Christi Broussard

Portrait of a Lady on Fire" is a French historical romantic drama which takes dynamic of world cinema to a higher level.

This movie implies that her disruptively seductive film will focus on the subject of its titular painting - an 18th-century woman Héloïse (Adèle Haenel) who refuses to pose, in defiance of the arranged marriage into which she's being forced - and a woman Marianne (Noèmie Merlant) who is hired to paint the movie basically shows the story of a forbidden affair and how they fall in love but impel to be separated. After all Cèline Sciamma's "Portrait of a Lady on Fire" is a film about women made by a woman for women, which invites male and female spectators alike into the female gaze. This film is a moving painting and goes beyond just painterly beauty and hits hard into your emotional state of consciousness. movie is nothing short of a marvellous feat and one of the best movies of this year.

Super intéressante comme toujours. What is your favorite book by Bourdieu (a french sociologist. a : I red many books by Bourdieu but la domination masculine (male domination) is very good. This book is very complete and it shows a way the domination applies by transforming the history of some things (I'm sorry if it's not clear. It transforms things by using it always happened like that and it's really an argument of domination, that we can find everywhere. q : how do you feel about owning the Cesar Award for Best Actress ? a : I was really happy... My answer is stupid xD but in reality the Cesar that touched me the most was the one that I received for the best supporting role. The Cesar for les combattantes, I was really happy but I wasn't affected like I was for the cesar for Suzanne. q : What is your favorite philosopher ? a : Barthes. Because I love all he do. He is between the pure reflection and the heat, there is something of the order of flavor in what it offers. I feel like he's my grandpa. q : How was it to play in a comedy ? a : It's true that we thing we have to overreacting to be comic, whereas in the movie here, the comic works a lot by unlearning. Not by doing more but by doing less. q : Who is your mentor in the comedy ? a : Jim Carrey. He is amazing, he is totally crazy. He looks like Pio... He goes super deep in the scenes but without being did you see me (I don't know if it exist in English, it's a french expression that means pretentious) look how I know how to do well etc. When in dumb and dumber he goes out of the dream by imitating the fish for example, it's amazing! q : Is it you the new Catherine Deneuve (a french old actress. a : mmmh I don't know. She is someone very admirable in her career, Catherine Deneuve... So for now well rather look at our feet and try to continue to move forward. q : What are your futur projects ? a : First I'll do a movie with Céline Sciamma named portrait of a lady in fire (??) and then I'll do theater with Gisèle Vienne, from an author named Robert Walser, and the project is named Der Teich (it's German it means the pond) Voila. I'm sorry if there are some mistakes, I'm not bilingual ?.
Et il lui coupe la parole. cqfd. Quelle malaise mais ça reflète tout le cinéma français un grand sentiment malaisant. Beaucoup d'humains sont de plus en plus bêtes et stupides. Des personnes qui courent derrière d'autres personnes afin de les photographier. Quel monde de Nases. Des folles hysteriques, sans cervelles, qui hurlent en voyant une autre personne( star.

Foucher les langues poisson. The eyes are the WINDOWS TO THE SOUL. XOXO DJ.

3 filles encadrées par deux mecs, il n' y a pas de nanas pour cette interview. Ohh look I found out a masterpiece. I watched this movie on jan 2020, can't hardly notice that Noemie merlant is a lil bit look alike sepideh moafi from the deuce. They both have movies featured on Sundance Film Festival, Jumbo for Noemie and the killing of two lovers for sepideh. The part I LOVED was the painting at the end that pointed to page 28 so she knew by looking at the portrait she was thinking of her. If I was her I would have taken the painting and run away with it lol so i could forever look at the one i loved because it couldnt work out for whatever reason back in those days... Plz tell me They gonna make secound part.
Congratulations ???. Watch stream nuoren naiset muotokuva. Watch stream nuoren naisen muotokuvani. Wow! The movie is the very definition of ART, BEAUTY AND LOVE. ??. Magnifique.

This is a film that I like sooooooo much! Thank you all of you to make such a good time to me and my girl friend. Also, the film reflect my love story of my own. I could not find words to describe but Amaizing Beautifull. Reporter’s Notebook The film finds equality between its female characters by embracing the power dynamics that are possible when centuries of romantic road maps don’t easily apply. Credit... Julien Bourgeois for The New York Times Céline Sciamma wants you to see that equality is sexy. In her drama “ Portrait of a Lady on Fire, ” we watch as two women in 18th-century France fall in love. The film, getting a wider American release beginning on Valentine’s Day, has been ecstatically reviewed, won best screenplay at the Cannes Film Festival and was nominated last month for 10 César awards, the French equivalent of the Oscars. Blissfully absent from the movie are the usual characters queer audiences have come to expect in stories about our lives, like the character who can’t handle being gay, the character who was basically straight anyway, or the character who winds up dead. It’s made us a very generous audience, so unused to seeing ourselves onscreen that we’ll put up with all kinds of nonsense dialogue and dead girlfriends. But what really sets this movie apart is that by looking for equality between its characters, it leaves a trail of delicately subverted expectations. Part of how it does this is by embracing the unique dynamics that are possible when the two people in love are both women. The story begins with an artist named Marianne (Noémie Merlant) being thrown around a tiny boat on her way to an island off the Brittany coast, where she’s been hired to paint an aristocrat, Héloïse (Adèle Haenel). Héloïse’s suitor, who is from Milan, wants to see her portrait before he marries her, but she is decidedly not interested and has refused to pose. So Marianne is asked to deceive Héloïse, accompanying her on walks to the beach and then painting her from memory in secret. When Héloïse’s mother leaves the island for a few days, she, Marianne and a servant named Sophie get to live in a different world for awhile. The three play cards, read and debate the story of Orpheus and Eurydice. There is space for Marianne and Héloïse to be alone. And for almost the entire movie, there are no men in the frame. Héloïse and Marianne are rendered as two people fiercely drawn to each other. They are also an intellectual match, and though Héloïse never touches a canvas, they become partners in making art, not only the portrait, but also a painting of a woman getting an abortion. That picture is Héloïse’s late-night idea: she’s the one who sets it up, gets Marianne and Sophie out of bed and says, “We’re going to paint. ” Sciamma, who wrote and directed the movie, told me: “There’s all this surprise that lies within equality, that’s the new tension. You don’t know what’s going to happen if it’s not about the social hierarchy, gender domination or intellection domination. ” Even today, the default power dynamic between two women can be different than it is in straight relationships. However progressive the man or strong the woman, we still live in a world with expectations about who pursues whom, who makes more money, who takes care of the kids. In queer relationships, those assumptions don’t have an obvious place to land. Ellen Lamont, author of the book “The Mating Game: How Gender Still Shapes How We Date, ” studied dating practices in San Francisco among straight and L. G. B. T. Q. people. There, in one of the most liberal cities in the country, even highly educated heterosexual women often occupied traditional dating roles: men should be the one to ask for the date and make the follow-up call, she was told, and they should definitely be the ones to propose. Gender roles, of course, are not a monolith, and expectation can be influenced by race, culture and class. There are also plenty of elements ? money, age or personality, to name a few ? that can result in lopsided power dynamics within queer couples. Nonetheless, the lack of centuries of road maps can be freeing. “There’s definitely room for equality, room for invention, ” Sciamma said. “That’s why our stories are erased, because they’re dangerous. ” Sciamma wrote the “Portrait” script with Haenel in mind. (The actress was in Sciamma’s first feature, “Water Lilies, ” and the two were later in a relationship. ) When it came time to cast her lover, Sciamma said she wanted a physical contrast to Haenel ? a brunette to her blonde ? but she also wanted the “cinematic equality” of casting women who were the same height and age. “I put the two of them in the frame, ” Sciamma said of the actresses during the callback process, “and that’s when I said this thing about equality. I said the word out loud for the first time to somebody else, and myself. To acknowledge this secret within the film as something official that we were going to pursue. ” When Marianne and Héloïse kiss for the first time, they’re on a beach, their faces wrapped in scarves to protect from the wind, and each pulls the scarf away from her own mouth. It is both the perfect physicality for their egalitarian relationship, and, Sciamma said, a reaction to a cultural debate in France about whether consent takes the passion out of sex. “That’s an image of mutual consent, ” she said. “And it’s hot! ” Other creators have also toyed with the egalitarian possibilities of lesbian relationships, though perhaps not in such forthright ways. Take HBO’s “ Gentleman Jack, ” which began airing last year. Inspired by the diaries of a 19th-century English landowner named Anne Lister, the first season followed her and a wealthy woman named Ann Walker as they fall in love and, essentially, get married. Lister, with a top hat and waistcoat above her skirts, presents as very masculine, striding around Halifax managing her family’s estate. Walker, in poofy pink dresses and lace, reads, at least at first, as her opposite. But there are surprises here, too: It is poofy pink Walker who invites Lister to spend the night, says they should kiss and suggests that Lister propose. They don’t stick to the road map either. In the 2015 drama “ Carol, ” set in the 1950s, Cate Blanchett’s character, Carol, is older and wealthier than her lover, Therese, played by Rooney Mara. Still, their relationship is much more equal than the not-at-all-partnerships they have with men in their lives. Carol’s husband tries to control her using access to their daughter as leverage, and Therese’s boyfriend enjoys the idea of her while seeming inconvenienced by her actual interests and thoughts. Even if their affair is dangerous, “Carol, ” unlike so many movies about gay people, depicts it without a lot of angst. “It’s not a narrative about two women meeting and then, ‘Oh what’s happening to us? ’ Cate Blanchett is a pickup artist, ” Sciamma said. “She sees her, she wants her. ” The same is true of “Portrait of a Lady on Fire. ” The women don’t seem surprised by their desires. Sciamma said that when she was showing the script around, she was told that the lesbian relationship should be a source of conflict; even Valeria Golino, who played Héloïse’s mother, suggested that. Sciamma still gets push back, she said, for not showing more of the “taboo of lesbianism. ” But she designed this film to be cheap (it cost 4 million euros, she said, or about $4. 3 million) so she wouldn’t have to compromise. And she didn’t. Golino, Sciamma said, has since changed her mind. “There’s always this narrative around homosexuality and lesbianism, that it should be guilty, ” she said. “Why are we always being told this narrative? I don’t remember having this ‘What’s happening to us? ’ moment. I was always aware of what was happening. ” And perhaps it’s that, most of all, that makes this movie so exciting for queer audiences: Here we have a movie that is splendid ? full stop. But it’s not just about us, it actually gets us. “Each time people say, ‘It’s love, it could be two men, or a man and a woman, ’ I’m glad they feel that way, that they could fit into this imaginaire and into this politics of love, ” Sciamma said. “But it’s ours. And they’re welcome. ”.

This was so beautiful and the connection they had was unfathomable, like a flame and the torch, just like the lady of the fire. Please tell me Noémie is gay. Nice editing! Captures perfectly the essence of the movie. 2018 Copyright © GoStream All Rights Reserved Disclaimer: This site is absolutely legal and contain only links to other sites on the Internet: (,,,,,,,,,,,,,,,,,,, and many others…) We do not host or upload any video, films, media files (avi, mov, flv, mpg, mpeg, divx, dvd rip, mp3, mp4, torrent, ipod, psp), is not responsible for the accuracy, compliance, copyright, legality, decency, or any other aspect of the content of other linked sites. If you have any legal issues please contact the appropriate media file owners or host sites. HDMOVIE14, HULU MOVIE, DRAMA KOREAN, MEGASHARE9, SOLARMOVIE, YTS, YIFY, TORRENT.

Watch stream nuoren naisen muotokuval. Vu en avant première au Gaumont Rennes ce jour. Film d'une délicatesse inouie. J'ai été bouleversé par la temporalité de cette histoire d'amour. UN très très beau film.

Aïe aïe aïe... faut avoir les nerfs accrochés. Les questions de ce journaliste hetero normé manquent clairement de délicatesse et on dirait vraiment au vue des ces questions qu'il a regardé un film érotique sur deux femmes et ses propos sont par moment abjects. Ces mots comme oldschool, inactuel, on peut voir du sexe etc mon dieu mais d'où sort ce journaliste qui n'a rien compris au film mais en fait une lecture basique et bof. Dire que ce film est inactuel car au 18e siècle alors que le sujet de ce film peut encore se transposer encore maintenant sur certains points. Les films avec des histoires d'amour entre femmes sont totalement invisibles en France et si on parle de la vie d'Adele où les scenes étaient crues là encore c est hetero norme et fait pour les mecs qui veulent s'exciter. La représentation des femmes homosexuelles au cinéma sont soient parodiques et clichés (Pedale douce) ou qui manque de sensualité ou tragique. Cette interview est clairement faite pour mettre mal à l'aise Adèle Haenel. Dès la 1ère question où le journaliste attend d'Adele qu'elle parle de sa relation personnelle avec Céline Sciamma. Elle se sent blessée par cette question baisse les yeux et entre la 1ere et 2e question on la voit renifler donc qqch s'est passée en elle. Elle vient parler de ce film qui est magnifique avec des lectures diverses mais plus l interview avance plus les questions sont médiocres et totalement à côté de la plaque. Adèle élève le niveau par ses réponses mais a dû mal à se concentrer et on voit bien qu'elle ne va pas bien. Les autres journalistes hommes ne font rien pour rattraper les choses. C'est absolument minable. On dirait une bande de potes mecs hetero venus pour faire leurs graveleux. Le journaliste n'a rien compris à ce film bien plus subtil qui se résume bien plus qu'à une seule scène érotique. C'est un film politique qui pose la place de la femme contrainte au mariage à un système... C'est vraiment honteux. Bravo France inter vous devenez des journaleux du Parisien. Aucune classe... décidément de plus en plus déçue par France Inter.
A powerful movie about women (in love but not only) art and sisterhood. First day of the year and T already found perfection, thanks to your exquisite talent ! A fullness happiness, pure,real and simple. I haven't watched this yet but this is literally best movie of the decade.
I tried to translate the entire interview from French to English using Google translate. Apologizes to people who speak French if my translation is way off. Unfortunately I dont know to speak/understand what is spoken in the beautiful language of French. Here is what I gathered: We spend a lot there there are tkg yeah if not no no but suddenly I take a young woman painter who is mandated to make the wedding potrait of and eloise is the and then I already have a step between moms artistic collaboration and and in love will nairre you will have to paint it without the steps immediately it helps to get into the character and it is true that the Corsican mle weight of the dresses the pockets not really exist at the time the letter was sanctioned to disappear ca their anecdotiare but it is really a symbol in fact because effectively to have pockets when magic to put things in the pockets and to have your hands free and and to have your hands free and you can do things it is a way to control the body of females will have once before the French revolution there was a potrait fashion which was which it has many painted women I came to complain after the French revolution there was also i a lot any and I would like it is thanks to a people and we have the women participated a lot and in fact it is just after actually bringing to lorde in fact all these women because there is a boiling assas acette era but they never got into history all that we did so that it does not rent and finally nobody what we always have a little blurry stuff but here we say we forgot then what I mean is the petroe case that has voluntarily omitted things for comments if you want to make the historical connection between the sexes antif and in this sense will make it political and say note the naturalized and therefore it is not we have forgotten it is the patriarchy using it can make it so that as a woman we are not history and we are not model and as in fact I mean women or women and men are not secrets of ontological beings of truths that would be mavs anytime anywhere are constructions and today we build pusique it is that a woman of the future builds today finally of season soft take away our history we take away this possibility it is the film in fact is not it and it is not to say if politicians often press form it would be funny not to tell people voila it would be necessary to give rights to women it is an orange juice is sion we too we stop us get away with it is so easy and it's something like icloud in a movie here it is naked political form a bit suspended that is to say we know that the world prevents us from doing that but it turns out that we have an enchanted parenthesis in which we live is targeted the order turned cousy the order that we have always added is say here is the patriarchy we are we are to help the winner finally destined to be married is the daughter of and two women cousins but rn does not it's not us we know how to live and if you are the apartment or this order is disputed low actually the order which is which and the social order also is contestable any form of static order is contestable.
God I wish the q&a from the second screening was recorded it was so much better. Watch stream nuoren naisen muotokuvala.

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