#lucile gauthier

[dozydawn]

​lucille gauthier

[pleasecallmealsip]

“this is easier than posing the true problem”

Florence Gauthier: On the subject of Wajda’s “Danton”

Annales historiques de la Révolution française, No 251 (Janvier-Mars 1983), pp. 182-185

Certainly, all political discourse began with 1789, indeed, so much for François Furet’s wishful thinking that the Revolution is finished! (1) If there was a time in which 1789 founded the Republic, then there also came a time in which 1789 became the embryo of the proletarian Revolution. From teleology to teleology, today we have arrived at this: the French Revolution, according to Wajda, was an early draft of Stalinism.

It is essentially by psychologic methods that Wajda shapes his film to lead us deeper into these totalitarian hearts. And what comes first is fear.

The film bathes in oppression, the greenish, greyish, brownish colours, the harsh blue lighting, make the actors look diseased. Fouquier-Tinville is pale as linen, Saint-Just is bistre, Robespierre goes from yellow to grey and ends up in the most mortuary green imaginable on his bed of expiation. Not one “normal” head apart from that of Danton, the eyes are reddened, the teeth are unclean, the wigs are askew. Conversations between people are sharpened with a knife, not one smile, “people pout and sulk”, people yell instead of talk, people bark, several bursts of nervous laughter. Only Danton has a real human laugh and displays some trace of tenderness.

Not one feminine presence. Éléonore Duplay, the “fiancée” of Robespierre, rigid as the Puritanism that she presumably represents, slaps her little brother who cannot learn his table of the Rights of Man and of Citizen and weeps without a sound. Lucile Desmoulins is hard as a rock.

The angles of view are clogged up. All is cut off by corners of walls, by corners of streets, by narrow doors, by corridors, by railings. Every view is framed, driven along like hunted game. A noise from the deep perpetually grinds at the characters and the audience; far-away whispers from far-away people?

Not one “normal” voice, all are raspy, what an ordeal! The horrible bitter voice of Robespierre, the whimpering of Desmoulins, the barking of Saint-Just, the dog teeth of Billaud-Varennes. The figures…! They come out of the most sordid hovel imaginable. Is that Collot with his blackened eyes, his vermillion mouth open like a shop-window? That head of an old haggard, is that Couthon? Apart from Danton, all the others hail from the hideous underbelly of I don’t know which Hospital. The mediocrity, the gross vulgarity, the burden of chains weighing on all … this is hell. Is this the revolution? How horrible! Try as Danton might to stop this dance, he is caught up in the inexorable mechanics. Try as Robespierre might to reign in the process, he is carried away in the well-oiled mechanism that overpowers his illusions as a utopian, as a lover of Truth, of Justice, of Equality. He is the Conscience and he must pay for his folly. Hell is revolution.

⁂

Wajda wanted to give a psychological dimension to the Danton case. All this is in play from the very first scene, in which Robespierre, already green with envy, watches through his window Danton basking in the crowd. Danton is supposed to love Robespierre and finds joy in having humiliated him. Then comes a little tenderness: he lets himself be touched on the neck by forcing Robespierre’s hand up there, and he groans with pleasure. Robespierre refuses this love, he is presumably envious of Danton’s vitality, the vitality that he is incapable of. Hence Danton will die.

The relationship of Saint-Just – Robespierre is cut from the same cloth. Saint-Just is in love with Robespierre and incessantly circles him like a fly. He comes to celebrate victory after Danton’s death. Scene at bedside, Robespierre unwell. Saint-Just holds out his arms and his brilliant idea: he offers personal dictatorship to his idol. Robespierre refuses, he certainly does not want to be loved!

It must be clarified that no document at all backs up these interpretations and I ask myself, is this what “psychology” is, is this the humane and profound dimension? Is today’s trend to reduce the human being to these little connections?

Here we see Robespierre once more emasculated under a persistent legend, for the Sex of the Jacobins “works” well for many, and a vast literature please themselves by contrasting a corruptible, bon-vivant Danton, in short, a humane man, with a puritan Robespierre and thus, for one thing follows another in deduction, a frigid and despotic Robespierre. What is the point of hiding behind these oppositions reduced to differences in character when it was also about political conduct and about different interpretations of power? Robespierre did not abuse his position or his power to exercise sexual power, and thus we see him here accused of impotence (and of repressed homosexuality and of being unable to love and thus of despotism, etc, etc…) It is true that this is easier than posing the true problem, the problem of one aspect of power so concealed in Robespierre’s case and presented in Danton’s case as a trait of a human and “natural” character. In both these cases, the problem of power has disappeared. Is it understood that Robespierre was a young and beautiful man, elegant, refined, and that he had much success? I must naively recall this fact, since this opposition of characters that Wajda imposes is supposed to allow him to “explain” his characters and the revolution.

There is not one “woman” in this film. In the 18th century, were all relationships relationships between men? Wajda pairs up Danton-Robespierre, the two complementary aspects, the Flesh and the Conscience. Yet the Wajda’s talking point here is too Catholic for the era, it belongs to the 17th century and elsewhere. The Enlightenment’s humanism, the pantheist revolution, the thought of Nature – all this is simply absent. Why do we have to think of Robespierre disguised as the tortured Jesus and as an archbishop? (2)

Is this not a double-reading of the Danton-Robespierre pairing that is proposed to us? Danton the material for the west, Robespierre the passion, the folly for Poland. But no, this Catholic and masculine conception does not belong to the 18th century. No, Danton could not be reduced to animality, and Robespierre, anti-clerical, pantheist, the philosopher of Nature, is not the Catholic and romantic hero presented here.

⁂

This error of perspective is compounded with innumerable factual errors. Here are but a few of them: the ransack of the printing house of “Le Vieux Cordelier”, pure invention. Robespierre wanting to remove Fabre from David’s tableau, The Tennis Court Oath, pure invention (Wajda reaches a peak here: he accuses Robespierre of falsifying history, and it is he, Wajda, who is inventing this episode!), this archbishop costume on Robespierre preparing for the Festival of the Supreme Being, pure invention. Yet these inventions are not mere details, since they were intended to portray a character. It is by these little touches that Wajda establishes a parallel between the Terror and Stalinism, and he does not hesitate to present Robespierre as the chief of a totalitarian regime. This hardly acknowledges reality and the Robespierrists’ reflections on power and on democracy. Thus, Wajda makes Danton say this line: “the people have only one dangerous enemy, it is their government.” Yet we find out that it was Saint-Just that delivered it in his speech from 10th October 1793, establishing the “revolutionary government”. The perspective is bizarrely false. What did Saint-Just say? “You had energy, the public administration lacked it. You desired economy, the accountants did not follow up with your efforts. All the world has pillaged the State. The generals have waged war against their own army. The owners of productions and of foodstuffs, all the vices of the monarchy, at last, have joined forces against the people and against you.＊ A people have only one dangerous enemy, and that is their government; your government has waged war against you with impunity.” (3)

In the summer of 1793, Robespierre turned down a proposition to hand all power over to the Committee of Public Safety. The complex establishment of the “revolutionary government” must have allowed the application of a policy based on the popular organisations (agrarian law: the suppression of feudal dues; the parcellation of land; the price maximum: a fight against the high cost of living; waging civil war and war on the borders).

The Robespierrists, predicting that power naturally corrupts, took all possible precautions so as to prevent the organs of the “revolutionary government” from exercising tyranny on an institutional level. Thus, the Committee of Public Safety, which answered to the Convention, for the Convention alone governed, was re-elected every two months⁑ by the Convention. When we know that a vote in the Convention sufficed to eliminate the Robespierrists on 9 Thermidor, we should understand that power of a dictatorial nature was entirely outside of the Robespierrists’ conception. Thus, that Saint-Just could have offered Robespierre personal dictatorship is some notable nonsense. Furthermore, the Jacobins were never a uniquely powerful party, and they were a minority in the Convention as well as in the Committee of Public Safety.

⁂

Wajda presents a Danton who wants to pause the revolution and to enjoy life, that is to say, he wants to enjoy the wealth that the revolution has brought him. Since only the economic question is evoked, let’s talk about it. In the Montagnards’ programme, the fight against the high cost of living holds an essential place. Let us recall very quickly what this entails. After 29th August 1789, the Constituent declared “economic liberty”, and then, faced with resistance, “martial law” to facilitate its implementation, on 21st October 1789. This economic liberty accelerated the increase in prices, exacerbated by the creation of the assignat. Since no taxes (impôts) have been paid since 1789, the government departments resorted to money-printing. This resulted in an unprecedented economic crisis. Up to 1793, the departments of the government merely imposed martial law, so hundreds of people were repressed, massacred, and condemned. This was the period of liberal terror. Let us recall that the economic question was the principal cause of the fall of the Gironde on 31st May - 2nd June 1793.

Martial law was abolished on 23rd June 1793, and economic liberty was also abolished by establishing the price maximum in September. The prices of foodstuffs were raised by a third compared to the pre-assignat prices from 1790 and fixed at that, and wages were raised by a half: so, there was a relative rise in wages. To make the policy of the price maximum coherent, the Robespierrists called for the suppression of the assignat and a return to metallic money. The Convention, however, refused their calls systematically, and the so-called omnipotent Robespierre in the Committee of Public Safety was unable to obtain this suppression.

At the time of the Danton affair, the application of the maximum price limit was very severe, and the black market was growing. Only popular mobilisation allowed people to wrest every sack of grain from the producers. The Robespierrists depended simultaneously on the government and on popular mobilisation to effectively fight the rising prices. They did not succeed in this, and the reasons are still very poorly understood, for hardly any studies exist on the application of the agrarian law of Year II, or on the price maximum.

Wajda seems to be saying that the government is responsible for the economic crisis. That is doubtlessly the case, but the government itself was conflicted about what policy was to be followed, and this ought to have been clarified. It was in this context that the Dantonist offensive, sensing the weakening of the popular movement, was launched, demanding, among other things, to end the then-ongoing implementation of the anti-liberal economic programme. How could it be that it is the Dantonists who are presented as the “friends of the people”? Since we know that the abolition of the price maximum in Year III was followed by an appalling crisis, it is reasonable to doubt this. We shall therefore be honest and present them as the friends of the speculators, of the army suppliers, of those who purchased national property, in short, of the profiteers of the revolution. We will learn more by plainly stating what the problem at the heart of Year II was.

Florence GAUTHIER

＊This speech was addressed to the Commission, hence the difference between "the people" and "you". Recall Slavoj Zizek's claim that the Jacobins never was a Party that could create the People embodied in it.

⁑ This seems to have been an error. The Committee of Public Safety had its powers renewed by the Convention every month.

Notes in the original:

1 F. FURET, Interpreting the French revolution (Penser la Révolution française), Gallimard, 1978, and his interview in “Libération”, 17th January 1983, where, referring to Wajda, he compares openly, and for the first time, Robespierre to Stalin. One can compare this excellently with the latest book of J. -P. FAYE, Portable Politic Dictionary in Five Words (Dictionnaire politique portatif en cinq mots), Gallimard, 1982, which does not recognise in the Jacobin discourse the source of totalitarianism.

2 Albert MATHIEZ noted already in 1910: “the physiognomy of Robespierre has been really deformed for 20 years by republican historians such that talking today of the religious ideas of the Incorruptible might appear an impossible task. Robespierre, it is proclaimed, was a man with a narrow brain, a man of the old regime, a cold man of ambition, who wanted to reign over France and through the terror impose on her a counterfeit of Catholicism, the deism erected into the religion of the State.” Study on Robespierre, edited Sociales, reedited, p.157. As we see here Wajda takes us 70 years back.

3 SAINT-JUST, Political Theory, Seuil, 1796, p. 234.

I would like to thank @czerwonykasztelanic for offering to emend the draft.

[athousandgateaux]

I spend a lot of time seeking out and listening to queer music and artists, so I thought I'd share a list of some of my favourite artists* in case anyone's interested and doesn't know where to start.

*disclaimer: these are just some of the artists I like, not an exhaustive list of queer musicians. If you want to add suggestions, that would be awesome. I tried to group artists by genre, but many of them cross genres or are difficult to classify in that way.

Anyway, list is under the cut!

punk/metal/hardcore/post-punk

-Dog Park Dissidents

-She/Her/Hers

-Priests

-DITZ

-Crack Cloud

-Limp Wrist

-Queen Zee

-Danny Denial

-G.L.O.S.S.

-Slouch

-Tribe8

-Fit For Rivals

-Nervus

-Tacocat

-The Total Bettys

-Dyke Drama

-Pansy Division

-Art Project

-Trash Boat

-Against Me!

-Sloppy Jane

-Queen Zee

-The Degenerettes

-Size of Sadness

-Seth Bogart

-The Spook School

-Dream Nails

-Gina Young

-Mhaol

-Artio

-Arcadia Grey

-thotcrime

-VIAL

pop/hyperpop

-Rina Sawayama

-Kim Petras

-girli

-Regina Gently

-MUNA

-Janelle Monae

-George Michael

-Divine

-Noah Davis

-Sir Babygirl

-Myylo

-The Communards

-I Blame Coco

-MNEK

-Haley Kiyoko

-Boy Jr.

-Sofya Wang

-Allie X

-COBRAH

-Tayla Parx

-SOPHIE

-Hikaru Utada

-Alice Longyu Gao

indie rock / alt-pop / art pop

-Perfume Genius

-Model Child

-Shamir

-Lynks

-ZEE MACHINE

-Cry Club

-The Magnetic Fields

-Patrick Wolf

-Owen Pallett

-Black Belt Eagle Scout

-Moses Sumney

-Yves Tumor

-Anna Calvi

-Ah-Mer-Ah-Su

-Xiu Xiu

-Black Dresses

-NoSo

-Rostam

-Left at London

-Sneakyseabear

-Rosie Tucker

-MEN (JD Samson)

-Le Tigre

-Lord Troy

-Hunx & His Punx

-Arthur Russel

-Cris Derksen

-Ezra Furman

-Rhumba Club

-Arca

-Dizzy Fae

-The Spook School

-Jeremy Dutcher

-corook

-Saucy Santana

-Lilac Boy

-Knife Girl

-Mega Mango

-serpentwithfeet

-Bree Runway

-The Irrepressibles

-Becca Mancari

-MAN ON MAN

-Jayne County

-Gentleman Reg

-Tom Robinson Band

rap/hip-hop

-Chris Conde

-Kalifa (Le1f)

-Quay Dash

-Young M.A.

-Backxwash

-Mykki Blanco

-Ocean Kelly

-Cakes da Killa

-Ddm

-Big Dipper

-Cartel Madras

-Angel Haze

-Deep Dickollective

-Saucy Santana

-Big Daddy Karsten

-Ayesha Erotica

-CHIKA

-Tayla Parx

-Doechii

-DAMAG3

-Fly Young Red

r&b/soul/funk/disco

-Remi Wolf

-Arlo Parks

-Syd

-Shea Diamond

-Meshell Ndegeocello

-Dua Selah

-Jackie Shane

-Sylvester

-Bronski Beat

-SuperKnova

-be steadwell

-Orion Sun

-Labi Siffre

country/folk/blues

-Sufjan Stevens

-Mary Gauthier

-Trixie Mattel

-Lavender Country

-Lord Troy

-Beth Elliot

-Paisley Fields

-Onsind

-Holly Miranda

-Rae Spoon

-Grace Petrie

-Orville Peck

-Villagers

-Lucille Bogan

-Ma Rainey

-Kokomo Arnold

-Peg Leg Howell

house/electronica

-Quanah Style

-Divoli S'vere

-Boy Pussy

-Fritz Helder

-Mx Blouse

-Chippy Nonstop

-Gendered Destruktion

-dj genderfluid

-Electric Fields

-Urias

-vivivivivi

[magnolia-stella]

DOSSIER CHEAT SHEET

~~~~

BASICS

FULL LEGAL NAME: Prof. Madeleine Heloïse Gauthier, (incorrectly) anglicized to Magdalena Louisa

NICKNAME(S): Magnolia, Mags, Maddie

DATE OF BIRTH: July 22nd, 1843

GENDER: bigender (closeted)

PLACE OF BIRTH: Montagnac-sur-Lède, France

CURRENTLY LIVING: unspecified location in the US

SPOKEN LANGUAGES: French, English

EDUCATION: Bachelor's degree in Mathematics, Master's degree in the Natural Philosophy

~~~~~

PHYSICAL INFORMATION

HAIR COLOUR(S): salt-and-pepper, naturally black

EYE COLOUR(S): washed out grey

HEIGHT: 5"3/1.6m

WEIGHT: ~60kg

FACECLAIM(S): Mod's art (left person)

~~~~~~~~~

FAMILY INFORMATION

PARENT/GUARDIAN(S): Serge and Anelise Gauthier, née Fournier

SIBLING(S): Estelle Lucille de la Rosa, née Gauthier

RELATIVE(S): Sofia Madeleine, Camila Annalisa, Antonio Sergio (nieces and nephew through Estelle)

SIGNIFICANT OTHER(S): none

CHILDREN: none

PET(S): four dogs (named Dog, Two, Three, Four), five cats (named Six, Seven, Eight, Nine, Ten)

~~~~~~

RELATIONSHIP INFORMATION

SEXUALITY: asexual "bambi" lesbian

RELATIONSHIP STATUS: single, not looking; will get a girlfriend in the future

SINCE WHEN: always

SHIPPING: hard no

~~~~~

BONUS STUFF FOR FUNSIES

COLOR ASSOCIATED: wine red

ANIMALS ASSOCIATED: tuxedo cats

FRUIT ASSOCIATED: apples

TAGGED BY: @bugs-are-nifty

TAGGING: @amanjeevan-the-activist

[zehub]

Au Havre, des filets de pêche biodégradables pour réduire les déchets en mer

Au large du Havre a lieu une première mondiale : l'équipage du bateau "Gauthier-Lucille" teste des filets biodégradables pour réduire la pollution des fonds marins. Un projet porté par le parc naturel marin des estuaires picards et financé par le Fonds européen pour les affaires maritimes et la pêche. #IlsOntLaSolution

[genevieveetguy]

Jeannette: The Childhood of Joan of Arc (Jeannette, l'enfance de Jeanne d'Arc), Bruno Dumont (2017)

[ozu-teapot]

Jeannette, l'enfance de Jeanne d'Arc | Bruno Dumont | 2017

[moviemosaics]

Jeannette: The Childhood of Joan of Arc

directed by Bruno Dumont, 2017

[frankenpagie]

1.3.19

(6)

[erstwhile-punk-guerito]

[filmstopia]

Jeannette: The Childhood of Joan of Arc (Original title : Jeannette, l'enfance de Jeanne d'Arc) - Official trailer 2017 - Memento Films

New Post has been published on https://goo.gl/hTvhJ4

Jeannette: The Childhood of Joan of Arc (Original title : Jeannette, l'enfance de Jeanne d'Arc) - Official trailer 2017 - Memento Films

France, 1425. In the midst of the Hundred Years' War, the young Jeannette, at the still tender age of 8, looks after her sheep in the small village of Domremy. One day, she tells her friend Hauviette how she cannot bear to see the suffering caused by the English. Madame Gervaise, a nun, tries to reason with the young girl, but Jeannette is ready to take up arms for the salvation of souls and the liberation of the Kingdom of France. Carried by her faith, she will become Joan of Arc. Directed by: Bruno Dumont Cast: Lise Leplat Prudhomme, Jeanne Voisin, Lucile Gauthier

(function(d,s,id)var js,stags=d.getElementsByTagName(s)[0];if(d.getElementById(id))return;js=d.createElement(s);js.id=id;js.src="https://ia.media-imdb.com/images/G/01/imdb/plugins/rating/js/rating.min.js";stags.parentNode.insertBefore(js,stags);)(document,'script','imdb-rating-api');

[winurban]

Éditions du Boréal-Lucile de Peslouan-Kristina Gauthier-Landry.mp4 from Winston McQuade on Vimeo.

LE CULTUREL 2.0 avec Winston McQuade: Les autrices Kristina Gauthier-Landry et Lucile de Pesloüan publie respectivement «Kaléidoscope mon cœur» et «Tiens-toi droite» dans la nouvelle collection Brise^Glace aux Éditions du Boréal. On discute ensemble de poésie pour adolescents et jeunes adultes…

[mrmichaelchadler]

Jeannette: The Childhood of Joan of Arc

The high-concept premise of "Jeannette: The Childhood of Joan of Arc"—a French rock opera about Joan of Arc's formative pre-war years—takes some getting used to. This is the kind of movie that gets stranger as you think about it. To get into this film, you have to find the emotional truth in the slightly awkward performances of non-professional child actors. You also have to get used to the idea of watching a film that follows, during its first half, an eight-year-old shepherdess (Lise Leplat Prudhomme) who head-bangs as she prays for an end to the Hundred Years' War while heavy metal music plays. Imagine a cross between "Annie" and "Jesus Christ Superstar," only with more speed metal. Now imagine a lot of long takes of sometimes merely adequate, sometimes sneakily brilliant performers doing simple dance steps or sing-talking reams of theatrical dialogue (adapted from Charles Peguy's religious mystery play). Now picture beautifully shot, wind-swept beaches whose hills and never-ending sand dunes evoke an alien planet's distant shore. That's it, that's "Jeannette." 

Please bear with me while I try to explain why writer/director Bruno Dumont ("Slack Bay," "Lil Quinquin") and his collaborators deserve the benefit of the doubt. Make up your minds later: just keep an open mind for now. Firstly, an apology: you could, theoretically, get distracted by any number of things in this film, like stiff acting, generic music, or blocky dialogue. These things do, admittedly, make it harder to focus on the essence and not the artifice of Dumont's project. But that often seems to be the point of "Jeannette:" you have to grapple with the dual impulse to seriously consider and/or roll your eyes at the title heroine, a girl whose relationship with God is expressed through childish rhetorical questioning and child-like dancing and singing. She skips, jumps, and spins around whenever she's not head-banging. And she asks God if He was right to send Christ down to Earth—"Could you have sent your son in vain? And could Jesus have died in vain?"—before admonishing other children her age: "Until war is killed, we have to work." Her best friend Hauvette (Lucile Gauthier) tries to placate her: "You must be suffering to call God to account." But this child cannot be shaken from her conviction that only a peaceful land can be saved.

Not much changes once Jeannette (Jeanne Voisin) and Hauvette (Victoria Lefebvre) turn 13, not in terms of their characters' thoughts, nor in terms of the quality of their respective actresses' performances. If anything, Dumont characteristically makes viewers hyper-aware that his actors are amateurs with limited range. But Prudhomme's performance is exciting because it's believably awkward, or maybe just unpredictable and a little brittle. You have to be able to believe that she's an ordinary girl who won't stop posing extraordinary questions, a child whose religious fervor is simultaneously unbelievable and impressive. To meet "Jeannette" at its level, you have to accept Dumont's arch rules: you can only find the film as beautiful as it is strange if you first accept that there's something a little alienating and proudly unreal about this film. You can never really suspend your disbelief because everything is a little rough on purpose. In fact, the only thing in "Jeannette" that is immediately—and therefore traditionally—impressive is its cinematography, and even that serves to enforce the idea that Jeannette is surrounded by inexplicable beauty. 

Dumont typically refuses to give viewers a clear indication of how you are supposed to feel while watching young untrained actors pray and dance. He's half-daring, half-inviting you to try to embrace his deliberately mystifying choices. So he emphasizes the look of conviction and the visible effort on his actors' faces. And he gives them small, achievable movements that they can all credibly accomplish without calling too much attention to themselves, like shuffling their feet in unison, or head-banging with a stiff back. Each gesture is precise, but none of them give too much. Here is a real mystery play, one whose strength comes from the absurd certainty that at any moment, a serious prayer—or the silence that follows—could be interrupted by the intrusive bleating of a nearby sheep. Dumont may be the only filmmaker to auto-critique his own heroine via sheep noises (or sheep-song). 

Finally, a confession: I wanted to write a review of "Jeannette" that made it more accessible, but realize now that I've made it sound even more unapproachable. That, too, is part of the process that many—but not all—viewers will go through when they watch this film. "Jeannette" is a challenging arthouse drama that has a slippery sense of humor and a whole lot of chutzpah. So no, I can't fully explain why this film is so good. You really have to judge this one for yourself.

from All Content https://ift.tt/2JHD5FP

[apocalypticmovierp]

First Trailer For Bruno Dumont’s Musical ‘Jeannette: The Childhood Of Joan Of Arc’ Sings A Rebellious Song

Joan Of Arc fought with her faith for France, but most stories around The Maid of Orléans focus on her final teenage years where she was captured, and burned at the stake by the English. Filmmaker Bruno Dumont takes a different angle with “Jeanette: The Childhood Of Joan Of Arc,” exploring the young martyr’s early years — through song.

Starring Aline Charles, Élise Charles, Jeanne Voisin, Lise Leplat Prudhomme, Lucile Gauthier, and Victoria Lefebvre, the musical takes a look at Joan at eight years old, where she starts feeling for the cause, while living in small French village.

Continue reading First Trailer For Bruno Dumont’s Musical ‘Jeannette: The Childhood Of Joan Of Arc’ Sings A Rebellious Song at The Playlist.

want watch movies online from The Playlist http://ift.tt/2q8qSk0 by via watch movies online via IFTTT

[regarderlesmeilleursfilmsen]

Jeannette, l’enfance de Jeanne d’Arc streaming

Nationalités : France Genre : Musical Date de sortie : 6 septembre 2017 De : Bruno Dumont Avec : Lise Leplat Prudhomme, Jeanne Voisin, Lucile Gauthier

France, 1425. Au milieu de la guerre de Cent Ans, la jeune Jeannette, à l’âge de 8 ans, s’occupe de ses moutons dans le petit village de Domremy. Un jour, elle dit à son amie Hauviette qu’elle ne supporte pas de voir la souffrance causée par les Anglais. Madame Gervaise, religieuse, tente de raisonner avec la jeune fille, mais Jeannette est prête à prendre les armes pour le salut des âmes et la libération du royaume de France. Portée par sa foi, elle deviendra Jeanne d’Arc.

from Streaming VF http://streamovf.org/jeannette-lenfance-de-jeanne-darc-streaming/

[ozu-teapot]

Jeannette, l'enfance de Jeanne d'Arc | Bruno Dumont | 2017

Lucile Gauthier, Lise Leplat Prudhomme