#anti poalof

[employee645-gay]

Portrait of A Woman Drowned

The literal anti-poalof. This is my rendition of Héloïse's sister who, like Sappho, leapt to her death.

[margridarnauds]

what's wrong with portrait of a woman on fire?

I mean, I don't know if there's anything *wrong* with it, just like I'm not sure that there's anything *wrong* with the 2005 Pride and Prejudice (my beloathed) or Outlander (ditto) or The Favourite (etc.) These are films that have accumulated a large audience, clearly they WORKED for some people, they just didn't work for me. Our visions clashed, it happens.

But, as for why I have it blacklisted, the short answer: I didn't want to see it on my dash.

The longer answer: It's from my least favorite genre of film, the one genre of film that I can never forgive for existing, the one genre of film that actively makes me want to tear my own eyeballs out and set them on fire. Slasher films? Don't like the gorefest, but at least you get some classic monster designs, and at least I can say Psycho II pissed me off enough for me to draft out a fix-it fanfic for it once (yes, really). Actions films starring a bunch of identical guys in not-so-subtle military propaganda? Don't LIKE it, but it's white noise. Like, if nothing else, you can drift away and not miss anything.

No, my one arch enemy, the bane of my existence...

Arthouse films.

Aka "films designed purely so that the overwhelmingly middle class audience can pat themselves on the head for being Artistic and Cultured, while not being a particularly enjoyable or pleasant experience for literally anyone else but the sort of person who prides themselves on watching arthouse films."

I hate it. I hate it.

I hate arthouse films with a fiery, burning passion.

(And, before anyone accuses me of anything so heinous as being a mcu stan: I'm going to point out that it's possible to create something that asks questions about the world, that makes commentary, while still being an enjoyable experience.)

Now, as for the film itself: I don't like the thesis of it. I don't like Schiamma's vision. I wouldn't say it's a shitty vision, but it isn't mine. It's this bougie, white sort of feminism that says that, essentially, if you take away the patriarchy, if you take away the men, there's this wonderful world that opens up where all these other things -- race, class, etc. fall away and are replaced by this wonderful collaborative world.

From the interview in the Independent:

“I wanted to use the tools of cinema so you would feel patriarchy without actually having to embody it with an antagonist,” says Sciamma. Free from the gaze of men, Marianne, Héloïse, and the servant Sophie (Luàna Bajrami) are in a sort of utopia. There, the women and their love can briefly flourish. “When a man comes back in the frame,” smiles Sciamma, “it’s a jump scare.”

In the Vox interview:

"For instance, ask yourself the question of “how do you embody sorority?” The answer being, a long take, a wide shot, of three women in the kitchen with social hierarchy being totally turned around, with the aristocratic women cooking, whereas the maid is an artist and the artist is looking at the maid. And they’re silent. This is such a powerful image, and it’s so easy to make.

People are telling me, “Oh, your film is a utopia.” And I’m like, “Yeah, but our utopias are not ideas we have in our minds. They’re not things we wish we were living. They’re rooted in our own experience.” I know about sorority, I know about an all-women world. It’s not a utopia. It’s part of my life. And that’s what I rely on to make these images."

And again, I want to emphasize that I'm not saying that sorority DOESN'T exist, I'm not as cynical about sorority as she is about love, but I do believe in sorority in the same way as I believe in "collegiality" -- that they are both very convenient terms that are often used to ignore the very real structural imbalances that many women do profit from and are generally incredibly one sided. I have never really had the same luxury of that sorority that she talks about, not because I'm a woman of color, but because I grew up poor and incredibly autistic in a small, restrictive community. Some of the best people in my life have been and continue to be women, but also some of the worst terrorizers in my life have been women. I don't believe in her Utopia, it has no appeal to me, I don't buy it.

Likewise, with it's ending, we have Sciamma, very insistently, talking about the necessity of it (from the Vulture interview):

The question we have from the old culture, and the old world, is, like, “Why do they not end up together?” And I’m like, no, this is not respecting the lives of these women. To make them even think, maybe we could escape. Once you actually play with the idea of this conflict and this resolution — that’s why sometimes they make people die [in period movies]. That’s why there was no room on that door for Jack. Because otherwise they would have to put up with that. Nobody’s gonna die in our movie, but we have to respect the fact that it’s not possible [for them to be together]. It’s a new kind of story.

How would it not "respect the lives" of the (fictional) women for them to not end up together? Why would it not be possible? This is a common refrain I've seen about it, including in Veronica Esposito's article, where she says:

"But what, really, does change? Yes, Marianne and Héloise get to express themselves, they get to know the pleasure of each other's bodies, but they will never be partners living together in a real relationship. Such a thing is not possible in their time, for society has no place for women like them. Accordingly, these women never evidence even the smallest idea of what life would be like if they were free to remain together. The circumstances of the world in which they live would prevent their imaginations from conceiving of such an impossible thing."

It ignores that, for a number of queer women of that era, it was incredibly possible to balance both a marriage and an affair, especially since it was set in the 1770s, before there was a widespread societal suspicion around romantic friendships (that came with the collapse of Marie Antoinette's reputation via the libelles). There would be nothing UNUSUAL about two women having a close companionship. But it ends, why? Because it has to. For all that Schiamma emphasizes that this is a new type of film, it plays into some old preconceptions about queer women throughout history.

She also shows it, again, in the vox interview:

"Héloïse’s character is much more restrained, even though she is an aristocratic woman, than Marianne’s character. The tragedy of lesbian life is not the tragedy of lesbian representation. It’s not the same. Lesbians have been activists. They’ve had the opportunity to live their life more freely sometimes, than straight women, because they could avoid a lot of things, like getting married and having children."

I don't understand exactly what her vision is for pre-20th century lesbians, given that we SEE Héloise being married off. Is it that lesbians could magically avoid the patriarchy, or is it that they were forever trapped by it, doomed to never have a fulfilling connection again, pining for their lost love? I'm very confused on this point, honestly.

I would also note Andrew Young's letter to The Times' Literary Supplement:

Perhaps it is possible to sympathize with much of Muriel Zagha's review (Arts, March 6) of Portrait of a Lady on Fire, and indeed with the film, while retaining a serious reservation. Gourenez Kiberen (Presqu'île de Quiberon) is not an island (contrary to the review's repeated suggestion) and, in 1770, the language we would have heard spoken there by nearly all of the characters other than the two principals and Héloïse's mother would have been Breton, not French (or, if French, then in a manner quite missing from the film). If this is an egalitarian link across time to the eighteenth century, it is one in which linguistic and cultural equality has been thoroughly buried - as it continues to be - by filmmakers and audiences alike.

This is obviously very near and dear to my heart, but I do not understand how you can just...use Brittany as pretty window dressing while ignoring the Breton people and the Breton language (except for when you want to show something #Pagan or #Rustic.

Not even the bonfire song was in Brezhoneg:

“I wrote the lyrics in Latin. They’re saying, ‘fugere non possum,’ which means ‘they come fly,'” said Sciamma. “It’s an adaptation of a sentence by [Friedrich] Nietzsche, who says basically, ‘The higher we soar, the smaller we appear to those who cannot fly.'”

...

"It was a way to also convoke the imagery [of] witches,” said Sciamma. “In the meantime saying, ‘Well, you know, it’s just women gathering, living their friendship, exchanging knowledge, wise women, doctors, whatever, and, you know, drinking. It’s cold, so there’s a fire, and they might do drugs, you know, they fly. We wanted to convoke the imagery around witches.”

This was the 1770s, the Revolution hadn't yet come to try to erase Brezhoneg off the map. The Breton language is still under attack, it is still under threat. She is a Frenchwoman using Brittany as a nice, isolated set for her love story but not doing the basics of respecting the culture.

"Should the entire film have been in Brezhoneg?"

Unironically, yes. Then it could have actually lived up to its hype of doing something new. If I could wait for five years to write a fic set in Brittany in the 1790s because I knew I didn't have the cultural or linguistic background for it, a filmmaker with much more resources and material, who actually IS French and therefore has easier access to French-language materials on Breton, could have bothered to do the research. Especially since the suppression of the Breton language is being done. By the French. And has been done. By the French.

For someone who is making a big deal about changing the world (and, God, I'm not going to lie, she sounds like that one person in your friend group who self-identifies as an auteur and refuses to read a single thing you've written while guilt-tripping you into reading their three hundred page novel that they swear is going to be the next big thing. Like, that's ad hominem, but...it's the truth), she clings onto some old, old cliches.

So, is it harmful? I don't think so, no. Is it bad? I don't know.

It's just personally obnoxious.

[perksofbeingasunflowerblog]

no for real who is this holier than thou anon trotting to everyone's asks with links to the stupidest essays by ex larries? you unlarried? good for you keep that shit to yourself i don't wanna be a part of your heteronormative narrative. and how many times am i supposed to block you shithead?

[portraitdelajeunefilleenfeu]

and just look, her reaction was right. fuck the oscars. fuck men.

Adèle’s reaction to a fan yelling “see you at the Oscars” at tonight’s Portrait of a Lady on Fire - also her telling mod she already shook his hand 😂

(Arclight FYC screening for poalof // Jan. 8, 2020)

[thexfridax]

Master list: Translated interviews / articles / Q&As with Céline Sciamma, Adèle Haenel, Noémie Merlant (and others)

Last updated: 27 December 2024

—

Created on 3rd of August 2020 (and updated hereafter as much as possible, but you know how it is 😅; the Excel file with all of the below is saved here for the time being.)

This is a master list gathering various interviews etc. with Céline, Adèle and Noémie (and others that were interviewed together with them, or in relation to them and their work), translated by @mlleclaudine​, @ladyonfire28​ and moi (@thexfridax​). I would like to thank and applaud Claudine and Aimée for your massive contribution to the Portrait fandom.

There are so many more of you (@pensoakspaper​, @unfumble​​, @morningmightcomebyaccident​, @hedawolf​, @empressofkalumina​, @bereaving​​, @tenemos-que-hablar​​, @rosedelosvientos​ … to name a few) who keep the fire and conversation around Portrait and C/A/N alive by creating art and content – merci, this is also for you!

@justanotheruntitled04 created a master list of videos/audios with any of the three of them here. More Youtube translations can be found here: @akaiimee​.

Aimée’s amazing POALOF DVD commentary master post can be found here. [C’est fini 😥]

***UPDATES***

If you want to find out more about Adèle’s theatre work, check this out.

POALOF podcasts made by @podcastofaladyonfire can be found here.

@scorpio-sky has created a DVDography of Adèle’s work, it’s here.

An inofficial fan-made transcript (French plus English stage direction) of POALOF can be found here, a collaboration 😍 between @pensoakspaper, @mlleclaudine, @ladyonfire28 and @morningmightcomebyaccident.

@page28club provided English subs for Adèle’s anti-racist transfeminist roundtable [troll alert during the Q&As 😡] and Boomerang interview [Césars, Les héros ne meurent jamais, Le Corps Lesbien].

Folks, we have the unofficial English translation of the French POALOF screenplay (Plain Archive) HERE, brought to you by yours truly @mlleclaudine, with support from @tonovember, @morningmightcomebyaccident, @ladyonfire28 and @hedawolf among others.

#MeToo in France: Interview with Marine Turchi (Nov 2020), Mediapart article about Adèle Haenel’s case (paywall; Nov 2019), Mediapart interview with Adèle Haenel (Nov 2019). 💔

@ladyonfire28 wrote her first piece about cinema, choosing Céline Sciamma’s debut film Water Lilies, see here in French or in English.

A CALL FOR SUBMISSION for Portrait fanart can be found here. A joint initiative by @empressofkalumina, @mlleclaudine, @rosedelosvientos and @thexfridax. 🖼️👻🔥 [on hold until further notice]

Interview with Céline Sciamma on ‘Coming of Age, in Life and Film’ (Berlinale Talents, March 2021) via @celinesfiamma

L’Étang review in the NY Times (May 2021)

How Good Filmmaking Brings a Script to Life - Wonderful scene breakdown of Portrait of a Lady on Fire by LFTS / Michael Tucker (May 2021), also highlighting the unofficial English translation of the POALOF screenplay by @mlleclaudine, with support from @tonovember, @morningmightcomebyaccident, @ladyonfire28, and @hedawolf

L’Étang recaps [1], [2], [3] by yours truly, @thexfridax (June, Aug 2021, May 2022)

Weird Céline Sciamma profiles, for good measure [1], [2]

Dee has created another comprehensive blog, this time for Céline’s works and collaborations

A lovely profile of Céline Sciamma via @mlleclaudine

The French Institute UK - Petite Maman Q&A with Céline Sciamma (Feb 2022)

Q&A with Adèle Haenel after a screening of POALOF in Vienna (May 2022)

Weird Adèle Haenel profile [1]

Trial against C.R.: Mediapart reports from the 1st and 2nd day (Dec 2024) translated by @mlleclaudine​, pre-trial coverage with more background information - document only available in French [1]

I’m happy to add anyone else to this list, too! The more the merrier. 😉

Photo by Foc Kan/WireImage

***

Somewhat ordered by year of publication and C/A/N/others (as of 3rd of Aug 2020: 78 183 ✨; any further updates will be put at the bottom of each year to make my life easier (=> for those older than 2021):

2024

Adèle Haenel: "Je suis la représentante de cette enfant qui a disparu, que personne n'a protégée" [also see above for Mediapart coverage of the trial from Dec 2024]

2023

Adèle Haenel, itinéraire d’une artiste en lutte

“J’ai décidé de politiser mon arrêt du cinéma” : la lettre d’Adèle Haenel à “Télérama”

Noémie Merlant, actrice pleine de surprises : “J’ai toujours peur qu’on ne comprenne pas mes blagues”

Noémie Merlant : «On devrait tous être féministes, aussi bien les hommes que les femmes»

"Je la regardais et je revoyais Titanic !" : Noémie Merlant raconte son tournage vertigineux avec Kate Winslet

Tête-à-tête avec Noémie Merlant, grande promesse du cinéma français

2022

Interview with Céline Sciamma: “Alliances are extremely important”

“I’M NOT DOING CINEMA ANYMORE” [Adèle Haenel]

Noémie Merlant : «J'ai longtemps cru qu'il fallait être parfaite, ce qui me verrouillait»

Noémie Merlant : la comédie, “c’est très plaisant et libérateur”

Rokhaya Diallo & Adèle Haenel: Le combat des mots

2021

«Le regard d’enfant est un regard perçant» Céline Sciamma, Petite Maman

Céline Sciamma : “Je veux donner du pouvoir politique aux mères”

Céline Sciamma: “Toute ma vie, je me suis demandé comment était ma mère à mon âge”

CÉLINE SCIAMMA | Interview

Céline Sciamma : « Pour une cinéaste, on ne sépare pas la femme de l’artiste »

Director Sciamma ‘It’s a dance with ghosts’

"On est du côté des enfants, de leur regard sur leurs parents": Céline Sciamma à propos de son nouveau film, "Petite Maman"

Reviews on Pétite Maman: [1], [2], [3]

Céline Sciamma : «S’engager rend toujours vulnérable»

Céline Sciamma, réalisatrice de “Petite Maman”: “Sur le tournage, je me demandais, que ferait Miyazaki ?”

Céline Sciamma: “’Petite Maman’” est le parfait film post-pandémie"

Baise-moi et King Kong théorie de Virginie Despentes

Adèle Haenel dans les eaux incestueuses de «L’Etang»

Feu!

«L’expérience offerte par une œuvre d’art devrait être centrale»

Reviews on L’Étang: [1], [2], [3]

Noémie Merlant : "L'expérience de la salle de cinéma manque terriblement"

Interview / De Sciamma à Mixte : Nina Meurisse, l'actrice de Caen qui a la cote!

2020

CÉLINE SCIAMMA : «DiCaprio est une icône lesbienne. »

Céline Sciamma: inventer une femme pour les raconter toutes

Aïssa Maïga and Adèle Haenel : «Finally there’s something political happening»

Noémie Merlant, l'actrice qui dévergonde le cinéma français, se confie

Noémie Merlant (JUMBO) : "Si je ne fais rien, il faut que je sois dans l'eau"

The making of Shakira with Noémie Merlant

Noémie talks about Jumbo in L’instant cinéma

JUMBO, NOEMIE MERLANT

A Good Man Behind the Scenes

Rising star Noémie Merlant: 'Being a model is terrible. It shouldn't exist’

Noémie Merlant: «Quand ça dérange, ça titille des choses importantes et utiles»

Noémie Merlant: "I remember very well the pride I felt on the red carpet."

Noémie Merlant, in the light

*Noémie Merlant talks about the César*

“The double life of Noémie Merlant”

Jumbo - Interview de Noémie Merlant & Zoé Wittock

Rencontre avec Zoé Wittock et Noémie Merlant sur le film "Jumbo"

Zoé Wittock & Noémie Merlant: Jumbo Instagram Live 28 March 2020

Rencontres confinées : Claire Mathon à propos du film Portrait de la jeune fille en feu - 29 avril

From mourning to resilience, Gisèle Vienne discusses her next creation with Adèle Haenel

***UPDATES below***

Céline Sciamma: "Le militantisme est un moment de grande vulnérabilité"

Céline Sciamma & Annie Ernaux: Sœurs de Combat

Céline Sciamma

Translated interview with Adèle Haenel, heroine of “Portrait of a Lady on Fire”; Translated excerpt from ’“Portrait of a Lady on Fire” - Approaching the True Face* of Adèle Haenel’ [2 in 1]

Haenel gets up and gets out

#4 Adèle Haenel

"Not correctness, but towards raising questions": the gaze of actress Adèle Haenel

“The experience of being alive is not the priority of the government”. Conversation with Gisèle Vienne, Adèle Haenel & Ruth Vega Fernandez

Adèle Haenel

Interview d'Adèle Haenel et Noémie Merlant pour la sortie Portrait de la jeune fille en feu au Royaume-Uni [1, autotranslated]; [2]

Fashion and cinema interview with Noémie Merlant, star of French cinema at the Deauville Film Festival

Rencontre avec Luàna Bajrami, étoile montante

2019

‘We started a culture war‘

Céline Sciamma • Réalisatrice de Portrait de la jeune fille en feu

Céline Sciamma: «Il y a eu un sacrifice de lesbiennes dans toute l'histoire du cinéma»

«Portrait de la jeune fille en feu» : entretien avec Céline Sciamma [1]; Portrait of a Lady on Fire: An Interview With Céline Sciamma [2]

Entretien avec Céline Sciamma : « Je veux juste qu’on arrête d’opposer le point de vue féminin au point de vue universel. »

Céline Sciamma, en feu et en flammes

Céline Sciamma, la femme qui filmait les femmes

Céline Sciamma: «Portrait de la jeune fille en feu» est un film totalement dédié à l’amour»

"Portrait de la jeune fille en feu" : Céline Sciamma et Adèle Haenel s'embrasent

"Portrait de la jeune fille en feu" : rencontre au Méliès de Montreuil

«Je ne viens pas pour servir la soupe» : entretien avec Adèle Haenel

Viennale Star Adèle Haenel: ‘Equality is sexy’

A new politics of love - An interview with Adèle Haenel on 'Portrait of a Lady on Fire'

Adèle Haenel: Figurehead of the new French Film

Adèle Haenel: 'Sex in cinema is usually quite pathetic’

Adèle Haenel (German interview)

Adèle Haenel en rediffusion et Pomme en déconfinement

Exclusive interview with Noémie Merlant and Adèle Haenel, lead actresses in ‘Portrait of a Lady on Fire’

Entretien avec Adèle Haenel et Noémie Merlant

Interview Noémie Merlant et Adèle Haenel : «En tant que comédienne, en tant que femme, il y a beaucoup d’échos.»

Dance of the gazes and female desire  

[PORTRAIT] Noémie Merlant : «J’ai progressivement essayé de choisir des rôles féminins qui ont du sens »

Festival de Cannes 2019 : Noémie Merlant, «Quand je m’éteins, je vais voir un film et je re-rêve »

France tv & vous / République, le film interactif avec France.tv lab [Noémie Merlant, Lyna Khoudri]

Rencontre avec Hélène Delmaire, la peintre lilloise du film « Portrait de la jeune fille en feu »

Christel Baras, la directrice de casting qui a découvert Adèle Haenel à 11 ans

***UPDATES below***

Focus Vif, September 26, 2019: Dixit Céline Sciamma

Vertiges de l’amour

Céline Sciamma, le feu sacré & Noémie Merlant, portrait of an actress

CÉLINE SCIAMMA: "Si on me demande ce qu’est le female gaze, pour moi, c’est partager."

Culture : Feux croisés entre Céline Sciamma et Monica Sabolo

Rencontre Céline Sciamma: "Il faut créer les conditions de sa liberté"

Céline Sciamma : «Je voulais faire un voyage dans l’histoire de l’art d’un point de vue féminin»

The female gaze: An interview with Céline Sciamma; Interview with director Céline Sciamma; Sciamma: ‘I want to show images of daily life that are missing’ [3 articles in 1]

Interview : Céline Sciamma «Ils ne savent pas voler, elles, elles savent.»

Love and let love

Céline Sciamma: ‘I love films that hate me!’

Director Céline Sciamma: ‘I try to create new forms of eroticism’

Forgotten women

‘I am a film activist’ - Interview with Céline Sciamma

“On ne s'en laisse plus conter. On écoute ce qu'on ressent.” (Adèle Haenel et Noémie Merlant)

Adèle Haenel : «Le respect pousse à s’investir»

Rencontre avec Adèle Haenel, à l'affiche de trois films à Cannes

Actress Adèle Haenel: The French Revolutionary

Portrait de l’artiste en jeune femme

2018

Adèle Haenel, le jeu sacré

Adèle Haenel : «Il y a toujours matière à rire de soi »

***UPDATES below***

Adèle Haenel : “J’ai grandi avec La Cité de la peur et Les Trois Frères”

Adèle Haenel: «Je fais souvent les choses à l’envers»

2017

Entretien avec Adèle Haenel – Sophie dans 120 battements par minute

No, I’m not made of sugar: Shooting star Adèle Haenel

Génération Slimani

Adèle Haenel et Adèle Exarchopoulos : Orpheline

Adèle Haenel in an interview for 120BPM

***UPDATES below***

Screenplay writer Céline Sciamma: The women behind the big emotions

Un fantôme que l’on décrit avec complaisance est un fantôme qui cesse d’agir 👻

Adèle Haenel. L’émotion brute

‘I have ten years, then I become part of the system’

"120 BPM" à TÊTU : Les acteurs nous ont confié les secrets du tournage

Adèle Haenel in 2017 [3 articles merged]

Quand Adèle (Haenel) rencontre Adèle (Exarchopoulos)

Noémie Merlant & Naomi Amarger: ‘Heaven will wait’

2016

Translated interview with Adèle Haenel [and others] on ‘The Bloom of Yesterday’

Adèle Haenel, l'insaisissable

Le Grand Journal du 23/03 avec Wassim Nasr, Stéphane Gatignon, Adèle Haenel et Marianne Denicourt - CANAL +

MASTERCLASS du 6 oct 2016 - La Fille Inconnue

Dans la tête de Adèle Haenel

Noémie Merlant dans «Le Ciel Attendra »

Chris Kraus about Adèle »Machine Gun« Haenel

***UPDATES below***

André Téchiné et Céline Sciamma: entretien croisé autour de Quand on a 17 ans

Interview : Céline Sciamma

Adèle Haenel, la nouvelle héroïne des frères Dardenne

Adèle Haenel, géante dans Les Ogres

Interview with Adèle Haenel about ‘The Unknown Girl’

Les Ogres. Adèle Haenel: "Ne valorisons pas trop la souffrance"

Adèle Haenel: “Je ne veux pas me résoudre au cynisme”

Adèle Haenel: “And the fight against racism, is that a black thing?”

Adèle Haenel : «La plus grande force de l’homme, c’est le pardon»

Adèle Haenel : “Dire ‘Allez vous faire foutre !’, c'est un peu mon moteur” [Télérama; long version]

Adèle Haenel, comédienne : “Le cinéma blanc et masculin, j'en ai marre” [Télérama; short version]

Noémie Merlant, talent brut

2015

‘Being young means: To refuse’

Une apparition de cinéma [!!!]

Brouiller les pistes [!!!]

Les grandes actrices sont des femmes intelligentes

Une minute sans cligner des yeux

On va te manger

***UPDATES below*** 

Adèle Haenel, la belle dégenrée 😱

2014

Filming of ‘Girlhood‘

‘Girlhood’ - A meeting with Céline Sciamma

"'Bande de filles' montre des Blacks à l’écran et ça nous rend fières"

Céline Sciamma: «Les grands films libèrent des territoires plutôt qu’ils ne les occupent»

Cannes 2014: Céline Sciamma, fille de bandes

Adèle Haenel : "Je ne pose pas de limite quand j’ai donné ma confiance"

Les verbes d'Adèle:  Rencontre avec Adèle Haenel, actrice

Adèle Haenel - Force vive

***UPDATES below***

Course en Tête

Adèle Haenel : “A un moment on commence à tellement se kiffer qu'on fait n'importe quoi”

Adèle Haenel, petit soldat

La belle vie d'Adèle Haenel

Adèle Haenel: « J’aime l’idée que les filles s’endurcissent »

Interview d'Adèle Haenel : "La relation avec un réalisateur fait tout"

Adèle Haenel: cherchez le garçon… manqué !

Adèle Haenel: “On ne me reproche plus de ne pas être assez féminine!”

“Elle a un fort potentiel burlesque”, Adèle Haenel racontée par André Téchiné

“Une super-héroïne sans superpouvoirs”, Adèle Haenel racontée par Thomas Cailley

2013

***UPDATES below*** 

Adèle Haenel - La belle audacieuse

2012

Adèle Haenel et Nicolas Maury: conversation ciblée sur Avignon

Une journée avec Adèle Haenel

***UPDATES below***

Interview with Céline Sciamma

2011

***UPDATES below***

Tomboy - Interview with Céline Sciamma

Céline Sciamma, quand tourner est un jeu d’enfants

Adèle Haenel, la belle insurgée

2007

Naissance d'une réalisatrice