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afrenchclone · 2 years

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Saison 4 épisode 6 Great Xpectations

Y’a une rave à Capeside.

UNE RAVE. A CAPESIDE.

Gretchen y invite Dawson qui décline (l’invitation).

Ils se sont croisés chez le disquaire et se font les yeux comme ça

évidemment Joer et Pacey passent devant juste à ce moment-là, Joey les capte en train d’écouter de la musique et tire la tronche parce que bon elle veut pas de Dosson mais de là à ce qu’il ait une autre meuf, merde à la fin.

mais Dawson se ravise pour la rave quand il rentre chez lui et chope ses parents en préliminaires de soirée romantica-bougies (ils ont décidé de garder BB2).

Dawson se radine donc chez Gretchen, et chez Gretchoune c’est aussi chez Pacey où il y a Joer aussi.

Mais Dawson pour une fois ne semble pas tirer un museau de 3 pieds de long de voir Joer et Pacey ensemble, il est complètement à fond sur Gretchen.

Joer s’en aperçoit et fait celle que ça ne dérange pas mais elle fait sa tête comme ça:

Elle essaie de faire sa petite peste en disant à Gretchen attention Dosson il te tourne autour tu sais qu’il avait un crush sur toi quand il était gosse et lui pose plein de questions discrètes pour savoir s’il y a frotti-frotta:

et Gretchen met une bonne claque aux mauvaises odeurs en lui disant qu’elle est bien placée pour savoir où mènent les crush d’enfance de Dosson. Et bim Harry Potter.

Pacey lui ça lui fait mal au cul que le Dawson ait des vues sur sa sœur, mais vu qu’il peut trop rien dire comme il a déjà piqué la meuf qui était propriété de Dawson, il fait la gueule toute la soirée. (et aussi parce que son bateau lui manque, lol :

Jen quant à elle est invitee à la soirée par mail, elle le reçoit alors qu’elle est en cours d’informatique mdr:

C’est DROU qui lui envoie l’invit, donc elle est #méfiante

ET à côté de ça, GRONDE NOUVEL: Andie est acceptée à Harvard. Son père est enfin fier d’elle.

Mais elle, elle n’est pas aussi heureuse qu’elle l’espérait.

Du coup vu qu’elle a aussi reçu le mail pour la RAVE de CAPESIDE, elle veut y aller aussi, pour se décrasser les émotions.

Elle a imprimé le mail visiblement, ah oui ma chef je connais.

Interlude: Jack avait l’épaule cassée à l’épisode précédent mais visiblement ça va mieux.

Andie rejoint Jen chez elle et elle chourre un des ecstasy de Jen (que lui avait filé Drou pour son anniversaire) pour aller s’éclater à la rave.

à la rave elle est complètement perchée et bien sûr, et elle part avec Drou.

Tout le monde s’éclate sur une sorte de château gonflable, c’est la rave la plus trash de l’histoire.

Dosson et Gretchoune sautent comme des petits cokin et dosson tombe sur Gretchou olala

Et bref à un moment patatras, Andie, qui est toujours sous anti-dépresseurs et supporte mal le cocktail avec l’ecstasy, s’évanouit et part à l’hosto.

Tout le monde accuse Jen la grosse dealeuse de Capeside qui donne de la drogue aux gentilles filles.

Seul Drou qui en profite pour essayer de se la remettre dans la poche comme au temps de la décadence new-yorkaise.

Je vous rassure, Andie sava sava, elle explique à son père et à son frère qu’elle voulait juste ressentir quelque chose, vu que la nouvelle de son admission à Harvard n’avait pas eu sur elle l’effet escompté.

Joey et Dawson finissent sur un #ponton à se dire olala quelle histoire, Dawson dit à Joer qu’il va avoir un petit frère ou une petite soeur et Joer fait sa tête de débile.

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afrenchclone · 3 years

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Céline Sciamma: "Petite Maman" est le parfait film post-pandémie"

by Alain Lorfèvre - La Libre, March 4, 2021

The director of Portrait de la jeune fille en feu discloses the conception of her new film, shot during the pandemic.

On Thursday evening, Céline Sciamma gave a virtual Q&A, a digital and remote version of the press conference. The journalists invited asked their questions in writing, which were then taken up by a moderator. It was an opportunity to discover how she conceived her beautiful and touching Petite Maman, one of the best films in competition at the 71st Berlin International Film Festival.

Is there a personal dimension to this story?

Yes! The set, especially this forest which was embellished by the film’s design crew and by the work of the director of photography, Claire Mathon. These are my roots. It was my playground when I was a child. The house was rebuilt in the studio. It was inspired by my grandmother’s. It’s another personal connection. This may seem to be my most personal film, but only on a metaphorical level. But it is rather a personal mental experience, a return to childhood.

We find in the film some characteristics of fairy tales: the forest, the little girls, the hut. Why these visual choices?

I don’t know if these are really conscious choices. We’ve seen these images while walking around in the woods. The hut really had been built by children. We put that in the film. As for fairy tales, I don’t know. I see the film more as a journey through time, without a time machine. The magic of the story is in the ellipses. But it’s the magic of cinema. I didn’t write the film as a fairy tale. On the contrary, I had in mind the animated films of Hayao Miyazaki or Mamoru Hosada. Would you say Miyazaki makes fairy tales? Then, yes, you could make that argument.

How did you get such a performance from the two girls, who are at once childish and very mature?

I try to remain honest in my approach and to deal with children as people. I work with them as collaborators and I respect them. To begin with, they’re not acting. They’ve never taken drama classes. They were very invested. I met three children during casting. The idea was to select them, to read the script with them, to offer them the role and let them decide if they wanted it. We talked about the film together. And then we saw each other again on the first day of filming. We had done the costume fittings with them earlier. This also helps them to get into character, to make sure they like what they’re going to wear, that they feel comfortable. This is the beginning of the connection, of communication. Afterward, it’s also a matter of choosing which scenes to begin the filming. Here, it was the outdoor locations. They learn as they go. It’s not about teaching them about cinema but about who is who and knowing their character. Joséphine, who plays Nelly and is in practically every shot, found after ten days the rhythm that I was expecting. With children, you have to teach them to slow down, because they have a tendency to move quickly. It’s a reciprocal adjustment. You build the language of the film together. But that’s the case with all actors. With children, you don’t talk about emotion. You can’t inject them with emotion. They have to find for themselves the rhythm of the character, the spirit of the film. Once they have it, the depth is the same. I thank them both very much.

The film, by its arrangement, is very “Covid-free." Would it have existed without the pandemic?

Yes! It existed before the pandemic. The idea goes back to when I was writing Portrait de la jeune fille en feu. So, a few years ago. I set it aside knowing that I could write it pretty quickly. I took it back up after the end of my world tour of Portrait… a little more than a year ago. I worked on it for a week, and then came the first curfew in France. And I stopped telling myself that I wasn’t going to turn it into a writing assignment. In June, after the first wave, I went back to my screenplay and said "where is this taking me?" And I reread the first scene in the nursing home, with the death of the grandmother. And I thought it was even more relevant. That it could be the perfect "post-pandemic” film. Likewise, I had planned to shoot it in studio. Which was also a good thing, because it allowed us to create a secure space. We decided to work very quickly. We had to integrate all the health protocols. But cinema is used to constraints.

You shot this film very quickly. Are there any advantages from a creative point of view?

Not having any distractions due to external constraints allows you to focus on the work. We felt privileged. We had to be responsible in our operation. The set during this Covid shoot was imbued with a kind of seriousness. The film allowed this investment.

The film can be viewed as being about dealing with death and how children cope with it. Do you agree?

It’s more a film about generations and passing on. And actually, in my way of thinking, on how to turn the page, to leave the past behind… What I wanted was to evoke this connection and to transform the verticality of hierarchy into horizontality. It’s a collective experience. If you go to the movies with your mother, your children or people you love, I hope that what you’ll share next will be a little bit different. The goal is to leave space for the spectators. I hope that the film will remain in the minds of the spectators and maybe lead them to view their loved ones from a new perspective. This is perhaps my most collaborative film with the public. Cinema must involve the public. I learned a lot from Portrait de la jeune fille en feu and I’m trying to be even more “inclusive” with this one. To me, the WandaVision series is a great example of how we perceive a sitcom and what we project into it.

What does the mother-daughter relationship mean to you?

(She hesitates, takes a deep breath, smiles and points to the picture from the film). I’m always annoyed when I have to express my opinions about my films. The question is not what I think about it but what you can project onto this story. It’s a dialogue.

The father is loving but seems to remain a little outside of the imaginary level.

He’s a bit on another level. But he follows his own evolution. For example, he shaves his beard, which gives him a more youthful face. And the little mother may be Marion, but she’s also Nelly. And we see it through her relationship with the father. And the way they each handle loss. They take care of each other. I wanted to show that children can take care of us, the adults.

[Please don’t repost this anywhere, in part or in whole. Feel free to reblog, or at least cite your source and provide a link back here. Asking permission would be nice in an ideal world, but I’m a realist - I know far too well how easy it is to appropriate stuff on Tumblr. I would be the first to admit that my translations are not perfect - there are some words and phrases that simply do not drop neatly into an equivalent in English, and I constantly fix typos and make changes or corrections in older posts - but they do take a lot of work and time. Thanks for understanding. - C.]

h/t @thexfridax for the .pdf of the article!

#french movie #french cinema #french director #femme artiste #french feminist #female directed films #female gaze #feminisme #feminism #women directors #women make movies #women in film #women writers #in women we trust #future is female

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afrenchclone · 3 years

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Céline Sciamma : «S’engager rend toujours vulnérable»

by Annick Cojean - Le Monde, June 6, 2021

I WOULDN’T HAVE GOTTEN HERE IF… The director looks back on her joyful and curious childhood and talks about how her encounter with cinema offered her a «vicarious life»

In four films, director Céline Sciamma, 42, has established herself as the representative of a new genre of sensitive and demanding auteur cinema. Her Cannes award-winning Portrait de la jeune fille en feu has been seen around the world, and was the first French film screened abroad in 2020 with 1.5 million admissions. She returns to theaters with Petite maman, a poetic tale, filmed from a child’s perspective.

I wouldn’t have gotten here if…

… If I hadn’t grown up with siblings. It’s the most constant and fundamental element in my life. Something essential. I say this with all the more conviction because I thought hard about your famous question! I’ve been wondering about the tipping points that have marked the course of my life, but without being able to distinguish a «decisive» moment or a «major» turning point. To unearth the truth, you have to go back in time as far as possible. And this is how my siblings line up: my sister, younger than me by three years, and my brother, the youngest child, by seven years. It’s the longest accompaniment in my life. And much more: the most unconditional support. At heart, it’s a primary alliance based on solidarity, trust, and caring for each other. And then the games!

Because it’s joyful?

Oh yes! What a laugh! We’re in touch daily and talking to them, even if it’s only for a few minutes on the phone, is a guarantee of laughter, even when we talk about serious things. My brother and sister are my confidants. We continue to grow together.

Have you always felt the strength of this bond?

My very first memory is of my sister’s birth. But I feel that it was when my brother was born that we instantly bonded as siblings. A trio emerged, much stronger than the duo. And from that moment on, we were a team. Our parents were very young because they had me at 21. I felt a real responsibility as the eldest: to be attentive, creative, a kind of role model. But it all happened through play: singing, dancing, playing sports. Our environment was conducive to it. We lived in Cergy-Pontoise, one of these new cities that fascinate me and which are places designed for children. You can cross the city without passing a car, and there is even a small wood. Can you imagine our freedom as kids, always outside? There was room for our respective games and passions. And a constant dynamic of humor. My brother actually became a comedian.

Joy and light of childhood…

Yes, but not just that. The little girl that I used to be always felt a sensation of marginalization and inadequacy. It was vague, confusing, inexpressible. But I had an early awareness of being out of step with the projections and the imaginings that society offered me. I dreamed of something else. I was not compliant. So the team of siblings did not preclude solitude and secrecy. Even though I was an energetic and happy child, I was still working on my lion’s wrinkle!

Were you what Nina Bouraoui calls a «homosexual child»?

I was very well aware who my heart was beating for! And there was a continuum of clues that made me feel some weird emotions that I quickly realized were forbidden. This was the early 1980s, a pre-Internet era, with no information or images to project onto. Homosexuality did not exist in the cultural space, lesbians even less so. You had to deal with this poorly identified feeling. It wasn’t really an affliction, but I wanted to grow up quickly to be free to choose my life and not always be waiting for it to start.

Did you talk about it with your parents?

Certainly not! I had a secret relationship with it. It wasn’t so much that it was difficult to talk about or a problem to «come clean» as it was the desire to protect the immense curiosity I had and the dream of a particular sentimental destiny. I wanted to cultivate this dream, not to counter it. It seemed to me to be a promise. But announcing it before actually living it was out of the question!

How did you nourish this curiosity?

A young English girl in the 1980s could find a whole shelf of lesbian literature in a bookshop or library. Impossible in French libraries where the classification is universal and not by genre. Unearthing a book in which I could find myself was something of a treasure hunt. I spent a lot of time in libraries, digging, scrutinizing, hoping. And then one day, it finally happened. You come across Colette. You come across Virginia Woolf. And you’re struck in the heart. You pull on one thread… And you realize that the great women authors have often had queer existences, in their lives or in their novels. And that by taking an interest in great feminine literature, therefore feminist, we end up meeting. And it’s an enormous emotion, completely aside from the work.

What feeling does this paucity of representation engender?

Today, I would call it exclusion. But back then, it made you doubt yourself and your intuition. You felt very alone, possibly the only one in the world. How can you explore your own feelings if you can’t relate them to the images, stories, behaviors visible in society? So, when by some miracle you recognize yourself, I assure you that you can’t miss it! It’s so strong, so overwhelming, that it is impossible to go back. If the desire survives its total erasure, and the emotional extortion often brought about to make it disappear, well I assure you that it empowers you with a hell of a lot of strength.

How did your encounter with cinema come about?

In much the same vein. Overnight, it took over from literature. From the age of 13 or 14, I went there three times a week. By myself. And I saw everything, thanks to the wonderful Utopia cinema in Cergy. My life was organized around that: earning money by babysitting to pay for my movie tickets.

Did someone introduce you to the 7th art?

My grandmother. My wonderful grandmother who passed away recently. A grandmother who had been a movie buff since her childhood in Cairo in the 1930s. A grandmother equipped with all the satellite channels, who meticulously chose the film that we would watch together in silence and who thus introduced me to Capra, Hitchcock, James Stewart, her favorite actor, but also to Spanish cinema, to all of Italian cinema… She had tons of film books, numerous encyclopedias, and she educated me, the dreamy teenager for whom the cinema offered a vicarious life. I was vibrating, pulsating, brimming with ideas. Everything was so intense that it became a goal. I dreamed of such powerful loves, even if it seemed impossible. Because not only did I not kiss anyone in real life, but I also never saw anyone, on the screen, kissing someone of the same sex. Which would have moved me so much and given me courage.

Were you aware that the cinema’s perspective was both masculine and hetero?

Not at all! I was in awe. And I absorbed the canon. Cinema is an art based on canon, and on the repetition of canon. An authoritarian canon with rules, norms, styles, archetypes. Cinema is very much inspired by cinema. It’s one of the arts where you can claim to have been inspired by your colleague, which I find very beautiful. But as a result, you lack distance. You immerse yourself in this standardized universe, you feed off it, you wallow in it. And then one day, you discover La vie ne me fait pas peur, by Noémie Lvovsky, the first film I saw with the knowledge that it was made by a woman. And I was in shock. Not only because a young director was showing me that this profession was accessible to a woman. But her film offered something different, touched a sensitive chord and literally shook me. From then on, I paid attention to the director, and not just to the film.

And you thought about studying film…

No. Not yet. I had a thirst for learning, I liked to study. A teacher talked to me about hypokhâgne. I’m in. Paris reaches out to me! Long live autonomy! In truth, I ended up in Neuilly in a nuns’ home. I worked like crazy but experienced life in a community with girls. And it was great! Friendly, supportive, festive. There was an amazing mix of backgrounds, girls from the provinces and the Parisian upper middle class, left-wing chicks and girls from the RPR [Rassemblement pour la République, founded by Jacques Chirac]. I was open to a lot of things and I loved this feminine everyday life. When I imagined the rest of my life, that was how I would like to live.

What do you mean by that?

In a friendly community. Among people who listen to each other, who understand each other and who simply love each other. It’s not just about couples or families! Friendship can also be a way of life. It already organizes and structures mine, including sharing care and services on a daily basis. I also have male friendships and would not exclude integrating boys into the community that I fantasize about. But I have to admit that a single-sex community is a refuge of unheard-of sweetness and freedom. The idea is not, as is often thought, to conspire or have secret discussions from which we would like to exclude others. The objective is much simpler: to be able to rest and relax. To spare ourselves certain conversations or behaviors. To live our individuality to the fullest.

The singularity of your regard and your style has been striking from your very first film, «Naissance des pieuvres», made right out of film school…

I enjoyed making it so much! So much joy at every step of the way, every encounter, every action. I rushed into it, very young, scrawny, without any experience, perfectly unaware, but with a political intuition and a radical approach to the staging that still moves me today. It’s true, I talked about the troubles of adolescence, when I was barely past it myself, and also about the injunctions and abuses to which girls are exposed. It was before #metoo, but I didn’t avoid violence. One of my characters even spit in the mouth of a boy in response to the violence he had done to her. At the time, some spectators expressed their disgust at this scene. Today, it’s become a triumphant image that people celebrate. And that was my intention. Anyway, the success of the film and the pleasure I took in it made me say: this is what I want to do! This is how I want to live. In this emotional intensity of collective creation. In this ephemeral fusion of filming.

But what is your intent?

I know how important cinema has been to my life as a young viewer. So my ambition is at that level. Cinema can save lives.

What films do you want to make?

Films that overwhelm, that disturb, that question. Films that make us grow. Films that make you feel infinitely alive and from which you leave with your heart beating. I would like to create beauty. And even poetry.

And have a political and social impact?

Obviously! But not by making a political pamphlet! Not with the codes of political cinema that piss everyone off. By offering experiences, rather than debates. By showing other faces, other attitudes, other relationships. By leaving behind the dramaturgy of conflict, which is ubiquitous in fiction. My films are not meant to create ripples in the pond. There is no object lesson, I don’t assert truths. I offer feelings that foster new ideas, that explore other ways of living and thinking. The opportunity to do so, in real life, doesn’t happen very frequently. I’m not addressing legislators! I am thinking only about the audience and their emotions. I dream that they take the film with them, that they complete it, fantasize about it, feed on it. You know, on the second day of shooting on Portrait de la jeune fille en feu, as we were filming the scene on the beach where the two heroines are kissing and crying because they have to separate, I turned to my cinematographer and said: «We’re going to change the world!»

So there it is, your ambition!

But of course! I take cinema very seriously. And that’s why I accompany my films with a political voice that I could spare myself. But I am committed. I bring up ideas. And receiving thousands of testimonies from fans and activists of all kinds and from all over the world saying that this love story has changed their lives blows me away. It’s a real community that’s been created. The bond with the film has become a bond between those who loved it. A bond of friendship, solidarity and mutual support. It makes me sentimental. And also vulnerable. Being committed always makes you vulnerable.

Did you think of the teenager from Cergy-Pontoise who never recognized herself in the films she was watching at the Utopia?

I made the film that would have reached out to her.

h/t @tonovember!

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afrenchclone · 3 years

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Saison 4 épisode 1: Coming Home

Alors les loulous! Vous pensiez que maman allait vous laisser là?

Allez on plonge dans la saison 4, au programme [spoiler] Pacey & Joey, Fraü Gretchen, Joey perd sa petite fleur pendant un week-end à Piau-Engaly, Dawson… … pas encore…, Mitche et la tragique boule de glace, sans oublier ce connaux de Drue Valentine.

Joey et Pacey rentrent donc de leur été sauvage en bateau. Ils ont l’air choubidous à se pougner à moitié à oilpé les cheveux pleins de sel on se croirait dans Le Lagon Bleu.

En descendant sur le ponton, Pacey demande à Joey ce qu’elle dira quand on lui posera LA question à savoir, est-ce qu’ils ont fait frotti-frotta. Joey pense que personne dans la bande ne le demandera car ce ne sont pas leurs affaires.

(c’est totalement gratuit).

Bref, évidemment tout le monde demande:

Bessie:

Jen:

et même Jack!

et bien sûre DOSSONE! Est-ce que ma petite Joer est toujours intacte pour moi?

Et en plus cette débile elle lui répond en lui disant qu’il n’a pas à s’inquiéter

Voilà donc on comprend que Joey a toujours sa petite fleur, OUF

Bon je m’énerve déjà. Reprenons.

Dawson a passé l’été avec Jack, Jen et Andie, regardez moi ces pioupious:

Il a une coupe de cheveux encore plus insupportable qu’avant:

il est maintenant dans sa phase photographie et aussi, il repeint des façades de maisons avec Jack pour se faire de l’argent de poche.

En allant chercher des gros rouleaux au Castoche de Capeside il tombe sur: GRETCHEN

alors Wer ist Gretchen? C’est la soeur de Pacey, dont on n’avait jamais entendu parler jusque là, mais bon, scénaristiquement on n’est plus à ça près.

Et c’était surtout le premier crush de DOSSON. Genre pendant 3 minutes dans sa vie il était pas à fond sur Joer? J’ai du mal à la croire.

(oui ils ont rasé la tête à Pacey c’est un scandale)

Dès que Dawson et Gretchen (pourquoi ce prénom?) se croisent on sent que ça fait des étincelles…

Le soir du retour de Joey et Pacey à Capeside, il y a une projection de Jaws sur la plage (franchemeng ça a l’air cool).

Pacey n’était pas censé y aller mais comme Gretchen a pris sa place chez son frère Doug, il se radine chez Joey (et n’ose pas lui demander de l’héberger en fait), et ils vont finalement à la projection ensemble.

Evidemment quand ils se radinent mano dans la mano, Dawson est colère.

Point outfit Joer: vous vous souvenez de quand on avait les chairs fermes et qu’on portait des tops comme ça?

(elle a toujours l’air de mesurer 2 mètres 40)

Bon la soirée retrouvailles sur la plage c’est donc pas la joie, et pour couronner le tout Pacey et Joey s’engueulent, il lui reproche de s’être précipitée chez Dawson, ptn Pacey si tu te mets aussi à être un connaux on va pas s’en sortir.

Il se barre, ce qui laisse tout le loisir à Dawson de raccompagner Joey chez elle, nice move Pacey.

Bref, finalement Joey (également sdf car sa chambre occupée par des clients du b&b) va rejoindre Pacey sur le bateau où ils se réconcilient et dorment chastement comme ces 3 derniers mois, re-oufe.

Side story: Jen, et surtout Andie, (parce que Jen dans sa tête elle est toujours en relation “longue distance” avec Henry le tueur en série) rencontrent deux jeunes français à la plage.

Vous savez comment ils s’appellent les deux franzozich? Je vous le donne en mille:

sans déconner

youtube

Andie passe l’épisode en bikini et finit par pécho Jean-Jean-Jean

Et pour finir, tout est comme d’habitude, tu peux pas faire un pas dans la Leery house sans que les parents de Dawson soient en train de ken sur le canap ou la table de la cuisine

Voilà, la suite au prochain épisode

#dawson creek #Dawson creek s4 #chez le Dawson #humour

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