel, petit soldat

by Laura Tuillier - Troicouleurs, August 18, 2014

Since her debut as a seductive young swimmer in Naissance des pieuvres, the cat-eyed young woman has set her shy and tenacious gaze at Valérie Mréjen and Bertrand Schefer (En ville), Bertrand Bonello (L'Apollonide. Souvenirs de la maison close) or Guy Maddin (Spiritismes, release planned for this year).  In each case, she imposes a singular physical presence, both languid and a bit awkward, enhanced by a warm, slightly broken voice, beyond her years.  Last summer, she shot two films back to back that could not have been more different.  In Les Combattants, Thomas Cailley's first feature film, she is Madeleine, a young woman obsessed with the end of the world and the methods of preparing for it.  For André Téchiné, she plays Agnès Le Roux, a passionate woman whose disappearance in the late 1970s has remained a mystery.  Laughing and focused, Adèle Haenel spoke to us in bursts about the army, Tip Top and collective galvanization.

How was the meeting with Thomas Cailley?

Pretty straightforward.  At the audition, he asked me a question about my wanting to leave, to have a change of scenery.  As I was in a bad mood, I told him that the question didn't make sense, that you don't think about it when you want to change your life.  He liked that.  Both in the project and with Thomas, I felt something that made me laugh and touched me.

What was the atmosphere like on set?

We traveled all over the South-West, I felt like we were a bunch of itinerant lunatics.  There was a crazy energy, all the more so since most of the people in charge were just starting out.  Right from the start, I felt this promise of fun, the super playful side of filming.  For example, the interlude of the internship in the army did us a lot of good, we were shooting near Pau, with local young people.  The forest was also a great playground, everything was possible there.

Thomas Cailley shot Les Combattants in the chronological order of the screenplay.  Is that enjoyable for an actor?

It seems to me that the characters don't change, they’re not sick people who heal.  Instead, they open up to each other.  Shooting in order allowed me to not try to psychologize Madeleine.  I could content myself with letting myself be influenced by the scenes shot the day before to find her emotional state the next day, without going through the intellect.  On top of that, Kevin Azaïs is the brother of Vincent Rottiers, with whom I made my first film, Les Diables.  So I felt connected to him, he was a breath of fresh air.

Madeleine's comedy comes from her great seriousness.

Yes, I'm actually quite prone to giggles, and I managed to avoid that, because I found it all very logical.  For me the film is based on a comedy of collision more than on a comedy of derision.  The two heroes are both ridiculous and magnificent in the way they invent their lives.

The film plays a lot with gender stereotypes, is that something you were aware of?

It turns out that life is often more inventive than fiction.  So even though we frequently encounter courageous girls and shy boys, the cinema doesn't show this kind of character very often.  Les Combattants talks about the feminine and the masculine in a freer way than we’re used to seeing, it feels good.

How did you get involved with André Téchiné's film?

It happened almost overnight!  André called me, we met, he told me right away that I had the role.  It's a new thing for me to work with such a seasoned filmmaker.  André has obsessions, he's always chasing them, it's something I love about filmmakers.  With him, I learned not to be afraid of messing up.  He's so clear about what he expects that it's almost easy to do the wrong thing, because he sees it right away.  I put myself at his service as raw material, he had his own ideas about the character, especially that Agnès is someone who experiences things in an extremely intense way.

Is it difficult for an actress to play a woman who existed in real life?

It's hard, especially when it comes to drama.  I've done a lot of research on the life of Agnès Le Roux, but she's a very mysterious person, we don’t have a lot of information about her.  Anyway, the film is an interpretation, it's André's vision.  I didn't try to imitate who I thought Agnès was, but instead put myself in her place: how would I have reacted when confronted with the same ordeals that she faced?  So I started from specific situations.  I was also careful to always stay in Agnès' present.  Since the spectator knows her tragic end, it wasn't necessary for everything to be bleak from the start.  The character burns little by little, because life hits her too hard.  I was constantly trying to learn things about myself rather than projecting myself into an otherness that I didn't know.  I think that's a pretty honest way to approach it.

With Guillaume Canet, you build a complex relationship.  How did you work on it together?

Guillaume thinks a lot about what he does, to the point of becoming a force for dramaturgical suggestions.  Unlike me, who is more instinctive, who considers scenes one after another, he thinks a lot about underlying structure.  Since he made a lot of suggestions, it allowed me to bounce ideas back to him, it's nice to have an acting partner who is so invested.

You speak about instinctive acting.  Is that your method?

Working on a scene or a character in advance is like building a ring.  The ring is the guidelines, but for me what’s essential is the accident, the energy, what’s going to happen in the ring at the precise moment the camera is rolling.  It's not just instinct, in fact I'm very interested in different acting techniques.

Do you see a lot of movies?

I recently saw Serge Bozon's Tip top, it really interests me.  In his film, the acting is constantly shown as such, you’re in a total distortion in relation to naturalism.  As a result, when someone acts «normal», it seems very strange.  It's cubism!

And the theater? 

I'm touring this summer, we're doing Le Moche by Marius von Mayenburg, directed by Mariette Sandoz.  I’m very proud of this project, we started with nothing and we’re going to play next year at the Théâtre des Quartiers d’Ivry.  What I like about theater is that you take ownership of our limits and our ability to overcome them.  With cinema, it seems harder to me, talent never really belongs to you, you can be good by chance.  The theater allows you to stay connected with yourself, you’re in a very remarkable life experience, some evenings it’s collective galvanization. 

What are your film projects?

I'm going to be in Léa Fehner's second film, Les Ogres.  It's about an itinerant theater troupe.

[Please don’t repost this anywhere, in part or in whole.  Feel free to reblog, or at least cite your source and provide a link back here.  Asking permission would be nice in an ideal world, but I’m a realist - I know far too well how easy it is to appropriate stuff on Tumblr.  I  would be the first to admit that my translations are not perfect - there  are some words and phrases that simply do not drop neatly into an equivalent in English, and I constantly fix typos and make changes or corrections in older posts - but they do take a lot of work and time.  Thanks for understanding. - C.]

[sinarium]

سه گانه ی کریشتوف کیشلوفسکی

سه گانه کریشتوف کیشلوفسکی

سه گانه ی سه رنگ (Trois Couleurs)، که متشکل از فیلم های آبی (Blue)، سفید (White)، و قرمز (Red) است، بین سال های 1993 تا 1994، با کارگردانی کریشتوف کیشلوفسکی (Krzysztof Kieślowski)، کارگردان مشهور لهستانی ساخته شد. در این سه گانه بازیگرانی چون ژولیئت بینوش (Juliette Binoche)، جولی دلپی (Julie Delpy)، و ایرن ژاکوب (Irène Jacob) هنرنمایی می کنند. موسیقی متن این سه گانه را، همچون بسیاری دیگر از آثار کیشلوفسکی، زبیگنیئف پرایسنر (Zbigniew Preisner) ساخته. فیلمنامه ی هر سه فیلم را خود کیشلوفکسی به همراه دستیارانش نوشته. سه گانه ی سه رنگ جز معروف ترین و تحسین شده ترین آثار کریشتوف کیشلوفسکی ست. هر سه فیلم این سه گانه در معتبرترین جشنواره های بین المللی حضور داشته و برنده ی جوایز گوناگونی شده اند. توضیحات کامل راجع به سه گانه ی کریشتوف کیشلوفسکی و نحوه ی سفارش تیشرت و دیگر انواع لباس با طرح این فیلم ها را در وبسایت و فروشگاه سیناریوم بخوانید.  #KrzysztofKieślowski #TroisCouleurs #Film #Movie #Cinema #کیشلوفسکی #کریشتوف_کیشلوفسکی #فیلم #سینما Read the full article

[gosto-disto]

Bonjour! O ☕de hoje é com a Juliette Binoche, ou seja, parisiense. Aceita um ☕com🍦? ( Imagem do filme ) . . . posted on Instagram - https://instagr.am/p/CA-Mf3iJcpA/

[gosto-disto]

Bonjour! O ☕de hoje é com a Juliette Binoche, ou seja, parisiense. Aceita um ☕com🍦? ( Imagem do filme #threecolors ) . . . #troiscouleurs #troiscouleursbleu #juliettebinoche #bomdia #bonjour #buenosdias #buongiorno #goodmorning #cafe #coffee #coffetime #caffe #cafedamanha #cafezinho #cafezinho #café #kaffee #kaffe https://www.instagram.com/p/CA-Mf3iJcpA/?igshid=10a1zex67omnz

[mlleclaudine]

by Quentin Grosset

Céline Sciamma enriches French cinema with her characters who fight against being constrained.  Her sublime Portrait de la jeune fille en feu, whose story takes place in 1770, opens up the field of lesbian representation in period film with a story of passionate love between a painter, Marianne (Noémie Merlant), and her model, Héloïse (Adèle Haenel), who initially refuses to look at her.  A dizzying fresco that questions the role of feelings in art and which reveals the filmmaker as one of the most gifted formalists in French cinema.

Where does this desire to do a period film, [previously] unheard of for you, come from?

I wanted to film the most contemporary subject possible.  And, paradoxically, I think that’s why I gave myself this past.  I had the feeling that it would allow me more freedom, more romance, more radicality.  It gave me courage, I believe.  It was also not to hide politically: this story had not been told, so it carried something from the present.  This period of the late eighteenth century was one in which women artists thrived terrifically, and yet they have been forgotten.  It is cyclical, since we [still] find this effect of making women invisible today.

Why did you shoot the film in 8K [resolution]?  What does such a sharp image definition bring to the table?

It was a real issue and a real discussion with my cinematographer Claire Mathon.  I also tested in 35mm, because film emphasizes the subjects.  I don't do a lot of takes, there aren't that many shots, so it wouldn't have put us in danger.  What decided us was the issue of complexions.  That is to say how we were going to film the blood, the flush that rises in [their faces], the dynamism of that.  There was also this desire for contemporaneity.  The 35mm would have meant allegiance to a certain stagnation.

When Héloïse refuses the first portrait that Marianne makes of her, she says that she does not accept it because she finds nothing of her feelings [in it].  For you, is that what matters in a work of art?

It’s a debate, but in fact the second painting is more like her than the first.  The film is moving towards something more and more dynamic.  I wanted them to have both a loving dialogue and an intellectual dialogue.  It is important to me that the love story be based on mutual admiration, discussions.  I did not want to play on the obvious principle of cinema – which I also adore – of love at first sight.  On the contrary, I was looking for tension, intellectual development.  It turns out that their debate, if it is ultimately timeless, corresponds to the philosophical questions of the time: does a portrait make it possible to escape death, or does it freeze you for eternity?  Should we show someone at their best, or represent them with their flaws?

What inspired you with this idea, against which your heroines are fighting, of the image that would imprison the model?

There is something like that in the films we make, when we see them again.  It becomes a thing of the past.  At the same time, the work of time makes films grow, too.  You can read them differently.  With Tomboy, I saw the effects of interpretation change.  I saw that a tender work about childhood could become a film that Catholic extremists wanted to censor [Editor’s note: including the Civitas association, which tried to ban the film on Arte in 2014].  I really believe in the living nature of films.  We see them in a given context.  I always think, it's funny, when actors or actresses die and TV channels have to pay tribute to them, they never play films where their characters die.  In a similar fashion, we don't broadcast disaster films on planes.

At the time of Bande de filles, you were already talking about painting.  You spoke of “impressionism”, particularly in relation to the male characters who were, as you said, deliberately constructed without nuances, as if to put them out of sight, which is even more the case in Portrait de la jeune fille en feu.

For me, movies provide experiences for people.  Here, I wished to place the spectator at the heart of this love story, to draw them closer into all its light, all its beats.  Even the maidservant, we don’t really know what she thinks.  I didn’t want to waste time talking about male domination, and that would have been inevitable if I had added a man into the equation.  I also didn’t want to put a male character in this position, which was not very generous in the end.

There is a very strong painterly dimension in the very form of the film.  Which artists, which paintings inspired you?

The film takes on the desire for beauty, it doesn’t hide behind this desire for materials, colors, composition.  With Claire Mathon and Hélène Delmaire, Noémie Merlant’s [artist] double and the creator of the various paintings, we went to the Louvre to find out who this painter could be, what colors she would use.  We talked a lot about Jean-Baptiste Camille Corot, who was mainly a landscape artist, but who also made portraits of women in the great outdoors.  We really liked the way the light seemed to emanate from them.  But there are other references: for the sequences on the beach, I was thinking of the planet Tatooine in Star Wars; when the character played by Adele Haenel arrives on the beach the first time and stops at the water’s edge as if it were the end of the world, I wanted to evoke science fiction.

The idea of a work of art containing a secret between the two heroines runs through the film.  As for you, have you ever had the feeling that a work was aimed only at you?

I don’t feel like movies speak only to me, but I want them to be mine.  The syndrome of film appropriation, yes, it’s very strong.  These are symptoms of life by proxy.  Sometimes, movies make you feel things you haven’t experienced before, especially when you’re young.  I feel that the entrance into cinephilia has a lot to do with the solitary rapport that we have with films.  As a teenager, I was completely revolutionized by Twin Peaks: Fire Walk with Me by David Lynch.  I went to see it without having watched the series on which the film is based.  I felt like I was discovering a language, I left the theater and the world had changed.  For other reasons, there was La Vie ne me fait pas peur by Noémie Lvovsky: I felt that it was speaking to me because it talks about young girls, about friendship.  They were regarded differently, and it was a woman who had directed it.  Suddenly, I had a model.  I always experience great waves of enthusiasm, often for films that talk about childhood, like Les Enfants loups, Ame & Yuki from Mamoru Hosoda.

Since your early days, how have the people or things you have filmed made your certainties waver, changed your outlook?

I feel much less alone than I did before, that’s what has changed.  I have gained in deconstruction, in confidence, I know myself better and I take on more.  I am lucky to have a very young audience with me.  And so I’ve grown up along with it.  Tomboy being in the school system, people saw it at 14-15, and now they’re following me.

Do you see differences in the perception of your films between different generations?

Yes, a lot.  Between men and women too sometimes, but it seems to be more generational than gendered.  For example, on the issue of sexuality in the movie.  I feel that I made a passionate movie, even though it progresses with a slow burning.  This is where we see a generational gap, because the older critics say that there is no flesh in the film.  Then there are exceptions, of course…

Are younger generations perhaps more sensitive to the issues of queer representation?

Yes, and that’s normal.  All the questions around the male gaze and the female gaze really reverberated in French criticism at the last Cannes Film Festival, thanks to the screening of Mektoub My Love: Intermezzo by Abdellatif Kechiche and my film.  The conversation starts a bit like that and that’s good.  Who is watching whom?  It’s a real issue in cinema.  I just want us to stop pitting the feminine point of view against the universal point of view.  This partition is too restrictive.  It’s more joyful, more composite, more experimental than that.

Your films often tackle representations that are rarely seen in French cinema.  You feel like you’re moving forward when you see them.

I really have the ambition to create culture.  When I made Tomboy, the word wasn’t widely known.  Today, there are «Tomboy» t-shirts.  It’s part of my desire, it’s fulfilling.  With this film, people are already telling me that they have ideas for «P. 28» tattoos, and I hope that people will exchange words of love as in this scene of the famous «page 28».  This is also why I say that I feel less alone these days.  It’s an idea that is embodied, that belongs to others.  So yes, there is the thought for the images we’ve been missing.  But it's not enough to only represent.  You have to make images that belong to the film; it's not just repair, but also creation.  The first sentence of the film is <<Take the time to look at me>>. This is my whole master plan.

[Please don’t repost this anywhere, in part or in whole.   Feel free to reblog, or at least cite your source and provide a link back here.  Asking permission would be nice in an ideal world, but I’m a realist - I  know far too well how easy it is to appropriate stuff on Tumblr.  I  would be the first to admit that my translations are not perfect - there  are some words and phrases that simply do not drop neatly into an  equivalent in English, and I constantly fix typos and make changes or corrections in older  posts - but they do take a lot of work and time.  Thanks for understanding. - C.]  

[gabrieleguida17]

#bonjour #monneuveauami je suis #troiscouleurs https://www.instagram.com/p/BnF7j-9Hzy_/?utm_source=ig_tumblr_share&igshid=5lxbht5snm5m