Archives de Tag: film

muse-en-scene: Closer

Closer, est l’adaptation cinématographique de la pièce de théâtre Closer  écrite en 1997 par l’auteur britannique Patrick Marber.

Le réalisateur Mike Nichols évoque en quelques mots Closer, entre adultes consentants : « Si on y réflechit, on se souvient généralement très bien du début et de la fin de nos relations amoureuses, mais on a tendance à oublier ce qu’il y a eu entre les deux. Closer, aborde aussi cela. Comment nous souvenons-nous réellement des choses et comment la vie nous apparaît-elle vraiment ? ».  (citation via: allocine.)

Bien que très théâtrale -car ca en est une a la base- et tourne entièrement a l’ intérieur, Closer est un film qui ennuie pas, (du moins pas moi) grâce au jeu d’acteurs époustouflants.  J’aime particulierement le personnage de Larry, le médecin qui, dans le film, apparait comme le personnage le plus archaïque, le moins libre d’esprit parmi les 4 protagonistes et qui ironiquement tient les discours les plus plein d’esprits.

LARRY: Well, I'll see to myself in the elle decoration bathroom.
ANNA: You chose that bathroom.
LARRY: And every time I wash in it I feel dirty. It's cleaner than I am. It's got attitude. The mirror says, "Who the fuck are you?"
ANNA: You chose it.
LARRY: Doesn't mean I like it. We shouldn't have this.
ANNA: I hear middle class guilt.
LARRY: Working class guilt.


Larry: Bon, je compenserai dans la salle de bain « elle decoration »

Anna:  C’est toi qui l’as choisi!

Larry:Je me sens sale dedans. Elle me bat en proprete, elle me snobe. La glace m’envoie chier.

Anna: Tu l’as choisie!

Larry: Ca ne veut pas dire que je l’aime. On n’aurait pas du avoir tout ca.

Anna: J’entends « la mauvaise conscience bourgeoise »

Larry: La mauvaise conscience prolétaire!

Mais regardez moi ce loft! Bon, je comprends la mauvaise conscience bourgeoise, mais en même temps, qui ne voudrait pas habiter un loft pareil, hein? Murs en briques blancs (ce qui est très prisé en ce moment), la chaise vintage, le bureau d’architecte, la table de ferme, le sol en béton, les photos en noir et blanc, la porte coulissante et en applique, les poteaux, les vitres….Tout y est beau, y compris les acteurs!




Miranda July strikes again!

She did it again! I can tell without even seeing the movie yet. How? well, I’ve made the diagnostic test, and apparently I’ll love THE FUTURE so much that it’s not even funny!




my little princess

I wanna watch this as soon as it’s on theaters (29 june in france)!

muse-en-scene: A single Man de Tom Ford

Tom Ford! No comment 🙂

muse-en-scene: mon oncle de Tati

M. Hulot is the dreamy, impractical, and adored uncle of young Gérard (nine years old), who lives with his materialistic parents in an ultra-modern geometric house and garden (Villa Arpel) in a new suburb of Paris, situated just beyond the crumbling stone buildings of the old neighborhoods of the city. Gérard’s parents, M. and Mme. Arpel, are firmly entrenched in a machine-like existence of work, fixed gender roles, and the acquisition of status through possessions and conspicuous display. (A running gag involves a fish-shaped fountain at the center of the Arpels’ garden that Mme. Arpel turns on only for important visitors).

Each element of Villa Arpel is representational rather than functional, an environment completely hostile to the comfort of its occupants. In choosing modern architecture to punctuate his satire, Tati once stated, « Les lignes géométriques ne rendent pas les gens aimables » (« geometrical lines do not produce likeable people »). From pas japonais positioned like mine fields, to impossible-to-sit-on furniture, to a kitchen with the decibel level of a jet engine, every facet of Villa Arpel emphasizes the supremacy of superficial aesthetics and electrical gadgets over the reality of daily living. (source: wikipedia)

And Mr. Hulot’s building for the contrast! :

I was about to write some lines about this movie and how genious Tati was about design but right here, I saw Larry Weinberg’s great review about it, i definetly couldn’t express it better!

muse-en-scene: Pedro Almodóvar

Pedro Almodóvar’s movies’ interiors are all gems of vintage, colourful, tasty design! He even has a quote about his use of decor in his movies:

« I think decor says a lot about someone’s social position, their taste, their sensibility, their work – and also about the aesthetic way I have chosen to tell their story. »

I think he is doing great work!

Here are some screen shots from « all about my mother »:

The wallpaper on the picture above reminds me of our curtains in the beginning of 80s in turkey 🙂 It was the same pattern but with white-turquoise-dark blue colors 🙂

I don’t know whether it’s a lamp or not but i love this wooden sculpture-like thingie on the left corner (picture above).

And here are some pictures of the « broken embraces »: The pictures are taken from Elle decor and Modernica blogs.

breath taking locations!

Thanks to Anthology Magazine’s blog, i discovered JJ locations in the UK. They have a huge portfolio of dream houses for photography and film shootings. Here are some of my favourites.

I love the stairs in complete harmony with the building’s exterior.

This house is also to die for especially for the kitchen’s floor tiles, the ceiling and the windows.

I love the shooting pastel colour palette of this one.

I am soooo envious about this one…It’s exacly like in my dreams, a big space where the kitchen communicates with the living room and the dining area, a huge dining table to invite a dozen friends, vintage furnitures…