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Portrait of a Lady on Fire (2019)

Director: Celine Sciamma

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My 2020 Tumblr Top 10

1) Jun 30 2020

2) Jul 6 2020

3) Aug 3 2020

Master list: Translated interviews / articles / Q&As with Céline Sciamma, Adèle Haenel, Noémie Merlant (and others)

4) Jul 30 2020

5) Sep 9 2020

6) Jul 16 2020

7) Jul 9 2020

8) Jul 7 2020

9) Sep 7 2020

10) Aug 17 2020

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I mean… Wayhaught, Adèle Haenel and gang, and Derry Girls!!! Not bad 😍 Thanks @tenemos-que-hablar​ for dragging me out here 😅 Created by TumblrTop10

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Playing with a kitten and she slept

(via)

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Libération magazine, December 24, 2020

HAENEL GETS UP AND GETS OUT

French cinema had just ousted Alain Terzian, who had been answerable for the less than stellar administration of the Césars for seventeen years.  The ceremony revealed itself as the portrait of a broken home with the triumph of J'Accuse by persona non grata Polanski.  Three months after her testimony as a victim of sexual assault by another filmmaker, Adèle Haenel stormed out of the theater at the announcement of the award for best director.  First two words: «La honte [Shame]!».  Then those of Despentes in a volcanic op-ed for Libé: «From now on we get up and we get out.»

h/t @thexfridax​!

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Please enjoy a serving of low quality gifs of a high quality woman.

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No subtitles needed.

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can somebody make a discord for Adèle

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No subtitles needed.

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Me watching a new show/movie with any indication of a wlw potential.

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and walking the street protesting, and giving thought-out interview with profound insights

fuck all celebrity activism other than adele haenel furiously storming out the Cesars and shouting bravo la pedophilie bravo! after roman polanski won

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obsessed with people carrying their giant round cats

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the way she sits in the last gif 😂

This friendship tho 🖤.

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Adèle Haenel. L’émotion brute

By Karelle Fitoussi - Paris Match, April 1, 2017

One year after her second César, she lights up «Orpheline» by Arnaud des Pallières.  The opportunity to meet a frank and sincere actress, who for the moment is leading a perfect journey.

Three years ago, she was still going to get her make-up done at the last minute in a local perfume shop during the promotion of «Les Combattants».  Today, César for best actress or not, nothing has changed.  Adèle Haenel still doesn’t like to smile against her will.  This morning, she has just crossed Paris by Vélib’ after having forgotten to wake up for a radio show.  So of course the hairdresser has to struggle…  She takes responsibility.  Indifferent to the vanities of the profession, intrinsically revolted, it is on the big screen that she has chosen to fight stereotypes.  In «Orpheline», she embodies the final facet of a woman - also played by Adèle Exarchopoulos and Solène Rigot at different ages - who tries to forget her past in a headlong rush.  Meet an actress in a hurry who is definitely not here to play house.

Paris Match.  Two years ago, you won your second César at 26 years old.  That’s as many as Catherine Deneuve in her fifty-year career…  What has success changed [for you]?  Does it make choices more difficult?

Adèle Haenel.  No, because in obscurity I became familiar with the idea of failing.  This fear of failure, we all have it.  Making the wrong choice, obviously, worries me.  It’s like I’ve been given trust and that makes me feel responsible.  I try to make a difference by being as sincere as possible.  And I am certainly recognized a little more than before by a part of the population, but it remains a microphenomenon.

Are there any roles in which you think you failed?

Sure, but I won’t say which ones.  That’s my business.  I think it’s very important to fail, to be wrong.  If you’re always happy with yourself, I’m not sure what you’re trying to do.  Anyway, the idea is to seek out frailty.  We’re walking a fine line.

Adèle Exarchopoulos says that you inject politics into all your roles…

Always!  I hate that people are defined by their gender, their skin [color] or their wealth.  The clichés that are conveyed by decreeing: “You, you’re from the suburbs so you wear hoods and you’re violent."  "Orpheline” is instead an attempt to make a fragmented portrait of a woman without defining or freezing her.  I’m interested because suddenly you’re no longer reacting according to statistics.  It makes people a little less governable.

According to these statistics, what kind of life should you have?

I’m not from a disadvantaged social class, I come from the middle class, but already, at my level, teachers were explaining to me that you should expect not to take many vacations and to dedicate your life to your business.

You almost had this life when you chose to take the HEC exam rather than continue in the cinema, after your debut as an actress at the age of 12…

I have no contempt for the people who choose this life.  The problem is, it’s the system that dictates that this is the only path, not them.  I was lucky to make movies, to meet people who took me out of the closed mindset of thinking that the goal for my life was a permanent job.  I am a combination of luck, encounters and stubbornness.  Sometimes, it’s also accidents that make us who we are.  I failed my exams so I couldn’t go to HEC…  It’s not bad sometimes to take a side step!

“Orpheline” is precisely the story of a woman who takes charge of her destiny and rejects the classic codes of femininity assigned to her…  Is that what made you fight to do it? 

Yes, what interests me about this movie is that it’s a place of fantasy.  Arnaud doesn’t give a damn about verisimilitude, he doesn’t think that the character should look the same throughout her [various] ages.  He doesn’t put lenses on Adèle [Exarchopoulos] so that we have the same eye color.  It’s thought of as a film with missing pieces.  Thanks to the ellipses, everyone can come up with their own version…  Like a treasure hunt.

“Moonlight” uses the same process, which involves having several actors play the same role at different ages…

“Moonlight” is beautiful, it’s touching, with intelligent characters as well.  There must be something in the spirit of the times that makes the figure of the hero explode.  It’s kind of like when they started painting pointilistically, it signifies something of the time, right?

You again play an older, more composed character.  Is it because you want to get away from the angry girl roles you’ve often played? 

It’s okay to get angry, the world is ultra-violent.  As soon as you step out of line, that you’re not dressed the way you should be if you’re a woman, that you don’t have the money to pay for an apartment, you realize it.  As a result, being calm is also a way to break away from the folklore.  It interested me because behind it there’s an esteem for others and for yourself, a desire to do something with your life rather than just destroying it.

For the moment, the only comedy you’ve done is “Les Combattants”…

Comedies with coarse humor or punchlines don’t make me laugh.  I will never champion that kind of cinema, it doesn’t interest me.  I find that the people who do it are obsessed with power: they want to have power and for millions of people to see it…  I’d rather have four people woken up by my films than a million people be dumbfounded by them.

You’ve evolved a lot in the way you present yourself to the world since your beginnings, you play the glamour game more these days.  Has it been a learning experience for you, femininity and elegance?

Oh my god, yes!  For a long time, I rejected all that, and now I accept it more philosophically.  I don’t do the rounds of the previews, but when I have to, I take it less vehemently.  It always costs me, because you sincerely accept projects and then the loss of meaning is terrible.  You realize that you have great ideas about the universe, about people, but that in the end you only speak in a microcosm, you always talk to the same people… it’s a little depressing.  But this way I’m talking to two people to emancipate them instead of 1,000 to subjugate them.  And I hate that popular cinema is often lumped in with mindless cinema.  My dream would be to make a demanding popular cinema.  But it’s complicated.  And for that, I feel that you have to try to make a pact with the audience.  It’s a responsibility to be the vehicle of people’s trust.  Finally, you shouldn’t overestimate yourself either…

Do you still feel like you’re disguising yourself when you put on a beautiful dress to climb the stairs at Cannes?

It’s not my goal, but from the moment I realized that it was just a game, it made things less difficult.  And to play is also to make things less violent.  Before, when there was someone who annoyed me, I felt like yelling or fighting.  These days, never.  I’ve realized that what’s really funny is actually making a joke out of it.

As a public figure, do you want to use your power of influence?

I’m not much of a tactician, but my political ambition is mostly to say: “We’re not what you say we are."  All the Fillons who say that "life is a daddy, a mommy and 35 children” and explain to you whether or not you have the right to exist, with their morose and certainly not very passionate lives, it’s not possible.  That’s what I’m fighting against.

Are you going to vote?

It’s complicated.  Because of my education, I’ve always been very liberal-conservative and Gaullist, I’ve always known the polling stations, and now I’m a little lost… but I don’t want the National Front to pass.  But it’s as if everyone has already agreed on what is possible and impossible.  They call us dreamers!  It makes you wonder what the use of politics is…

What do you do when you’re not filming?

I spend my time reading.  A lot of philosophy and poetry.  I’m reading Montaigne’s “Essays”.  I’m going to see “Grave”…  I haven’t been to the movies much lately.

Have you seen “La La Land”?

No, I’m not interested in a film that says “you can’t not love it."  And I’ve never been much into musicals.  Then, in a very divided France, I wonder how you can say you can’t not love a film!

[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.]

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Helöise 🖼 ✨ Marianne 🎨

Portrait of a Lady on Fire 🔥

🤧💚🤧❤️🤧

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Your camera roll if adèle haenel was your girlfriend 🥺