#stolen kisses

[iliveforyouilongforyouvesuvia]

Vesuvia Weekly: How they like to steal a kiss

Julian -

Likes stealing kisses from you like he's the most moral pirate that ever existed. He already "steals" quite a few from you on a daily basis, in the form of little pecks on your cheek as a greeting or just because you did something endearing, but in his mind those don't count. Rather, he likes to twirl you around on the dance floor and dip you back until you're clinging to him for support, lean down into your space with a wicked smirk, and pause just long enough to see the happiness and safety in your eyes before he claims his prize.

Asra -

Likes stealing kisses from you the way they like "holding you hostage" for a snuggle session. For someone who uses such strong language, everything about his movements and intentions are gentle and respectful. They'll sidle up close to you behind the counter during a lull in the shop's business, gently wrap their arms around your middle, and slowly giggle and tease their way into hovering inches from your face. As soon as you ask him what he's up to, he's mumbling about "stealing a precious treasure" before he slowly closes the gap.

Nadia -

Likes to steal kisses from you as though they're a luxury only she has the reach to snatch. She'll wait until there's a moment between tasks to catch you in a corridor, take your chin lightly between her thumb and forefinger, and look at you from under lidded eyes like you're a work of art. Her proud little smirk and cocked eyebrow is all the warning you'll get before she backs you into a nearby tapestry with the intensity of her kiss, only giving you room to breathe as she wipes her lipstick from your mouth with her thumb and asks after your day.

Muriel -

Likes to steal kisses from you because it only requires ten seconds of courage max, while straight up asking you for one takes closer to two minutes. His version of "stealing" kisses is much more akin to giving them to you in ways he thinks you'll mind less. He'll press his fingertips to his lips, leaving a secret kiss on them, before he reaches out to move your hair out of your eyes brush and it against your forehead. Otherwise, the closest you'll get is when he holds your hand to wake you and kisses your inner wrist in a tender moment.

Portia -

Likes stealing kisses from you the way school kids pass notes to each other on the playground. She'll come sprinting by on her short break, snatch your wrist in her hand, and lead you through a veritable maze of back hallways and hidden corridors until you're both breathless and giggling. It's only once she's got you squished into a forgotten corner behind a dusty bookshelf that she'll brace her arms on either side of you, lean in with dancing eyes, and whisper "gotcha" before she tags you and calls you "it" with an abrupt, air-stealing kiss.

Lucio -

Likes stealing kisses from you simply because he can. He does enough law-abiding to satisfy a judge (which is more than he's ever done in his life) and he thinks he deserves a way to act out. He doesn't care if you're around other people or not, if you're standing relatively still and looking attractive enough (which is always) he's forgetting whatever he was trying to do and marching over to cup your face in his flesh-and-metal hands with the biggest puppy eyes. Just nod your head and you'll get the world's most excited kiss.

[verdantstorms]

The way the term “stolen kisses” is literally made for Callowmoore

[mermaidchan05]

Vesuvia Weekly: Stolen Kisses

A little bullet-point headcanon for Nadia since it was her birthday yesterday.

The Countess of Vesuvia has many responsibilities… which leaves her with very little time.

Balancing work and romance is a difficult challenge.

Nadia always tries to set time aside for her love

But there are days-- even weeks-- on end when the only kisses Nadia can give or receive are quickly and quietly stolen.

That’s why she tends to bring her partner along with her whenever she has a bunch of responsibilities in a row.

A kitchen inspection can turn into a little bit of sweetness shared in an out-of-the-way storage room.

Waiting for an important official to arrive (fashionably late, of course) can become a moment to sneak in a kiss on the cheek.

Making arrangements for a fancy event, like the Masquerade, can lead to an “inspection” of a private gazebo.

Still, though Nadia steals any kisses she can whenever she can, nothing can compare to the end of those long days

To the moments when she can finally, finally, show her partner all the affection and attention they deserve.

Sometimes, on the longest days, Nadia privately wishes that such evenings could last much longer.

[artfilmaesthetics]

100 ꜰᴀᴠᴏʀɪᴛᴇ ꜰɪʟᴍꜱ

60/100 — stolen kisses | 1968

dir. françois truffaut ✦

[vesuviaweekly]

Vesuvia Weekly: Prompt for June 26th - July 10th

You voted, so here it is!

Stolen Kisses

With that, the "Why are we hiding?" prompt is officially closed!

The tags are the usual #vesuvia weekly and for this specific prompt, #stolen kisses. The masterlist for all works submitted for this prompt will be under the poll for next week :D

MASTERLIST

Stolen Kisses by @mermaidchan05

[the-badger-mole]

Zutara prompt: zuko tries to position himself with his scar angled away from others so they can’t see it and katara notices.

It took a few weeks for Katara to notice, but when she did, she couldn't stop noticing. No matter which side Zuko was approached from, he would subtly maneuver himself so that his unscared side was facing whoever he was talking to. When he helped her with chore, Zuko always stood on Katara's left side, and when he spoke, he held his head angled a bit sideways and tilted down. Whenever Katara tried to move so she could see his whole face, he would move just naturally enough that Katara couldn't outright accuse him of doing it on purpose.

"Why do you keep turning away from me?" she finally asked outright one day while they were washing dishes. There was no accusation, and her voice was gentle, but Zuko still flinched as if he'd been struck.

"I...I'm not-" he started to deny, but Katara put her hand on his arm and leaned forward so she could see both of his eyes.

"You're doing it now," she pointed out. "You do it when you speak to any of us." Zuko's face flushed a bright red and his shoulders hunched up to his ears.

"Everyone's been talking about it?" he asked.

"No, no," Katara hurried to assure him. "I don't think anyone else has noticed." Zuko looked up at her in surprise.

"But you have?"

"Well..." Now Katara was blushing. "Yeah. I mean, I'm not staring or anything. I just noticed how you never seem to face me when we're talking, and I thought maybe it was because you didn't like talking to me. Then I realize you do that to all of us, and unless you hate talking to all of us...Wait, do you hate talking to all of us?"

"No!" Zuko said with a yelp. "That's not it at all. It's just...I've never really had friends before."

"And you think that looking us in the eye is going to insult us?" Katara was smiling and there was a hint of a smile on her lips, but there was also concern in her eyes to let Zuko know she wasn't trying to be mean. He just shrugged.

"I don't know," he said. "It's not that, I guess. It's just...When people look at me all they see is..." He gestured vaguely to his scar. Katara's eyes widened in understanding.

"Oh," she said. She turned her eyes back down to the wash basin and tentatively handed Zuko a bowl dry and stack. They got back into the rhythm Katara had disturbed and soon Zuko began to relax. He could see Katara in the corner of his eye throwing what she seemed to think were furtive glances in his direction. She handed him the last dish and took a deep breath.

"You know none of us cares about your scar, right?" she asked. "It's just part of you." Zuko turned, angling his head down.

"That's not as comforting as you think it is," he told her. Katara reached out and took his hand tentatively.

"I'm sorry," she said. "I know it sounds lame, but I don't want you to think that any of us is judging you because of it. You're our friend, and it's just a scar." Zuko snorted at that, but he didn't pull way. "Okay, it's a big scar, and I'm sure some blockheads on the street might stare at you. But you don't have to worry about that with us."

"Thanks, Katara," Zuko sighed. Still he didn't turn to face her completely. "No one really wants to see that though. No one wants to stare at a gigantic disfiguring scar when they're talking to someone. It's...disturbing."

"I don't think it is," she told him. That caught Zuko off guard. He forgot for a moment to keep his scar turned away from her. Katara chose not to point that out. Instead she met his gaze full on. "Back home, scars are seen as badges of honor. It means you survived something, and the bigger the scar the bigger the win."

"Right," Zuko scoffed. "I'm such a survivor. I didn't even fight back when I got this scar. I just cowered and begged my father for mercy." Katara gasped and her hands flew up to her mouth. Zuko was surprised at first, but then Katara found her voice, and he realized his mistake.

"Your father did that?" she whispered. Zuko wanted nothing more just then than to find Toph and ask her to bury him alive. He started to back away, but Katara caught his hand in both of hers.

"Please, Katara," he begged. "Don't...this isn't like the scars you guys have. You got your scars fighting, and I..."

"You didn't deserve this," Katara said. "Whatever justification Ozai fed you when he did this, it's a lie. And you did get this scar surviving." Impulsively, Katara reached up to cup Zuko's scarred cheek. She ran her thumb over the line where the scarred skin met smooth. She followed the border back to his ear and rested her still damp palm against the rough topography of his mottled skin. Then she leaned up slowly, giving Zuko time to pull away. His eyes widened in shock, but he stood still for her.

"Katara, what-"

"Shh," Katara put a finger against his lips. Then she pressed a kiss on his scarred cheek. It was like a bolt of electricity shot through him. Zuko thought Katara would pull away, but instead she brought her hands to his shoulders for leverage and kissed him again, this time on his brow, then again near his jaw. Zuko swallowed hard and brought his hands up to rest on her waist. His eyes had drifted shut under Katara's ministrations, and she took the opportunity to kiss his scarred eyelid. Zuko couldn't really feel it. The nerves beneath his scar were almost completely deadened, but he could feel the pressure of her lips. It was the first time anyone besides Iroh had touched that part of his face so gently. Well, no, he reflected. That's not quite true. Katara had touched his scar before, but this...this was different. Soon Katara had kissed every part of his scar that she could easily reach, and to Zuko's dismay, she pulled back. He opened his eyes to find her gazing up at him with a soft look he couldn't quite place. One hand was still on his shoulder and the other was once again pressed to his face, with her thumb stroking his scar gently.

"I won't push you," Katara said, her voice trembling slightly. "If you're not comfortable yet, that's fine. But you don't have to hide from us, Zuko." He nodded mutely, almost too scared to breathe. Neither of them moved for a long, expectant moment. Finally Katara stepped back, her hand ghosting down Zuko's arms to clasp his hands loosely for a beat before at last breaking contact. There was a faint blush on her cheeks and she smiled shyly. Then without another word, she left the kitchen.

At breakfast the next day, Zuko sat down next to Katara. Sokka had already claimed the seat to her left, so he settled in the empty space to her right.

[heart-songs]

Star-Crossed

This night has a thousand eyes and there are a thousand reasons why we might choose to disguise ourselves from the fickle forfeiture of their sights. But we are more than some invisible string of ill-fated whispers threading the dark. More than a pair of forbidden hearts rushing towards our inevitable demise. Look for me in the spaces between the stars. Let pilgrim lips meet blushing hands; purge the sweetest of your sins into the sanctuary of my skin. Call me lover, call me friend. Give me your gentle sin again.

- Cora Finch

[okavunicibalikbenmisim]

"She is an extraordinary women! A bit mysterious and very sweet."

Stolen Kisses-François Truffaut (1968)

[zeldaelmo]

Hello Zelmo! You talk a lot about Stolen Kisses (I admit I haven’t had a chance to read it yet 😳) and it seems to be one of your most popular stories. So, I chose two questions - 1. How long did it take you to write this story and Wild Card - tell us a fun fact we may not know about this piece.

Happy Wednesday!

Ah, Missy, thank you so much for sending an ask!

I wrote Stolen Kisses rather quickly, at least compared to my latest long fic. It took me around a half year with some one-shots as an interruption. I had everything apart from the epilogue prewritten when I started posting and thought I could easily get the epilogue done until I would have to publish it. But then I just didn't write it. 😅 Shout-out to @flutefemme for discussing ideas for it so that I eventually found my motivation to tackle it. 😆

Hm... A fun fact. Since I finished posting the fic nearly two years ago I sadly don't get any comments anymore on it nowadays. But if I get one, it's often someone appreciating how I handled the court poet. He didn't have a major role in the outline but then I changed some things around and gave him four chapters in his pov. And that was a good idea!

You should totally read it, Missy, it's one of my better fics 😆

[byneddiedingo]

The Antoine Doinel Cycle

Jean-Pierre Léaud in The 400 Blows (François Truffaut, 1959)

Cast: Jean-Pierre Léaud, Albert Rémy, Claire Maurier, Patrick Auffay, Georges Flamant. Screenplay: François Truffaut, Marcel Moussy. Cinematography: Henri Decaë. Film editing: Marie-Josèphe Yoyotte. Music: Jean Constantin. One of the unquestioned great movies, and one of the greatest feature-film directing debuts, The 400 Blows would still resonate with film-lovers even if François Truffaut hadn't gone on to create four sequels tracking the life and loves of his protagonist, Antoine Doinel (Jean-Pierre Léaud). There are, in fact, those who think that the last we should have seen of Antoine was the haunting freeze-frame at the end of the film. But Antoine continued to grow up on screen, and perhaps more remarkably, so did Léaud, carving out his own career after his debut as a 13-year-old. (It's hard to think of any American child actors who were able to maintain a film career into adulthood as well as Léaud did. Mickey Rooney? Dean Stockwell? Who else?) Having Truffaut as a mentor certainly helped, but Léaud had an unmistakable gift. He is on screen for virtually all of the 99-minute run time, and provides a gallery of memorable moments: Antoine in the amusement-park centrifuge, Antoine in the police lockup, Antoine on the run -- in cinematographer Henri Decaë's brilliant long tracking shot. And my personal favorite moment: when the psychologist asks Antoine if he's ever had sex. Léaud responds with a beautiful mixture of surprise, amusement, and embarrassment. It's so genuine a response that I have to think it was improvised, that Truffaut surprised Léaud with the question. But even so, Léaud never drops character in his response. This praise of Léaud is not to undervalue the magnificent supporting cast, or the haunting score by Jean Constantin. It's a film in which everything works.

Jean-Pierre Léaud and Marie-France Pisier in Antoine and Colette (François Truffaut, 1962) Cast: Jean-Pierre Léaud, Marie-France Pisier, Rosy Varte, François Darbon, Patrick Auffay, Jean-François Adam. Screenplay: François Truffaut. Cinematography: Raul Coutard. Music: Georges Delerue.  Four years after he made The 400 Blows, Truffaut was asked to contribute to an anthology of short films by directors from various countries to be called Love at Twenty. As he had with the first film, Truffaut drew on his own experience, an infatuation with a girl he had met at the Cinémathèque Française. And since Léaud was available -- he had worked with Julien Duvivier on Boulevard (1960) after completing The 400 Blows -- it made sense for him to play Antoine Doinel again. A narrator tells us that Antoine had been sent to another reform school after escaping from the first, and that this time he had responded well to a psychologist: After leaving school, he has found a job working for the Phillips record company and is living on his own. Then he sees a pretty young woman at a concert of music by Berlioz and falls for her. Colette (Marie-France Pisier) is not much interested in him, but she is evidently flattered by his advances. Her parents like Antoine and encourage him so much that he rents a room across the street from them. (Truffaut had done the same thing during his crush.) But one evening when he comes to dinner at their apartment, a man named Albert (Jean-François Adam) calls on Colette and she leaves Antoine watching TV with her parents. It's a droll little film, scarcely more than an anecdote, and the stable, lovestruck Antoine doesn't seem much like either the rebellious Antoine of the first film or the more scattered Antoine of the later ones in the cycle.

Jean-Pierre Léaud in Stolen Kisses (François Truffaut, 1968) Cast: Jean-Pierre Léaud, Claude Jade, Michael Lonsdale, Delphine Seyrig, Michael Lonsdale, Claire Duhamel, Daniel Ceccaldi. Screenplay: François Truffaut, Claude de Givray, Bernard Revon. Cinematography: Denys Clerval. Production design: Claude Pignot. Film editing: Agnès Guillemot. Music: Antoine Duhamel.

The Antoine of Stolen Kisses is in his 20s, but has reverted to the more haphazard ways of his adolescence: He has been kicked out of the army, and now relies on a series of odd jobs to get by. But he has also renewed acquaintance with a young woman he met before going into the army, Christine Darbon (Claude Jade). Like Colette's parents, hers are quite taken with Antoine, and they help him get a job as a night clerk in a hotel. He gets fired from that job after helping a private detective who is spying on an adulterous couple, but the detective helps Antoine get a job with his agency. While working for the detective agency, he has to pose as a clerk in a shoe store, and winds up in a liaison with the store owner's wife, Fabienne (Delphine Seyrig). When that ends badly, he becomes a TV repairman, which brings him back to Christine, with whom he winds up in bed after trying to fix her TV. At the film's end, a strange man who has been following Christine comes up to her and Antoine in the park and declares his love for her. She says he must be crazy, and Antoine, who perhaps recognizes his earlier infatuation with Colette in the man's obsession, murmurs, "He must be." Stolen Kisses is the loosest, funniest entry in the cycle, though it was made at a time when Truffaut was politically preoccupied: The film opens with a shot of the shuttered gates of the Cinémathèque Française, which was shut down in a conflict between its director, Henri Langlois, and culture minister André Malraux. This caused an uproar involving many of the directors of the French New Wave. Some of Antoine's anarchic approach to life may have been inspired by the rebelliousness toward the establishment prevalent in the film community. But it's clear that the idea of a cycle of Antoine Doinel films has been brewing in Truffaut's mind: There is a cameo appearance by Marie-France Pisier as Colette and Jean-François Adam as Albert, now married and the parents of an infant.

Claude Jade and Jean-Pierre Léaud in Bed and Board (François Truffaut, 1970) Cast: Jean-Pierre Léaud, Claude Jade, Claire Duhamel, Daniel Ceccaldi, Hiroko Berghauer. : François Truffaut, Claude de Givray, Bernard Revon. Cinematography: Néstor Almendros. Production design: Jean Mandaroux. Film editing: Agnès Guillemot. Music: Antoine Duhamel.  Antoine and Christine have married, and they have settled down in a small apartment. (There's some indication that it's paid for by her parents.) She gives violin lessons and he sells flowers -- carnations, which he dyes, using some environmentally questionable potions. But settling down isn't in Antoine's nature, and when Christine gets pregnant he looks for more lucrative work. He finds a curious sinecure in a company run by an American: Antoine maneuvers model ships by remote control through a mockup of a harbor. ("It gives me time to think," he says.) One day, a Japanese businessman comes to see the demonstration, accompanied by a pretty translator named Kyoko (Hiroko Berghauer), and Antoine is soon involved in an affair with her. Naturally, this precipitates a breakup, though by film's end they have seemingly reconciled. Still, it's obvious that the marriage is not destined to be permanent. They can't even agree on a name for their son: She wants him to be called Ghislain, and he wants to call him Alphonse. Antoine wins out by a trick: He's the one who goes to the registry office to legalize the boy's name. Antoine also spends time writing a novel about his boyhood, to which Christine objects: "I don't like this business of writing about your childhood, dragging your parents through the mud. I don't know much but I do know one thing: If you use art to settle accounts, it's no longer art." Truffaut had his own regrets about the portrait of his parents in The 400 Blows. Less farcical than Stolen Kisses, Bed and Board still has a strong vein of comedy tinged with melancholy.

Claude Jade and Jean-Pierre Léaud in Love on the Run (François Truffaut, 1979) Cast: Jean-Pierre Léaud, Marie-France Pisier, Claude Jade, Dani, Dorothée, Daniel Mesguich, Julien Bertheau. Screenplay: François Truffaut, Marie-France Pisier, Jean Aurel, Suzanne Schiffman. Cinematography: Néstor Almendros. Production design: Jean-Pierre Kohut-Svelko. Film editing: Martine Barraqué. Music: Georges Delerue. Truffaut admitted that he wasn't happy with the final film in the cycle. It's a bit too heavily reliant on flashback clips from the four earlier films, and if it's intended to show that Antoine has finally stabilized now that he's in his 30s and divorced from Christine, it doesn't quite make the case. He has a new girlfriend, Sabine (Dorothée), his novel has been published several years earlier, and he works as a proofreader for a printing house. He's on friendly terms with Christine, and agrees to take their son, Alphonse, to the train station when the boy leaves for a summer music camp. At the station, he runs into Colette, now a defense lawyer, who is on her way to confer with a client -- a man who has murdered his 3-year-old boy. Perhaps a little too coincidentally, Colette is involved with Sabine's brother, Xavier (Daniel Mesguich), and she has bought a copy of Antoine's novel to read on the train. Antoine impulsively boards the train, and sets up a meeting with Colette in the dining car, after which she invites him back to her compartment. All of this sets up a series of revelations: Colette's marriage to Albert broke up after their small daughter was killed by a car. She claims that she supplements her small income as a lawyer by prostituting herself with men she meets on trains. Antoine finally made peace with his mother after her death when he met her old lover, M. Lucien (Julien Bertheau), who persuaded him to visit his mother's grave. (There is a flashback to the scene in The 400 Blows when Antoine, playing hooky, sees his mother kissing a strange man on the street.) Antoine became infatuated with Sabine after hearing a man in a phone booth arguing with a woman on the other end of the line and then tearing up her photograph. Antoine picked up the pieces from the floor, put them together, and after some sleuthing, discovered the woman was Sabine. His marriage to Christine finally broke up after he slept with her friend Liliane (Dani), who he previously had thought was having a lesbian relationship with Christine. And so on. The result of all the flashbacks and revelations is not to round out the Antoine Doinel saga, but to make Love on the Run feel over-contrived.  

[veryslowreader]

Waltz Into Darkness by William Irish

Stolen Kisses

[cinemajunkie70]

A very happy birthday in the afterlife to François Truffaut!!

[mel-du-barry]

[ Baisers Volés | 🎥 | François Truffaut ] 👄

[g1rlgrease]

[zeldaelmo]

Ooooh, Stolen Kisses crossed 200 bookmarks! 201 to be precise. 😆 Thanks! 🥰

[singlegoldendove]

I yearn by watching Vita and Virginia