#agnes lumiere

[agneslumiere]

Agnes in blond hair omg! video: instagram.com/p/CqY2VU3IM46

[archivesdereves]

rdv a l’aquarium avec guilhaume 

bcp de chemins on doit changer d’endroit pour le bon bassin il y a bcp de monde 

on arrive dans une maison on doit changer de chaussures aquatiques je sors des cabines en prems pcq je m’etais trompee de chaussures. j’avance je croise dans la descente (grand hall cuivrré couloir genre magasins de nouriture profesionel) je croise louise simon on est trop contente on small talk elle veut devenir real me montrer une vieille ref basique gen z je lui dis que je sais faire la lumiere et elle m’ecoute pzs alors je lui dis qu’elle s’en fout que ca sert a rien de parler donc elle me suplie de lui pardoner et on echange les contact. G me joint on se trouve dans une maison il y a clara kennedy de la fac sa soeur et des gens de eux mais on parle pas ensemble on partage la maison. il y a claudie qqpart qui m’ignore rapidement plein de personne genre soirée mais on aller a l’aquarium mais trop de gens me parle les enfants me font plein de bisous je suis l’attention. avant de partir je croise Marhilde Kervel je lui dis que j’ai des responsabilité mais qu’on se voit ce weekend. j’esquive un peu Carlo (where is bastien) dis bjr a gabi et saute dans la voiture avant que ca ferme l’aquarium )on arrive a pzrtir on prend sa voiture une deuxieme fois (1e fois j’avais dormi a l’arriere) sauf que sur la route il se trouve a cote de moi (je comprend pas qui conduit, un chauffeur) et je mexcuse pour le temps passer il me dit que c pas grave (visage qui change et qui dit mais quand meme c des gens de gauche) je dis quel rapport avc la politique? il revient normal et 3 hommes en costard sont sur le siege avant un me regarde insistant en mode tu me reconnai pas? c apparemment le pere de G. en plus jeune. ils font des blagues je suis a l’ouest mais j’ai de la repartie 5 min apres. mon frere apparait a cote de guilhaume (a quel moment? ) je commence a perdre une dent genre de lait et je met ma bouche vers la main de G pour qu’il m’aide a la retirer il reussit (difficile de trouver le bon spot il pensais que ct une dent de devant et je lui dis mais non je suis plus un enfant) et je saigne sauf que la dent vient avec une molaire. et ensuite pareil deux de l’autre coté tombe et plein d’autre tombe il m’en reste genre 3/4. je saigne et je panique. qqn me dit repond a agnes mais c mon frere qui m’appellait et je lui passe le tel a mon frere pour qui decroche. j’ai une sensation super desagreable genrr c tres reel je me cache la bouche pour parler. je dois pleurer sur g. et on arrive a un grand espace exterieur plein de gens disparaisse (les hommes trouve ca degoutant et incomprehensible). G me dit qu’il sait pk ca m’arrive vu qu’elles ont la texture de la farine. je lui explique mes truc et que je vomis plus a part juste aujourd’hui une fois ! je dis que plus jamais et qu’avant j’avais des belles dent alignés. (on est en date) mais pendant que earlier les homme parlait on se tenait le bras genre « on est ensemble ok » nottzment quand le chauffeur prenait mon bras pour le carrsser je l’ai remis sur celui de G. bref. G me dit que ça va aller qu’on va m’aider. je me reveille putain j’ai encore mes dents merci dieu. mon frere dit un truc avant de disparaitre mais jsplus. genre je dois me faire aider ? on va m’aider ? il est bienveillant et carré. Guilhaume aussi

[thestayathomedragon]

Chapters: 5/7 Fandom: Oxventure (Web Series), Blades in the Dark (Roleplaying Game) Rating: Teen And Up Audiences Warnings: No Archive Warnings Apply Characters: Barnaby "The Butcher" Fortescue III, Original Female Character(s), Original Male Character(s), Lilith Capellenaga, Edvard Lumière, Kasimir Jones, Zillah Bruseau, Algernon/Squiffy, Pashmina Farukah Aziminzar, Ishmael Favreau, Miss Agnes, Rosie and Josie Dimmer, The Demon Prince - Character Additional Tags: Alternate Universe Summary:

Just what did Rosie and Josie do to Barnaby during his stint as their plaything? Barnaby would certainly like to know.

This picks up from the Oxventure Presents: Blades in the Dark season one finale "The Dreadful Dimmer Sisters" and diverges greatly from canon from there.

[melody-ofstars]

𝙵𝚊𝚗𝚍𝚘𝚖𝚜 𝚊𝚗𝚍 𝙲𝚑𝚊𝚛𝚊𝚌𝚝𝚎𝚛𝚜

The fandoms and their characters I write for are listed below:-

ANIME

Boku No Hero Academia

Bakugo Katsuki; Todoroki Shoto; Kirishima Eijirou; Midoriya Izuku; Kaminari Denki; Dabi/Touya; Shigaraki Tomura/ Tenko; Tenya Iida; Tensei Iida; Mirio Togata; Tamaki Amajiki; Shoji; Tokoyami Fumikage; Takami Keigo/Hawks; Uraraka Ochaco; Ashido Mina; Jiro Kyoka; Yaoyorozu Momo; Tsuyu Asui. (There may be more that I am willing to write for, I just can't remember the names)

Jujutsu Kaisen

Megumi Fushiguro; Gojo Satoru; Itadori Yuuji; Ryomen Sukuna; Inumake Toge; Nanami Kento; Nobara Kugisaki; Junpei; Maki Zenin; Mahito.

Kimetsu No Yaiba

Kamado Tanjiro; Agatsuma Zenitsu; Hashibira Inosuke; Rengoku Kyojuro; Tomioka Giyu; Kamado Nezuko; Kocho Shinobu.

Black Clover

Yuno Grinberryall; Asta; Nozel Silva; Fuegoleon Vermillion; Julius Novachrono; Yami Sukehiro; William Vangeance; Leopold Vermillion; Finral Roulacase; Gauche; Zora Ideale; Luck Volitia; Magna Swing; Henry Legolant; Nacht Faust; Morgen Faust; Liebe; Licht; Zenon Zogratis; David Swallow; Jack the Ripper; Klaus Lunettes; Kiato; Langris Vaude; Lumiere Silvamillion Clover; Mars; Marx Francois; Patry; Raia; Rill Boismortier; Vetto (young); Noelle Silva; Secre Swallowtail; Mereoleona Vermillion; Mimosa Vermillion; Charlotte Roselei; Charla; Charmy Pappitson; Grey.

Shingeki No Kyojin

Jean Kristein; Levi Ackerman; Eren Jeager; Reiner Braun; Zeke Jeager; Armin Arlert; Connie Springer; Erwin Smith; Niccolo; Mikasa Ackerman; Sasha Brause; Hange Zoe; Historia Reiss; Annie Leonhart.

Haikyuu

Kageyama Tobio; Oikawa Tooru; Kuroo Tetsuro; Hinata Shoyo; Kenma Kozume; Nishunoya Yu; Miya Atsumu; Bokuto Kotaro; Miya Osamu; Akashi Keiji; Suna Rintaro; Tsukishima Kei; Tsukishima Akiteru; Azumane Asahi; Ennoshita Chikara; Daichi Sawamura; Iwaizumi Hajime; Sakusa Kiyoomi; Tanaka Ryunosuke; Kita Shinsuke; Yamaguchi Tadashi; Ushijima Wakatoshi; Terushima Yuji.

Obey Me

Lucifer; Mammon; Leviathan; Satan; Asmodeus; Beelzebub; Belphegor; Diavolo; Solomon.

Death Note

Yagami Light; L Lawliet; Mello; Matt; Near.

Kami No Tou

Aguero Agnes Khun; Bam; Shibisu; Hatz; Lero-Ro; Phonsekal Laure; Yu Han Sung; Blitz Quant;

Yakusoku No Neverland

Ray; Norman; Don; Lucas.

Tokyo Revengers

Takemitchy; Mikey; Draken; Akkun; Naoto; Chifuyu; Baji; Hanma

Kuroko No Basuke

Kuroko Tetsuya; Kagami Taiga; Kiyoshi Teppei; Hyuga Junpei; Izuki Shun; Takao Kazunari; Kise Ryota; Aomine Daiki; Midorima Shintaro; Kasamatsu Yukio; Himuro Tatsuya; Murasakibara Atsushi; Otsubo Taisuke;

Spy X Family

Loid Forger/Twilight, Yor Forger/Thorn Princess

𝙰𝚕𝚝𝚎𝚛𝚗𝚊𝚝𝚎 𝚄𝚗𝚒𝚟𝚎𝚛𝚜𝚎

Pirate AU

Band AU

Domestic AU

Highschool AU

College AU

Royal AU

Basketball AU

Volleyball AU

Modern AU

Disney AU

(probably more AUs, but I can't remember them)

[meetmeatthecoda]

Hey, the name meaning anon here again!

After finding out the meaning of Ginger Lumiere, I remembered Caroline Givens (because this name already means too much, considering that Givens is Red's very own alias) and looked 'Caroline' up, too, admittedly, not expecting much, because Ginger Lumiere is already so painfully full of meaning that I thought that Red/the writers were a little more... discreet earlier on.

Turns out, I was wrong (and I'm glad I was because what I found is just beautiful).

Apparently, this name – depending on which country you think it came from, because there are quite a few options – means either 'strong', 'free' or 'beloved'/'valuable' (and whatever way you look at this name's origins, whatever country you – or, rather, Red, since he's the one who chose it – think it came from, its meaning is very true to the way Red views his Lizzy).

And together with the surname...

Red really does go all out whenever he gets an opportunity to choose an alias for Liz, expressing his feelings for her in his usual subtle manner even through those names... doesn't he?

🥺🥺🥺

In short, I'm emotionally compromised)

Ah, hello again, name meaning anon!! 🙌 Oooh, considering the infamous Givens family name (family being Red, Liz, & their daughter Agnes Givens, of course 😏), I think it was such a great idea to look up "Caroline"!! 🤩 Cause omg what you found?! "Strong", "free", "beloved"/"valuable"?!?! Plus the sacred surname?!?!?! 🥺🥺🥺 Subtle as a gun, our Red, & boy, do we love him for it 😍😍 Ugh, I'm also very much emotionally compromised, dear anon, thank you so much for sharing once again, & much love to you!! ❤��

[angelicamerlinbarnes]

TUA DISNEY AUs: Beauty And The Beast (Pt. IV)

(please understand that by AU, I mean they share an incredibly small amount of things in common with the original source material which I barely remember BUT the “story” takes place in the setting of the film) (not to be misleading or anything :p)

(BEWARE: turning into inanimate objects against your will (in case that's a trigger for anybody i don't know i don't know your life), my own sarcasm and contempt for Disney movies, sorry, etc.)

(If you can handle watching Umbrella Academy, this will be fine for you.)

(Belle) Allison is ready to leave her little town of morons who constantly underestimate her, but she can’t leave her mother. Grace has been spacey these past few years - she keeps asking after Allison’s father, who Allison’s never met. And Cha-Cha wants to marry her for some fucking reason, and she has no interest in that cold bitch. No, she wants fairytale love - the kind she’s been reading about since childhood.

(Beast) Luther has been cursed for like, twenty fucking years. As saddened as his own fate makes him, he grieves more for his family, punished with him for his foolish arrogance. Klaus and Diego were about to be married, you see, and Five was on the fast track towards conquering new lands and kingdoms, and Vanya was finally going to tell that seamstress Sissy that she loves her. So he has to find a girl to love him - and fast.

(Lumier) Klaus is trying to make the most of this. I mean, it’s not that bad - he has Diego still, and his family. It could be far worse. But he’s getting tired of being a candelabra after twenty years - he never even got to marry Diego, who now looks at him like he can’t remember that Klaus used to be beautiful, even though Klaus can never forget Diego’s face.

(Cogsworth) Diego just wants to save Klaus from this terrible fate. He used to be so happy, and now every step seems like death. Diego knows he’s been distant, but he’s trying to find a way to break the curse before their time is up - he hopes Klaus forgives him when he finally tells him.

(Plumette) Ben wants to save his siblings from this horrible fate. They deserve better than to rot in the castle their father tortured them in. But hey, he thinks - at least they smuggled out their sister when she was a baby. Come to think of it, he wonders where Allison is now.

(Ms. Potts) Vanya just wants to get back to Sissy and Harlan. But the curse means they’ve probably forgotten her. She wonders if Sissy ever married that horrible man Carl who drank too much. And if Leonard, the kettle, could just get the fuck off her back, it would be ever so appreciated, the dickwad.

(Chip) Five knows everybody pities him for losing his childhood, but it’s not so bad. There’s this mannequin Dolores in the West Wing, and Five likes to sneak there to see her. She’s the only one who doesn’t look at him like something broken. Though he has started to wonder what part of him will be gone to make up for the chip in his porcelain when he’s human again.

(Enchantress) The Handler only put that blasted curse on the prince so his brother Five would fuck off. He’d just been so annoying lately. But she couldn’t very well just target him, his stupid siblings would come after her. So this really was the best solution. She just hopes that little brat of a missing princess doesn’t turn up and ruin all her plans.

(Gaston) Cha-Cha knows Allison would look good on her arm, and that’s about it. She’s in love with Hazel, her loyal little minion - but he likes that old homeless hag Agnes, and nothing Cha-Cha does seems to convince him to look elsewhere. So she becomes bitter and cynical, always looking for a new thing to kill in Agnes’ place.

(Belle’s Father) Grace just wants her daughter to be happy. It’s a shame she seems deadset against doing that. Oh, well… Grace wonders how her other children are. Allison thinks she’s going mad because Allison can’t remember them the same way Grace does… but Grace prays. Every day. Maybe one day she’ll get to go home and see her babies again. Maybe they’ll even be happy to see her.

(Lefou) Hazel just wants to settle down with Agnes. It’s not going very well. The Handler keeps showing up and ruining things.

(Wardrobe) Eudora has been ready to marry Lila since the day they first met at the palace, with Eudora being captain of the guard and Lila being a spy for another kingdom. She eventually defected and they lived out their fairytale romance together… except something went wrong in the spell and Lila can’t speak anymore. And without a face, Eudora can’t understand her. She just… she misses her, that’s all.

(Piano) Ray misses Allison. They used to play together, when she was little, but… well, she’s gone now and her attention will always be on Luther first and foremost anyway. That’s fine. Ray’s a big boy, he can handle it. He just… wishes she’d come back.

(Cushion Dog) Lila can’t fucking talk. It’s very annoying. She has so many insults about Diego that she hasn’t been able to say. She’s ready to be a human again please.

Allison marries both Luther and Ray because it’s 19th century France and they have guillotines so she can do whatever the fuck she wants since she’ll probably die in the Reign of Terror anyway. Five is going on happy merry murder missions where he kills off Cha-Cha and the Handler, Hazel and Agnes are finally married and open a bakery where Agnes invents donuts, and Vanya is finally reunited with Harlan and Sissy, who decks Carl in the nose when he tries to interrupt their reunion kiss. Klaus and Diego get married in an honestly too lavish ceremony and ruin the entire castle in their honeymoon mood while Lila and Eudora set off to have gay old adventures together because they want to and they can. And Ben finally gets to take a goddamn nap. Good for him.

[treethymes]

february 2020 watchlist

*favorite rewatch

death in the land of encantos (2007, dir. lav diaz) the favourite (2018, dir. yorgos lanthimos) we are your friends (2015, dir. max joseph) melancholia (2008, dir. lav diaz)* holy motors (2012, dir. leos carax) the holy mountain (1973, dir. alejandro jodorowsky) the color of pomegranates (1969, dir. sergei parajanov) asako i & ii (2018, dir. ryusuke hamaguchi) the go master (2006, dir. tian zhuangzhuang) sympathy for the devil (1968, dir. jean-luc godard) black panthers (1968, dir. agnes varda) ivan's childhood (1962, dir. andrei tarkovsky)* raise the red lantern (1991, dir. zhang yimou) andrei rublev (1966, dir. andrei tarkovsky) touch of evil (1958, dir. orson welles) remembrance: a portrait study (1967, dir. edward owens)* dreams are colder than death (2013, dir. arthur jafa) mysteries of lisbon (2010, dir. raul ruiz) prologue to the great desaparecido (2013, dir. lav diaz) the wind will carry us (1999, dir. abbas kiarostami) the world of us (2016, dir. yoon ga-eun)* female prisoner #701: scorpion (1972, dir. shunya ito) i am not a witch (2017, dir. rungano nyoni) mother of george (2013, dir. andrew dosunmu)* timbuktu (2014, dir. abderrahmane sissako) lovetrue (2016, dir. alma har'el)* jane b. for agnes v. (1988, dir. agnes varda) whores' glory (2011, dir. michael glawogger) 10 (2002, dir. abbas kiarostami) shirin (2008, dir. abbas kiarostami) butterflies have no memories (2009, dir. lav diaz) the sacrifice (1986, dir. andrei tarkovsky) the turin horse (2011, dir. bela tarr) satantango (1994, dir. bela tarr) an investigation on the night that won't forget (2012, dir. lav diaz) altiplano (2018, dir. malena szlam) high and low (1963, dir. akira kurosawa) the lighthouse (2019, dir. robert eggers) bombay beach (2011, dir. alma har'el) arrival (2016, dir. denis villeneuve) phantom thread (2017, dir. paul thomas anderson) uncut gems (2019, dir. josh & benny safdie) the last black man in san francisco (2019, dir. joe talbot) jojo rabbit (2019, dir. taika waititi) under the silver lake (2018, dir. david robert mitchell) take care of my cat (2001, dir. jeong jae-eun) roma (2018, dir. alfonso cuaron) long day's journey into night (2018, dir. bi gan)* a city of sadness (1989, dir. hou hsiao-hsien) the puppetmaster (1993, dir. hou hsiao-hsien) good men, good women (1995, dir. hou hsiao-hsien) goodbye south, goodbye (1996, dir. hou hsiao-hsien) flowers of shanghai (1998, dir. hou hsiao-hsien) millennium mambo (2001, dir. hou hsiao-hsien) cafe lumiere (2003, dir. hou hsiao-hsien) three times (2005, dir. hou hsiao-hsien) flight of the red balloon (2007, dir. hou hsiao-hsien) the assassin (2015, dir. hou hsiao-hsien) children of the sea (2019, dir. ayumu watanabe) the boys from fengkuei (1983, dir. hou hsiao-hsien) a summer at grandpa's (1984, dir. hou hsiao-hsien) the time to live and the time to die (1985, dir. hou hsiao-hsien) dust in the wind (1986, dir. hou hsiao-hsien) daughter of the nile (1987, dir. hou hsiao-hsien) a borrowed life (1994, dir. wu nien-jen) in the mood for love (2000, dir. wong kar-wai) sansho the bailiff (1954, dir. kenji mizoguchi) suspiria (1977, dir. dario argento) silence has no wings (1966, dir. kazuo kuroki)

---

the ones i mark as “favorite” just have some aspect of them that im especially drawn to; like the forest scene in ivan’s childhood or the cinnamon toffee of mother of george. my favorite overall was maybe the world of us, which reminded me a lot of my own childhood; and i liked the way the camera stuck to the main character in certain scenes. i also liked long day’s journey into night bc all it takes to impress me is a floaty camera and long takes.

all the movies i rewatched i already liked, except for touch of evil, which i watched bc the opportunity presented itself to me and i wanted to see if i still found it as boring as the first time i saw it nearly ten years ago in my high school film class, and the answer is yes i still don’t like it lmao. take care of my cat was still a nice watch though; i also watched jeong jae-eun’s 2017 film butterfly sleep, but it’s not listed bc i stopped watching after 15 minutes; it was a nope from me.

watching a borrowed life and early hou, i could guess a little what wu nien-jen wanted dust in the wind to be: the personal voice-over hou did for the time to live and the time to die; the relatively straightforward adaptation of chu tien-wen’s script for a summer at grandpa’s. in the mood for love is still a juggernaut lol; i like it for many of the same reasons i like the assassin.

[apicturewithasmile]

Fishful Thinking

or: What the hell is up with all those fish references?

As I was working on two gif sets (1, 2) showing all (or at least most) of the times Red talks about fish in one way or another, I couldn’t help but wonder if there’s some pattern to these stories. I decided to sort the fish references into the four following categories and put my literary analysis degree to good use

Category 1: There’s always a bigger fish.

Category 2: self-recognition through the fish

Category 3: Beware The Fish!

Category 4: Is this the real life, is this just fanta-sea?

Though some fish references could be put in more than one category, I chose to sort them according to how I’d like to interprete their relevance to the show and Red’s character. Because of the vast amount of fish stories and references throughout the years I cannot possibly talk about all of them but I will still list them all under their respective category for the sake of completeness.

All of that under the cut because it’s long (sorry @ mobile users):

Category 1: There’s always a bigger fish.

1x01 Pilot Red: Zamani was a small fish. I’m Ahab. And if you want the whales on my list, you have to play by my rules.

3x11 Gregory Devry Red: I don’t know. What I do know is if he’s called a meeting and the members are gathering, he’s a very big fish. […] Follow this fish, and you can net the entire school.

5x13 The Invisible Hand Big Willie: Nash? Come on, man. You want to go up against those guys? You’re a big enough fish? Why risk that? | Red: I’m not a big fish, William. I’m Moby Dick.

The first of many fish references happens no sooner than in the Pilot (1x01) itself. Red calls his first Blacklister Ranko Zamani “a small fish” – as opposed to the “whales” he offers up to the FBI in exchange for immunity. Interesting in this scene is that Red refers to himself as “Ahab”, the Captain from H. Melville’s novel Moby Dick. In the book, Ahab is driven by his manic – and subsequently fatal – desire to hunt and kill the big white whale named Moby Dick. In the end this venture costs Ahab his life as well as the lives of all but one of his crew members.

When looking at this scene separately from the rest of the show it’s easy to think of it as ~just a TV show pilot giving us an easy way to characterise their protagonist – and yes, partially that is a purpose this scene serves (note it’s also the scene in which Red gives the show its name, referring directly to his list as “The Blacklist”). However, if we take into account what happens as the show progresses, even just in season 1, the Ahab-reference gains a little more weight, as Red’s “whale hunt” nearly gets him killed (1x10) while also leading to the death of two of his team members, Luli Zeng (1x09) and Newton Philips (1x11), as well as the murder of Task Force member Meera Malik (1x22). All of that for the hunt after the first season’s big fish and main antagonist Berlin, along with (as we will later learn) the undeniably even bigger fish: The Cabal.

Juxtaposing the Ahab-reference is Red’s remark from the episode The Invisible Hand (5x13) where he refers to himself as “Moby Dick” instead of Ahab. On one hand this serves the technical purpose to remind Red’s scene partner (and us, the audience) that Red isn’t just any fish – big or small – in the large tank full of criminals. No, he is in fact the biggest of them all, a legend and he will bring everyone down who tries to harm him. On the other hand it offers up an interpretation of Red knowing that his project – The Blacklist – will inevitably be his own downfall. He is both the hunter and the beast which means the question is less “who will win in the end?” rather than “is there any way out of this other than through his own death?”. This also ties in with the speculations amongst fans that Red himself will turn out to be the No. 1 on the Blacklist as the series comes to an end.

The third and final fish reference in this category is in the episode Gregory Devry (3x11) where the episode’s Blacklister gets called a “big fish” by Red. It’s possible to just brush that off as a somewhat common allegory to think of criminals as big/small fish but I find it noteworthy that it just so happens to be used for the Blacklister who claims to be the ~real Raymond Reddington. Describing Devry as a “big fish” also puts that label on Red by extension. And following ~our big fish Red also leads to the netting of an entire school of criminals aka The Blacklist.

*****

Category 2: self-recognition through the fish

1x21 Berlin Red: I was once on the island of Ko Ri, free-diving in the Andaman Sea. I felt terribly ill stung by a lionfish. I was dehydrated, in excruciating pain. I had lost all sense of time and place. I was completely disoriented. But I knew I was dying, so I readied myself for it. And in that moment, at death’s door, I looked up, and standing over me in the brightness was this landless Moken sea gypsy just standing there, smiling. She and her tribe nursed me back to health, good as new. And when I left the island she kissed me. It was like a burst of sunlight on my cheek. It was – It made nearly dying well worth it. That’s how I feel now.

2x09 Luther Braxton Red: In Mexico, there are these fish that have colonized the freshwater caves along Sierra del Abra.They were lost. They found themselves living in complete darkness. But they didn’t die. Instead, they thrived. They adapted. They lost their pigmentation, their sight, eventually even their eyes. With survival, they became hideous. I’ve rarely thought about what I once was. But I wonder if a ray of light were to make it into the cave, would I be able to see it? Or feel it? Would I gravitate to its warmth? And if I did, would I become less hideous?

4x12 Natalie Luca Red: Losing someone we love is painful. Agonizing even unto death. The Japanese call it tako-tsubo – a grieving surge of abnormal electrical waves that causes the heart to deflate and contort until it resembles a a fishing pot. Hollow and cold, an empty vessel at the bottom of a fathomless sea. I’m sorry for your loss. You have suffered enough of that in your life.

In this category I have grouped together instances in which fish-metaphors or fish-related stories are used to express Red’s inner conflict.

First I want to focus on the two monologues from seasons 1 and 2 as they complement each other very well and can be discussed together. The scenes not only share textual but also structural similarities: both of these monologues are spoken by Red to Lizzy in situations where he or both of them are in a dangerous and/or threatening situation; and they are both part of a season and mid-season finale respectively, which often are episodes with greater exploration of character motivation and inner conflict than there would be time for in a regular episode.

The hideous fish monologue in Luther Braxton (2x09) has been subject of great in-depth discussion in the fandom time and again; especially the Lizzington shippers keep coming back to it, as he is clearly talking about Lizzy when he mentions the “ray of light” and ends with explaining that he didn’t want her to follow him because it would put her in danger. [Sidenote: Anyone who still doubts that he was talking about Lizzy being his “ray of light”, I’d like to direct towards the episode Karakurt 2x21 in which Red invents an alias for Lizzy: “Ginger Lumiere” which literally translates to “Red Light”.]

You can also find a light-reference in the fish story from Berlin (1x21) when Red says “[…] she kissed me. It was like a burst of sunlight on my cheek. [...] It made nearly dying well worth it. That’s how I feel now.” as he is looking up at Lizzy, essentially telling her that despite all the pain and hardships he has gone through and will be facing in the future – it’s worth it because of her. With those two fish stories combined he paints us a pretty cohesive image of how he views himself – the hideous fish who adapted to the darkness that surrounds him and thrives in it; and what Lizzy is to him – a burst of sunlight, the warmth that could have the power to make him less hideous, and arguably even the sea gypsy nursing him back to health.

Interestingly the fish that stung him in his 1x21 story is a lionfish. I’m pointing that out because that same species will get mentioned again in season 4, so I will come back to that when talking about the next category.

In Natalie Luca (4x12) he talks to the young woman who has just lost her boyfriend and it’s evident that he’s not only talking about her loss but also about his recent experience of losing someone he loved – namely when he thought Lizzy had died after giving birth to Agnes. On a textual basis it seems like he’s just talking about Natalie but the camera is positioned in such a way that Natalie’s image is reflected in the window behind which Red sits, effectively merging the two characters together, making it clear that when he’s talking about her, he’s also talking about himself. Thus it is reasonable to assume Red is empathising with Natalie on the basis of grieving their romantic love interest (despite Lizzy having come back from the dead in the meantime, Red is still struggling with the pain Lizzy’s actions have caused him). He then describes Natalie’s and his pain as the heart resembling “a fishing pot. Hollow and cold, an empty vessel at the bottom of a fathomless sea.” Red feels like he has lost his “ray of light” and thus his heart has dropped to the bottom of the sea, into even deeper darkness than ever before, causing him to make decisions as hideous as shooting Kate Kaplan.

On a sidenote, the scene in which Natalie Luca’s boyfriend dies parallels Lizzy’s (fake) death scene very well in terms of camera angles and movements – Natalie being the stand-in for Red; the boyfriend being stand-in for Lizzy.

*****

Category 3: Beware The Fish!

3x15 Drexel Red: Right. Which is why we’re here now. We’ve come for the fugu kimo. | Dembe: Fugu kimo? | Red: Blowfish liver. Contains a poison 1,200 times deadlier than cyanide– so lethal, a single fish can kill 30 grown men.

4x05 The Lindquist Concern Red: Perhaps another go with the candiru fish. I understand they burrow into the most impossible nooks and crannies.

4x07 Dr. Adrian Shaw Red: Have you ever been spearfishing? You should go spearfishing. I love spearfishing. On the Ambergris Caye, there is a reef– | Liz: If there’s a reason you felt this story couldn’t wait, I’d love to hear it, but quickly if possible. | Red: I have a Blacklister for you. They call him The Coroner. | Liz: I just got my baby back, my husband, my family. This can wait. | Red: Lionfish. | Liz: Lionfish? | Red: An aggressive, invasive species threatens the local habitat, leaves destruction in its wake. Sound like anyone we know?

These three make up the group of fish as some form of a danger. Here we see fish used as a torture device by creative torture expert Brimley in 4x05 and mentioned in the form of a potentially lethal meal in 3x15.

The most interesting reference in this category though is the one from Dr. Adrian Shaw (4x07) because as I’ve pointed out above the lionfish which has first been mentioned in 1x21 makes another appearance here. 4x07 is the first part of the mid-season finale and in the beginning of the episode Red makes a point of equating Kirk to the invasive, aggressive and destructive nature of lionfish.

In the second part of this mid-season finale Red will then be tortured and almost killed by Alexander Kirk – a man who believes himself to be Lizzy’s father. In his attempt to get revenge and compensation for the years Kirk has lost with his (thought-to-be) daughter he goes to great and often violent lengths. This culminates in Kirk ~becoming the lionfish from Red’s season 1 story. Kirk injects Red with multiple substances that all build up to Red being in “excruciating pain. [losing] all sense of time and place” and being “completely disoriented.” just like in his story from 1x21. This then leads to Red saying whatever he thinks Kirk wants to hear in order to survive. The result is a (false) confession that Red is Lizzy’s father as well as some (yet-to-be-revealed?) secret whispered into Kirk’s ear which eventually convinces him to let Red walk free. The next time we see Red, he shows up at Lizzy’s doorstep, to visit the burst of sunlight that made nearly dying well worth it (whether that is still Lizzy at this point or the title has been handed over to Agnes is open for speculation).

*****

Category 4: Is this the real life, is this just fanta-sea?

4x09 Lipet’s Seafood Company Red: Marlin– that’s not a very common name. I knew a Marlin when I was young. Marlin Trout. One boy, two fish names. Funny.

4x22 Mr. Kaplan Conclusion Red: Ho Chi Minh City! That’s it. I got away from you aboard that catfish trawler on the Saigon River. My God, the humidity. But fun times indeed. More to come, Agent Gale. More to come.

5x15 Pattie Sue Edwards Red: Smokey, as you well know, Heddie did not take a powder. She’s lying in her bed right now, sneezing and wheezing, swollen up like a puffer fish. I’m afraid all the dogs and cats finally got the best of her.

5x22 Sutton Ross Liz: I’ll get you for this. | Red: You’ll try, but there’s a fine line between fishing and standing on the shore, looking like an idiot.

6x03 The Pharmacist Red: On a side note, I once went fly fishing for a cutthroat trout in the Roaring Fork Valley, where, inexplicably, I stumbled upon Justice Antonin Scalia may God rest his soul and, boy, did we have some real barn burners. My word, that man could argue. Six hours, hip deep in whitewater, and with all the yelling, neither of us got so much as an alevin.

7x01 Louis T. Steinhil Red: But I’ve been paralyzed before. The spine of a blowfish pierced my wet suit off Pit–

Some fans have wondered how much truth there really is in stories such as “Marlin Trout” (4x09) or fly fishing with Justice Scalia (6x03). Even the lionfish story from 1x21 can be up for debate. Did Red really experience all this or is he making it up for the sake of a nice metaphor, to buy himself time, distract his opponent? Is it realistic for one man to be stung by two poisenous fish (a lionfish and a blowfish) on two separate occassions? And how did a former KGB agent (if we assume he really is Ilya Koslov) know a Marlin Trout when he was young and presumably growing up in Russia?

But what all the fish-references in the fourth category have in common is that they are used for comic relief. I guess it’s also safe to assume that after so many seasons and fish stories to which the fans reacted positively, some of these later fish references are purely there as Easter eggs for fan service and one can hardly blame the writers for that. The most recent one from Louis T. Steinhil (7x01) was a good example of using a fish reference just so the fans could cross that off their Blacklist Bingo chart.

Especially the bit from The Pharmacist (6x03) sticks out as it is a very obvious nod towards James Spader’s previous TV show Boston Legal in which his character goes fishing in Nimmo Bay where he later gets married by Antonin Scalia in the final episode of the show. Since Red spends the first half of season 6 in prison and we keep getting scenes of him defending himself in court, the writers saw their opportunity for an Alan Shore homage and they took it. Well done.

*****

That’s it, I hope some of you made it all the way to the end. There’s not really a conclusion to this except that I don’t think there really is some deeper meaning behind the many fish references other than the writers and/or James Spader obviously being into fish very much. The fish world offering a vast selection of potential metaphors and stories also fits in nicely with (the real) Raymond Reddington having been a Naval Intelligence Officer.

So long, and thanks for all the fish!

[siestaporlatarde]

Un final poéticamente desgarrador.

En el mar infinito de contenidos y con el objetivo a veces agotador y monótono de acercarme seriamente a un filme diario, Paisaje en la niebla (Τοπίο στην ομίχλη, 1988) del realizador griego Theo Angelopoulos se me apareció como una auténtica reafirmadora de mucho de lo que ya creía de la obra de este cineasta.  

Ya con dos filmes (curiosamente posteriores) vistos y adentrándome a un terreno a ciegas con la esperanza de entregarme por completo, tenía en la mente la idea de que en el director griego se configuraban tramas y narrativas en las que circundaba aunque sea como ambientación un tema recurrente pero maravillosamente bien representado: la migración.

En La eternidad y un día (1998), Alexander hace un recorrido a través de una vida repleta de experiencias de la mano de un niño inmigrante albanés que le hace respirar sus últimos instantes de existencia. Cuando Alexander quiere regresar al niño a Albania, ambos se encuentran con una frontera enrejada repleta de inmigrantes que parecen flotar entre la niebla y la desesperación. No son ya humanos, son figuras fantasmales buscadoras de una esperanza que flota en el aire de la frontera griega a la que parecen querer acceder pero en la que, al igual que el niño, sólo encontrarán la desgracia y la persecución perpetua por su estado de ilegalidad. Sin embargo, la migración, si bien aspecto importante y persistente en la obra de Angelopoulos, no es aquí un tema central pero sí una preocupación latente para intentar explicar el aire turbio y nebuloso de la Grecia que se planeaba retratar.

Con motivo del centenario de la presentación del cinematógrafo de los Lumiere, fueron varias las inquietudes presentes en diversos realizadores por retratar no sólo el evento que tuvo lugar en el Salón Indien en 1895, sino toda una historia de imágenes en movimiento. Son dos especialmente los filmes que evocaron en mi la sensación de ver condensado todoslos sentimientos que la palabra CINE genera en cualquier amante del séptimo arte: Las cien y una noches (Agnes Varda, 1995), filme al que dedicaré una merecida revisión y que recomiendo ampliamente; y La mirada de Ulises (1995) del ya mencionado realizador griego.

En este último filme se entreteje no sólo la historia del cine (nada menos) sino también otras tres subtemáticas que lo convierten no sólo en una obra maestra de gran envergadura, sino también en un testamento vivo y poderoso de amor al cine y a la patria: la historia nacional de Grecia; una adaptación (si es que esta palabra es digna de este filme) de la Odisea de Homero; y, por supuesto, la migración. En La mirada de Ulises se nos cuenta la historia de un cineasta griego que vuelve a su país con el objetivo de encontrar tres bobinas no reveladas que vendrían a ser la primer mirada de los pioneros del cine griego, los hermanos Manaki. El cineasta (sin nombre) se embarca en una odisea a través de diferentes países en estado belicoso ante la esperanza de que su descubrimiento repare los horrores que se encuentra en los distintos lugares que recorre y en los que un estado de perpetua desesperanza parece inundar a cada uno de los personajes. La temática migratoria es configurada a lo largo de todo el filme: comienza con un protagonista ajeno a la propia patria que comienza a viajar legalmente a través de territorios en los que termina por encontrar la nada; luego lo hace de manera ilegal y peligrosa en la medida que se va acercando a un objetivo por el que ha de pagar mucho.

"Búsqueda de sentido" parece un descriptor de La mirada de Ulises, aunque no habríamos de confundirnos porque, en este caso, el sentido está dado (la travesía por las bobinas), pero lo importante no es el destino, sino el viaje y el aprendizaje. Hay aún otro filme del realizador griego que se describe mejor con esas palabras: Paisaje en la niebla. Historia sobre dos niños griegos que viajan a Alemania con la esperanza de encontrarse con un padre que prontamente descubren inexistente. Sin embargo, su viaje sigue por... ¿por esperanza? ¿por inercia? ¿negación? A lo largo del filme, el espectador (o por lo menos es mi caso) se cuestiona el para qué de las acciones, sin embargo, el destino fatídico de los personajes lo deja todo claro, conciso y evocando un desgarre de emociones.

Durante la primera mitad del filme, una escena esclarecedora tiene lugar. Ambos niños, acompañados de un joven protector que los auxilia en partes de su travesía, se encuentran con un pequeño pedazo de celuloide en blanco. El joven les dice que se fijen bien, que en el fondo verán un árbol, los engaña. Pero ese engaño es signo y seña de su búsqueda: el pequeño niño guarda el pedazo de filme y lo atesora a lo largo de su viaje. Parece que en el celuloide encuentra la esperanza o el por qué de las andanzas difíciles y tortuosas que realiza junto a su hermana.

Construyendo uno de los finales más dolorosos en la historia del cine, Angelopoulos cierra su filme con un poema desgarrador digno del llanto de cualquier espectador. No es sólo desgarrador el final de esta cinta, sino que es esclarecedor y cierra toda una travesía con broche de oro. Ambos niños llegan a la frontera alemana y descubren que su falta de pasaporte los hará intentar entrar al país ilegalmente a través de un río. En medio de la noche, intentan atravesar en una balsa que terminará llevándolos no a Alemania sino a un fatídico destino luego de que, tras la llamada de atención de un soldado, se escucha en medio de las penumbras un disparo que, intuimos, acaba con la vida de ambos niños. El último plano, inundado de luz luego de las tinieblas, muestra a los hermanos cruzando un llano que los llevará a un árbol... a la metáfora de un destino.

¿Será acaso que el padre (o el destino último), representado en el árbol, es para Angelopoulos el cine mismo? El griego teje con hilos dorados una poética en la que el espectador tiene una lectura no guiada ni represiva, sino enriquecedora y libre en sus propios términos.

[peerbear]

Film Narrative 1: Image Making - Week 1 (14/09/20)

I just wanted to apologize for the delay in me getting my blog up to date. I hope it is up to standard and I will aim to make it show what I have learnt and been thinking about this semester.

First I would like to start off by introducing myself to you. My name is Peer, I am 20 years old and my family comes from Germany and Brazil. However, I grew up in Edinburgh, where I attended the Edinburgh Steiner School. What I really appreciated about my schooling was that it was both academic and practical, which was why I was thrilled to get onto this course this year, my second time round applying. Last year I sadly didn’t get in, I think this could be in part because I had a bit of a panic attack in the interview and could not find an answer to a question as simple as what is your favourite film. This year I came much more prepared because I didn’t want it to slip through my fingers again so I reapplied to this course because of how much I wanted it, and with a year studying film at Glasgow University, my second choice I gathered some information about film theory and history that I used in my interview.

Basically what I want to say is I’m so thrilled to be on a more practical course, specifically this one because it suits how I work much better, as I love learning from others but also making my own art. In school we did not have film as a subject, the closest thing was Advanced Higher Art and Nat 5 drama, both Art and Drama were my subjects. 

My path into film started from a young age, because I wanted to be an actor and to be in my own films, so my friends and I made short films which we edited on iMovie. Having enjoyed Art so much at school I looked into artistic subjects and decided on Film because I felt it is a growing art form and I would prefer to create it rather than be in it myself. The fact that it is a team effort is something i really like, because I love people and find working in a group great, although sometimes I find its hard to let go of the reigns.

I’m really looking forward to doing this course and I believe I will get out of it much more the type of things that I want to learn, with the learning content being more practical and career orientated than most courses in Scotland. I hope to improve all aspects of my film making, but from this specific module, Narrative 1, I hope to learn a lot about script writing, specifically how to create dialogue that sounds natural, I find it very hard to write things that people will actually say - so in the past I have had my actors either say nothing at all or improvise using method acting.

I think good films teach the viewer a lesson or uncover a way of life that is misundertsood or unkown to them. I think a good film can make you really feel something and emphathise with what you hear and see even if you have never experienced something even remotely similar. I am aware that there are many narrative rules that I cannot explain but when you watch a film you often know what is going to happen even if you have not seen it before, I find many of the best films have an interesting and surprising twist that the viewer might not have expected for example The Unusual Suspects or The Great Gatsby or La La Land.

My favourite filmmakers are Ken Loach, Ryan Murphy and Agnes Varda because the cinema and documentary style cinema that they make brings forward videwpoints that I feel were unexplored when they started and very important for the general public to know and be more aware about. Ken Loach looks a lot at poverty and how society mistreats the poor and how once one is knocked down in the system it is very hard to get back up again. Ryan Murphy looks a lot at LGBTQ+ peoples and tells their stories beautfully, looking at the beauty of this culture and how it is misunderstood and mistreated. Finally Agnes Varda was a pioneering French filmmaker who was one of the first women to be a director and creaet an all female cast, showing often times female characters in her films as the lead roles, which was a great step forward for feminism in film.

This week was the first proper week on the Narrative 1 course at Napier and I very much enjoyed it. It has been an interesting first week and I’m just getting to know my way round myNapier and Moodle.

This week we have started looking at the Tableau and how still frames can tell  much more of a story than one might expect.

At first we looked at Tableau’s from the Lumiere brother which were shot in Black and White. These were very interesting, my favourite was one in which a little girl was trying to put money into what i believe is a public set of scales. What I like about it is how it reminds me of the feeling of being a child and wanting to be older, but having adults not let you be older and telling you what to do and being frustrated by it and I think this is very well captured here.

Some of the recommended Films for this week were Gerry and The Headless Woman. The Tableau scenes which they both included were my two favourites. In the scene from Gerry by Gus Van Sant 2 young men are captured looking at the camera, very clearly lost and here the camera is the viewpoint of the map. I find this very interesting as it really demonstrates how they are both lost as they look at the map trying to get a sense of their bearrings, by making the map the viewpoint of the camera their faces are more visible and strongly defined. In the Headless Woman by Lucrecia Martel. The pictured character is shown getting out of her car after a hit and run, the choice of the D.O.P. and director to leave the camera angle in the car as she leaves in shock highly demonstrates her sadness and guilt as she physically leaves the shot and the machine in which she just hit someone and potentially took their life.

[agneslumiere]

Fotorelacja z wystawy 12.03.23

Stowarzyszenie Appassionata. Wrocław

Stowarzyszenie przez sztukę i sport do zdrowia. Appassionata

Bez tytułu, wernisaż wystawy zbiorowej

Malarstwo: Agnes Lumiere

Kurator: Aleksander Borto

Fotografia: Andrzej Walentek, Piotr Wojciechowski, Aleksander Borto

Dziękuję wszystkim serdecznie za przybycie na moją wystawę. Chciałam poprzez moją sztukę zwrócić uwagę na temat poprawiania własnej cielesności przy pomocy operacji plastycznych, przestrzec przed mającą znamiona kultu pogonią za wykreowanym sztucznym ideałem i idącymi za tym problemami społecznymi. Ofiarą tego szaleństwa są głównie kobiety, które przechodzą bolesne metamorfozy, aby sięgać czegoś, czego zdobyć się nie da — doskonałości. Przez niemożliwość osiągnięcia tego celu, droga ta jest okupiona cierpieniem, łzami i zdrowiem psychicznym.

W swoich obrazach inspirowałam się Steven’em Meisel’em, amerykańskim fotografem modowym, który zdobył rozgłos dzięki swojej pracy dla „Vogue” oraz za sprawą teledysku grupy Palaye Royale „No Love in LA”. Artysta w swoich pracach zwraca uwagą na fakt, że wśród owładniętych kultem piękna elit „ból nie znika”, a sztuczni ludzie tracą kontakt z tym, co jest w życiu istotne. Nie ma miejsca na miłość w mieście wycyzelowanych na pokaz aniołów, którzy wydają się lunatykować w przypudrowanym świecie fałszu. Stało się to, przed czym ostrzegał nas Guy Debord w “Społeczeństwie spektaklu”: „Wszystko, co dawniej przeżywano bezpośrednio, oddaliło się, przybierając postać przedstawienia.

[avessamag]

Agnes Lumiere (Agnieszka Wołkowicz): Beauty strong spirit . Photo: @agneslumiere Model: @kaboommodel MUA: @kaboommodel Via @officialkavyar . www.avessamag.com #avessa #avessamag #shareyourpasssionwithavessa . #fashiondaily #fashiondiaries #fashionpost #lookoftheday #fashionlover #fashionstyle #fashiongram #lookbook #outfitinspiration #outfits #fashionphotography #styleoftheday #fashionaddict #currentlywearing #fashionable #fashiondesigner #styleblogger #fashionkiller #ootdshare #fashioninspiration #styletips #fashioninspo #mylook #igstyle #ootdmagazine #ootdsubmit #whatiwore

[monstersinthecosmos]

Hi I'm looking for songs, do you have Louis playlist that you recommend?

HI! I made you one.

Never Found Our Way | Louis de Pointe du Lac

01. Aphex Twin - aisatsana [102]02. Agnes Obel - Dorian03. Thomas Newman - American Beauty04. Gavin Luke - Emotions Becoming Clearer05. God is an Astronaut - A Deafening Distance06. Have a Nice Life - Emptiness Will Eat the Witch07. Placebo - Song to Say Goodbye08. Nine Inch Nails - 1 Ghosts 109. Clara Rockmore - Valse Sentimentale10. Yann Tiersen - La Dispute11. Erik Satie - Gnossienne No. 112. Ramin Djawadi - Light of the Seven13. Portishead - Roads14. Billie Holiday - Gloomy Sunday15. Dead Can Dance - Musica Eternal16. Opeth - To Rid the Disease 

Listen on YouTube.

Anyway so I sincerely apologize for how long it took me to answer this ask; the truth is that I don’t think about Louis as freely as I think about Armand and Daniel and Marius so all my VC playlists are based on those other clowns lmao. But I wanted to put something together for you and wanted to think about it a little.So this playlist is kind of a mix of things that remind me of Louis while also being things I think he might like. Granted, this is headcanon and is subjective, but I see Louis as being sort of sad and dreamy and being into soft melodic things and gloomy piano and film scores and depressing mellow prog. I also totally see him falling for ambient music and getting lost in it. I also want to give honorable mention to Opeth, even though they made it on here anyway IT’S JUST THAT LIKE, OPETH IS LOUIS? It sounds like their songs are about vampires most of the time lmao. Special mention to Blackwater Park, Damnation, and Pale Communion for being Extra Louis. And the song Faith in Others is like the Louisest thing I’ve ever fucking heard in my life. Listen to it/look up the lyrics cause DAMN but this part especially ARE YOU SURE IT’S NOT ABOUT LOUIS?

Out through the doors of starvationAnd into the rains of damnation

And the intro always makes me picture when he’s moping around the streets of New Orleans in the movie. (Pictured above lmao).

Also special shoutout to Daniel Ketchum, here’s a link to this album Sea of Tranquility on Spotify but apparently it’s 3 OBSCURE 5 U cause it’s not on YouTube. Also, I apologize if Spotify is easier anyway but I don’t like to link my Spotify playlists here cause my account is under my real name. =XAnd if I wanted to be a troll I’d also throw in Hilf Mir by Rammstein since it’s about like, a little girl burning LOL WHOOPS. (Also linked on Spotify bcuz Rammstein are bloated parodies of themselves and pulled it off YouTube LOL!)Music is subjective though, so these are MY feelings about Louis, and I threw together some links for you also in case you wanna see what other people have to say or hear some other tastes. :)And the Night Alone Understands You by @theroyalpalmtreeofoz Dark Angel by @anton-mordridThe Fall of a Century by @laurencombeferrePyromania: A Total Serious Fanmix About Louis’ Favorite Pastime by @robin-goodfellow You Are the Night by @muirin007These ones don’t have names that I can see LOL This one from @sangcreole Some from @firelight-fadingALSO RELEVANT A masterlist of awesome classical music from @echo-de-la-lumiereAnd then I know @i-want-my-iwtv has a tag for fanmixes WHICH YOU CAN FIND HERE  and I tend to drop all VAMPIRE MUSIC related posts in my tag #Vampire Music. HOPE THAT HELPS!!! I love vampire music, vampire music is my shit, I always wanna hear some, so if you guys have more to show me please send them my way. :D Also for the sake of sanity I tried to keep these Louis-Centric, I know there are more Louis/Lestat playlists out there too! But I think that’s a different beast haha. 

[lavotha]

Artists & collectors united for a common cause

GemlucArt increases in prestige celebrating its 11th Anniversary, from September 19-27, 2019, hosting a Contemporary Art Exhibition at the Rainier III Auditorium in Monaco, with 135 local and international talented artists committed to the fight against cancer. GemlucArt counts with the continuous support of Georges Marsan, the dynamic Mayor of Monaco, loyal partners and sponsors.

GemlucArt has become a sine qua non annual artistic exhibition, but also an important fundraiser, thanks to generous art lovers who purchase the unique artworks exhibited. The theme used as a creative guideline this year was: “Silence, there is a rumor going around”, in French “Silence, bruit court”, that surely inspired talented artists’ expression.

An exceptional Jury

GemlucArt gains in prestige every year, thanks to the participation of international artists, an experienced international jury of museum curators and art critics that selected the best artworks of the 2019 edition, and a highly professional organizing team, led by the enthusiastic dynamic duo of Laurence Garbatini and Yvon Kergal, with the support of Francois Jean Brych, that worked long hours succeeding in assembling a high quality exposition. Their efforts have not been in vain and the results are evident, as the exhibition is a highly anticipated art event, for artists, art lovers and collectors alike, gaining a special place in the art calendar of the Principality.

Benoit Paulmier, Eric Heremans,Laurence Garbatini, Helen Selikowitz Modini,Yvon Kergal, GemlucArt2019@CelinaLafuentedeLavotha

Dr Francois-Jean Brych, Preisdent of Gemluc 2019@CelinaLafuentedeLavotha

GemlucArt 2019 Jury

The highly qualified members of the jury had a tough job selecting the winners of GemlucArt 2019, among the many works of art submitted by talented local and international artists. But after a careful and lngthy deliberation several artists were awarded the much desired prizes, with passionate and moving presentations by the artists, in a friendly atmosphere that characterizes this one-of-a-kind annual art gathering.

Jean-Pierre Pastor, President of the Jury

Georges Marsan, Monaco Mayor, Vice-President

Countess Helen Selikowitz Modini

Francoise Gamerdinger

Louise Grether (Artcurial)

Martin Peronnet

Francois-Jean Brych (President of Gemluc)

Eric Heremans

KC Charti – Camille Roumiex

Albert Croesi

FX Ciais

Gabriele Taggi

Paul Conti

GemlucArt Organization Team

Francois Jean Brych (President of Gemluc)

Laurence Garbatini – General Director GemlucArt

Yvon Kergal – GemlucArt Exhibition’s Curator

Laurence Garbatini, GemlucArt2019@CelinaLafuentedeLavotha

Yvon Kergal and Celina Lafuente de Lavotha, GemlucArt 2019

The Winners of GemlucArt 2019

Below is the list of winners with their artworks and the prizes they received during the Official Awards Ceremony that took place on September 24 at a packed Auditorium Rainier III, in the presence of members of the Jury, generous loyal sponsors and partners and an ever growing enthusiastic public.

Claude Garrandes, France, Le Vieille Home et son Chien (The Old Man and his Dog) – GemlucArt Grand Prize

Le vielle homme et son chien by Claude Garrandes , GemlucArt 2019 @CelinaLafuentedeLavotha

Laurence Garbatini with artist Claude Garrandes and his artwork Braille Lumiere Liberte GemlucArt 2019 @CelinaLafuentedeLavotha

Braille lumiere liberte by Claude Garrandes, GemlucArt2019 @CelinaLafuentedeLavotha

Barna Gacsi, Hungary – Ceux qui se cachent (Those who hide) – Special Sculpture Prize

SPECIAL SCULPTURE PRIZE Ceux qui se cachent, Those who hide by Barna Bacsi, Hungary, GemlucArt 2019 @CelinaLafuentedeLavotha

Le Cerf Miracle, The miracle deer by Barna Gacsi, Hungary, GermlucArt 2019 @CelinaLafuentedeLavotha

Myriam Bollender, Chut!! Un ange passe (An angel passes by) – –( Jury Prize

Egle Babilaite, Lituaine, L’aventure avec des cygnesThe adventure with the swans) – Special Jury Prize

JURY PRIZE Laurence Garbatini and Myriam Bollender (Chutt!! Un ange passe) GemlucArt 2019 @CelinaLafuentedeLavotha

SPECIAL JURY PRIZE, Egle Babilaite, L’Aventure des Cignes, GemlucArt2019@CelinaLafuentedeLavotha

Anthony Vignadocchio , Le poids de mots (The weight of words) – Theme Prize

JM Collell, France, Motus  – Focus Prize

Franck Brizzi, France, La Dame aux Camelias (TheL ady with the Camellias)  – Photography Prize

THEME PRIZE, Le poids de mots by Anthony Vignadocchio, GemlucArt2019 @CelinaLafuentedeLavotha

FOCUS PRIZE, Motus by JMCollel, GemlucArt 2019 @CelinaLafuentedeLavotha

PHOTOGRAPHY PRIZE, La dame aux camelias by Franck Brizzi, France, GemlucArt 2019 @CelinaLafuentedeLavotha

Eddy Maniez, France, La Balade de l’elephant (The ride of the elephant) – Art Prize “Green-Green” – ex-aequo   

Gianni Depaoli, Italy, Le bruit de la couleur de la peau (The noise of the color of the skin) – Art Prize “Green-Green” – ex-aequo 

ART PRIZE GREEN GREEN ex-aequo, La balade de l’elephant by Maniez (3) GemlucArt 2019 @CelinaLafuentedeLavotha

ART PRIZE GREEN GREEN, ex-aequo, Gianni Depaoli, Italy, Le bruit de la couleur de la peau, GemlucArt 2019 @CelinaLafuentedeLavotha

Following the tradition, there was a prize that was not discerned by the Jury, but by popular vote from the public. As every year, loyal GemlucArt collaborator, Roselyne Rinaldi Bourcier coordinated the public voting procedure.

Arch Regees Pontes, Brasil, Imporangel – Public Prize

PUBLIC PRIZE, Imporangel (side 2) by Regees Arch, Brazil, GemlucArt2019 @CelinaLafuentedeLavotha.

PUBLIC PRIZE, Imporangel by Regees Arch, Brazil, GemlucArt2019 @CelinaLafuentedeLavotha

Elis Secundo, Brazil, Invasion – Generosity Prize

Tina De Rubia, France, Game over – Social Media Prize

Charles Marcucci, France, Initium in silentio – Installation Prize

GENEROSITY PRIZE, Invasion by Elis Secondo, GemlucArt2019 @CelinaLafuentedeLavotha

SOCIAL MEDIA PRIZE, Game over by Tina De Rubia, , GemlucArt2019@CelinaLafuentedeLavotha

INSTALLATION PRIZE, Initium in silentio by Marcucci GemlucArt 2019 @CelinaLafuentedeLavotha

Featuring a selection of artists & their works

Below is a selection of some of the many artists who came from all over the world, posing by their creations. We wish we could include all participants, because they are all winners just by taking part in this solidarity exhibition, but we invite you to visit the GemlucArt 2019 online catalogue to appreciate all the artworks.

Anarchy by Viviani, (2)GemlucArt 2019 @CelinaLafuentedeLavotha

Que vont-ils dire? by Elisabeth Wessel, GemlucArt2019 @CelinaLafuentedeLavotha

Silence le bruit court by ASSA GemlucArt 2019 @CelinaLafuentedeLavotha

Madonna 79 by Taylan Tekin, GemlucArt2019 @CelinaLafuentedeLavotha

Sublime silence by Martine Perugini, GemlucArt2019 @CelinaLafuentedeLavotha

The sound of love by Florent Boisard, GemlucArt2019 @CelinaLafuentedeLavotha

Le fruit du labeur by Kallira GemlucArt 2019 @CelinaLafuentedeLavotha

Le destin, silence il se prepare by Josephine, (2)GemlucArt2019 @CelinaLafuentedeLavotha

L’enfant by Fabienne Rousseau, GemlucArt2019 @CelinaLafuentedeLavotha

Palm Trees by Lindahl GemlucArt 2019 @CelinaLafuentedeLavotha

Pausa by Maria Bernadetta Cecchin, GemlucArt2019 @CelinaLafuentedeLavotha

In between by Gunilla Larsson (2) GemlucArt 2019 @CelinaLafuentedeLavotha

L’ecorche by Xavier Coliln, GemlucArt2019 @CelinaLafuentedeLavotha

Impressions by Chacin GemlucArt 2019 @CelinaLafuentedeLavotha

Entre parenthese by PAG GemlucArt 2019 @CelinaLafuentedeLavotha

Tableau vegetalise by Calypso, GemlucArt2019 @CelinaLafuentedeLavotha

Eliot le dragon by Laurent Bonnet, GemlucArt2019 @CelinaLafuentedeLavotha

Ce que l’on prete au silence by Karine Morenville, GemlucArt2019 @CelinaLafuentedeLavotha

Claudine by Agnes Jennepin, GemlucArt 2019 @CelinaLafuentedeLavotha

Debordement by Maliem de Ava Blanche, GemlucArt 2019 @CelinaLafuentedeLavotha

Dandeslion by Rouska, GemlucArt 2019 @CelinaLafuentedeLavotha

Boucle d’Or by Vegas Venusie GemlucArt 2019 @CelinaLafuentedeLavotha

Demoiselle by Stephan Biava, FranceGemlucArt2019 @CelinaLafuentedeLavotha

Direction ed I:III by Mouna Jemal Siala, GemlucArt2019 @CelinaLafuentedeLavotha

Bebe phoque by Dany M. Reginato GemlucArt 2019 @CelinaLafuentedeLavotha

Baam! by Pipaul, GemlucArt2019 @CelinaLafuentedeLavotha

Egalite, fraternite, paternite by Garbatini Point, GemlucArt2019 @CelinaLafuentedeLavotha

Heartfelt thanks to loyal sponsors and partners

GemlucArt organizers want to express their heartfelt thanks to loyal sponsors and partners, because it is their continuous support that allows them to exist, continue to grow and raise funds for a great cause.

Mairie de Monaco, Monaco Direction du Tourisme et des Congres, Monaco Economic Board, Artcurial, Heritage Properties & Heritage Construction, SMEG, MI, Societe Monegasque D’Assinissement, Monaco Telecom, Pitstop Monte-Carlo, Studio Abba, Galerie Adriano Ribolzi Monaco, Novotel, 98MIL Monaco, Monaco Art Gallery Show, Monaco Faconnage, Gramaglia, MonteCarloin, Heritage System, Paul Conti, Beddington Fine Art, IDmediacannes, Societe Nautique Monaco, L’Atelier Franck Michel, Boss Securite Prive, Heritage Properties, Art Cote D’Azur, Imprimerie de Monaco, Vildeo, SMEG, and Monaco Reporter.

Organizers want to express their special thanks to partners and friends,  Guillaume Rapin, Dr Benoit Paulmier, Axelle Comte, Remy Kergal, Odile Cauchy, Annette Forzani, Vanessa Buldalski and Francoise Pianeta.

Business teams up with Art to improve health

GEMLUC (Monaco Group of Companies in the Fight Against Cancer) is a non-government charitable association created in 1973, presided by Dr. Beatrice Brych and under the honorary presidency of H.R.H. Princess Caroline of Hanover.

Gemluc’s mission is to raise funds to support clinical research, assist those suffering from the disease and their families, and contribute to prevention, screening and care.

Through their annual charity contest-exhibition GemlucART, they raise funds for medical research to find a cure, purchase state of-the-art materials for hospitals, assist patients and their families, and create awareness about prevention, detection and care by drawing the public attention through the magic of artist expression.

GemlucArt invites the public, increasing in number every year, to discover artists working in Monaco and those coming from different coins of the world, while creating awareness and raising funds for the fight to eradicate the devastating disease.

The organizers succeeded in making of this exhibition a landmark both in terms of contemporary art as well as innovation in fundraising, together with their annual fundraising dinner “Soiree de l’Espoir” at the Automobile Club of Monaco.

To help people suffering from the disease means also to help specialists so they have access to state-of-the-art material on the edge of technology, or funds to continue their research to find a cure. The Scientific Center in Monaco, and the Princess Grace Hospital Center benefited from financial donations by Gemluc during the last few years, as well as the Urology service of Dr. Herve Quintens. Their generosity extends beyond the frontiers of the Principality, such us the Antoine-Lacassagne center in Nice, France, receiving a donation to support medical studies not covered by public funds.

The theme for GemlucArt 2020

The theme for next year will be Porte blanche, porte noire, toc, toc, that in English would translate to White Door, Black Door, knock knock.  Artists wishing to participate in 2020, please visit the GemlucArt website for updated information and registration.

Today’s Quote  

“The principle of true art is not to portray, but to evoke.” Jerzy Kosinski

GemlucArt Monaco announced top winners of their 11th edition exhibition Artists & collectors united for a common cause GemlucArt increases in prestige celebrating its 11th Anniversary, from September 19-27, 2019, hosting a Contemporary Art Exhibition at the Rainier III Auditorium in Monaco, with 135 local and international talented artists committed to the fight against cancer.

[dannyreviews]

Film Lifetime Achievement Award Winners for 2017/18

The award season is about to begin. Here are the recipients for the various cinematic lifetime achievement awards.

Academy Awards: Charles Burnett, Owen Roizman, Donald Sutherland and Agnes Varda

Golden Globes: Oprah Winfrey

BAFTA: Ridley Scott

Cesar Awards: Penelope Cruz

American Film Institute: George Clooney

SAG Awards: Morgan Freeman

Kennedy Center Honors: Norman Lear

Cannes Film Festival: Martin Scorsese

Venice Film Festival: Stephen Frears, Jane Fonda and Robert Redford

Berlin Film Festival: Willem Dafoe

Writers Guild Awards: John Waters and Len Wein (posthumous) 

Los Angeles Film Critics Association: Max von Sydow

European Film Awards: Julie Delpy and Alexander Sokurov

Sarajevo Film Festival: John Cleese and Oliver Stone

Locarno Festival: Todd Haynes, Adrien Brody, Mathieu Kassovitz,  Nastassja Kinski and Jean-Marie Straub

Zurich Film Festival: Glenn Close, Andrew Garfield, Oliver Stone and Jake Gyllenhaal

Rose d’Or Awards: Angela Lansbury

Burbank International Film Festival: Veronica Cartwright

Australian Writers Guild: Andrew Knight

Hamptons Film Festival: Julie Andrews

VES LifetimeAchievement Award: Jon Favreau

Platino Ibero-American Film Awards: Edward James Olmos

Ischia Global Film and Music Fest: Roman Polanski and Armand Assante

Munich Film Festival: Bryan Cranston

Camerimage: John Toll and Phillip Noyce

Rome Film Festival: David Lynch

British Academy Britannia Awards: Matt Damon, Dick Van Dyke, Kenneth Branagh, Ava DuVernay and Claire Foy

Odesa International Film Festival: Agnieszka Holland

Oceanside International Film Festival: Alan Roderick-Jones

Santa Fe Independent Film Festival: John Sayles and Maggie Renzi

Martha's Vineyard International Film Festival: Danny Glover and Joslyn Barnes

Riverside International Film Festival: Stu Krieger

Telluride International Film Festival: Ed Lachman

DOC NYC: Errol Morris and Sheila Nevins

Hoboken International Film Festival: Armand Assante

Horrible Imaginings Film Festival: Dee Wallace

San Sebastián Film Festival: Agnes Varda and Monica Bellucci

Arpa International Film Festival: Terry George, Carl Weathers and Alexander Dinelaris

World Soundtrack Awards: David Shire

El Gouna Film Festival: Forest Whitaker

Heartland Film Festival: Rob Reiner

Asian World Film Festival: George Takei

DC South Asia Film Festival: Zeenat Aman

Inspiring City Awards: Billy Connolly

New York City Horror Film Festival: Brad Dourif

Windsor International Film Festival: Lois Smith

SCAD Savannah Film Festival: Richard Gere

Stockholm Film Festival: Vanessa Redgrave and Pablo Larrain 

Hot Springs Documentary Film Festival: Stanley Nelson

Antalya Film Festival: Christopher Walken

Lumière Award: Wong Kar-Wai 

Hollywood Film Awards: Gary Oldman

Fort Lauderdale International Film Festival: Burt Reynolds

Critics’ Choice Documentary Awards: Errol Morris

Woodstock Film Awards: Bill Pullman

Directors Guild of Canada Awards: Don Shebib

European Animation Awards: Richard Williams

Los Cabos Fest: Nicole Kidman

Israel Film Festival: Jeffrey Tambor and Lior Ashkenazi

Annie Awards: James Baxter, Stephen Hillenburg, Wendy Tilby and Amanda Forbis 

International Film Festival of India: Atom Egoyan

Dubai International Film Festival: Patrick Stewart, Wahid Hamed and Irrfan Kahn

International Film Festival of Kerala: Alexander Sokurov

Art Directors Guild: John Moffitt, James J. Murakami, Martin Kline, Norm Newberry, Kathleen Kennedy, Ron Clements and John Musker

New York Film Critics Circle Awards: Molly Haskell

Make-Up Artists and Hair Stylists Guild: Greg Gannom and Mary Gurerro

Movies for Grownups Awards: Helen Mirren

Golden Horse Awards: Hsu Feng

Women in Film and Television Awards: Celia Imrie

Goteborg Film Festival: Alicia Vikander

Gotham Awards: Nicole Kidman

Denver Film Festival: Aaron Sorkin

Athena Film Festival: Barbara Kopple

SFFILM Awards: Kate Winslet

International Cinematographers Guild: Betty White

American Black Film Festival: Billy Dee Williams

Looking Ahead Awards: Charlotte Rae

San Luis Obispo Jewish Film Festival: Susan Arnold and Donna Roth

Goteborg Film Festival: Juliette Binoche

Sedona International Film Festival: Jane Alexander

Beaufort International Film Festival: Dale Dye

Canadian Screen Awards: Clark Johnson

Costume Designers Guild: Guillermo Del Toro and Joanna Johnson

Animafest Zagreb: Paul Fierlinger

WGAW's Laurel Award for Screenwriting Achievement: James L. Brooks

Irish Film and Television Academy Awards: Gabriel Byrne  

Chaplin Award: Helen Mirren

Austin Film Festival: Roger Corman

Satellite Awards: Dabney Coleman

Lumiere Awards: Jean-Paul Belmondo and Monica Bellucci

Governor General Performing Arts Award: Genevieve Bujold

Annecy International Animated Film Festival: Brad Bird

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