Type of shit I’ve been on lately (various La Pianiste illustrations)

I hate him

He won’t quite admit to himself what he’s maneuvered himself into. And he’ll never admit it to others. He’s afraid: What does this woman want from me? Did he get it right: By becoming her master, he can never become her master? So long as she dictates what he should do to her, some final remnant of Erika will remain unfathomable.

–Elfriede Jelinek, The Piano Teacher (Trans. Joachim Neugroschel)

she is my sister and my best friend and an insect i like to inspect under a microscope and i would have treated her so nicely (erika kohut)

I finished the piano teacher by jelinek on saturday... it was one of the weirdest and the most disturbing books I've ever read, but after all I feel some kind of compassion for erika kohut.

Walter Klemmer wishes he could kiss her on the throat. He’s never done it, but he’s often heard about it. Erika wishes the student would kiss her on the throat, but she doesn’t give him the cue.

— Elfriede Jelinek, The Piano Teacher 

Isabelle Huppert, Annie Girardot, and Benoît Magimel in The Piano Teacher (Michael Haneke, 2001) Cast: Isabelle Huppert, Annie Girardot, Benoît Magimel, Anna Sigalevitch, Susanne Lothar, Udo Samel, Cornelia Köndgen. Screenplay: Michael Haneke, based on a novel by Elfriede Jelinek. Cinematography: Christian Berger.  Michael Haneke's cinema of cruelty reaches its apex (some would say nadir) in The Piano Teacher, which becomes an almost definitive vehicle for Isabelle Huppert's ability to create terrifying women. In that regard her performance surpasses even the murderously manipulative Jeanne in Claude Chabrol's La Cérémonie (1995). The Piano Teacher's Erika Kohut calls to mind the masochistic Michèle Leblanc in Paul Verhoeven's Elle (2016), which earned Huppert the Oscar nomination that should have gone to her for those earlier films. The Piano Teacher resembles Elle in that both Erika and Michèle are masochists, the product of horribly dysfunctional families: Michèle's father was a mass murderer, Erika's died in a mental institution. But Erika is the more intricately fascinating character because she is devoted to the beauty of her art, releasing her pent-up sexuality in private acts of self-mutilation, watching pornography, and voyeurism -- there are drive-in movie theaters in Vienna? who knew? -- whereas Michèle has channeled hers into creating video games full of violent images. It's the disconnect between the beauty of Schubert and Schumann and Bach that fills the film's soundtrack and the ugliness of Erika's desire for self-degradation that gives Haneke's film its essential tension. To be sure, she takes out her frustrations on her students, cruelly mocking them in her attempts to make them live up to her musical ideals, but it's only when she finds a man who can challenge her own desire to dominate that she approaches fulfillment. Walter Klemmer (Benoît Magimel) is younger than she; he's handsome and athletic and smart, and he has the kind of musical talent that potentially matches her own. The masochist thinks she has met her potentially equal sadist. It's in her attempts to convert Walter's otherwise conventional sexuality into something as dark and damaged as her own that she encounters her limits, becoming the failure that her horrendous harpy of a mother (Annie Girardot) has continually called her. None of this is a lot of fun: The Piano Teacher is one of the least erotic films about sex ever made. Haneke has jettisoned the backstories of Erika and her mother that were apparently supplied in Elfriede Jelinek's novel (which I haven't read), leaving us to speculate on how mother and daughter wound up in a relationship in which they are slapping and yelling at each other one moment, then cuddling in a shared bed the next. But Haneke is not an explainer; he's content to show, not tell. And that often gives his films a visceral quality that makes them as fascinating and provocative of thought as they are unpleasant.  

i'm a pianist, not a poet

i have no feelings. get that into your head. if i ever do, they won't defeat my intelligence.

you can't delve around inside people, then reject them.

as the credits roll after any haneke film, i never fail to feel abandoned, vunerable, either physically cold or nauseous. deserted. the piano teacher (2001) was no exception to this. after that final scene, the silence of the credits was unforgiving. i was left completely alone with the weight of erika's similarly unforgiving fate. haneke crafted a twisted duel of shifting power; a game crafted by erika that eventually ate her alive. delving into erika's dark erotic ventures and fantasies was as delightful as it was excrutiating; a voyeuritsic pleasure for the viewer just as much a kind of torture they couldn't avert their eyes from. haneke loves a game. a tangled, twisted game. that is just what the piano teacher is. i also look immediately to funny games (1997), the epitome of this trope of his, and see the similarities between the two films. the protagonists we grow to love despite their flaws, erika in the piano teacher or the schober family in funny games, will never triumph. the untamed student and those boys in the tennis whites chew up their protagonists, either spitefully spitting them out or swallowing them whole. and they're smug, with either a patronsing dismissal or a 4th wall-breaking wink-wink gaze into the camera. they're satisfied with the chaos they've birthed and can swiftly leave such chaos behind them, whilst our protagonists either end up dead and disposed of or in an grey state where they and the audience both know death would be sweeter than the pieces of life they're left with. erika is abadoned in this state by student, walter klemmer, and perhaps by her own hand too. (SPOILER!) in the piano teacher's haunting and sublimely breathtaking final scene, erika messily jabs a knife into her chest, bleeding into her cream blouse, before striding out of the theatre and down the street. her figure fizzles away into the street. she's small compared to the buildings. the wide shot obscures her details. she could be anyone. a confirmation of erika's death is unknown to the viewer, yet we know that there is nothing left of her or for her in death or in life. she was engulfed, betrayed and succumbed to her own game.

the piano teacher can be disgusting and unforgiving. it can be vengeful and cunning. it can be thrillingly sensual and erotic. but to me, more than anything, it was pure tragedy.

i can’t think too hard about the fact that walter klemmer is seventeen in the book or i’ll black out for reals

Assistir Filme A Professora de Piano Online fácil

Assistir Filme A Professora de Piano Online Fácil é só aqui: https://filmesonlinefacil.com/filme/a-professora-de-piano/

A Professora de Piano - Filmes Online Fácil

Erika Kohut trabalha como professora de piano no Conservatório de Viena. Ela não bebe nem fuma, vivendo na casa de sua mãe aos 40 anos. Quando não está dando aulas Erika costuma frequentar cinemas pornôs e peep-shows, em busca de excitação. Logo ela inicia um relacionamento com Walter Klemmer, um de seus alunos, com quem realiza vários jogos perversos.

The Piano Teacher (2001)

Adaptada de la novela homónima La Pianiste publicada en 1984 por Elfriede Jelinek una escritora multidisciplinaria de origen austriaco quien obtuvo el premio Nobel de Literatura en 2004, Michael Haneke crea uno de sus filmes mas destacados de su larga carrera cinematográfica, construyendo una obra fascinante sobre temas inconfesables logrando censurar nuestra propia vergüenza.

Con la destacada actuación de Isabelle Hupert como Erika Kohut, comienza una fascinante historia de represión sexual, intimidad familiar, perversión y sadismo, temas delicados y poco tolerados en la sociedad.

Durante el primer capitulo de la película, encontramos a Erika Kahut (genialmente interpretada por Isabelle Hupert) arribando a su viejo departamento el cual comparte con su madre, en cuanto se abre la puerta de ese hogar, comienza una discusión sobre la tardanza de su llegada que rápido escala a una pelea física entre estas dos mujeres, rompiendo el común personaje materno amable y caluroso mientras que la escena demuestra una agresiva representación de esta relación madre-hija, entendemos en este momento que esa barrera subjetiva de intimidad no solamente personal sino interpersonal, es corrompida por el elemento favorito de Haneke que es la violencia demostrando una atrevida narrativa.

Erika Kahut es una talentosa maestra de piano a finales de sus cuarenta trabajando en el prestigioso Conservatorio de Viena, vive reclusa en un pequeño departamento por su madre, una mujer histérica invasora de la privacidad de su hija, dos almas en constante conflicto. Erika se toma el tiempo dentro de su rigurosa vida, en donde la música y la obediencia materna parecen gobernar su destino, para calmar a su libido consume pornografía, practica el voyerismo e incluso la automutilación, demostrando de varias formas una represión sexual prácticamente tangible de nuestro protagónico.

Eventualmente aparece Walter Klemmer (Benoit Magimel) un joven y apuesto músico quien naturalmente al dejarse llevar por la belleza de Erika y el deseo carnal de conquistador termina por engañarse en un falso enamoramiento, enamoramiento que Erika trata de desvanecer con crueles medios de humillación y autoritarismo, espejismo de su madre, tratando de todas formas transformar el romance de Walter y volverlo parte de sus fantasías mas perversas.

Estos mal llamados fetiches son parte de una subcultura del capital humano que rechazamos, la dirección de Haneke diseca nuestros miedos transformando escenas aparentemente mundanas ¿hasta donde puede llegar una persona para lograr ser amado?

this is real by the way

DC Fandome: Complete DC TV Panel Schedule

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We’re very excited for next Saturday’s DC Fandome. Honestly, the DC Entertainment-run virtual event looks way more impressive that Comic Con at Home, boasting 24 hours of content for fans of the page and screen stories of DC Comics to nerd out over. DC just released the complete schedule for the event and, while there’s plenty of big screen stuff to look out for, from Wonder Woman 1984 to The Batman, there’s also some pretty exciting TV content on the docket. Here’s the complete DC TV schedule, with times (in ET) and panel descriptions.

DC Superhero Girls Season 2 Sneak Peek – 1 pm

A long-awaited character will be making their debut in season two of DC Super Hero Girls. Do you know who it is? You will soon!

The Flash – 1 pm

Executive producer Eric Wallace joins cast members Grant Gustin, Candice Patton, Danielle Panabaker, Carlos Valdes, Danielle Nicolet, Kayla Compton and Brandon McKnight to discuss all things Flash with Entertainment Weekly’s Chancellor Agard. Team Flash will break down both parts of season six and look ahead at what is to come with an exclusive trailer for season seven. Fans will also get a look at the exclusive black-and-white noir episode “Kiss Kiss Breach Breach,” available on the Season 6 Blu-ray and DVD.

Teen Titans Go! – 1 pm

Don’t miss a special cast table read of some of your favorite moments from the series with executive producer Peter Michail and voice cast members Tara Strong, Khary Payton, Greg Cipes and Scott Menville.

Black Lightning – 1:45 pm

Join Black Lightning stars Cress Williams, China Anne McClain, Nafessa Williams, Christine Adams, Marvin “Krondon” Jones III, Jordan Calloway and James Remar with actor/filmmaker Robert Townsend moderating as they pay homage to the ’90s.

Truth, Justice, and the DC Comics Way – 1:45 pm

Who would have thought the “injustices of the world” first read in comic books and then acted out in some of today’s most popular DC Super Hero films and television series would intersect with today’s real-life civil, social and political unrest? Series stars David Harewood and Nicole Maines (Supergirl), Marvin “Krondon” Jones III (Black Lightning), Anna Diop (Titans) and executive producer/showrunner Eric Wallace (The Flash) discuss how the genesis of comic books has always been rooted in the search of truth and justice: it’s the DC Comics way!

Multiverse 101 – 2:15 pm

Get schooled in this engaging refresher course on the creation of the Multiverse with DC Chief Creative Officer/Publisher Jim Lee, Warner Bros. Pictures President of DC-Based Film Production Walter Hamada, and Berlanti Productions founder/DCTV mega-producer Greg Berlanti.

Pennyworth – 2:30 pm

Join series stars Jack Bannon, Ben Aldridge, Paloma Faith, Emma Paetz, and executive producers Bruno Heller and Danny Cannon as they talk about this unique origin story of the famed butler behind Batman, Alfred Pennyworth. Join in for a fond look back at the show’s exciting first season and the inspiration behind its stunning and edgy 1960s London setting, plus a few unexpected secrets about the new season ahead!

DC’s Legends of Tomorrow – 3 pm 

Join the cast and producers of DC’s Legends of Tomorrow for a Q&A and, of course, lots of laughs! Be sure to tune in to get the inside scoop on favorite moments from past seasons and what they have in store for season six. Series stars Caity Lotz, Nick Zano, Matt Ryan, Tala Ashe, Jes Macallan, Olivia Swann, Amy Louise Pemberton and Shayan Sobhian join executive producers Phil Klemmer, Keto Shimizu and Grainne Godfree for a panel moderated by Entertainment Weekly’s Chancellor Agard.

BAWSE Females of Color Within the DC Universe – 3:45 pm

What’s a BAWSE? Find out here as some of the hottest actresses across DC television and film sit down with celebrity DJ D-Nice and Grammy-winning singer/actress Estelle to discuss how they use their confidence and vulnerability to navigate their careers in Hollywood. Panelists include Meagan Good (SHAZAM!), Javicia Leslie (Batwoman), Candice Patton (The Flash), Tala Ashe (DC’s Legends of Tomorrow), Nafessa Williams and Chantal Thuy (Black Lightning), and Anna Diop and Damaris Lewis (Titans).

Doom Patrol – 4:15 pm

Join the “world’s strangest heroes” — the Doom Patrol — for a deep-dive discussion into the beloved and bizarre series. Panel will feature executive producers Jeremy Carver and Chris Dingess, co-executive producer Tamara Becher-Wilkinson, and series stars Matt Bomer, Diane Guerrero, April Bowlby, Joivan Wade, Timothy Dalton, Karen Obilom, Abigail Shapiro, Riley Shanahan and Matthew Zuk.

Superman & Lois – 5:35 pm

Join DC Chief Creative Officer/Publisher Jim Lee in a conversation with executive producer/showrunner Todd Helbing and series stars Tyler Hoechlin and Elizabeth Tulloch as they discuss the history of Superman from the comics to the screen, what fans can expect from the upcoming series, and the significance of the characters in the world of today.

Lucifer – 8 pm

Lucifer is back from Hell, and the series is bringing a never-before-seen blooper reel from season four along with an exclusive clip of “Another One Bites the Dust” from the upcoming musical episode. Director Sherwin Shilati and Lucifer executive producers/showrunners Joe Henderson and Ildy Modrovich discuss what it took to put together such a massive musical episode — and how they have been able to keep it under wraps for so long.

Titans – 8:30 pm

Join executive producer Greg Walker and series stars Brenton Thwaites, Anna Diop, Teagan Croft, Ryan Potter, Conor Leslie, Curran Walters, Joshua Orpin, Damaris Lewis, with Alan Ritchson and Minka Kelly for a preview of the new season as well as a discussion on the “Top Titans Moments” of the first two seasons.

Young Justice – 9 pm

Join executive producers Greg Weisman and Brandon Vietti plus voice cast members Jason Spisak, Khary Payton, Stephanie Lemelin, Nolan North, Denise Boutte, Danica McKellar and Crispin Freeman for a special audio play performance of a brand-new Young Justice episode. After the table read, stick around for a Q&A session previewing the new season.

DC’s Stargirl – 9:45 pm

DC’s Stargirl creator/executive producer Geoff Johns joins cast members Brec Bassinger, Amy Smart, Yvette Monreal, Anjelika Washington and Cameron Gellman for a panel full of fun and inside scoop. Join the new Justice Society of America as they dive into that epic showdown and learn a little more about each other through some special lenses.

Batwoman – 10:30 pm

Join executive producers Caroline Dries and Sarah Schechter plus cast members Rachel Skarsten, Meagan Tandy, Camrus Johnson and Nicole Kang for the exclusive first discussion with the highly anticipated new Batwoman Javicia Leslie as she prepares to step into the iconic role. The cast will break down season one and give a sneak peek at season two, featuring new arrival Ryan Wilder, aka Batwoman.

The post DC Fandome: Complete DC TV Panel Schedule appeared first on Den of Geek.

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one thing that i think is a really interesting difference between the piano teacher (the book) and the piano teacher (the movie) is that you spend A LOT more time around walter klemmer and in his head in the book than in the movie, and, in doing that, you realize that he’s just as nuts as erika kohut in many ways, but because he’s a young, healthy, conventionally attractive man, he is able to get away with it more than she is (and he KNOWS this and uses it to his advantage.) 

on another note, another thing i find FASCINATING about their relationship that comes from this is, in reading klemmer’s internal monologue, you realize that he actually does want to dominate erika (i.e. choose her clothes, force her to share his opinions, “teach” her things (in order to reverse the power she wields by *actually* being his teacher)) before he plans on eventually dropping her, but then, when she expresses her own desire to be sexually dominated by him and elaborates on exactly how she wants him to do it (which DOES actually include having him choose her clothes as well as more....risqué things....) he’s put off and disgusted while at the same time, the book makes a point of saying he’s aroused by it.

i think the point that’s being made here is that klemmer (and i would suspect more than a few men irl as well...) wants to dominate and victimize women under the guise of being a “casanova” in the sensitive “soft boy” mode, but once he encounters a woman who WANTS to be dominated and victimized, he (supposedly) loses interest bc if she WANTS it and sets the terms, she’s really the one in charge and klemmer cannot have that, even if he finds himself aroused by the idea of the acts themselves.

Klemmer issues an order. Erika obeys. She seems to be deliberately racing toward her own destruction; it is her final, her friendliest destination. Erika gives up her will. Her mother has always possessed Erika’s will, and now Erika hands it, like a runner’s staff, to Walter Klemmer. She leans back, waiting to hear his decision. But, though giving up her freedom, she stipulates one condition: Erika Kohut is using her love to make this boy her master. The more power he attains over her, the more he will become Erika’s pliant creature. Klemmer will be her slave completely when, say, they go strolling in the mountains. Yet Klemmer will think of himself as Erika’s master. That is the goal of Erika’s love. That is the only way that love won’t be consumed prematurely. He has to be convinced: This woman has put herself entirely in my hands. And yet he will become Erika’s property. That’s the way she pictures it.

The Piano Teacher, Elfriede Jelinek.

La Pianiste (2001)

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Director: Michael Haneke 

Michael Haneke nos trae desde Austria su aportación particular, ‘La pianista’ (2001), una adaptación de la novela homónima de Elfriede Jelinek, ganadora del Premio Nobel de Literatura en el año 2004. Se trata de la segunda adaptación cinematográfica del director – la primera fue ‘El castillo’ (1997) de Franz Kafka- que acostumbra a escribir los guiones de sus películas. Isabelle Huppert da vida a Erika Kohut, una profesora de piano de mediana edad totalmente sometida por su anciana madre (Annie Girardot). Erika da rienda suelta a sus emociones a través del piano, pero esto no es suficiente.  Para aliviar la frustración causada por ese control emocional y sexual que ejerce su madre sobre ella, frecuenta cines porno y tiendas de sexo. En una de sus clases conoce a Walter Klemmer (Benoît Magimel), un alumno con el que inicia una relación sexual turbadora y de tendencias sadomasoquistas.