Last Seen Blogs
badboyalpha
MEN ONLY
uncouthbarbarian
UNCOUTH BARBARIAN
jazztheduck
Jazz
rapport1984
■ ■ RAPPORT1984
Text
Netflix: So…you’re making a horror show, right? This is gonna terrify the shit out of people. Right?
Mike Flanagan: Lesbians!
Netflix: Okay, but is it going to be scary–
Mike Flanagan: Lesbians!!!! 💕💘💖
Flower shop lesbians!
Horror lesbians!
Punk lesbians!
Pastel lesbians!
Gonna stab you to death with a poker lesbians!
Punk gf stopping her pastel gf from committing accidental murder lesbians!
I just saw the ghost of my dead ex while trying to make out with you and now it’s super awkward lesbians!
Crime solving lesbians!
Accepting that your gf will eventually succumb to the swamp lady living inside her and loving her anyway lesbians!
Domestic lesbians!
Vermont civil union lesbians!
Everlasting love lesbians!
Bittersweet ending lesbians!
Carla Gugino!
Netflix: Okay, but other than the lesbians, is there gonna be anything–
Mike Flanagan:
This!
She!!!
THEY!!!
Bebezz!!
Netflix: ……
Mike Flanagan: …But yes, also there will be ghosts.
Netflix: *heavy sigh*
20K notes
·
View notes
Photo
Céline talks about her tribute to Persona in the second kiss scene
( @bereaving, made those beautiful beautiful gifs for y’all, hope you appreciate)
“Here the shot is also a form of quotation. This one is a tribute to Persona, by Bergman, especially in the next match cut.”
“To make a quotation while we’re asking if when we love, we invent something.”
Click here to see more translated parts of the DVD commentary
#when i saw THAT shot in Persona i was like OHHH#i see you celine#persona#portrait of a lady on fire
2K notes
·
View notes
Photo
Persona (1966) Ingmar Bergman | Portrait de la jeune fille en feu (2019) Céline Sciamma
#now that i finally watched persona#absolute masterpieces#my two favorites#persona#portrait of a lady on fire
7K notes
·
View notes
Text
For those who are struggling to find or watch Noémie’s films !!
Hey everyone, if you’re interested in Noémie’s filmography but are struggling to find or watch her different projects, @cool-e-benin created a mega folder with all the download/ watch links of her films and other projects they could find on the internet (26 of them !!!!) but also many download links for english subtitles (13 !!!)
You can find the mega folder HERE
This is a HUGE work !! Thank you so much !!!!
137 notes
·
View notes
Text
i’m in love with her
124 notes
·
View notes
Video
whom im saving when the race war starts
26K notes
·
View notes
Text
There is SO MUCH going in this picture :
Cute Noémie doing some stretching/ relaxation exercises fully clothed in the grass because why not
Adèle being like « wtf are you doing girl »
Noémie’s p28 sweatshirt ??????
1K notes
·
View notes
Text
There was a place where Céline said that the cut was explicitly written into the script, but I don't remember where.
The place to start, though, is Céline talking about her writing process for Portrait of a Lady on Fire at the BAFTA Screenwriters' Lecture Series:
I wanted to take the bonfire scene also because, well, it kind of embodies the things I’ve been telling you, you see the initial desires, women singing in the night to an unknown tune, the character actually set on fire, the fact that there are no bridges between these two scenes it’s just this hand thing and there’s another day and we don’t need it, we’re trying not to use this. Not bad!
I recommend reading the whole thing, it's great. The way Céline wrote Portrait involved a process of outright eliminating any scenes she couldn't make herself desire to see/shoot and so cutting out the intervening in-movie time between the matched cuts was part of that.
My own personal aha! moment occurred in a conversation with @oyesiam1 :
So to return to the editing that leads up to The Kiss, the one that so threw me off, @oyesiam1 pointed out to me that the flashback is indeed a recounting, a memory, as the apparition of Heloise in the wedding dress appearing periodically to taint the recollection reminds us. And that if we see the editing as a function/reflection of Marianne’s memory, we can understand that she vividly remembers the night at the bonfire–the moment in time when physical desire starts to grow and grow towards cresting–and then rushing over to give Heloise her hand and that, given how the edit immediately matches the way that the next day she and Heloise touched descending down the cliffs, we can understand this as Marianne pretty much completely forgetting whatever the day held between the moment she and Heloise touched that bonfire night to her brain and memory, in a daze/cloud (of desire, urgency, being emotionally overwhelmed?), cutting right to the culmination of that desire, to the contact, to the kiss.
I was like: THAT’S FRIGGIN’ BRILLIANT.
That desire, that need to touch Heloise, to kiss her, was just so intense that Marianne’s own memory erased everything else in between the moments she and Heloise finally touched with intent and attraction and actual intimacy. I love that. Friggin’ brilliant!
And recently @tonovember dropped wisdom on me in conversation that made the scene more beautiful to me:
It's a great cut. The night to day, the movement of pull to right then pull to left, the time passage within that cut, unspoken yet understood. I just love that dance of a pull to the right match cut to a pull to the left. They literally danced through the cut.
The moment is the first time Marianne and Heloise touch outside of all professional pretexts, so it's loaded in every way with how it occurs after the build up of mutual desire and then the silent communication of their desire across the fire.
Hope that helps and if anyone can find other references, please drop them on me!
61 notes
·
View notes
Text
Just … the LOOKS Marianne and Heloise shared. Obviously there are many lesbian movies where two women share significant looks. It’s our thing. But when I saw the way these two particular actors/characters looked at each other, I thought, “Yes. They achieved it.” When women in other movies share those looks I think, “Okay, they’re realizing something.” But in this movie, I didn’t just think okay these characters are realizing something. I thought, “I have personally shared that look with another woman, that series of facial expressions, trying to communicate with my face what I’m too afraid to say with words while also trying not to reveal myself.” It felt so specific. I don’t even know how to fully express my thoughts on the looks they shared.
32 notes
·
View notes
Text
“you dreamed of me?” “no, i thought of you” is just literally insane. it throws everything out the window. the yearning, the hoping, the wishing. it’s about loving someone on PURPOSE. loving someone INTENTIONALLY.
32K notes
·
View notes
Text
After the concert
#excuse moi#in my head this is exactly what happens#this film has given me brain damage#portrait of a lady on fire
585 notes
·
View notes
Text
#look its my photo from twitter#come be friends with me on twitter#i have like 3 followers#thanks for the citing the source!
231 notes
·
View notes
Text
POALOF DVD Commentary Masterpost
I’m making this to post all the different parts of the DVD commentary I’m translating. I’ll update it after every new post !
Céline’s words of introduction on the DVD/Blu-ray
Céline reading the script of the final scene of Portrait (+ the audio)
Originally, the “if you look at me, who do i look at” scene was the scene of the first kiss
Noémie being very moved (and pale) during Adèle’s last day of shooting
Marianne is the first character to burn during the piano scene
The beach as the end of the world for Héloïse
Céline said they picked the most emotional take for the “forgive me” scene
Noémie looking like a tired kid at Christmas
Céline commenting the exhibition/ Louvre scene, which was the last scene that was shot for the film
Céline, Adèle and Noémie talking about the scene of conflict
Céline talks about the complexity of the abortion scene
Céline explains why it’s important to represent the abortion within the film
Céline says she wrote the “don’t regret, remember” scene for the last audition of Noémie and how her chemistry with Adèle moved her
Céline and Adèle talk about the first scene of intimacy between Héloïse and Marianne
Céline comments on Adèle’s innocence when shooting the card game scene
Noémie talks about how her costume helped her to get into the character of Marianne
Adèle explained how she prepared for the role of Héloïse and how she perceived her character
Céline Sciamma : “we hope to democratize this method of hydratation”
#gotta reblog this for the updates#forever grateful you took the time to translate for us#portrait nation#portrait of a lady on fire
2K notes
·
View notes
Text
Noémie Merlant was promoting Jumbo at L’instant Cinéma. The whole episode will be out tonight here.
In a short clip that got out, Noémie talked about the César after the interviewer asked her if she wanted to comment on it.
“I think Florence Foresti said it all: disgusted [the host of the ceremony posted an IG story just after the end of the ceremony where she wrote “disgusted”]. I’m proud to have accompanied and to accompany the actions and the words of Céline and Adèle. And I have hope that the Academy of the César, its functioning and more generally cinema will change, move forward and will be more in line with our world.”
258 notes
·
View notes
Photo
Avant-première à Aix au Renoir d'un premier film étonnant avec la réalisatrice, Zoé Wittock et la comédienne Noémie Merlant | 6 March 2020
548 notes
·
View notes
Photo
Sources: 1,2
474 notes
·
View notes
Video
“The concept of muse is an invention in a way, to make womansSszZ more passive.”
Adèle never missing out on the chance to bully Noémie’s english
744 notes
·
View notes