#victoria bedos

[thebestestwinner]

Top two vote-getters will move on to the next round. See pinned post for all groups!

[perfettamentechic]

28 maggio … ricordiamo …

28 maggio … ricordiamo … #semprevivineiricordi #nomidaricordare #personaggiimportanti #perfettamentechic

2023: Isa Barzizza, Luisita Barzizza, attrice italiana interprete della rivista, del cinema e della televisione, fin dalle prime trasmissioni sperimentali. Figlia del direttore d’orchestra Pippo Barzizza e di Tatina Salesi (e sorella maggiore del regista Renzo Barzizza). Macario la lanciò nel mondo del teatro dopo che la Isa ebbe terminato gli studi liceali. Il grande attore chiese personalmente…

[auroratumbles]

appy juice with cinnamon (this combo would taste shit irl lets be honest) for bedo and kaeya (poly) or if you cant do poly just bedo is fine.

CONGRATS ON 100 YOU DESERVE IT YOU!!! CHEERING YOU ON FROM VICTORIA

ORDER UP!

order for… @n3r0-1417 !

ingredients: apple juice (fluff) with cinnamon (love letter) !

note from the blender: LMAO the unspoken rules of flavour don’t apply here so let’s pretend it tastes good because of the fact that kaeya and albedo are hot also THANK YOU!!

event post - aurora’s 100 followers!!

to our dear [name],

albedo hopes you've been well. how is it going in liyue? we trust that you've been treated nicely? we would come with you, but due to our responsibilities as cavalry captain and chief alchemist… i doubt we could. perhaps i could use my charm to convince the acting grand master to let us have a short vacation?

albedo wants to ask you if you drank the liquid in the bottles he gave you when you were travelling. he hopes they helped. must’ve been a bumpy ride, haha. when you come back in a few weeks, we expect you to visit us first. :)

from your beloveds,

albedo and kaeya.

[in the corner of the paper, there’s a tiny stick figure drawing of you, kaeya, and albedo standing together. how sweet.]

[actusdefilmsetseries]

Des films et séries à découvrir pour vous divertir

Victoria Bedos propose une comédie transgénérationnelle « La Plus Belle pour Aller Danser » mettant en vedette Pierre Richard et Philippe Katerine. Cette réalisation a été sélectionnée pour le Festival de l’Alpe d’Huez et est à voir dans les salles depuis le 19 avril 2023. N’hésitez pas à la découvrir. 

[porquevi]

"No Ritimo do Coração" (CODA) - amazon prime.

Filme recebeu boas criticas, concorre ao Oscar de melhor filme, roteiro adaptado e ator coadjuvante. Conta a história de uma jovem filha de pais surdos, que sonha em ser cantora. O trailer não empolga, fiquei com receio de cair demais no melodrama. Mas bora ver!

depois de ver: direção dura e sem graça. o filme emociona, mas não tem força. Troy Kotsur está muito bem e merece a indicação, pode ganhar. prevejo que esse filme será um sucesso na sessão da tarde.

[straightfromamovie]

[dweemeister]

NOTE: Because moviegoing carries risks at this time, please remember to follow health and safety guidelines as outlined by your local, regional, and national health officials.

CODA (2021)

CODA, which stands for “child of deaf adults”, is the first Academy Award winner of Best Picture to be distributed by a streaming service. Apple purchased the film for a record $25 million at the 2021 Sundance Film Festival for its Apple TV+ streaming service, barely allowing a traditional theatrical run outside of major North American cities. Does this development hasten the exodus of low- and mid-budget movies away from Hollywood’s established studios for awards season? Is CODA’s success a harbinger for low- and mid-budget movies retreating from theaters altogether, leaving them increasingly to mainstream animation and superhero movies? History will write itself with time, as the COVID-19 pandemic – which accelerated these changes in the film industry – hopefully subsides.

For CODA itself, director Siân Heder’s film contains aggressively pedestrian filmmaking inside a heartfelt story. CODA – even though it was not originally intended to appear on a streaming service – suffers on a larger screen (I saw this in a theater), its lack of interesting cinematography and ordinary editing plain to see. Nevertheless, CODA’s narrative, however predictable and unrealistic, worked its way past most of my cynical fibers, moving me multiple times throughout. A solid ensemble performance can patch up numerous, though not every, imperfection, as CODA exemplifies.

Gloucester (GLAA-stir), Massachusetts is in the state’s northeastern corner, just under an hour’s drive from Boston, and jutting out into the Atlantic. That is where we find the Rossi family: daughter Ruby (Emilia Jones), older brother Leo (Daniel Durant), and parents Frank (Troy Kotsur) and Jackie (Marlee Matlin). Ruby, the main character, is the only hearing member of the family. She wakes up daily at 3 AM to help with her family’s fishing business, balancing fishing with her high school studies. She is a senior in high school, but she does not see herself going into higher education, but will instead continue to assist her family. As the high schoolers sign up for electives, Ruby – her mind distracted by her crush, Miles (Ferdia Walsh-Peelo), as he signs up for choir – signs up for choir. No sane person has ever signed up for choir for the first time during their senior year in high school (raising questions about what semester this is and whether this high school has music programs year-round). The choir director, Bernardo “Mr. V” Villalobos (Eugenio Derbez, who acts mostly as if from another movie), quickly identifies Ruby as a natural, raw-talent singer. CODA’s primary conflict surrounds Ruby’s familial commitments and her newfound passion for music.

If you, dear reader, have seen a movie in your lifetime, you probably can predict the narrative beats as they appear. You do not need to personally know any deaf or hard-of-hearing persons to guess how Frank and Jackie receive the news that their daughter is drawing up new life plans. Heder, who wrote the screenplay, makes CODA squarely Ruby’s story. Her successes are framed too often as if they are hers and hers alone to enjoy. In this interpretation, Frank, Jackie, and Leo are obstacles to overcome. CODA too reactively positions the Rossi family as unable to partake in Ruby’s artistry for the sake of generating maximal drama, as well as unrealistically portraying them as overly dependent on the youngest child.

This dilemma of Ruby’s desires clashing with her family rears its head multiple times – something the viewer expects. But too often, this primary source of conflict arrives in situationally manufactured moments. Most notably, Ruby’s duties as her family’s interpreter seem out-of-place in two critical scenes: serving as an ad hoc legal representative during a U.S. Coast Guard hearing after an accident involving the family boat and on a day when a local television news station prepares to shoot interviews with her parents. At some point in their lives, Frankie, Jackie, and Leo all had to reckon with life’s inconveniences without an interpreter – and I imagine they did so successfully, justifiably glad that they overcame an actual or potential misunderstanding. That all three seem so helpless almost all the time makes their deafness more of a shortcoming than should be portrayed. What about actual human shortcomings? Like jealousy, possessiveness, and pride.

Despite the writing framing the Rossi parents’ deafness as an obstacle, two solid character performances from Troy Kotsur and Marlee Matlin patch up some – though not all – of the flaws in the parent-daughter conflict scenes. Kotsur (2008’s Universal Signs, but principally a stage actor), in particular, effuses an animated warmth even when saying the dirtiest things in the least appropriate setting. By CODA’s closing minutes, one senses Frank’s growth the most – from his initial bewildered dismissiveness of Ruby’s plans to a starry-eyed acceptance of her daughter’s growth. Matlin, too, gives a similarly animated performance, but has fewer moments of emotional epiphany than her co-star. The two veterans steady scene and tonal transitions more ably than any of their co-stars. By virtue of his considerable lack of cinematic experience compared to Matlin, Kotsur’s achievement is all the more impressive.

A lack of thematic and narrative focus also hampers CODA. Beyond the principal plotline of Ruby’s musical dreams, there are subplots aplenty – her “will they or won’t they” tug-of-war with Miles, the Rossi family spearheading a new fishing collective to counter the low prices offered by their previous collective, and insensitive schoolmates who mock Ruby for being the child of deaf adults. Too few of these subplots appear or resolve organically in respect to the remainder of the film. One can already guess what happens between Miles and Ruby, so I will not waste any further space other than to say that the character of Miles has barely any personality in Heder’s screenplay. The issues of fishing pricing collectives and coercive business practices offer a fascinating glimpse of how small-time fishers in the United States conduct their operations, perhaps allowing the audience an understanding of how coercive pricing harms these blue-collar communities. But CODA abandons this touchy subplot – central to the Rossi family’s wellbeing, as well as their fellow fishers – almost as soon as it can in favor of teenage romance and more musical moments.

It also appears that Ruby’s troubles of being The Girl with the Deaf Family are no longer a concern after she joins choir and reveals her wonderful singing voice. A lifetime of bullying that extends into one’s high school senior just does not disappear because of the revelation of a great talent. Discrimination follows her parents and brother into their adulthood, and Heder’s screenplay does the bare minimum to address this. However, the bullying that Ruby faces in the film’s opening third and in the many years before the events of the film mysteriously become a non-issue once everyone learns she is one hell of a singer. I can’t help but think there is a missed opportunity here for the film to say more about how this impacts Ruby’s life and how she responds to it.

CODA also appears to be the sort of film meant to be watched – no, consumed – on a television screen, computer, or phone (yuck!). The paint-by-the-numbers cinematography by Paul Huidboro (2014’s Million Dollar Arm) resembles the unimaginative camerawork seen in almost every television show (TV, even in the best series of the last decade, remains a writers’ medium, not so much one for visualists). With the exception of perhaps the odd shot of the Atlantic horizon, there are few shots in CODA that benefit at all on a larger screen. At times, I felt like I was watching the best-produced Disney Channel Original Movie in a theater. My apologies to those who enjoy more than a handful of Disney Channel Original Movies. The film’s almost-total lack of visual imagination means that it relies almost entirely on its acting ensemble and writing to keep interest – which the former accomplishes, just. And despite my misgivings about Heder’s screenplay, I found myself moved multiple times in CODA. Memories of high school orchestra, though not completely analogous to high school choir, flooded in. As did the general awkwardness of being a teenager once. CODA nails those basic emotions through film’s end.

Upon viewing the final product, one has to ask who is the target audience for CODA? Its intentions are genuine, its representation of deaf and heard-of-hearing people worthy from a basic need for representation. Putting just the simple fact of representation aside, CODA adopts Ruby’s story and needs – arguably coming dangerously close to otherizing her parents and older brother. I am not sure a deaf and hard-of-hearing audience is necessarily as interested in her story alone, and would rather see a more balanced family narrative among our four principal characters. CODA’s unconcentrated screenplay seems to point towards its intentions on providing a storytelling balance – especially regarding the fishing collective subplot. That balance never materializes.

There is a better, more interesting version of this film that might exist. CODA is no film to begrudge on a surface level, yet its artistic choices are without much risk. That sounds like most original films from a major streaming service, unfortunately. Elsewhere, CODA’s producers are – as of the publication of this write-up – in talks to craft a stage musical version of the film in collaboration with Deaf West Theatre (a non-profit whose productions Kotsur has starred in). If it is CODA’s legacy to inspire deaf and hard-of-hearing artists to find avenues of artistic expression in their chosen mediums, what sweet sounds they will make. Cinema would be better for it.

My rating: 7/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

[jerichopalms]

#34: CODA (2021, dir. by Sian Heder)

[jfc8movie]

“La Famille Bélier” Eric Lartigau (2014)

[bluexiao]

#warm

–fluff, reverse comfort, birthday boyyy, cuddles, brief mention of how the heart pounds lmao

ALBEDO’s mornings were always cold. 

In the empty lab, or in his empty room; filled with chemicals, filled with equipment, and just… him. Just him and alchemy, just like it had always been. 

“Hm? ‘Bedo, are you awake?” 

Blood rushes through his veins and back to his heart, making it pound and pound, all at the sound of your groggy voice, still laced with sleep, and at the scent of your neck as he leans into you more behind you, tightening his grip on your waist and pulling you closer. 

Even so, it was enough for you to wiggle and turn your way to face him, your own arm circling his form and your eyes meeting his. 

“There you are.” 

His breath stills when you flash him that bright grin of yours, all with your adorable untidy appearance; eyes still droopy and as if wanting to close and return to sleep once again. Time and the world around him stop–ah, is this what they call it is? 

“Love?” his eyes catches the way you furrow in your brows and the slight curl of a frown that forms on the corners of your lips, “What’s wrong? Why are you so silent?” 

Cute. Is that a pout now? He couldn’t help but smile, slipping one of his arms and reaching for your cheek, cupping them and caressing them ever so gently with his thumb, then smoothening the pad of his finger over to whatever bag under your eye, admiring them all the same. 

Then, he leans and presses a kiss on your forehead, staying there for a good few seconds before he pulls away and meeting your eyes once again–catching them flutter open, did you close them when he kissed you? 

“Adorable.” 

You let out a breath of a laugh before heading straight to his chest, tightening your own grip on him and pressing him closer to you. 

“Stop that! I’m supposed to be the one to praise you today!” 

He chuckles and unconsciously rests and caresses one of his hands on your back, the smile on his face remains. 

“There’s no need, love,” he makes an effort to lean on your ear and smirks, “you being here with me is enough of a birthday gift for me.”

Albedo’s mornings were always cold. 

But with you, however, it feels quite warm. 

NOTES. have you guys seen his bday official art?? god his smile made me melt:((( first best boy you deserve all the best in the world happy happy birthday mwaa

Reblogs and comments are very appreciated~

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[moodboardmix]

Guy Bedos (15 June 1934 - 28 May 2020) 

Mr Bedos was a French Scriptwriter, stand-up Comedian and Actor;

He is known for his recurring role of Simon in the 1970s, as a doctor suffocated by his very possessive Jewish-foot-black mother, in An Elephant that Deceives Enormously and, We Will All Go to the Paradise of Yves Robert.

He developed a regularly updated political satire. This satire affected mostly right-wing politicians, his "friends" of the left also suffer from his cutting reflections.

He was a member of the League of Human Rights and support the ADMD, an association which works for the Correct to die with dignity.

Married three times, Guy Bedos was the father of five children: Leslie (born in 1957), from his marriage to the late Karen Blanguernon; Mélanie (born in 1977) and Philippe (born in 1954, recognized by the humorist, died in 2010), from her marriage to Sophie Daumier (disappeared in 2003); as well as Nicolas (born in 1980) and Victoria (born in 1984), from his marriage to Joëlle Bercot. 

“He was handsome, he was funny, he was free and courageous. How proud I am to have had you as a father. Embrace Desproges and Dabadie. Since you are all in paradise, ” _ Nicolas Bedos

[snap221me]

Victoria Bedos maman, la fille de Guy Bedos a accouché de son premier enfant

Victoria Bedos maman, la fille de Guy Bedos a accouché de son premier enfant

Victoria Bedos est maman pour la première fois ! Ce lundi 4 novembre, la fille de Guy Bedos a donné naissance à une petite fille, dont le prénom n’a pas encore été dévoilé.

Carnet rose ! Après neuf longs mois d’attente, Victoria Bedos est devenue maman pour la première fois. C’est ce que révèle Le Figaro, au détour d’une phrase, dans son édition de ce mercredi 6 novembre. Le quotidien s’est en…

[bouxmounir]

Soirée de visionnage des Oscars à Paris : on y était

Soirée de visionnage des Oscars à Paris : on y était

Par Marion Geliot Posté il y a 36 minutes Victoria Bedos à la soirée de visionnage des Oscars à Paris. Nawel Odin Le soir des Oscars, l’American Academy of Sciences, en partenariat avec Mme Figaroa organisé une soirée parisienne pour les fêtes et les cinémas. Lorsque Los Angeles a déroulé le tapis rouge pour la 94e cérémonie des Oscars, Paris a célébré l’événement avec sa première soirée de…