La pointe courte (Agnès Varda, 1955)

Agnès Varda on the sailboat Quand Même, photographer unknown, September, 1948. Estate of Agnès Varda / Rosalie Varda Collection via The New Yorker

Agnes Varda ~ Valentine Schlegel and Mr. Mestres on the deck of a sailboat, ca. 1949.  Institut pour la Photographie des Hauts-de-France | src Rencontres Arles

la pointe courte via metrograph

la pointe courte (1955) dir. agnès varda

Agnès Varda 

Cast a Deadly Spell / La Pointe Courte / The Sound - The 1975

Philippe Noiret in La Pointe Courte (Agnès Varda, 1955)

Cast: Philippe Noiret, Silvia Monfort, Marcel Jouet, Albert Lubrano, Anna Banegas, André Lubrano, Rossette Lubrano. Screenplay: Agnès Varda. Cinematography: Louis Soulanes, Paul Soulignac, Louis Stein. Art direction: Valentine Schlegel. Film editing: Alain Resnais. Music: Pierre Barbaud.

"They talk too much to be happy," says one of the villagers about the Parisian couple (Philippe Noiret and Silvia Monfort) who are spending time in a small fishing community on the Mediterranean. He has been in the town where he was born for several weeks, and she arrives to tell him that she wants a separation after four years of marriage. So they wander around, endlessly analyzing their relationship, as life goes on in the village: The townspeople argue with the authorities about where they can fish and about the bacterial count that has been detected in the water; a small child dies; a young man courts a girl over the objections of her father; a festival that involves jousting from boats takes place, and so on. The sophisticated self-analysis of the couple soon begins to look petty against the backdrop of the village's real problems. At one point in their dialogue, a scene is stolen from them by one of the village's many cats, whose playing around on a woodpile behind the couple becomes far more interesting than what they have to say. Aside from Noiret and Monfort, the actors are all actual residents of the village. Varda began as a still photographer, and her sense of composition is notable throughout this film, her first. She had spent time in Sète, the town where La Pointe Courte was filmed, as a teenager, and was photographing it for a friend when the idea of the movie came to her. It's often cited as one of the first films of the French New Wave, of which she became a prominent member, though seven years passed before she made her second and better-known film, Cléo From 5 to 7 (1962). Alain Resnais, who became one of the leading New Wave directors, edited La Pointe Courte, and the striking score is by Pierre Barbaud.

there is actually something so special about the fact that duty driven, always put together, incredibly formal in every senario, captain kp hob has had one moment so far where he has fully lost his composure. this rigid, stiff, straight laced man, physically stumbled for the first time and it was in response to the most vulnerable moment in rues life. rue, in revealing their true self to the world, experiences a really scary fucking feeling that a lot of queer people can relate to, and it’s a very vulnerable time where you open yourself up and hope that people don’t make you regret it. but then we see rue quickly seeking out hob, bearing their soul to him and he responds by (inadvertently but also maybe subconsciously) being vulnerable in turn. after being told that he’s better off as a “blunt weapon” that he has no need to get involved with feelings, this feeling of rues openness and bravery sets him off kilter, and the facade of the perfect soldier cracks for just a second for rue to witness (and squawk but we don’t talk about that), as hob “marvels at the splendour of their true form” and they share in that moment of being open and themselves even if it’s not on purpose and even if it’s scary as shit, in a place and in a society at large that will jump at any opportunity of truth and possible weakness to tear you down. they let themselves see each other.

and that’s beautiful to me.

BIC 1951

La pointe courte (Agnès Varda, 1955) 

i forgot i had an art tumblr and didnt post my d20 zine jam pieces lord😭😭

Putting these two together even though theyre for different zines because i gotta keep the main slayers together!

These pieces are for the @d20zinejam , with Chirp being part of Fae Fashion Week (an acofaf fashion zine), and Rue being part of the 20th dimension gala (met gala zine) ! You can find all the zines in a charity bundle for one more day here !

let’s hear it for one of The Most Characters (TM) of all time

[ID: a small embroidery hoop with orange fabric showing the head of Delloso de la Rue, a green owlbear wearing a flower crown of pink peonies]

I’m rewatching ACOFAF and in episode one while doing the goblin court intro for Hob, Aabria talks about Viscountess Grabalba ripping up a peony and throwing it in the fire, saying that the peony is a flower associated with Prince Apollo of the Court of Wonder… and then later on in episode 4 the same flower is associated with Rue as they reveal their true form… I wanna know what the connection is here

Miss Sohee F/W 2021 collection was made for Delloso de la rue, like they have all these looks in their closet

going to write more about this later but oh my god ruehob is so so so toxic and rue's whole conception of love vs. duty is so alien to me and i can't understand how they don't see that hob's duty to his people is motivated by love!!! like rue falls madly in love with someone who has a completely different moral system than they do and then gets so offended when faced with that reality, acting as if hob's concerns, history, accomplishments and loyalties are meaningless. like, why does rue want to be with hob? they say they love him but they don't seem to like him that much!!! i love the Mess of it all but guys. so many of you aren't seeing the Mess!!! this isn't love this is one partner continually putting down everything the other partner holds dear because they think they know best!!!