#the power of women

[philocalistwrites]

the power of women

[faliz]

[cutemothman]

"no daughter of mine is going down on the one yard line"

I'M CRYING IN THE CLUB OH MY GODDDDDDDD

[thexfridax]

Time loop: Twin sisters Joséphine and Gabrielle Sanz as mother and daughter in ‘Petite Maman’ © Alamode Film

Interview with Céline Sciamma:

“Alliances are extremely important”

An interview with French director Céline Sciamma about her new film ‘Petite Maman’ and the power of women.

By Susanne Lintl, kurier.at, 17.03.2022

[T]ranslated by @thexfridax

Whenever a French film succeeded in the past couple of years, it was very likely that she was involved in it: Céline Sciamma, born in 1978, does not only write excellent screenplays (among others for Jacques Audiard’s great suburban documentary[sic] ‘Les Olympiades’ or for André Téchinè’s ‘Quand on a 17 ans’); with her own films, she’s also become one of the most important voices in the European auteur cinema in the past 15 years. In her new film ‘Petite Maman – When we were children’ (coming to cinemas as of Friday), the follow-up to her multi-award winning female drama ‘Portrait of a Lady on Fire’, the staunch feminist and Lesbian (she was in a relationship with Adèle Haenel for a long time) goes on a tender journey of childhood. At the house of her recently deceased grandmother, an 8-year old girl meets her mother who happens to be of the same age, and finally begins to truly understand her through joint talks and activities.

“It was my idea that a child meets a young version of her mother. Children are a good topic in cinema, because they are precise observers. Vital analysts of their environment and of course of their parents. In a certain way, it makes you come alive, when you observe them. Children are curious and have their own perspective of the world. Instinctively, you think about your own life, your own experiences as a child,” says Sciamma in the interview with the KURIER[.] Of course, she’s borrowed from her own childhood: “There were many connections. First of all, I made the film in the city, where I came from, in Cergy-Pontoise. The house and the rooms are based on my grandmother’s house, which I remember very well. It’s made a lasting impression on me, because I felt comfortable at her place. Grandmothers are key figures for children, especially for girls. When they die, it’s a turning point, a terrible break.”

Céline Sciamma, renowned French screenwriter and director © APA/AFP/JOEL SAGET

Have you also built tree houses as a young girl? - “Yes, I loved doing that. We have also filmed in the woods, where I played as a child.”

In ‘Petite Maman’, Nelly and Marion grapple with reality while building tree houses or playing together, thus getting to know each other. The encounter with the past and her mother’s 8-year old self, makes the present clearer for Nelly. She understands why her mother often feels so sad. “She suddenly sees [T: cue KT Tunstall] her own history through a new lense,” according to Sciamma. A touching scene, where Nelly tries to dispel her mother’s fear before a major surgery, knowing full well that she will get through it: “Everything will be fine”.

Céline Sciamma likes films with and about young people, coming-of-age films that tell the stories of childhood, its loss during adolescence and how this leads to disorientation. ‘Water Lilies’ or ‘Tomboy’ are about this difficult search for identity. Her heroes are always women – they have shaped her, rarely disappointed her, and supported her during difficult times.

Building a tree house with your own child-mother: ‘Petite Maman’ © Alamode Film

“When I look back, then I see that alliances with women were extremely important for me. Alliances that I forged right at the beginning of my journey. With people, who are still present in my life. Especially with my producer Bénédicte Couvreur, who I knew since my film studies. You have to know who to rely on, otherwise you won’t make it.”

Sciamma is one of the initiators of Collectif 50/50, a feminist collective, which aims at promoting gender equality as well as sexual and gender diversity in cinema and audiovisual media. “A powerful alliance often doesn’t look very mighty, but it doesn’t matter. Stick together and believe in your generation, then we are strong. That’s what I want to tell women”.

Next, Sciamma would like to do “something international”. A film, which is not based in France. “I need to try something new. Experiment. Try out something different”. Sciamma hints at the direction this may go. She is an ardent admirer of the Japanese anime master Hayao Miyazaki, [of whom she says] in the US film magazine ‘Little White Lies’:

“I love his masterpieces like ‘My Neighbour Totoro’ or ‘Spirited Away’. It would be wonderful if I could make a film like that”. ‘Ma vie de Courgette’, for which I wrote the screenplay, was already an animated film”.

To better understand your own mother: ‘Petite Maman’ © Alamode Film

[upwards-descent]

How is it that gorgeous women fluster me and yet I'm gay? How???

[bitch-butter]

oh oracle please spill more bob cast tea. goodness gracious how did I not know of this

there is Certainly tea to be spilled mainly i'm just thinking about how there should be some sort of formal deposition where they all have to give Heterosexual explanations for everything that they did. i'm like going to pretend to be a journalist just to get them alone in a room to ask uncomfortable questions

[gothicprep]

binch wife was talking to me about philosopher drama (the real housewives of athens) and she mentioned that hegel had an academic rival whose name rhymed with his.

this is a true statement – the guy’s name is Schlegel, which is hilarious because it sounds like a kindergarten insult. “Hegel Schlegel”.

but she couldn’t remember the guys last name for the life of her and said “I’m pretty sure his name was kegel”. and I honestly wish this was true, given how much of a cringey volcel hegel was. hegel and his sworn enemy, kegel.

[ingek73]

[the-liliger]

Review and Spoiler - #12

The Poet X by Elizabeth Acevedo

My goodness, what an emotional, indirectly relatable, powerful novel. It's built almost entirely of free-verse poetry, which not only seems to make it easier to read but makes it just as much more moving and meaningful. And I couldn't be more grateful that it wasn't banned in my school.

Throughout the award-winning book, Xiomara Batista, the main character, expresses her views on religion, family, romance, identity, and more. All while experiencing the rollercoaster of teenhood; full of new friends, sharp turns, small acts of defiance, steep declines, and many loop-dee-loops.

Spoiler: The ending takes... an unexpected turn...

[philocalistwrites]

God is a woman🙏🏼

[faliz]

Kate Winslet attends Vogue World: London 2023 at Theatre Royal Drury Lane on September 14, London

[mariacallous]

[velinxi]

Lord of the Rings fanart! I watched for the first time recently and loved it

[EDIT: Thanks for the love on this! Prints of this are also available on my shop for those interested!]

[roxysretrodrive-in]

Beyond the Door (1974)

[transassdemon]

[My art, don't steal, tag if reposting]

[kimludcom]

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