#the story of adèle h.

[cinematicjourney]

The Story of Adèle H. (1975) | dir. François Truffaut

[virgin-martyr]

I've been quarantining during my second (official) round of COVID and so far I have watched The Story of Adèle H (1975) dir. François Truffaut, The Brontë Sisters (1979) dir. André Téchiné, The Third Wife (2018) dir. Ash Mayfair, The Umbrellas of Cherbourg (1964) dir. Jacques Demy, and Gidget (1959) dir. Paul Wendkos

[cagdasyatirim]

35. Ankara Film Festivali

7-15 Kasım 2024, Ankara

Büyülü Fener Kızılay Sineması

ULUSAL YARIŞMALAR

ULUSAL UZUN FİLM YARIŞMASI;

Büyük Kuşatma | Sinan Kesova

Döngü | Erkan Tahhuşoğlu

Fidan | Ayçıl Yeltan

Gecenin Kıyısı | Türker Süer

Gülizar | Belkıs Bayrak

Hakkı | Hikmet Kerem Özcan

Hemme'nin Öldüğü Günlerden Biri | Murat Fıratoğlu

Köpekle Kurt Arasında | Murat Düzgünoğlu

Mukadderat | Nadim Güç

Ölü Mevsim | Doğuş Algün

ULUSAL BELGESEL FİLM YARIŞMASI;

Domates Biber Depresyon | Aybüke Avcı

Işığın Hasadı | Esin Özalp Öztürk

İyi Ölüm | Hasan Ete

Kilikya'ya Yolculuk: Fejes'in İzinde | Zehra Yiğit, Perihan Taş Öz

Kökleri Dışarıda | Baran İsmail Ulaş

Oya | Sevinç Baloğlu

Sürgün Asla Bitmez | Bahar Bektaş

Zamanın Kıyısında Sınav | İlkay Nişancı

ULUSAL KISA FİLM YARIŞMASI;

Aç Açına | Ahmet Toğaç

Dilan Hakkında Konuşmalıyız | Umut Şilan Oğurlu

Eko | Mehveş Topçuoğlu

Görüşürüz Kaplumbağa | Selin Öksüzoğlu

Günaydın Anne | Oben Yılmaz

Hayaller, Umutlar ve Dönen Yunuslar | Adil Burak Aydın

Kabuk | Sema Güler

Kaçmandan Çok Korktum | F. Nur Özkaya

Kravat | Çamran Azizoğlu

Mori | Yakup Tekintangaç

Rehber | Mert Erez

Sinan | Kadri Doğan

Tavuk Suyuna Çorba | Deniz Büyükkırlı

Telaşlı Parlama | Erman German

35'E ÖZEL;

Gizli Yüz | Ömer Kavur (1991)

Salkım Hanımın Taneleri | Tomris Giritlioğlu (1999)

Sonbahar | Özcan Alper (2008)

DÜNYA SİNEMASI

HEP YENİ: FRANÇOİS TRUFFAUT;

400 Darbe (The 400 Blows, 1959)

Adele H.'nin Öyküsü (The Story of Adèle H., 1975)

Neşeli Pazar (Confidentially Yours, 1983)

[haber-euro-turk]

François Truffaut filmleri Ankara'da

Ankara Film Festivali’nin Dünya Sineması bölümü seçkilerinden biri de Institut français Türkiye’nin katkılarıyla hazırlanan “Hep Yeni: François Truffaut” olacak. Fransız Yeni Dalga hareketinin yaratıcılarından François Truffaut’nun 40. ölüm yıl dönümüne özel hazırlanan seçkide, “400 Darbe” (The 400 Blows), “Adele H.’nin Öyküsü” (The Story of Adèle H.) ve “Neşeli Pazar” (Confidentially Yours) adlı…

[lifejustgotawkward]

Bruce Robinson in The Story of Adèle H. (1975, dir. François Truffaut).

[nihal-ny]

The Story of Adèle H. (1975) Directed by François Truffaut

"I don't give my body without my soul, nor my soul without my body"

[ladyonfire28]

Adèle Haenel: "And the fight against racism, is that a black thing?" (March 1, 2016)

Her raw talent and her unique personality are shaking up French cinema. With two Césars in her pocket, the actress from Les Combattants became an icon of auteur cinema in Les Ogres and soon with the Dardenne brothers. Interview with a thoughtful and shady feminist.

The first vision we have of Adèle Haenel when we enter the hotel room, where she has just been photographed, is that of a tall girl in denim and worn-out suede boots looking for cotton to remove her make-up. She says that it's too much, that it's not her, that we have to take it all away - this sticky femininity - and right away.

She announces her color: strong, fierce, temperamental, a little prickly, when, during the interview, she frowns and throws your questions back to you - always with great relevance. She is beautiful and abrupt, her adolescent brusqueness (even though she is 27 years old), gives the impression of robustness: a sportswoman with the shoulders of a swimmer but the face of a femme fatale from the inter-war period, green eyes and a pulpy mouth. This is an unprecedented combination in French cinema, which tends to be dominated by young first-time coquettes looking for contracts with luxury brands. We have never seen Adèle H. at the front row of fashion shows, her appearances on the red carpet - the playground of her fellow female cast members - did not stick in our memories, and that's good.

We've been keeping an eye on her since Water Lilies (2007), by Céline Sciamma, to whom she declared her love at a César Award ceremony. She won two of them, hands down: for Suzanne, and then, last year, for Les Combattants, an emblematic film that created a new image of a virile heroine in French cinema. Adèle Haenel, an icon of auteur cinema, was thrown at the heart of the system: she is the most coveted actress of the moment and has just finished in Liège The Unknown Girl, by the Dardenne brothers, who will inevitably be screened again at the next Cannes Film Festival.

You have to hear her talk about cinema, with her eyes fixed and uninterrupted flow, to understand how incandescent this girl is. In Les Ogres, a choral film by Léa Fehner that talks about the daily life of an itinerant theater that performs Chekhov, she plays Mona, actress and pregnant. The diary of this tribe that travels from city to city, a tent on their back, also draws a universal portrait of actors, truculent monsters full of love and violence.

Madame Figaro - Since the success of Les Combattants, you intrigue people...

Adèle Haenel. - I can see that the demand is stronger, but I'm not chasing after advertising and I don't intend to invade the public space. I think we have to remain discreet. Notoriety hasn't changed anything in my life and it certainly won't change my desire to make films following the same line.

What is that line ?

I make a film to carry a message. I can feel when a director has something to say. I feel something, a desire, a vibration. There is a thread, an intuition, a truth that imposes itself on me. I know what I have to do, I can feel it. It is both mystical and very rational. What is interesting is to come out of a navel-gazing, to rise up, to talk about people, to talk about the world. I like the idea that everything fits together collectively: feelings, economics, politics. A film is a common story, and I want to be part of that dialogue. A film must be in direct resonance with its time: cinema is today. I do things for now, and it's not up to me, to us, to decide whether a film is going to stay, whether it's made for eternity. I feel extremely responsible.

You feel very inhabited when you talk about cinema...

I have many other reasons to live, but, yes, I am deeply interested in the representation of things. How does cinema fit into society? Who is it for? Cinema is obviously a political act. For example, even the latest Star Wars is political. I was really relieved to see so many women and different skin colors: it means that everyone can be a hero and that feels good.

It is said that in the movies women are taking over...

It's an evergreen content. They make a big deal out of it, but if you look at the numbers, it's not so true: women are still in the minority. I can't be satisfied with that.

Do you feel the prevailing machismo that is associated with cinema?

I'm not going to waste my time and energy educating these people.

Is it easier to succeed in this job when you are a man?

Your question is a strange one. Either we point out superficial phenomena - the decision-makers are men, they have the money and therefore the power - or we debate a broader question: in what world are we evolving? And there, it's always the same thing.  The world is cut in two: on the one hand, there is the man, the virile, all linked to superior qualities, and on the other hand, the lower part, the woman, the secret, the moods. Of course, all our representation is linked to this division. I often ask myself the following question: in a fair world, without discrimination, what is art? Art today is in dialogue with its time, so it does not abolish anything but is involved in the fight.

As we can't classify you, you have been labeled as virile...

I'd like someone to explain to me why people should always be defined. To be a woman, you would have to be a feminine woman, right? For me, it's redundant. I don't maintain any posture, I am myself. But the way people look at me doesn't bother me: make up your mind, there's no problem.

However, you embody a renewal at the antipodes of actresses on their first red carpets...

I don't know which ones you are talking about, but I will never be against other propositions from women. After all, they also are undoubtedly dealing with their inner truth. But then again, I don't want to comment on something that escapes me completely: the gaze of others. I realize that everything is complicated for actresses who are so solicited that they end up participating, willingly or unwillingly, in a kind of general cacophony.

Are you one of those ogresses that Léa Fehner describes in her film?

I've just eaten about twenty-five croissants, isn't that a clue? In Léa's film, there is an energy close to the one in Les Combattants: action as a solution to an era in crisis. Here, it's laughter and gluttony facing a personal anxiety and an era that values suffering. I think we need to wake people up, to make them understand that fatality is a terrible and disarming discourse. We are told that the planet is warming up, that people are being massacred, that entire populations are on the move. I am not saying that we are not powerless against this, but feeling concerned and responsible is already a first step towards action.

Are actors monsters?

I don't know and I don't care. I'm not here to tell people: I'm like this, I'm like that, I'm better than you. I don't have to deal with that. Why me? I don't know.

Yes, why you and not someone else? Actor, it's an elective profession...

What is an actor? Their hypersensitivity should not be overestimated. The key is courage. That's the most difficult thing, courage and sincerity: not hiding, committing yourself with what you have, with your face and your body, with everything, with no escape. We often say: "To be an actor is to be someone else" but above all, you have to accept being yourself. It's not the most well-balanced job on earth, but a healthy actor would be weird, wouldn't it?

Precisely, you are sometimes compared to... Depardieu.

There are worse critics. What I like about him is his poetic sensitivity, which is not fake at all. You can sense his love of texts. And then, come on, what an incredible freedom of acting!

Can you play everything?

I don't know. What I do know is that the feeling of comfort is dangerous. It would turn us into a small factory. As soon as I start a film, I don't sleep anymore. The first scenes are hell.

Is shooting naked a problem?

It annoys me. In all films, there's this double injunction from society or the audience: we actresses are asked to get naked but to feel guilty about it! But no guys, I'm not going to feel guilty so you can be fully satisfied that I hold this assigned place of the whore and the well-bred girl! The commitment I make when I make a movie is much bigger than that.

Your feminist side...

I don't have a feminist side, I'm a feminist simply because I want to exist.

Today, not all women are feminists…

So feminism is a girl thing, then? And the fight against racism is a black thing? It's not a power struggle or lobbying, it's not Pepsi against Coke. No, it's a fundamental question about humanity.

[intheheartofcinema]

The Story of Adele H. (1975)

(French: L'Histoire d'Adèle H.)

Director: François Truffaut

Screenplay by: François Truffaut

The Story is based on Adèle Hugo's diaries.

[theoscarsproject]

The Story of Adele H. (1975). Adèle Hugo's unrequited love for a lieutenant.

This is an interesting story in a lot of ways about obsession and infatuation, and it’s really grounded in a pretty excellent performance by Isabelle Adjani. The movie ebbs and flows in ways that gives her the opportunity to really chew the scenery, albeit sometimes in ways that are frustrating or perhaps go on for too long. Still, it’s a compelling adaptation of a story I actually didn’t know about, so that was fun! 7/10.

[skinks]

hi!!! what are your favourite movies? like actually good ones but also any trashy comfort movies? is IT (2017) one of them?

Hello!! IT (2017) IS ABSOLUTELY ONE OF THEM oh man, thank you for this, I love talking about movies!!!! This is possibly the most difficult question you could have asked me. Apologies for how absolutely off the rails this got, I just... love movies so much lmao

I’ve said this before, but opening night of IT ch1 was the best cinema experience I’ve ever had, I’m so glad I got to see it with a fully packed audience who were all laughing and screaming together the whole way through. I’m a huge fan of... everything ch1 was doing, the 80s nostalgia, the summer-coming-of-age themes, the solid ghost train funhouse JOY of the Pennywise performance and scares, the washed-out cinematography, the tiny background details to make everything that much more eerie, the kids’ ACTING?!

Like, a lot of the time I find child actors can be really awkward and stilted to watch, but I remember leaving the cinema really impressed by JDG and Sophia Lillis in particular. I liked that they were all allowed to be little shitheads with potty mouths, it felt like a callback to 80s movies like The Lost Boys or Stand By Me. The whole thing worked to make me really care about what happened to the kids (even if I do still have issues with how they handled Mike. I understand even ch1 had limitations with juggling so many characters, but still). I saw it another 2 times in the cinema and have rewatched it at least, I dunno, 7-10 more times since then?

Add to all of that the retroactive CANON R+E baby pining subplot? I just love it, as if that wasn’t obvious by now given my Whole Blog. It’s a really special movie to me!

Anyway!! Ok, the main handful of movies I rewatch all the fucking time are:

Back to the Future, The Lost Boys, Pride and Prejudice (2005), Jaws, Ferris Bueller’s Day Off, The Breakfast Club, Ocean’s 11, POTC 1, The Dark Knight, Inception, Die Hard, LOTR trilogy, Snatch, The Nice Guys, Logan Lucky, Mad Max Fury Road, Clueless, 10 Things I Hate About You, Billy Elliot, Dirty Dancing, Tomb Raider (2018)...

Those are the easily consumable ones that I’ve seen so many times I don’t really have to concentrate or think about them, but I really love them and unfortunately often KEEP rewatching them instead of new stuff. It would take too long to go into why I love all these movies so much because I could write the same amount as I already did for ITCH1, and everyone already knows why those movies are good, so, lol.

I think I’m gonna have to subdivide and categorise this whole post because there are too many separate criteria for... goOD MOVIES, AUUHH 😩

Okay so first off, HORROR MOVIES? I’m especially in love with Re-Animator (1985) and its sequel Bride of Re-Animator, they’re such good examples of camp and batshit 80s practical effects, and also EXTREMELY funny. I’m actually just gonna post my list of my fave horror movies that I do actually keep on my phone at all times lmao. These are in no particular order:

Wholeheartedly recommend every one of these. I’ve never been so scared in my life as I was watching Hereditary in the cinema, hoo boy. Mother! by Aronofsky is one of the strangest experiences I’ve ever had (and I actually saw it on the same day I saw IT ch1 for the first time!! That was a fun day)

Psycho (1960) and The Fly from 1986 should also be on there but I couldn’t fit them in the screenshot.

I’m a HUGE fan of a ton of martial arts movies too, like Kung Fu Hustle, Shaolin Soccer, Ip Man, The Raid movies, John Wick 3 is my fave of the trilogy, Drive from 1997 with Mark Dacascos is incredible, SPL 2, Ong-Bak, Operation Condor, Project A, Iron Monkey, and Zatoichi (2003) are some favourites.

My favourite Tarantino is Reservoir Dogs, fave Coen brothers are Raising Arizona, The Ballad of Buster Scruggs and O Brother Where Art Thou. Love some old-timey colour correction and weird offbeat dialogue. I also love Goodfellas!!! And Donnie Brasco! And The Firm, I’m so easy for any good crime/law/gangster/heist procedural like that, especially if they’re from the 80s or 90s in a super dated way.

Fave Disney movie is Tarzan, favourite Ghibli movies are Spirited Away and Lupin III. I remember watching Spirited Away during a thunderstorm one time and it being.... god! Transcendent! Favourite Pixar movie is The Incredibles (the first one. ALSO the documentary “The Pixar Story” is great and well worth a watch, it’s very comforting for some reason) and my favourite Dreamworks movies are HTTYD1 and Spirit: Stallion of the Cimmaron.

I tend to watch more anime movies than tv shows, so stuff like Akira, The Girl Who Leapt Through Time, Summer Wars, Journey to Agartha, and my ultimate fave anime is Sword of the Stranger (2008). The climactic fight in that movie is fucking stunning and should be counted in “bests fights” lists right alongside anything live action

Also if we’re talking animated movies another hearty favourite is Rango, and a Belgian stop-motion (which at one time I considered my favourite movie ever) called Panique Au Village (2009) which is one of the funniest movies ever made imo.

As for TRASHY movies, I’m not sure if that’s the right word for how I feel about these ones but.. dumb/silly/slightly guilty pleasure movies? Ones that I feel need some kind of justification lmfao

Troy - something u must know about me is that I’m a giant slut for the Assassin’s Creed franchise, so if a movie smashes historical and mythological nonsense together with fun costumes and sword fights, I’m gonna enjoy myself. Even if they should have made Achilles and Patroclus gay. Other movies in this vein are King Arthur: Legend of the Sword, and Immortals (2011)

Gods of Egypt - I know all the reasons this movie is whitewashed bullshit. But it was already bullshit with giant Anubis mecha and giant snakes and bad acting and ridiculous CGI and frankly I had a blast at the cinema (my friend who I forced to come with me did not have a blast. Sorry H***)

Avatar - yes, the one with the big blue people. This movie gets a lot of flack nowadays but I really do enjoy it just for the spectacle. The full CGI world technology was so new at the time and I love to wallow in the visuals and daydream about riding a cool dragon around in the jungle

George of the Jungle - I’ll defend this movie to the death ok this movie shaped me as a person, it is fucking hilarious and Brendan Fraser is the himbo to end all himbos. It’s perfect. The song Dela is perfect. I still want to write a reddie AU about it. It’s one of the best movies ever made and I’m not being ironic

Set It Up - I KNOW this is a dumb Netflix original romcom but consider this; it was funny and the leads had great chemistry. I got butterflies. I once watched it and then literally immediately set it back to the start so I could watch it again

The Brady Bunch Movie - when people talk about great satires or parodies you will see them bring up the same movies over and over again, Blazing Saddles, This Is Spinal Tap etc, but they never talk about The Brady Bunch Movie from 1995 for some reason, which they should. It is one of the funniest things I’ve ever seen and every time i watch it somehow it gets funnier

Some more general favourites that I do still love but don’t rewatch as often, and don’t wanna go into more detail about are:

Moon (2009), Crna Mačka Beli Mačor, The Sixth Sense, Parasite, The Handmaiden, Tremors, Wet Hot American Summer, Tucker and Dale vs Evil, What We Do In The Shadows, Hunt For the Wilderpeople, The Secret of My Success (I love kitschy 80s movies, is that obvious by now), The Green Mile, When Harry Met Sally, Rear Window, The Odd Couple, Breaking Away, Pan’s Labyrinth, To Kill A Mockingbird, The Eagle, Gladiator, The Artist, The Extraordinary Adventures of Adèle Blanc-Sec, Call Me By Your Name, Master and Commander, Pacific Rim, Kiss Kiss Bang Bang, Legend (1985), Emma. (2020), Flash Gordon, Trolljegeren, Hross í Oss, Beverly Hills Cop, Coming to America, WarGames, District 9, Ajeossi (2010), Tracks (2013), Sightseers, Mud (2012), Pitch Black, Four Lions, Shaun of the Dead, Starship Troopers, The Truman Show, Withnail & I....... Jesus Christ ok I need to stop

NOTABLE EXTREME FAVOURITES that I didn’t include in the regular rewatch list because they’re too heavy/not as well known/require more attention.:

Thin Red Line (1998), Badlands (1973) both dir. Terrence Malick

Malick’s brand of dreamy impressionistic filmmaking is something I find really appealing, both of these movies are gorgeous and unusual and poignant and, in the case of Thin Red Line at least, have a lot of things to say about a lot of rough subjects. I don’t totally understand all those things sometimes, but a theme with a lot of my favourite movies is that I’ll be more likely to love something long-term if it raises unanswered questions, or is surreal/esoteric etc. Plus the cinematography is incredible, and I wish there was a way to get Jim Caviezel’s narration from The Thin Red Line as an audiobook because it’s very poetic and soothing.

Let the Bullets Fly (2010) dir. Jiang Wen

This movie is WILD, it’s so much fun. It’s sprawling and intricate and epic and smart and really fucking funny, it! Has! Everything! A gang of very tolerant outlaws!! Jiang Wen’s beautiful broad chest!!! Chow Yun Fat absolutely DECIMATING the scenery, and the two of them outsmarting each other in order to gain control of a small Chinese town!!! Plus it’s long, but it packs so much nonsense and intrigue that it goes by really fast. Wow what a flick

A Field in England (2013) dir. Ben Wheatley

I know I included this in my horror list but aaaaahhh ahhhh Wheatley is one of my favourite directors (he also made Sightseers, and is directing the Tomb Raider sequel which makes me absolutely rabid.) This is a surreal black-and-white psychological horror black comedy set in the English Civil War about some deserters who may or may not meet the Devil in a field. People eat mushrooms. It’s bonkers. I love being blasted in the face with imagery that I don’t understand

Mandy (2018) dir. Panos Cosmatos

Speaking of being blasted in the face!!!!! This movie... I saw it in the cinema and I can’t even begin to explain the experience, but I’ll try. My favourite review site described it like this:

“...somewhere between a prog album cover come to life and a metal album cover come to life, and subscribes to both genre's artistic tendency towards maximalism: what it ends up being is basically naught else but two glorious hours of being pounded by bold colors...”

So, prog and metal are my two favourite genres of music. This movie opens with the quote “When I die, bury me deep, lay two speakers at my feet, put some headphones on my head and rock and roll me when I'm dead.” and then a King Crimson song, it is SURREAL to the nth degree, it’s violent and bizarre and Nic Cage forges a giant silver axe to destroy demonic bikers and there is a CHAINSAW DUEL. A galaxy swirls above a quarry. Multiple animated horror nightmare sequences. At one point a man says “you exude a cosmic darkness” and releases a live tiger. At another point Cage says, in a digitally deepened voice, “The psychotic drowns where the mystic swims. You’re drowning. I’m swimming.” and I haven’t stopped thinking about it for two years

Paper Moon (1973) dir. Peter Bogdanovich

Really fantastic movie set in the Great Depression (and also in black & white) about a conman and a little kid who may or may not be his daughter, running cons across the Midwest. It’s beautifully shot, so sharp and sweet and the progression of their dynamic is really well done because they’re played by an IRL father and daughter. Tatum O��Neal was NINE YEARS OLD and she’s so amazing in this movie she’s actually the youngest person to win a competitive category Oscar. I keep trying to get people to watch this fbdjfjdbf it’s wonderful

Alpha (2018) dir. Albert Hughes

THIS MOVIE IS A VICTIM OF BAD MARKETING ok, the trailers made it look like some twee crappy sentimental Boy And His Dog Adventure, plus it had voiceovers in American-accented english? That’s a total disservice to one of the coolest things about this film; the fact that they got a linguist to construct an entirely original Neolithic language that all the characters speak for the entire runtime. And yes, it is eventually a Boy And His Wolf adventure, but it’s COOL and fairly brutal, and it has some really incredible cinematography. The landscapes are so strange and barren and alien, you really get the sense that this is an ancient world we no longer have any connection to. And it’s also about like, the birth of dog & human companionship sooo it’s perfect.

Free Solo (2018) dir. Elizabeth Chai Vasarhelyi, Jimmy Chin

The Free Climbing Documentary. I loved climbing as a kid, I love outdoor sports, and I love movies that elicit a physical reaction in me, whether that’s horny, scared, real laughter, overwhelming shivers, or in the case of Free Solo - HORRIBLE SWEATING TENSION. Like, I knew about Alex Honnold beforehand because of this adventure film festival I go to every year and I followed him on IG so obviously I knew he lived, but the actual climb itself was torture. My hands sweat every time I see it!! It’s incredible, such a cool look into generally what the human body can do, and more specifically, why Honnold’s psychology and life means he’s so well suited to free soloing. It’s such an exercise in getting to know an individual and get invested in them, before they attempt something very potentially fatal.

Brokeback Mountain (2005) dir. Ang Lee

I can’t even talk about this. When I was around 13 I snuck downstairs to watch this on TV at 11pm in secret, and my life was forever changed. I wouldn’t be who I am if I hadn’t seen Brokeback at the age I did. I seriously can’t talk about this or I’ll write an even longer essay than this already is

God’s Own Country (2017) dir. Francis Lee

The antidote to Brokeback Mountain, I’m so glad I managed to see this one in the cinema too. It makes me cry every time, as someone who’s spent years working on a cold British farm with sheep it was very realistic, which is expected since Lee grew up on a farm in Yorkshire. I love that this movie isn’t really about being closeted, but about being so emotionally repressed and self-loathing that the main character finds it so hard to accept love. Or that he deserves to be loved. The cinnamontographies.... lordt... but also the intimacy and sex scenes are fucking searing wow who hasn’t seen this movie by now. 10 stars. 20 stars!!!

Tomboy (2011) dir. Céline Sciamma

I saw this years ago but I’ve never forgotten it, it cut so deep. It’s from the director of Portrait of a Lady on Fire and it’s about a gnc kid struggling with gender and misogyny and homophobia in a really raw, scrappy way, it reminded me very much of my own... childhood... ahh the central performance is amazing for such a young age. I haven’t seen Portrait yet but I feel like if you went nuts for that, you should definitely check this out, it’s lovely.

Donnie Darko (2001) dir. Richard Kelly

EVERY TIME I WATCH THIS MOVIE I UNDERSTAND LESS AND LESS and that’s what I love so much about it. I love surreal movies, I love time-fuckery and stuff about altered perception etc etc and Donnie Darko scratches all my itches. I wish I could find a way to figure out an IT AU for it, because I know it would work! Somehow! Plus it’s got the subdued 80s nostalgia and I found it at an age when I was really starting to explore movies and music and the soundtrack FUCKS.

Offside (2006) dir. Jafar Panahi

I wish more people knew about this!!! It’s an Iranian film about a disparate group of women and girls who are football fans and want to watch Iran’s qualifying match for the World Cup, but women aren’t allowed into the stadium, so they all get thrown into the Stadium Jail together? They don’t know each other beforehand, but it’s about their changing relationships with each other and the guards and just, their defiance alongside hearing the match from the outside and WOW it’s so lively. Great dialogue and very funny, and such a different kind of story from anything you usually see from Hollywood.

The Fall (2006) dir. Tarsem Singh

This movie... I guess it’s the ideal. This is the platonic ideal of a film for me, it has fantasy, magical realism, glorious visuals, amazing score and costumes and production design and a really interesting, heartbreaking relationship at the core of it. I don’t know why so many of my favourite films feature incredibly raw performances by child actors but this is another one, Catinca Untaru barely knew any English and improvised so much because of that, and it’s fascinating to watch! Also the dynamic with Lee Pace is one of my favourites, where a kid forms a friendship with a guardian figure who isn’t their parent, but the guardian grows to really care for them by the end. It’s like Paper Moon in that sense. What is there to even say about this movie, it’s pure magic joy tempered and countered by genuine gutwrenching emotional conflict in the real world, it’s also ABOUT old moviemaking, in a way, and it’s stunning to look at!

Mad Max Fury Road (2015) dir. George Miller

I know I included this in my “most rewatched” section but it deserves its own thing. We all know why this movie is fucking incredible. I remember clutching my armrests in the cinema and feeling like my skeleton was being blasted back into the seat behind me and tbh that is the high I’m constantly chasing when I go to see any movie. What a fucking gift this film is

Théo et Hugo dans le Même Bateau (2016) dir. Olivier Ducastel, Jacques Martineau

I only found this movie last year and it became an instant favourite. Initially I was just curious because I’d never seen a movie with unsimulated sex before, but it’s so much more than the 18 minute gay sex club orgy it opens with. No, not more than, AS WELL AS. The orgy is important because this movie is so candid and frank about sex and HIV treatment in the modern day, it was eye-opening. Another thing that really got me is that I’d never seen a real-time film before. It’s literally an hour and a half in the lives of these two men, their intense connection and conversation and conflict in the middle of the night in Paris, with some really nice night photography and just!!! Wow!!! AMAZING CHEMISTRY between the actors. This is such a gem if you’re comfortable with explicit sexual content.

Ok. This is already over 3k but film is obviously one of my ridiculous passions and I can and do talk about it for hours. I’ve been reading magazines about it for years, listening to podcasts and reading review blogs and recently, watching video essays on YouTube because the whole process is so interesting to me and I want to learn more!!

Recently I’ve been thinking a lot about the concept of valuing form over narrative. The idea that story can often come second to the deeper physical experience and emotional reaction that’s created by using ALL the elements of filmmaking and not just The Story, y’know? Whether that’s editing, shot composition, colour, the sound mix, the actors, how it should all be used to heighten the emotional state the script wants you to feel. And so, I think for a few years now this approach has been influencing the types of films I really, really love.

I think I love surreality and mind-bending magical realism in films specifically because the filmmakers have to use all those different tools to convey things that can be way too metaphysical for just... a script? I’m always chasing that physical response; if a movie can make me stop thinking “I wonder what it was like to set up that shot” and instead overwhelm that suspension of disbelief, if I can be terrified or woozy or crying for whatever reason, that’s what I’m looking for. That’s why I watch so many fuckin movies, and why I’ll always remember nights like seeing IT (2017) for giving me another favourite.

Thank you again for this question, I didn’t mean to go so overboard. Also there’s no way to do a readmore on tumblr mobile so apologies to anyone’s dashboard 😬

[moradadabeleza]

Katia Chausheva

The story of Adèle H.

[maaarine]

MBTI & Celebs Isabelle Adjani: INFP

“Isabelle Yasmina Adjani (born 27 June 1955) is a French film actress and singer. 

She is the only actress or actor in history to win five César Awards; she won Best Actress for Possession (1981), One Deadly Summer (1983), Camille Claudel (1988), La Reine Margot (1994), and Skirt Day (2009). 

She was made a Chevalier of the Legion of Honour in 2010, and a Commander of the Order of Arts and Letters in 2014.

Adjani's performance as Adèle Hugo in the 1975 film The Story of Adele H. earned her the first of two nominations for the Academy Award for Best Actress.

Her second nomination—for Camille Claudel—made her the first French actress to receive two nominations for foreign-language films.”

Sources: video, wiki/Isabelle_Adjani. Screencaps: transcript.

[isabelladjanis]

Isabelle Adjani in The Story of Adèle H

[tmblrvision]

Big Announcements for Tmblrvision 2019!

The madness of love of this year’s Eurovision National Final season is finally over, and while we slowly march towards the big show, it’s time for me to say goodbye to gradually turn our attention towards the other big show.

That’s right: The Tmblrvision Song Contest will be returning in 2019!

After Beyoncé Slimane took home the crown in Tel Aviv last year thanks to the amazing Viens on s’aime, Algeria won the right to host this year’s contest. But which city will be hosting? The obvious choice is the capital city, but we could also be going to the coastal city of Oran, the second largest city in the country. Perhaps we could be headed to Bilda, a beautiful city surrounded by gardens and orchards. Maybe we’re going to Tamanrasset, a city surrounded by the SaRaha Sahara Desert.

Let’s find out! The host city of Tmblrvision 2019 is...

ALGIERS! Okay, we went for the safe, obvious choice, but Algiers is a lovely city, and we are proud to be hosting the fourth edition of the Tmblrvision Song Contest here.

Every great show deserves a great venue, and we’re ready to welcome you to the venue of the song contest:

That’s right, the contest will be held at the Opera D’Alger, or Algiers Opera House, which opened in 2016, incidentally the same year as the debut of the song contest!

A show is only as good as its hosts, so let’s welcome our hosts!

Continuing on the tradition of the past two years, we’ve got two hosts. Our first host is a familiar face. Just as the winner of 2016 hosted the contest the year after, last year’s winner Beyoncé Slimane will be back on the Tmblrvision stage, but this time as one of the hosts! Joining him onstage is legendary actress Isabelle Adjani. Don’t know who she is? She has been nominated twice for an Academy Award for Best Actress in a Leading Role! Her first was for the 1975 film The Story of Adèle H., and the second for the 1988 film Camille Claudel. A true queen!

And now we come to the most exciting part of the reveal: The slogan and the logo. In 2016, we were invited to Hear Us Calling. In 2017, we learned to Spread Love. Last year, Israel simply said: Let Us Show You. And this year?

It’s time for Love on Top! The official logo and slogan are inspired by last year’s winner, which implored its listeners to love each other. And what better way to do that than to put love on top of all else!

So, what else is there to reveal? Oh right, the schedule! The dates are currently tentative and subject to change but there shouldn’t be any massive shifts:

20-21 July 2019 - Country Sign-Ups (24 hours) 22/23 July 2019 - Draw Announced 30 July 2019 - Song Submission Deadline 3 August 2019 - Grand Final Live Show, Voting Period Starts 13 August 2019 - Voting Period Ends 16/17/18 August 2019 - Live Results Show

We’ll have more news for you as we get closer to the start dates, but keep following this blog or join us on Discord to make sure you always get the latest news.

Until then, don’t forget to put LOVE ON TOP!

[lifejustgotawkward]

365 Day Movie Challenge (2017) - #63: The Story of Adèle H. (1975) - dir. François Truffaut

It is never any surprise when directors hire actress Isabelle Adjani, who has an incredible ability to mine a character for the most intense depths of emotion. This was probably never more evident than in her tortured work in Andrzej Zulawski’s grotesquely creative horror film Possession (1981), but Truffaut’s The Story of Adèle H. gives Zulawski a run for his money as far as depicting a woman’s slowly fracturing psyche and body.

Set in 1863-1864, Story has Adjani playing Adèle Hugo, second daughter of world-famous author and political figure Victor Hugo, a woman whose schizophrenia and erotomania begin to manifest when she fanatically falls in love with a handsome British army lieutenant, Albert Pinson (Bruce Robinson, later of Withnail and I directing fame) and follows him from England to his regiment’s new station in Halifax, Nova Scotia. Pinson is indifferent to Adèle, with whom he had had a brief affair when he lived near their family on the isle of Guernsey (the Hugos lived in exile, having been forced out of France for dissidence), but Adèle’s certainty that Pinson intends – present tense – to marry her gradually erodes her sense of reason, exacerbates the mental illness she didn’t understand that she had and drives her out of her mind. Twenty-year-old Isabelle Adjani received an Academy Award nomination for this performance, an absolutely deserved recognition that solidified her reputation as one of French cinema’s most exciting stars and got her work with such varied filmmakers as Roman Polanski, André Téchiné, Walter Hill, Werner Herzog, James Ivory, the aforementioned Zulawski, Claude Miller, Luc Besson, Elaine May and Bruno Nuytten (with whom Adjani received her second Best Actress Oscar nomination for Camille Claudel).

I have noticed recently that I have been gravitating towards stories of obsession, passion and violence: The Crying Game (1992), The Naked Kiss (1964), Angel (1982), Felicia’s Journey (1999), Asphalt (1929), Unfaithful (2002), Mona Lisa (1986), Exotica (1994). Of course, the ultimate icons of this mixed genre are numerous Hitchcock thrillers including Spellbound (1945), Vertigo (1958) and Marnie (1964), as well as Brian De Palma’s many Hitchcockian films, like Sisters (1973), Dressed to Kill (1980) and Body Double (1984). The Story of Adèle H. does not contain the same level of excitement as those other, more suspenseful films, though, since Story is a biopic and a period-piece drama rather than a thriller.

The film is consistently watchable since Néstor Almendros supplies good cinematography (especially in close-ups of the two leads) and, as mentioned, Adjani is brilliant (thankfully since she is the center of the film), but it is unfortunate that Truffaut could not elicit better performances from most of the supporting actors. There are a few sympathetic portrayals by Sylvia Marriott (Adèle’s landlady at a Halifax boarding house), Joseph Blatchley (a bookshop proprietor who is clearly sweet on Adèle) and Ivry Gitlis (best known to the world as a stellar violinist; here, he plays a hypnotist sought by Adèle in hopes of literally casting a spell on Lt. Pinson), but Truffaut’s film does not quite reach the heights of mastery.

[petersonreviews]

François Truffaut and Isabelle Adjani on the set of The Story of Adèle H., 1975