¡USUARIO QUE TE CONECTAS CON TWITTER!, actualmente no está disponible la entrada al foro a través de esta red social. Para conectarte, por favor, escribe un email a [email protected] y procederemos a darte un método de conexión alternativo.

Portrait de la jeune fille en feu

13»

Comentarios

  • edited December 2019

    Es mejor y menos pedo.

  • https://www.vulture.com/2019/12/portrait-of-a-lady-on-fire-q-and-a-cline-sciamma-adle-haenel.html

    (...)

    Haenel: But we’re more deep into the critical here, in our movie. The movie itself is political. It says, “This is a possible love. We know how to love. When we are together, we know how to fit, how to love, how to laugh.” But we’re all aware in the audience that this possibility is made impossible because of patriarchy. I’m sorry to say that word, but. For real. There’s a suspension in the movie. The impossible is at the border of the movie. We know that this can only be for two months, three months. Because once you dive into the world, you can’t live like that.

    (...)

    Haenel: It’s also very relevant because it speaks about the way we collaborated … Sex scenes are usually the ones where actors and actresses are very stressed. People running after you with "un peignoir"

    Sciamma: A bathrobe.

    Haenel: Like, “Oh, she’s gonna be naked!” It’s stressful and always at a certain moment of the shooting, there’s a feeling that something is stolen from you. You’re used in a way that you don’t want to be, but you have to. We were sheltered by an idea; Céline has a very precise idea of what sex can be, and it’s easy for us. We are not stolen. We are collaborators.

    (...)

    -I want to talk about that final scene, where the camera rests on Adèle for a long time and we watch her slowly come undone. How did you go about creating that moment?

    Haenel: I can’t really describe it, but I can say that my state of mind was very focused. It’s like people who ski jump, before they jump. That was my state of mind. I knew there was a journey that we talked about with Céline, several doors I should go through, but other than that it was all about a feeling of rhythm. It was about high concentration and being "disponible".

    Sciamma: Available.

    Haenel: For the present time.

    -What do you hope that shot leaves the audience with?

    Sciamma: Themselves.

    -Whoa.

    Sciamma: It’s cinema, and it unveils itself as cinema. It’s a reverse shot between the two characters. And at that point, it’s not about the story anymore. It’s about you being in your seat, her being in her theater seat, and you watching. First you’re watching Héloïse, and then you’re watching Adèle Haenel performing, and then you’re watching a film ending, with room for your own love, because you connect with the journey of emotion. And you think, Oh, it’s sad, but suddenly, she lightens. She smiles. And maybe you reconsider your own past love.

  • La primera vez que lo verbaliza Héloïse <3 si recuerdo bien.

    ¿Cómo va lo de Criterion? "Currently unavailable in your region".

    https://www.criterionchannel.com/directed-by-celine-sciamma

  • Ugh igual tienes que entrar con VPN? Ni idea yo es que no estoy suscrita :/

  • Un ebook que saldrá a la venta el 31 de enero. Primer libro que se publica sobre la filmografía de Céline Sciamma. Se centrará especialmente en Portrait y tendrá entrevistas exclusivas: http://sciammabook.com

    En este vídeo promoción del ebook han hecho un resumen muy bonito de su filmografía:

    "Seventh Row recently named Céline Sciamma’s Portrait of a Lady on Fire as one of the top 10 films of the 2010s; her earlier film, Tomboy, also appeared on our list of the 50 best films of the decade. The two leads of Portrait of a Lady on Fire, Adèle Haenel and Noémie Merlant, also made our list of the 50 best performances of the decade.

    Available to download and read on January 31st, this ebook will be an essential companion to the best film of the year, containing interviews with the cast and crew, as well as essays on the film and Sciamma’s career. This will also be the first book ever published to be dedicated entirely to Sciamma’s work! She’s been making amazing films for over a decade now, so we’re proud to honour her work in this way.

    In Sciamma’s films, social outcasts take centre stage. Their gaze is centred as they learn to be themselves through interacting with nature (much of Tomboy takes place outside; the ocean is the backdrop to the story in Portrait), inhabiting women’s spaces (the changing rooms in Water Lilies; hotel rooms and bedrooms in Girlhood), and making connections with people who understand and accept them (the best friends in Water Lilies; Laure’s/Mickäel’s relationship with their younger sister in Tomboy; Girlhood’s girl gang; the romance between painter and subject in Portrait). Yet even these safe spaces cannot hold forever against the weight of societal prejudices and injustices.

    Our book contains interviews with Sciamma, actresses Noémie Merlant and Adèle Haenel, as well as Sciamma’s creative team, including her cinematographer, production designer, costume designer, editor, and sound designer. On top of that, essays from EIC Alex Heeney, Executive Editor Orla Smith, Associate Editor Brett Pardy, and writers Lena Wilson, Ben Flanagan, and Angelo Muredda will delve into what makes Sciamma’s films so special. Read entire chapters on Water Lilies (2007), Tomboy (2011), and Girlhood (2014), plus several essays on Portrait, focusing on its exploration of the gaze of the two central lovers".

  • Mejor película de 2019 para Rockdelux

  • Y nominada a mejor película europea en los Goya hoy. A ver qué pasa. Las otras tres nominadas son: Border (Suecia), Les misérables (Francia) y Yesterday (UK).

  • Debería ganar de calle, ¿se sabe si está el trío lalala por la gala?

    Aunque bueno, después de premiar Campeones capaz son de dárselo a Yesterday.

  • Por lo que leo no van. ¿Si gana quién recogerá el premio? ¿Alguien de la distribuidora tal vez?

  • Los premios a las peliculas los suelen recoger los productores no? Qué pena que no estén Selina ni Adela por Málaga :(

  • La productora es Bénédicte Couvreur. Por lo que leo aquí, parece que lo recogerá alguien de la distribuidora si ganan:

  • Lo veía venir, los subnormales de la Academia dejándose llevar por la que enviaron los franchutes a los Oscars.

    Como no gane el César ya es para cagarse en Cristo.

  • Bleh, con razón se han quedado en casa todas. El lunes son los premios Lumières http://academiedeslumieres.com Están nominadas Céline y Noémie. El día 29 salen las nominaciones de los César. Ojalá nominen también a Luàna Bajrami, quiero mucho a Sophie. Qué buena interpretación con sólo 17 años.

  • edited January 27

    Noémie Merlant ganadora mejor actriz Premios Lumières:

    Claire Mathon ganadora mejor dirección de fotografía:

  • Noémie en su discurso:

    "Esta película comenzó para mí con una mirada durante el casting. Una mirada que nunca olvidaré, una mirada benévola, una mirada horizontal, una mirada intensa: la mirada de Céline, que me ha acompañado desde el principio hasta ahora para encontrar el rol de Marianne y mucho más que eso. Gracias también a Adèle, te admiro tanto. Gracias por este baile que hemos compartido juntas. Gracias por tu generosidad, por tu fuerza, tu libertad.
    (...)
    Esta película se está propagando por todas partes, se comparte sin duda porque evoca algo que falta: nuestros imaginarios, de nosotras, las mujeres. Así que espero que este movimiento no haya hecho más que empezar. Gracias otra vez, muchas gracias".

    <3

  • Gracias por este baile que hemos compartido juntas.

  • 10 nominaciones a los César, no esperaba menos.

    Mejor película
    Mejor directora
    Mejor actriz x2
    Mejor actriz revelación
    Mejor guión original
    Mejor decorado
    Mejor vestuario
    Mejor fotografía
    Mejor sonido

Sign In or Register to comment.