Cine Me

 

 

 

A Little Chaos

 

 

http://www.imdb.com/title/tt2639254/

 

 

 

http://www.focusfeatures.com/a_little_chaos

 

 

 

A romantic drama following Sabine (Academy Award winner Kate Winslet), a strong-willed and talented landscape designer, who is chosen to build one of the main gardens at King Louis XIV’s new palace at Versailles. In her new position of power, she challenges gender and class barriers while also becoming professionally and romantically entangled with the court’s renowned landscape artist André Le Notre (Matthias Schoenaerts).

 

Kate Winslet blooms in a film full of heaving bosoms, flouncing dandies and landscape gardening.

 

Alan Rickman directed this – it’s his second behind-the-camera effort, after the Emma Thompson-Phyllida Law Scottish coastal drama The Winter Guest, way back in 1997. It’s an indulgently actorly piece, but in a thoroughly pleasant way.

Rickman also co-stars as a very droll Louis XIV, who likes to take a turn through the palace grounds and throw off his wig after a long morning’s kinging. So it is that Sabine mistakes him for a horticulturalist she’s due to meet, and they spend an afternoon together talking about roses and forbidden love and whatnot. It’s a jolly sequence, well-played by both stars, but the first half of it does wholly consist of Rickman repeating Winslet’s lines back to her with a puzzled question-mark attached. “My book on pears?”

 

 

Matthias Schoenaerts neuters his sex-god reputation, Kate Winslet gets maverick with potted plants, and Alan Rickman almost hijacks his own movie in a weedy horticultural romp through the court of the Sun King.

 

 

 

BB & Lucille

 

 

BB, anyone could play a thousand notes and never say what you said in one.

Wake up

 

 

«Ho there! Wake up! The river in your dream may seem pleasant, but below it is a lake with rapids and crocodiles, the river is evil desire, the lake is the sensual life, its waves are anger, its rapids are lust, and the crocodiles are the women-folk.»

 

Jack  Kerouac Wake up

Outside it's cold, misty and it's raining

 

 

If you want my body and you think I'm sexy
Come on, sugar, let me know
If you really need me just reach out and touch me
Come on, honey, tell me so.

Cine Me

 

 

 

Suite française

 

 

http://www.imdb.com/title/tt0900387/

 

 

 

http://www.bbc.co.uk/bbcfilms/film/suite_francaise

 

 

Handsome adaptation of Irène Némirovsky’s epic novel vividly depicts French rural life under the Nazis.

 

The now-celebrated origins of Suite Française, which became a publishing sensation in 2004, are as startling and extraordinary as anything on screen – arguably more so. Having fled Paris as the Nazis approached in 1940, the Ukrainian-Jewish writer Irène Némirovsky relocated to Issy-l’Evêque in Burgundy, where she began work on a planned five-part tale of war and peace. But after being transported to Auschwitz, Némirovsky died (aged just 39) in 1942, her notebooks entrusted to her daughters Denise and Elisabeth, who believed them to be diaries. It wasn’t until the 1990s that Denise discovered what turned out to be the first two instalments of Némirovsky’s extraordinary unfinished work. Published under the umbrella title Suite Française, these two self-contained novellas were reportedly optioned by Hollywood’s Universal Pictures. But by 2007 the title had returned to the French ownership of TF1, with whom British co-writer/director Saul Dibb has brought this French/UK/Belgian co-production to the screen.

 

Taking the novel’s lead, Saul Dibb’s nuanced, compelling film offers an intriguing close-up portrait of Bussy, a northern French village forced to host a garrison of Nazi soldiers. At the film’s heart is a sort-of romance between timid Lucile (Michelle Williams), and a cultured, piano-playing Nazi officer, Bruno (Matthias Schoenaerts). But more lasting than the film’s romantic angle is the snapshot that Dibb (‘Bullet Boy’, ‘The Duchess’) offers of a class-ridden society under the spotlight of occupation.
The themes of collaboration, compassion and betrayal run through the film, and characters who initially seem to be one thing, like Lucile’s hard-hearted mother-in-law (Kristin Scott Thomas), emerge as more complex. Even the film’s portrayal of the Nazi soldiers is satisfyingly complicated. Also refreshing is a sense that we’re thrown into the middle of the uncertainty of war; ‘Suite Française’ works hard to free itself from the benefit of hindsight.

The film is not without its problems – Michelle Williams is an elusive lead, and a wide array of characters come at the expense of depth – but it’s a knotty, thoughtful piece of work nonetheless.

What are you thinking about ?

Kissing you.

Easter Sunday

"A frieza involuntária desta mulher contrasta com a sua paixão confessada e reage necessariamente sobre o amante mais apaixonado. Essas ideias, que muitas vezes flutuam como vapores em redor das almas, determinam nelas uma espécie de doença passageira. Na doce viagem que dois seres empreendem através das belas regiões do amor, esse momento é como uma charneca a atravessar, uma charneca sem estevas, alternadamente húmida e quente, cheia de areias ardentes e cortada de pântanos que leva aos risonhos maciços de verdura vestidos de rosas onde se expande o amor e o seu cortejo de prazeres sobre tapetes de fina verdura. Muitas vezes o homem espiritual encontra-se dotado de um riso estúpido que lhe serve de resposta a tudo. O seu espírito está como que adormecido sob a glacial compressão dos seus desejos. E não é impossível que dois seres igualmente belos, espirituais e apaixonados falem primeiro dos lugares-comuns mais idiotas, até que o acaso, uma palavra, o tremor dum certo olhar, a comunicação duma faísca, os faça encontrar a feliz transição que os leva à vereda florida onde não se caminha, mas onde se rola, sem contudo descer. Este estado de alma é proporcional à violência dos sentimentos."

Honoré de Balzac - A Rapariga dos Olhos de Ouro