#susanne augustine

[wowthesewomen]

watching "the way home" because of Chyler and the show is actually interesting, even if i could have go without the teen side of the show.

the introduction of the 1840 storyline made the show so much better.

on a wishful thinking can these two be a thing in the 1800'? Jacob who? There's so much that could be done with Katherine and Susanna.

and if Jacob Landry and Susanna Augustine did get marry and have children, that would mean that Katherine and Elliot would be cousins down the line - diluted line but related none the less.

also, they already cast the doubt that Jacob was not the one painting the Portrait of Katherine

and the handwriting of "my Katherine" looks like it was written by a female hand not male

The fire place in the painting is the Landry's home one, the stones over the fire are the same plus the shelf with different stuff on top of it, which could imply that time as past between the first time Katherine was send to the 1841 by the pond and the painting. plus her hair is much longer, again pointing to the fact that Kat spends a lot of time in the past, long enough to create a life?

which begs the question: why is the painting in the Goodwin's home? the "evil" guy from the 1841?

and speaking of Goodwin....

did anyone else got the vibe that Cassey was way to interested in the Landry Women? and this moment

it seems that they are actually related to them?

first i thought they were from the past. Jacob has blue eyes and they look like they could be related to Susanne

but they have to many modern vocabulary and ideologies, so instead from the past, could they be from the future? Alice's daughter? if so that means that Alice will marry a Goodwin?

The Landry, Augustine and Goodwin family seem to be so intertwine in their story.

Why did Evelyn Goodwin left the stuff to the Herald - knowing that Kat was the owner? did she connect the paint with Kat? did she knew something?

Also Samuel Augustin was the one that wrote the Port Even almanac, contrary to what Susanne imply that it would be Cyrus Goodwin and the reason that Jacob's name is out of Port Even story.

so many questions.....

[jackkin-memories]

NEW LESBIANS AND POLYAM SHIP LET’S GOOOOOOO

[ozkar-krapo]

Augustin MAURS [feat. Susanne FRÖHLICH & Claudia van HASSELT]

"Musiques pour Tuyauterie"

(LP. Lyrics rcds. 2017) [DE]

[burlveneer-music]

Pablo Held - Adventures - another Killian Eng album cover, this one for a jazz piano quartet plus chamber orchestra - very nice!

Interactive interplay meets chamber orchestra - how does that work? On his 15th album, Pablo Held embarks on a journey deep into the parallel universe between improvisation & composition. He is joined by his longtime trio, Brazilian guitarist Nelson Veras and the EOS Chamber Orchestra conducted by Susanne Blumenthal. Held’s compositions, arranged by his longtime friend and collaborator Niels Klein, shine in a new light and take the listener on an expedition into the unknown. Pablo Held • piano Robert Landfermann • bass Jonas Burgwinkel • drums Nelson Veras • guitar EOS Chamber Orchestra ••• conducted by Susanne Blumenthal Carolin Pook, Katharina Vogt, Ségolène de Beaufond, Terese Pletkute Volha Hanchar, Christine Schäfer, Èva Csizmadia, Demian Agne • violins Pauline Buss, Lydia Haurenherm, Simon Pühn • violas Mateusz Kwiatkowski, Tom Verbeke • celli Matthias Akeo Nowak • bass Roland Meschede • flute Augustin Gorisse • oboe Kristof Dömötör • clarinet Eugenie Ricard • bassoon Susanne Knoop • trumpet Bert Bürgers • french horn Karsten Süßmilch • trombone Veronika Morscher • voice on ASCENT compositions by Pablo Held arrangements by Niels Klein cover artwork by Kilian Eng

[paceywittergayboatman]

Kendall's Behind the Scenes Protection of Roy Family From Itself Part 2a: The Gothic Horror Reality and Kendall's Grips and Strategy Within It

Masterlist

Part 1 Part 2b

Those Who Leave and Those Who Stay. By Ella Ferrante-1,23

Gothic Forms of Feminine Fictions by Susanne Becker-2,19,20, 33,39

Lailah Gifty Akita-5

Angelo De Augustine-6

Sharp Objects by Gillian Flyn-15

A Hundred Years of Solitude-22

Her Unbreakable Protector: A Rescue & Protect Romance Suspense Novel by Alessa Kelly-27

Family Likeness: Sex, Marriage, and Incest from Jane Austen to Virginia Woolf by Mary Jean Corbett-30,35

Reach Out by Sufjan Stevens and Angelo De Augustine-34

Landslide by Fleetwood Mac-38

Story of the Lost Child by Ella Ferrante-42

Succession

Dundee-3

3.2-4

1.1-7,8,9,10,11,12,13,14,31,32,36,37

1.2- 16,17,18

3.8-21

1.10-24

3.9-25,29

210? funeral?-26

1.7-28

3.4-40-41

[ao3feed-davenzi]

by Unsere_Zeit_ist_jetzt

Davenzi Rollenspiel Teil 9 - David und Matteo sind in Vorweihnachtsstimmung - die Wohnung ist geschmückt, der erste Weihnachtsmarktbesuch steht an und der Nikolaus war auch schon da. Die beiden entdecken alte und neue Traditionen für sich. Eigentlich könnte alles ganz besinnlich sein, wenn da nicht ein Thema, das schon länger schwelt, auf einmal ans Tageslicht kommt.

Words: 4915, Chapters: 1/46, Language: Deutsch

Series: Part 9 of Davenzi Plays

Fandoms: Druck | SKAM (Germany)

Rating: Not Rated

Warnings: Creator Chose Not To Use Archive Warnings

Categories: M/M

Characters: Matteo Florenzi, David Schreibner, Susanne Florenzi, Hanna Jung, Alexander Hardenberg, Rentier, Jonas Augustin, Carlos Schmidt, Abdi Ates, Mia Amalie Winter, Sam M'Pele, Amira Thalia Mahmood, Kiki Machwitz, Michi Kranz, Hans Brecht, Linn Shira, Laura Schreibner, Heike Schreibner, Iris Tews, Nonna Florenzi, Bea Pugner, Jörg Schreibner

Relationships: Matteo Florenzi/David Schreibner, Matteo Florenzi/David (Druck)

Additional Tags: Canon Compliant, Post-Canon, Fluff, Friendship, Fluff and Angst, Established Relationship

[estherkahn]

Film directresses

Few days ago I was stunned by Rebecca Zlotowski’s Une fille facile. I fell in love with the two protagonists, played by Mina Farid and Zahia Dehar. I admired their strength, their integrity, the courage to follow their desire and work hard to win their freedom. This film shows how to be honnest with one’s heart and sexuality, regardless of society’s appreciation. Rebecca Zlotowski invites us to look at women in a way that is deprived of aesthetical or moral jugdement and I believe this is important in a Bildungsroman. It’s important to understand what we want and build ourselves on the acceptance of it, in order to be ok with ourselves. I tried to remember if I had ever seen movies that became such a source of inspiration and I found out that most of the characters and stories I had felt close to throughout my history of cinema, were imagined and filmed by women. Here’s a list of movies made by women. (Not all films are feminist movies!)

Chantal Akerman (à voir)

ARNOLD Andrea: Fishtank, American Honey

AL MANSOUR Haifaa: Wadjda

AMIRPOUR Ana Lily: A Girl Walks Home Alone at Night (à voir)

ASANTE Amma: Where hands touch (à voir)  

AZUELOS Lisa: Lol, Dalida (à voir)

BARTHES Sophie: Madame Bovary

BERCOT Emmanuelle : La tête haute

BEAULIEU Renée: Les Salopes ou le Sucre Naturel de la Peau

BIER Susanne: Brothers, After the wedding (à voir)

BIGELOW Catherine: Zero Dark Thirty

BILLER Anna: The Love Witch

BREILLAT Catherine : Romance

CAMPION Jane : The Piano, Bright Star

CARRIERE Christine : Darling

CHOKRI Monia: Quelqu’un d’extraordinaire

COPPOLA Sofia : Virgin suicides, Lost in Translation, Somewhere, The Bling Ring, The Beguiled, Marie-Antoinette

COPPOLA Gia: Palo Alto

CORSINI Catherine : Un Amour impossible, La Belle Saison

DAVIS Judith : Tout ce qu’il me reste de la révolution

DONZELLI Valérie: La guerre est déclarée, La reine des pommes

DUCOURNAU Julia : Grave

DENIS Claire : Trouble Everyday

DI GIUSTO Stéphanie: La Danseuse

DIRINGER Elsa : Luna

DIOP Mati: Atlantique (à voir)  

DE BOECK Kato: Provence (court-métrage)

DE BROUWER Eve-Chems: Sous l’écorce (court-métrage)

DE WILDE Autumn : Emma

DUNN ROVINELLI Jessie Jeffrey : So Pretty

DULAC Germaine: La coquille et le clergyman

EMOND Anne: Jeune Juliette

EYRIEY Manon: La Légende (court-métrage, scénario Delphine de Vigan)

FARGEAT Coralie : Revenge

FERRAN Pascale : Lady Chatterley

FONTAINE Anne: Perfect Mothers, Blanche comme Neige

GAMZE ERGUVEN Deniz : Mustang  

GERWIG Greta : Lady Bird, Little Women, Frances Ha

GODET Fabienne : Nos vies formidables

GRANIC Debra: Leave no trace, Winters bones

GROULT Louise: Sans Plomb (court-métrage)

GUY Alice: La fée aux choux

GUIZY Marine: Alors. Heureux.ses?

HANSEN-LOVE Mia : Maya, Un Amour de Jeunesse, Eden, Le père de mes enfants

HARDWICKE Catherine: Thirteen, Twilight, Lords of Dogtown, The Red Riding Hood

HERZI Hafsia : Tu mérites un amour

HERRI Jeanne: Elle l’adore

HUSSON Eva : Bang Gang (A modern love story)

JEUNET Lou: Curiosa

JOLIE Angelina: Vue sur mer

KAVAITE Atlanté : Summer (The Summer of Sangaïlé)

KUSAMA Karyn: Jennifer’s body (scénario Diablo Cody)

LANGSETH Lisa: Euphoria

LAURENT Mélanie: Respire, Demain

LEIGH Julia : Sleeping Beauty

LVOVSKI Noémie: Camille redouble

MACNEESE Berangère: Matriochkas (court-métrage)

MAIWENN: Polisse, Mon Roi

MAUREL Valentina: Lucia en el limbo (court-métrage)

MERLANT Noémie: Shakira (court-métrage)

MULLER Valérie & PRELJOCAJ Angelin: Polina

MYSIUS Léa: Ava

POLAK Sacha : Dirty God

POUKINE Alexe, Sans frapper

RAMSAY Lynne : Morvern Callar, We need to talk about Kevin

VARDA Agnès : Cléo de 5 à 7, L’une chante l’autre pas

SATRAPI Marjane : Persepolis

SERRAILLE Léonore: Jeune femme

SCHERFIG Lone: An Education

SCIAMMA Céline : Portrait de la Jeune fille en feu, Naissance des Pieuvres, Tomboy, Bande de Filles

SERREAU Coline: La Belle Verte, Saint Jacques... La Mecque,

SIGISMONDI Flora: The Runaways, The Cannibal

THELIN Julia: Sorry not sorry (court-métrage)

TRIET Justine: Sybil

WINOCOUR Alice: Maryland, Mustang (scénario), Augustine (à voir)

ZENCIRCI Çağla : Sibel

ZLOTOWSKI Rebecca: Une fille facile, Grand Central, Planetarium

Men-made movies with an interesting view on women and/or masculinity

Sebastien Bailly :Féminin plurielles

Paul Thomas Anderson: Phantom Thread

Grímur Hákonarson: Mjolk (la guerre du lait)

Sebastian Lelio: Une femme fantastique

Paul Wright: For Those In Peril

Behnma Behzadi: Un vent de liberté

Mathieu Kasovitz: Métisse

movies by Pedro Almodovar

movies by François Ozon

Jaromil Jireš : Valerie and Her Week of Wonders

Sam Mendes: Revolutionary Road

Vasilis Kekatos: La distance entre le ciel et nous (court-métrage)

[hatingwithfears]

BOOKS READ IN 2020

I read 93 books this year. 31,369 pages total for an average of 86 pages a day.

Andre Aciman- Find Me

Dan Ackerman- The Tetris Effect: The Game that Hypnotized The World

Eric Alterman- It Ain’t No Sin to be Glad You’re Alive: The Promise of Bruce Springsteen

Stephen Arroyo- Astrology, Psychology, and The Four Elements

St. Augustine- Confessions

James Baldwin- Collected Essays

John Barton- A History of The Bible

Richard Beck- Trains, Jesus, and Murder: The Gospel According to Johnny Cash

St. Benedict- The Rule of Saint Benedict

Georges Bernanos- The Diary of a Country Priest

Allie Brosh- Solutions and Other Problems

Augusten Burroughs- Toil & Trouble

Leonora Carrington- The Complete Stories

Ta-Nehisi Coates- The Water Dancer

Mark Z. Danielewski- The Little Blue Kite

Philip K. Dick- Dr. Bloodmoney

Michael Drosnin- Citizen Hughes

Eknath Easwaran- The Dhammapada

Ed Falco- The Family Corleone

Nick Flynn- My Feelings

Neil Gaiman- Fragile Things

Mark Gevisser- The Pink Line: Journeys Across the World’s Queer Frontiers

H Perry Horton- In Dreams

Robert Hudson- The Monk’s Record Player

Steven Hyden- This Isn’t Happening: Radiohead’s Kid A and The Beginning of the 21st Century

Robert Inchausti- Thomas Merton’s American Prophecy

William James- The Varieties of Religious Experience

Carl G Jung- Man and His Symbols

Pauline Kael- Kiss Kiss Bang Bang

Pauline Kael- Raising Kane

Pauline Kael- Reeling

Adam Katzenstein- Everything is an Emergency

Charlie Kaufman- Antkind

Rupi Kaur- Home Body

Morton T. Kelsey- The Other Side of Silence: A Guide To Christian Meditation

Ibram X. Kendi- Stamped From The Beginning: The Definitive History of Racist Ideas in America

Glenn Kenny- Made Men: The Story of Goodfellas

Mark Lewisohn- The Beatles: All These Years, Vol 1: Tune In

Yiyun Li- Where Reasons End

Greil Marcus- The History of Rock N’ Roll in Ten Songs

Carl McColman- The Big Book of Christian Mysticism

John McPhee- Draft No. 4: On The Writing Process

Thomas Merton- The Sign of Jonas

Thomas Merton- No Man is an Island

Thomas Merton- New Seeds of Contemplation

Thomas Merton- Zen and The Birds of Appetite

Thomas Merton- The Wisdom of The Desert

Thomas Merton- Contemplative Prayer

Thomas Merton- The Asian Journals of Thomas Merton

Thomas Merton- The Collected Poems

Toni Morrison- The Source of Self-Regard

Benjamin Moser- Sontag: Her Life, Her Work

Emily Nussbaum- I Like To Watch

Barack Obama- The Audacity of Hope

Yoko Ono- Acorn

Elaine Pagels- Adam, Eve, and the Serpent

Elaine Pagels- The Origin of Satan

Chuck Palahniuk- Consider This

L Sherley Price- The Little Flowers of St. Francis

Jamie Quatro- Fire Sermon

Ian Reid- I’m Thinking of Ending Things

Richard Rohr- The Universal Christ

Philip Roth- Why Write?: Collected Nonfiction 1960-2013

Antoine De Saint-Exupery- The Little Prince

Chris Salewicz- Jimmy Page: The Definitive Biography

Jean-Paul Sartre- Nausea

Jean-Paul Sartre- Situations

Lawrence Shainberg- Four Men Shaking

Sam Shepard- Sky of The First Person

Tom Shone- The Nolan Variations

Patti Smith- Collected Lyrics: 1970-2015

Zadie Smith- White Teeth

Zadie Smith- Changing My Mind

Zadie Smith- Grand Union

Zadie Smith- Intimations

Jacqueline Susann- Valley of The Dolls

St. Teresa of Avila- The Interior Castle

Brad Warner- Sit Down and Shut Up

John Waters- Mr. Know-It-All: The Tarnished Wisdom of a Filth Elder

George Weigel- The Irony Of Modern Catholic History

Walt Whitman- Leaves of Grass

Hanya Yanagihara- A Little Life

Ed. Roger Ebert- Roger Ebert’s Book of Film

Ed. Holly George-Warren- The Rolling Stone Book of The Beats

Ed. William Johnson- The Cloud of Unknowing

Ed. Carl Jung- Man and His Symbols

Ed. Bill Morgan & Nancy J. Peters- Howl on Trial: The Battle for Free Expression

Ed. Mark Woodworth & Ally-Jane Grossan- How To Write About Music

[popculty]

52 Films By Women: 2019

(actually 54, because I’m extra and women directors killed it this year)

1. The Edge of Seventeen (2016) dir. Kelly Fremon Craig

2. Desperately Seeking Susan (1985) dir. Susan Seidelman

3. Bombshell: The Hedy Lamarr Story (2017) dir. Alexandra Dean

4. Yentl (1983) dir. Barbra Streisand

5. 6 Balloons (2018) dir. Marja-Lewis Ryan

6. Never Goin’ Back (2018) dir. Augustine Frizzell

7. The Spy Who Dumped Me (2018) dir. Susanna Fogel

8. The Party (2017) dir. Sally Potter

9. My First Mister (2001) dir. Christine Lahti

10. Woodshock (2017) dir. Kate and Laura Mulleavey

11. The Miseducation of Cameron Post (2018) dir. Desiree Akhavan*

12. Mary Queen of Scots (2018) dir. Josie Rourke

13. Bird Box (2018) dir. Susanne Bier

14. Destroyer (2018) dir. Karyn Kusama*

15. Unicorn Store (2017) dir. Brie Larson

16. A Vigilante (2018) dir. Sarah Daggar-Nickson

17. Woman Walks Ahead (2017) dir. Susanna White

18. Captain Marvel (2019) dir. Anna Boden & Ryan Fleck

19. Wild Nights with Emily (2018) dir. Madeleine Olnek

20. The Nightingale (2018) dir. Jennifer Kent

21. The Trials of Cate McCall (2013) dir. Karen Moncrieff

22. Tell it to the Bees (2018) dir. Annabel Jankel

23. Someone Great (2019) dir. Jennifer Kaytin Robinson

24. Aniara (2018) dir. Pella Kågerman & Hugo Lilja

25. Go Back to China (2019) dir. Emily Ting*

26. What Walaa Wants (2018) dir. Christy Garland

27. Pigeon Kings (2019) dir. Milena Pastreich

28. Booksmart (2019) dir. Olivia Wilde

29. Honeyland (2019) dir. Tamara Kotevska & Ljubomir Stefanov

30. Fast Color (2018) dir. Julia Hart

31. Can You Ever Forgive Me? (2018) dir. Marielle Heller

32. Ghost Fleet (2018) dir. Shannon Service & Jeffrey Waldron

33. The Breadwinner (2017) dir. Nora Twomey

34. Vita & Virginia (2018) dir. Chanya Button

35. Little Woods (2018) dir. Nia DaCosta*

36. The Farewell (2019) dir. Lulu Wang*

37. Them That Follow (2019) dir. Britt Poulton & Daniel Savage

38. Mary Shelley (2017) dir. Haifaa Al-Mansour*

39. Ophelia (2019) dir. Claire McCarthy

40. Blinded by the Light (2019) dir. Gurinder Chadha*

41. One Child Nation (2019) dir. Nanfu Wang & Lynn Zhang*

42. Nancy Drew and the Hidden Staircase (2019) dir. Katt Shea

43. Hustlers (2019) dir. Lorene Scafaria

44. My Days of Mercy (2017) dir. Tali Shalom Ezer

45. The Falling (2014) dir. Carol Morley

46. Braid (2018) dir. Mitzi Peirone

47. Honey Boy (2019) dir. Alma Har’el

48. Harriet (2019) dir. Kasi Lemmons*

49. Tank Girl (1995) dir. Rachel Talalay

50. Paradise Hills (2019) dir. Alice Waddington

51. The Body Remembers When the World Broke Open (2019) dir. Elle-Maija Tailfeathers & Kathleen Hepburn*

52. Frozen II (2019) dir. Jennifer Lee & Chris Buck

53. Charlie’s Angels (2019) dir. Elizabeth Banks

54. Little Women (2019) dir. Greta Gerwig

bold = my faves

* = directed by a woman of color

[stainedglassgardens]

Watched in January:

Like Father

Upgrade

Skate Kitchen

Never Been Kissed

Anomalisa

Dick 

The Black Balloon

Under the Silver Lake

6 Balloons

Rosy

The Party’s Just Beginning 

The Rider

Snowpiercer

Touch of Evil 

Thirteen 

Sadie

The Miseducation of Cameron Post

Frida

Fyre: The Greatest Pary That Never Happened

Time Share (Tiempo Compartido)

The Stranger 

Abducted in Plain Sight

King of Thieves

Malevolent

Serena

Baise-moi 

And Breathe Normally (Andið Eðlilega)

Catwalk: Tales from the Cat Show Circuit 

Santoalla

Jane Fonda in Five Acts

Mademoiselle Paradis (Licht)

The B-Side: Elsa Dorfman's Portrait Photography

Did not finish

Inception (Christopher Nolan, 2010)

Tau (Federico D'Alessandro, 2018)

Laerte-se (Eliane Brum, Lygia Barbosa da Silva, 2017)

Struggle: The Life and Lost Art of Szukalski (Ireneusz Dobrowolski, 2018)

Never Goin’ Back (Augustine Frizzell, 2018)

Did not like

Like Father (Lauren Miller Rogen, 2018)

Never Been Kissed (Raja Gosnell, 1999)

Anomalisa (Charlie Kaufman and Duke Johnson, 2015)

Snowpiercer (Bong Joon-ho, 2013)

Malevolent (Olaf de Fleur, 2018)

Sort of okay, maybe

The Black Balloon (Elissa Down, 2008)

Under the Silver Lake (David Robert Mitchell, 2018)

Rosy (Jess Bond, 2018)

Fyre: The Greatest Pary That Never Happened (Chris Smith, 2019)

Time Share (Tiempo Compartido, Sebastián Hofmann, 2018)

King of Thieves (James Marsh, 2018): Fantastic actors, great dialogue... The second half of the film is really muddled though. Only recommended if you’re really into heist films (which I am, but like... sadly, it’s not that good)

Serena (Susanne Bier, 2014): I disagree with the people who didn’t understand Serena’s so-called change in character (she fuckin [spoiler spoiler spoiler], how the fuck isn’t that enough to change a person’s entire life???), also didn’t agree that the national park thing was a bad idea (in fact I thought it was one of the best things about the film). However, I also thought the killer guy character fell flat, the story had potential but was half-baked, and it didn’t make half as much of its setting as it could have. So. Watch Bird Box instead.

And Breathe Normally (Andið Eðlilega, Ísold Uggadóttir, 2018)

Catwalk: Tales from the Cat Show Circuit (Aaron Hancox and Michael McNamara, 2018)

The B-Side: Elsa Dorfman's Portrait Photography (Errol Morris, 2016)

Mademoiselle Paradis (Licht, Barbara Albert, 2017)

Fine fine films

Sadie (Megan Griffiths, 2018): Okay I did watch it because Melanie Lynskey is in it but it was pretty good, although it did feel like a first feature film a lot of the time, and I was a bit disappointed in Megan Griffiths when I learnt it wasn’t

The Miseducation of Cameron Post (Desiree Akhavan, 2018): Just a... good companion to the book, a great film for gay teenagers to have, but I did not think it was anything special in and of itself

Frida (Julie Taymor, 2002): Really puzzled at the choice of making an English-language film where everyone speaks with “Mexican accents,” whatever that means... It was fine though, and would make as good an introduction as any to Frida Kahlo’s life

Really enjoyed

Upgrade (Leigh Whannell, 2018): Like a cyberpunk Ex Machina

Skate Kitchen (Crystal Moselle, 2018): Great visuals, great setting, great acting... the only thing that makes it not an absolute favourite is the weak plot (I’m a plot person)

6 Balloons (Marja-Lewis Ryan, 2018): Just a very solid film about addiction and sibling love

The Rider (Chloé Zhao, 2017): It’s beautiful. It’s not trying to be any more than it is, not romanticising its subject, just showing matter-of-fact beauty (and heartbreaking drama)

Touch of Evil and The Stranger (Orson Welles, 1958 and 1946): I saw so many not-so-good old films last year that I almost forgot what I love about them. These were my second and third Orson Welles films, and I liked them a lot more than The Lady from Shanghai -- The Stranger particularly. What can I say? It’s Orson Welles

Thirteen (Catherine Hardwicke, 2003): Basically I feel that this should be the standard and the goal for everyone making a film about thirteen-year-olds

Abducted in Plain Sight (Skye Borgman, 2017): This month’s film that fucked me up. And it’s a documentary. And the new Ted Bundy Netflix series is like, nothing compared to how fucked up this is

Baise-moi (Virginie Despentes and Coralie Trinh Thi, 2000): It’s hard for me to dissociate the film from the book (which I love dearly). Mainly though, like a lot of Virginie Despentes’s early work (Trois Etoiles comes to mind), I thought it was slightly more laudable than enjoyable. I do wish there were more films like this, just... better ones, if that makes sense. Still very good though, and recommended

Santoalla (Andrew Becker and Daniel Mehrer, 2016): Jesus... just watch it without knowing anything about it if you want to be thoroughly spooked

Jane Fonda in Five Acts (Susan Lacy, 2018): I love Jane Fonda ten times as much as I did before I saw this. She is so incredibly self-aware, and the documentary is so well-researched and to the point. What a fantastic woman

Favourites of the month

Dick (Andrew Fleming, 1999): Why everyone still isn’t talking about a comedy in which teen-aged Kirsten Dunst and Michell Williams are responsible for the Watergate scandal is honestly beyond me

The Party’s Just Beginning (Karen Gillan, 2018): You ever see one of these films that make you think, wow, this is really what life is like? Not in a Debra-Granik, Kelly-Reichardt, giving-a-voice-to-those-etc. sort of way, just in a sort of... like, you nod along really hard because you feel like you get it and it gets you... you know? I’ve been trying to pinpoint what takes it from “very good” to “wow” and I think the soundtrack, the title, the assault scene and its aftermath are some elements, but mostly it really feels like Gillan decided to talk about what she knew with great tact and empathy... This is probably going into my favourites-of-the-year list, and it’s also one of those rare films I really want to rewatch again and again

[bookmonsterzero]

July 2018 in Letters & Pictures

187. Dr. Johnson's London by Liza Picard

188. Maigret Sets a Trap by Georges Simenon

189. The Law of Peoples by John Rawls

190. The Abortion by Richard Brautigan

191. Enchiridion by Epictetus

192. The Discourses by Epictetus

193. Fear and Trembling by Søren Kierkegaard

194. Are You There God? It's Me, Margaret by Judy Blume

195. ® All Things are Possible by Lev Shestov

196. Les Mysteres de Marseilles by Émile Zola

197. Suppressed Poems by Friedrich Schiller 

198. The Fox That Wanted Nine Golden Tails by Kathleen Gray Nelson

199. Philomène's Marriages by Henry Gréville

200. ® Rameau's Nephew by Denis Diderot 

201. ® Candide by Voltaire

202. On Holy Virginity by Augustine of Hippo

203. The World of Yesterday by Stefan Zweig

204. Between Them by Richard Ford

205. NW by Zadie Smith

206. A General Introduction to Psychoanalysis by Sigmund Freud 

And in Pictures

® As Good as It Gets (1997/James L. Brooks)

Emak-Bakia (1926/Man Ray) ▶️

Ghosts Before Breakfast (1928/Hans Richter) ▶️

It’s a Gift (1934/Norman Z. McLeod) ▶️

® Sideways (2004/Alexander Payne)

The Trap (1966/Sidney Hayers) 

The Night Manager (2016/Susanne Bier)

® What Ever Happened to Baby Jane? (1962/Robert Aldrich)

The Butler (2013/Lee Daniels)

® Charade (1963/Stanley Donen)

® A Fish Called Wanda (1988/Charles Crichton)

Winter Sleep (2014/Nuri Bilge Ceylan)

Kitty Foyle (1940/Sam Wood) 

® The Purple Rose of Cairo (1985/Woody Allen)

Best experiences in bold, other recommended ones are linked. ® revisited.

[melancholialake]

Dialogues des Carmélites - Poulenc

Rife with historical references, Poulenc's Dialogues of the Carmelites is a 20th-century opera masterpiece and an insightful exploration of wide-reaching themes: life, death, honor, and religion. In 1789, at the beginning of French Revolution, Blanche de la Force—daughter of a nobleman—senses the rising wave of anti-aristocratic sentiment and decides to become a nun, hoping to find safety in the convent. After their prioress dies, the whole convent—including the new Sister Blanche of the Agony of Christ—take a vow of martyrdom and, when sentenced to death, resign themselves to their fate, singing the moving "Salve Regina" as they march to the guillotine.

Visionary Russian stage director Dmitri Tcherniakov, winner of four Golden Mask awards for Best Director, transposes Poulenc's opera into a Soviet context, with sparse and unadorned scenography and a stellar cast that includes Susan Gritton as Sister Blanche and Bernard Richter as her brother, the Chevalier de la Force. Under the baton of the great Kent Nagano, the Orchestra and Choir of the Bayerische Staatsoper bring out the poetry in Poulenc's opera, with its "subtle and intricate tonal language [that] is by turns hymnal and haunting" (Anthony Tommasini).

Dmitri Tcherniakov | Stage director, Set designer

Elena Zaytseva | Costume designer

Gleb Filshtinsky | Lighting

Andrea Schönhofer | Dramaturgy

Alain Vernhes | Marquis de la Force

Susan Gritton | Blanche de la Force, Sister Blanche of the Agony of Christ

Bernard Richter | Chevalier de la Force

Sylvie Brunet | Madame de Croissy, the prioress of the monastery

Soile Isokoski | Madame Lidoine/Mother Marie of St. Augustine, the new prioress

Susanne Resmark | Mother Marie of the Incarnation, sub-prioress

Hélène Guilmette | Sister Constance of St. Denis, a young novice

Andrés Máspero | Chorus Master

Orchestra and choir of the Bayerische Staatsoper

Kent Nagano | Music director

Source

[clutzykatreads]

Big-Game: Everyday Objects: Industrial Design Works

Anniina Koivu

Big-Game is a design studio based in Lausanne, Switzerland, founded in 2004 by Augustin Scott de Martinville, Grégoire Jeanmonod and Elric Petit. Based on a series of interviews with the founders, this book looks at 15 years of the group’s industrial design work on everyday objects, by way of anecdotes about the inception of their most successful work. Illustrated with 200 diagrams and photographs made for this publication (which is published on the occasion of a retrospective at Lausanne’s Mudac Museum), the book examines projects including wine bottles designed for supermarkets, a set of cutlery for an airline, a collaboration with Japanese potters and a piece of Ikea furniture. The design critic Anniina Koivu provides the main text, alongside an introduction by curator Susanne Hilpert Stuber situating the studio in the context of the Swiss art world.

[suffrageinstitchesnz]

Maker’s name: Susanne Hindley

Petition sheet number: 488

Person honouring: Mary Jane Collett

Relationship to maker: None

Mary Jane was born to Elizabeth and Henry Collett in 1851 in New Zealand. Henry and Elizabeth were two of the first settlers in Petone, arriving on the British barque London on 12 December 1840.

Mary was 29 when her mother died. She never married, instead remaining in the family home to look after her father, a wheelwright and carpenter, who was injured in a serious building accident two years earlier. In Henry's will, Mary and her younger brother Albert had been appointed executors of their father’s estate. Additionally Henry had left his land and “all the personal Estate” to his daughter Mary. This property is now called Collett House and its address is 36 Riddlers Crescent, Petone. 

Mary worked in the Anglican Sunday School in Petone for many years and contributed much to events held in conjunction with St. Augustine's Church. In 1901 Mary acted as 'father of the bride' at the wedding of her niece Mabel Elizabeth Jane Collett.

Mary may have had a soft spot for her niece as she made provisions for Mabel in her last will and testament – Mary left her home to Mabel when she died in 1916.

Panel materials: Vintage lace, linen, embroidery thread, beads, hearts, roses – from my home supplies.

Unique ID number: VRS.2019.147

[thedsgnr]

⚡ Does everything need a Dark Theme? ——— Is Dark Mode just another trend or something we need to implement on designs as soon as possible? The idea of using Dark modes is to conserve mobile phone and tablet energy by asking screen pixels to fire less brightly and to reduces eye strain for users, that's true just not entirely true. ——— 1⃣ Google claims that black requires far less power to display on-screen than white and that might be true but when it comes to user-experience that really depends on the product and conditions: 2⃣ According to some studies (white text/black background vs white background/black text) by Susanne Mayr “participants were better performing in the positive polarity condition”. 3⃣ Another study from Sally Augustin shows that: "..brightness and colors can definitely provoke emotion, so muting out an app’s appearance can make it harder to connect with users." ——— So what's the thing with Dark Modes, with other words we like it, it's refreshing, looks clean, different and new. ——— ▪ Should products include dark mode: -Yes, users are asking for it so why not catch up with this "trend". ——— ▪ Which is the best way to implement Dark Mode: -Dark Mode can be automatically activated on night hours -Dark Mode should always be provided as an option ——— ▪ The benefits are: -It is good for tired eyes -It is visually appealing -Feels refreshing ——— 🔼 When to use it: -When dark goes along with brand colors -To reduce eye strain -To support visual hierarchy -To save energy, on pages that are used for long periods of time ——— In my opinion ,for a better understanding try to compare Light/Dark Mode with the lights on your room, sometimes turning the light feels relaxing, but there is always a switch to turn it back on. Here is a great summary for a Redditor: -Night is dark. Screen is bright. Eyes hurt. -Night is dark. Screen is dark. Eyes not hurt ——— ❓You have a question you would like to ask. Let me know in the comments ⁣below. ——— #ui #ux #webdesign #dailyui #uidesign #uitrends #darktheme #darkmode #uidesigner #uxd #uxinspiration #uiux #designer #behance #dribbble #userinterface #userexperience #design https://www.instagram.com/p/BysFcVWgO-v/?igshid=9nitchrfojij

[estherkahn]

Film directresses

What do we want and what do we need? Why is it so hard, sometimes, to be honest with one’s heart? How to build ourself on the acceptance of our desires?

Few days ago I was stunned by Rebecca Zlotowski’s last movie and her two protagonists, played by Mina Farid and Zahia Dehar. Une fille facile offers a reflection on women following (or learning to) their desire, working in order to gain freedom and affirm integrity, regardless of society’s appreciation. I admired their strength and their courage. Zlotowski invites us to look at women in a way that is deprived of moral jugdement (an important issue, I believe, in coming of age stories). Movies can be such a source of inspiration. And in a business that is mostly ruled by men, watching stories through a woman’s eyes is always quite an experience. Here’s a list of movies made by women.

Chantal Akerman (à voir)

ARNOLD Andrea: Fishtank, American Honey

AL MANSOUR Haifaa: Wadjda

AMIRPOUR Ana Lily: A Girl Walks Home Alone at Night (à voir)

ASANTE Amma: Where hands touch (à voir)  

AZUELOS Lisa: Lol, Dalida (à voir)

BARTHES Sophie: Madame Bovary

BERCOT Emmanuelle : La tête haute

BEAULIEU Renée: Les Salopes ou le Sucre Naturel de la Peau

BIER Susanne: Brothers, After the wedding (à voir)

BIGELOW Catherine: Zero Dark Thirty

BILLER Anna: The Love Witch

BREILLAT Catherine : Romance

CAMPION Jane : The Piano, Bright Star

CARRIERE Christine : Darling

CHOKRI Monia: Quelqu’un d’extraordinaire

COPPOLA Sofia : Virgin suicides, Lost in Translation, Somewhere, The Bling Ring, The Beguiled, Marie-Antoinette

COPPOLA Gia: Palo Alto

CORSINI Catherine : Un Amour impossible, La Belle Saison

DAVIS Judith : Tout ce qu’il me reste de la révolution

DONZELLI Valérie: La guerre est déclarée, La reine des pommes

DUCOURNAU Julia : Grave

DENIS Claire : Trouble Everyday

DI GIUSTO Stéphanie: La Danseuse

DIRINGER Elsa : Luna

DIOP Mati: Atlantique (à voir)  

DE BOECK Kato: Provence (court-métrage)

DE BROUWER Eve-Chems: Sous l’écorce (court-métrage)

DE WILDE Autumn : Emma

DUNN ROVINELLI Jessie Jeffrey : So Pretty

DULAC Germaine: La coquille et le clergyman

EMOND Anne: Jeune Juliette

EYRIEY Manon: La Légende (court-métrage, scénario Delphine de Vigan)

ELOUAGAR Margaux: Princesses (court-métrage)

FARGEAT Coralie : Revenge

FERRAN Pascale : Lady Chatterley

FONTAINE Anne: Perfect Mothers, Blanche comme Neige

GAMZE ERGUVEN Deniz : Mustang  

GAUCHERAND Roxanne, Pyrale (moyen-métrage)

GERWIG Greta : Lady Bird, Little Women, Frances Ha

GODET Fabienne : Nos vies formidables

GRANIC Debra: Leave no trace, Winters bones

GROULT Louise: Sans Plomb (court-métrage)

GUY Alice: La fée aux choux

GUIZY Marine: Alors. Heureux.ses? (documentaire)

HANSEN-LOVE Mia : Maya, Un Amour de Jeunesse, Eden, Le père de mes enfants

HARDWICKE Catherine: Thirteen, Twilight, Lords of Dogtown, The Red Riding Hood

HERZI Hafsia : Tu mérites un amour

HERRI Jeanne: Elle l’adore

HUSSON Eva : Bang Gang (A modern love story)

JEUNET Lou: Curiosa

JOLIE Angelina: Vue sur mer

KAVAITE Atlanté : Summer (The Summer of Sangaïlé)

KUSAMA Karyn: Jennifer’s body (scénario Diablo Cody)

KREBITZ Nicolette: Sauvage

LANGSETH Lisa: Euphoria

LAURENT Mélanie: Respire, Demain

LEIGH Julia : Sleeping Beauty

LOPEZ CURVAL Julie: Le beau monde

LVOVSKI Noémie: Camille redouble

MACNEESE Berangère: Matriochkas (court-métrage)

MAIWENN: Polisse, Mon Roi

MAUREL Valentina: Lucia en el limbo (court-métrage)

MERLANT Noémie: Shakira (court-métrage)

MULLER Valérie & PRELJOCAJ Angelin: Polina

MYSIUS Léa: Ava

POLAK Sacha : Dirty God

POUKINE Alexe: Sans frapper (court-métrage)

RAMSAY Lynne : Morvern Callar, We need to talk about Kevin

RYSTO Lysa: Love Hurts

VARDA Agnès : Cléo de 5 à 7, L’une chante l’autre pas

SATRAPI Marjane : Persepolis

SERRAILLE Léonore: Jeune femme

SCHERFIG Lone: An Education

SCIAMMA Céline : Portrait de la Jeune fille en feu, Naissance des Pieuvres, Tomboy, Bande de Filles

SERREAU Coline: La Belle Verte, Saint Jacques... La Mecque, 

SIGISMONDI Flora: The Runaways, The Cannibal (court-métrage)

THELIN Julia: Sorry not sorry (court-métrage)

TRIET Justine: Sybil

WINOCOUR Alice: Maryland, Mustang (scénario), Augustine (à voir)

ZENCIRCI Çağla : Sibel

ZLOTOWSKI Rebecca: Une fille facile, Grand Central, Planetarium

Men-made movies with an interesting view on women and/or masculinity

Sebastien Bailly :Féminin plurielles

Paul Thomas Anderson: Phantom Thread

Grímur Hákonarson: Mjolk (la guerre du lait)

Abdellatif Kechiche: La vie d’Adèle, Mektoub my love

Sebastian Lelio: Une femme fantastique

Paul Wright: For Those In Peril

Behnma Behzadi: Un vent de liberté

Mathieu Kasovitz: Métisse

movies by Pedro Almodovar

movies by François Ozon

Sam Mendes: Revolutionary Road

Vasilis Kekatos: La distance entre le ciel et nous (court-métrage)