#Véronique Silver

[creepynostalgy]

Catherine Wagener, Jeanne Goupil and Bernard Dhéran in Mais Ne Nous Délivrez Pas Du Mal aka Don't Deliver Us From Evil (1971)

[letterboxd-loggd]

Don't Deliver Us from Evil (Mais ne nous delivrez pas du mal) (1971) Joël Séria

May 28th 2024

[detournementsmineurs]

"La Vie est un Roman" d'Alain Resnais (1983) avec Fanny Ardant, Ruggero Raimondi, André Dussollier, Vittorio Gassman, Sabine Azéma, Pierre Arditi, Géraldine Chaplin, Martine Kelly et Véronique Silver, septembre 2023.

[miguelmarias]

La Femme d’à côté (François Truffaut, 1981)

Por lo general, las películas de Truffaut son claras, tenues, suaves, frágiles, sencillas y pequeñas —no necesariamente menores: es una cuestión de formato y dimensiones, no de categoría artística; todas las de Bresson, por ejemplo, son «pequeñas»—. La Femme d'à côté (La mujer de al lado, 1981) es más clara todavía, pero además es seca, sobria y áspera, dura y elemental.

Casi siempre tienen atractivos suficientes —y variados— como para que cualquiera pueda hallar algo en ellas que le agrade, interese o conmueva; de la cantidad que encuentre, y de la que pida, depende el grado de satisfacción de cada cual. El caso es que desde tiempos ya lejanos, por lo menos desde Jules et Jim (1961), el cine de Truffaut apenas agita las aguas estancadas de una crítica y una afición en trance de desvanecimiento progresivo: difícilmente puede indignar y el contento que procura es más bien de carácter íntimo y recogido, del que apenas se siente deseo de comunicar a los amigos o de vocear en la calle (lo contrario que una obra tan viva, amplia, liberadora, expansiva y contagiosa como Hatari!, de Hawks, por citar la última que he vuelto a ver). Como son además narraciones pausadas y ordenadas, apacibles y moderadas hasta cuando su materia bordea el delirio, el vértigo, lo turbio, lo criminal o lo amatorio, choca la apasionada y decididamente sostenida tozudez con que, siempre de tarde en tarde y cada vez con menos asiduidad, se adentra Truffaut en las zonas de sombra de sus personajes, de los lazos que les atan y de los tajos o desenlaces que promueven el paso del tiempo, la acumulación de circunstancias, un suceso fortuito, un malentendido. Porque Truffaut sólo se atreve a cruzar la línea de penumbra cuando, cubierto por un gran éxito comercial anterior, se siente tan seguro de sí mismo que cede a la tentadora llamada de lo impenetrable, incluso para él; y en parte porque —lo sea o no realmente— así se lo exige su discreción, que entonces conduce no a la superficie o la apariencia, sino al misterio; su sumisión a la lógica le lleva, por otra parte, a una poco llamativa desmesura, y esa misma renuncia a la pretensión resulta provocadora. Por eso, películas como La mujer de al lado tienen la virtud de que cortan, dividen en dos bandos no ya irreconciliables, sino entre los que no cabe diálogo alguno: no han visto la misma película, o, mejor dicho, sí es la misma, pero unos la han visto y otros no han querido verla. Porque al contrario que, por ejemplo, El último metro (1980) —donde uno puede seleccionar las escenas y hasta los gestos que le gustan o interesan, contarlos y decidir si vale o no la pena—, La mujer de al lado constituye un bloque monolítico, que avanza indetenible según el rumbo fijado por su autor, que no es divisible y que incluso se resiste, denso, desnudo y opaco, al análisis crítico.

Más allá de oscuros rencores personales, que hagan que unos detesten al personaje principal femenino y otros al masculino, si no a ambos por igual y de paso a los secundarios, creo que esa dureza compacta de la película es lo que la hace odiosa para sus detractores. La mujer de al lado se presenta, desde su arranque de urgencia, como un misterio, anunciado por una toma aérea —de ojo omnisciente— y una voz en off que nos conduce al pasado. Lo grave es que cuando concluye la película el misterio permanece: la vuelta al punto de vista elevado no presupone ya sabiduría y amplitud panorámica, sino distancia infranqueable, impotencia ante lo ajeno, limitación insalvable de la perspectiva exterior. Cierto que la narradora, Odile Jouve (Véronique Silver), nos ha referido parte de la historia de Bernard (Gérard Depardieu) y Mathilde (Fanny Ardant), pero a través de sus comentarios nos ha revelado menos acerca de ellos que sobre sí misma. No podía ser de otro modo, pues la pasión que realmente padecen —como una enfermedad incurable y propensa a las recaídas— los amantes, pese a su reticencia o contrariedad inicial o posterior, prematura o tardía, hasta que logran que se consuma —por falta de materia combustible, no de fuego— es estrictamente incomprensible desde fuera de ellos para los demás e incluso, mientras arden con ella, para ellos mismos, que están fuera de sí, pero son reincidentes y saben que no se trata de arriesgarse a ver el fin, acaso feliz, de un encuentro que puede ser aciago, sino del remake o la repetición —sin rectificar nada— de una relación condenada a acabar mal. Se trata, pues, de dos amantes malditos, pero de verdad: «La culpa no está en las estrellas, sino en nosotros mismos», vino a decir Shakespeare, y aquí vemos que no son los remordimientos, la culpa, la moral, la religión, la familia —bien comprensivos y civilizados se muestran los respectivos cónyuges cuando llegan a enterarse: no se trata de un drama de adulterio, ni de triángulo, ni de amores culpables—, la sociedad, la economía, la guerra, una catástrofe, la divergencia de ideas o culturas o edades, la locura, el azar o el destino, qué va: la de Bernard y Mathilde es una relación maldita, porque se son funestos el uno al otro y, sin embargo, poco pueden —en los momentos que quieren— resistirse: ni para sustraerse a la atracción que sobre cada cual ejerce su pareja, ni para, una vez reunidos, soportarse. Porque no es que sean incapaces de vivir a solas o con otros —ninguno de sus matrimonios parece brillante, pero tampoco insufrible; ni siquiera consta que antes de reencontrarse como vecinos se recordasen o echasen de menos—, sino que algo falla en ellos, en su relación. En cuanto transcurren unas horas su mezcla da lugar a una combinación inestable, que pronto se deteriora, se pudre, se hace explosiva; tal vez su error estribe en aspirar a la unión permanente, a lo definitivo, al «para siempre»; tal vez han tenido la mala suerte de enamorarse de quien no debían, de cruzarse antes con el doble oscuro de la persona destinada.

Es esta historia, ante todo, lo que perturba, desasosiega y fastidia a muchos. Además, les irrita que no sea «de época» o irrealista, que no se adelanten explicaciones psicológicas o sociales ni se detecte un barniz «romántico» o «poético» que justifique tal carencia o que «sublime» el mortal fracaso del segundo intento de vivir tan elemental relación. Todo esto, que ya agrava el malhumor de quien siente que le cierran el paso —porque no es asunto suyo— al corazón de los hechos, resulta especialmente molesto para el crítico que tiene que definir la película y se encuentra con que su colección de etiquetas no le sirve, de modo que opta por acusar a Truffaut de no haber hecho ni un melodrama, ni una tragedia, ni una crónica social, ni un retrato psicológico, ni... (al final, el crítico en cuestión rompe los papeles furioso). Lo que sucede es, sin embargo, muy simple: que para narrarnos una de sus historias más simples, inquietantes y confidenciales —Los 400 golpes, Tirez sur le pianiste, Fahrenheit 451, La sirena del Mississippi, Diario íntimo de Adèle H., El amante del amor, no todas de las más logradas, y sospecho que las inéditas La Chambre verte y L'Amour en fuite, ambas inéditas en España—, Truffaut se ha servido, como en La piel suave (que seguía siendo hasta ahora su obra más madura, aunque no la mejor), de la precisión quirúrgica, de la dureza, del despojamiento —de personajes, de detalles, de anécdotas, de decorados— y de la fijeza de que permiten dominar plenamente el tiempo y el espacio de una película desde que empieza hasta que termina. Por eso esta película, que me hizo pensar en la sublime obra repudiada por Dreyer, Tva människor (1944), acaba por acercarse al Hitchcock más profundo y peligroso, aunque ni un solo encuadre acuse el influjo del maestro; le faltan carnalidad, crudeza y sexualidad para parecerse de verdad a Pialat, pero no sería imposible que llevase la savia subterránea de No envejeceremos juntos o Loulou, lo que situaría a Truffaut más cerca de lo que él cree, o quiere, de Sauve qui peut (la vie). Eso sí, creo que La femme d'à côté permite reírse no ya de El imperio de los sentidos, sino de Last tango in Paris, que a su lado se me antojan pintorescas y melodramáticas.

Publicado en el nº 17 de Casablanca (mayo de 1982)

[moviemosaics]

The Woman Next Door

directed by François Truffaut, 1981

[genevieveetguy]

- I asked Mme Jouve to help us find a flat in town. That woman’s a god-send. You know what she did last month? A former lover of hers who lives in New Caledonia came to see her in Grenoble. Well, she spent three days in Paris to avoid meeting him so he wouldn’t see how she’s aged. - You’re wrong! You’re all wrong! That man was Odile’s only love. Because of him she jumped out of window 20 years ago. She never let him know that she’s a cripple because of him. She’s a remarkable woman but he never understood it. - Well, neither did I. Men never understand love. They’re amateurs. I love you but I don’t understand you. I’ve never lied in my life: it’s too complicated but now, I’m living with a liar, sleeping with a liar and I’m in love with a liar.

The Woman Next Door (La femme d'à côté), François Truffaut (1981)

[blondrichclosetwitch]

Hey Jakk, hey.

Guess what’s playing?

Remember when I sent

This to

You back in 2012? I think it was before spotify.

“It was.”

Come to think of it, I should look and see what other songs I sent you. But I specifically remember sending you this song.

right now I’m playing my ninth oldest playlist, circa Spotify. The seventh playlist is dedicated to you. The ninth one is called how it ends.

When I once saw this redheaded burlesque performer perform to the how it ends song, I was moved to sobbing and I wasn’t quite sure why.

It brought up for me the feeling I had when I was in junior high at a sleepover. The nerdy Catholic girls let me hang out with them were there, along with a girl from public school named Chris. That was my name when I was little. We were having some sort of seance. The girl was on her back.

She was out for longer than expected, and all I remember is a feeling of other fear and protection went through me. Like she was my sister, and she was dying, and I had to bring her back.

I suffered from debilitating anxiety as a child,… Partially because of unnamed traumas. And also because… Well you know that movie, the double life of Veronique? There’s a line in it that sticks out though I was just in college at the time.

The line is, I feel that I’m not alone. I’m not alone in the world.

As I’ve written on here before, since I was a child, I felt that I was missing my twin. This moment when I was 13, at the sleepover, I felt that same gape in my soul.

And I felt that same hole watching this burlesque performer. Though I didn’t quite understand it.

I talked better with

My writing than my

Mouth since forever, so at 13 I wrote the chris girl a letter. I talked about the closeness and utter protection I felt.

And she pretty

Much never talked

To me again.

I

Pretty much learned to not let my feelings out after that. To be embarrassed by the heaviness I felt.

That Veronique film? I never saw it, though I bought the couleurs trilogy, and then again bought the movie in 2010.

It’s funny that with the trilogy I saw blue & white, but never red.

Think I’ll watch it today.

I have not heard this song in a

Long long

Long time. It was my favorite silver scooter song

Of all time. I was hardcore

Into indie bands. Did you know that?

You just rolled your eyes at me! I saw you do

It.

“Tinka....”

(He sighs. )

I think the point is Jakk, that these have been messages The Whole time. Including that line from Veronique which I haven’t even fucking seen.

And This song is all about everything that we’ve gone through since 2012. The lyrics.

“Say it.”

____When you walk away

Take my hand to stay

Think of what you've been dying to, been dying to, been dying to say

Pumpkin eyes you are a dream

Look away from everything

Seems like what you wanted, isn't what you wanted anyway____

The last line is yours.

“Yes I am

Fully aware.”

And the dying to say, that’s me.

“Forever, tinka. That’s your line.

So say it all. “

[somediyprojects]

The Wolf and the Lamb stitched by Prestigious-Alarm522. Pattern from the book Fables and Fairy Tales by Véronique Enginger.

“Really proud of this one 😊 I still consider myself a beginner but I feel like I've learnt so much. This the most complex piece I've done so far.

I changed the grey thread in the pattern for sparkly silver thread and added a few minor changes. Backstitching took me like 100 years 😵 (or it felt like it).

Pattern by Véronique Enginger from her book Fables: contes et comptines à broder au point de croix.”

[byneddiedingo]

Gérard Depardieu and Fanny Ardant in The Woman Next Door (François Truffaut, 1981) Cast: Gérard Depardieu, Fanny Ardant, Henri Garcin, Michèle Baumgartner, Véronique Silver. Screenplay: François Truffaut, Suzanne Schiffman, Jean Aurel. Cinematography: William Lubtchansky. Music: Georges Delerue. François Truffaut's penultimate film skims along the surface of romantic melodrama (not to say soap opera) without ever really picking up any of that genre's essential energy the way filmmakers like Douglas Sirk or his great European admirer Rainer Werner Fassbinder were able to do. It's a film full of Truffaut touches, such as having the story introduced by a secondary character, Mme. Jouve (Véronique Silver), an older woman who has her own history of disastrously blighted love. Mme. Jouve even orders the camera about as she sets up the narrative. There are also some intriguing details about the characters that seem to have symbolic potential. For example, both husbands, Bernard (Gérard Depardieu) and Philippe (Henri Garcin), have managerial jobs that involve transportation: Philippe is an air traffic controller, and Bernard trains the captains of supertankers, working in a large outdoor scale model of a harbor for tankers -- a job that superficially resembles the one Antoine Doinel held in Truffaut's Bed and Board (1970), except that Bernard takes it much more seriously than Antoine did. Unfortunately, there's not much story here: Bernard and Matilde (Fanny Ardant) had been lovers, and after their separation each married someone else. Now Matilde and Philippe have moved in next door to Bernard and Arlette (Michèle Baumgartner), and the old love affair resumes, with painful results. It's only the finesse in the direction and acting, and the attention to secondary details, that give The Woman Next Door resonance and depth -- though perhaps not enough.

[openheartfanfics]

Meet the OPH MCs Masterlist

Bryce Lahela

Ethan Ramsey

F!MC (A - N) 

F!MC (O - Z), M!MC, NB!MC

_

Jackie x M!MC

Dr. Jake Tweneboah - @ezekielbhandarivalleros 

Meet MC  |  The Past

_ Rafael x F!MC

Dr. Grace Sullivan - @inacrowdofchoices

Meet MC  |  The Past  |  The Present  |  The Future

Dr. Véronique Lucas - @princepotatosack

Meet MC

_ Rafael x M!MC

Dr. Matthew Rupert Valentine - @silver-rings-and-rabbits

Meet MC  |  The Present  |  The Future

_ Sienna x M!OC

Max Valentine - @liaromancewriter

Meet OC | Meet Sienna | Relationship Stats

_ Tobias x F!MC / F!OC

Dr. Adelaide Mae Barnes - @tveitertotwrites​

Meet MC | OC Children

Dr. Casey Rose MacTavish - @jerzwriter

Meet MC | Meet Tobias | Relationship Headcanon 

Dr. Kayla Herrera - @peonyblossom

Meet OC

Dr. Nyla Imani Hassan - @a-crepusculo

Meet OC

Dr, Samantha Carlson - @lucy-268

Meet MC

_ No LI or Broke Up with LI 

Dr. Brynn Sarah Cooper - @kat-tia801 

Meet MC

_ Aurora x M!OC

Dr. Kevin Isabella Arnold - @headoverheelsforramsey

Meet OC

_

SUBMIT OPEN HEART MC/OC & WRITERS HERE

[twelvedaysofmissfisher]

Mister Gorey’s Murder Mysteries

A is for Andrews, whose death started us off

B is for Bert, who cares not for a toff

C is for Colgan, foreman of the factory

D is for Dot, her tea quite satisfactory

E is for Elsie, who made Jack a pasty

F is for Fisher comma Miss if you’re nasty

G is for Guns o’ gold, never used in a rush

H is for Hugh, with his permanent blush

I is for Investigations and looking forward to next time

J is for Jack comma Inspector when there’s crime

K is for Kitty, killed by a politician most shady

L is for Lin, who loved and lost his silver lady

M is for Murdoch, foiled by our hero

N is for Nonna Luisa, whose compassion was zero

O is for Oswald, fishes both one and two

P is for Prudence, who is disappointed in you

Q is for Queenscliff, a spot for murder and play

R is for Roman Soldiers, not divorced in a day

S is for Saul, slain by the book he was holdin’

T is for The Johnsons, killed on their anniversary golden

U is for Undertakers, quite busy in Melbourne

V is for Véronique, who can now properly mourn

W is for Wardlow, whose doors closed far too soon

X is what marks the spot of a Spanish doubloon

Y is for Yes, I will come after you

Z is for the Zebra with the gammy leg at the zoo

Submitted by @aurora-australis-tumbles

[quelsentiment]

Thanks for tagging me Cami @pinkpoppunk 💕

Tag 8 people you would like to know better. 

Favorite colors: green has been my favourite too for a long time, but these days I’m gravitating towards purple and lavender as well

Last song I listened to: Silver by DMA’s. I love it and their new album, Louis’ got TASTE

Favorite musicians: 1d/solo, Florence + the Machine, Depeche Mode, Archive, Kate Bush, The Weeknd, Arcade Fire, Ben Howard, BROCKHAMPTON, Foals, Phoenix, Lorde, Spoon, Kanye West, Anathema. And then a lot of French artists, aka Emilie Simon, Michel Berger, PNL, Juliette Armanet, Orelsan, Christine and the Queens, Eddy de Pretto, Abd Al Malik, Véronique Sanson. I’ll stop there 😝

Last Film I Watched: And Then We Danced. I don’t often watch films these days but this one was incredible, much much recommended 🌈✨

Last TV Show I watched: I’m currently watching Avatar The Last Airbender and I’m loving it!! (thank you Sher 😌)

Favorite Original Character: any character from BBC Merlin

Sweet, Spicy or Savory: sweet 

Sparkling Water, tea or coffee: i hate sparkling water, i quite like tea, but i got back into coffee this year and yep, i’m addicted 😔

Pets: my family was never really into pets... we had a hamster for a very short time when i was like 7, but he died during a heat wave, poor little guy 🥺 and then we’ve had countless goldfish, the most memorable one being Saturnin, who lived for over 2 years (!!!) i think, but a neighbourhood cat came into our house one day and ate him. and this is why i hate cats 😳

tagging: @merrrrrrrrry @herefortommo @louhazpride @non-binharry @whatagreatproblemtohave @lovewallsontour @0ne-direction and @flamboyo-xx 💜 (feel free to ignore of course!)

[detournementsmineurs]

“La Femme d'à Côté” de François Truffaut (1981) avec Fanny Ardant, Gérard Depardieu, Michèle Baumgartner, Henri Garcin, Véronique Silver et Roger Van Hool, mai 2023.

[vm4vm0]

CHARLOTTE CARDIN - THE KIDS (short film) from Kristof Brandl on Vimeo.

YDA Silver Screen @CANNES2018 New Director Showcase by Ridley Scott @CANNES2018 Best Cinematography @LUX AWARD 2018

Shot on Kodak Vision 3 500T Aaton Penelope 2 perf Arri 435 4 perf

With: Francis La Haye, Mylène Mackay, Hubert Proulx, Anthony Riendeau, Anne-Charlotte Côté, Liam Weisman, Ilan Sawan, Daniel Lapierre, Mathieu Lepage and Louise Latraverse.

V.O by Victoria Diamond & Dusan Dukic

Directed & Edited by Kristof Brandl Written by Kristof Brandl & Shane Patrick Cinematographer: Christophe Collette, CSC Additional Cinematography: Kristof Brandl Executive Producer: Alexandre Auray Line Producer: Clara L’Heureux-Garcia Focus Puller: Maxime Boutin 2nd Camera Assistant: Erin Weisgerber Camera Loader: Robin Rigault 8mm & Super 16mm: Benoît Jones-Vallée & Laurent Schrænen Set Photographer: Gaëlle Leroyer Gaffer: Jacques Girard Best boy: Conrad Roy & Louis Cloutier Key Grip: Stéphane Klopp Best Boy: Marcel Bonneville, Camille Bergeron Bégin Sound Man: Laurent Ouellette, Dominic Remiro Grading: Simon Boisx Art Director: Frédérique Ste-Marie & Maxime Normand Art Assistant: Sophie B.Jacques, Geneviève Boiteau, Véronique Perreault, Yann Filly-Paré Costume: Amanda Van Der Siebes Makeup and Hair: Catherine Brunelle Flame Artist & VFX Supervisor: Flore Mounier @MikrosMPC Special Effects: Remy Couture Special Effects Supervisor: Blood Brothers Stunt Coordinator: Jean-François Lachapelle Riggers: Stéphane Julien et Sébastien Peres 1st Assistant Director: Clara L’Heureux-Garcia 2nd Assistant Director: Mathieu Turcotte Production Coordinator: Gabrielle Dussault Unit Manager: Joseph Liane Key Production Assistant: Jeremy Hughes Production Assistant: Patrice Arseneault, Iskouhie Yacoub, Georges Mazraani Film Lab: MELS Sound Design: Jean-David Perron & Theo "Lewis" Porcet @CULT NATION

[boireuncoup]

[annatorverse]

I was tagged by BOTH @annatorvsgf​ and @fringie​ to do this, so i feel obliged—thank you ladies, it’s a delicious obligation 💞💞 

AND im tagging @elialys @wildheart71 @maitika @lesbianwendycarr @the-women-i-love @fennethianell @gitfiles @gottaliv13 @claramj @fauxliviaruinedu2

🌿 5 things in my bag (or something else if you don’t carry a bag)

the book im currently translating—a short-story collection—i carry it around to be able to work on it everywhere i go

a small jar of hand cream to protect my tender skin

my frequent traveller pass for the trains i take most every day to go to work

classy sun glasses, because im that kind of girl 😎

three ballpoint pens and two pencils—i need to be sure i have enough tools to write 😇

🌙 5 things in my room

a magnetic board with hundreds of words on it to be shuffled around and arranged in poems

always a book of crosswords puzzles on my bedside table

my wife’s jewelry lying about on practically every surface, including on several heart-shaped racks hanging on the wall by the bed

my freshly pressed pantsuit hanging on the back of the door

an empty tea cup from yesterday which i really ought to take downstairs and wash (valid for every day) 😂

🍃 5 of my favourite things

my book holder — it’s a leather strap with two round blocks of lead sewn inside at each end. You place it on a book to keep it open, it’s my best friend when i translate. It’s black, weathered by use, it was several times threatened to be destroyed by security at airports because they thought it could be used as a weapon 😳but i always managed to keep it

my desk, which is actually an old card-playing table. It has four panels that can slide horizontally right, left, front and back, creating four different surfaces on which to lay the things i need, and a drawer at the bottom (i can’t describe it well but i love it!)

the mug i bought last year at the Freud Museum in London. It says: “Freudian Sips. When you say one thing but mean your mother.” 🤣🤣

the colors in our kitchen—orange, green and yellow. Like i say, “Color is Life”!

my library, holding approximately 3,500 books—yes, you can call me a book slut! 😉

🍂 5 things i’m currently into

astrology—totally a new thing for me, but thanks Malin @annatorvsgf​ for opening my Aries & Cancer chakras :)) 😘

singing Johann Sebastian Bach’s St John’s Passion, surely the hardest work ive ever sung—concerts are at the end of this month, wish me luck ladies!

the art photography of Véronique Ellena—check her out, she’s just amazing https://veronique-ellena.net

my new pair of ankle boots—classic black leather with silver buckles, they are so soft on my feet! “I am a man now,” to quote Héloise Letissier aka Christine and the Queens (another thing I’m into)

guess what! Anna Torv as Harriet Dunkley in season 2 of Secret City 😻😻 i mean, guurrrl!!

🌼 5 things on my to-do list

prepare my summer trip to California

rewatch secret city season 2 and start making those gifs and photosets :)). Also, prepare psychologically to be blessed with season 2 of Mindhunter and more Wendy Carr 💖

go back to taking singing lessons, i can feel i need them 🤦‍♀️

finally take my car to get checked, damn it!

finish writing the Olivia Dunham fanfics i’ve left hanging for OMG years 😱 AND write new ones too!

Joker: one day, perhaps, meet Anna Torv 🙏🌈😻—a girl can dream, right?