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une femme ne peut être aidée que par une autre femme

une femme ne peut être aidée que par une autre femme

Alors déjà y a pas vraiment de male gaze je sais pas de quoi ces gens parlent. Y a même une scène où tu ressens que le caméra fait tout son possible pour qu’on ne la voie pas nue. Y a un mec qui a écrit que quand elle dit qu’elle veut plus vendre son cul ça coupe sur un plan de son cul. C’est faux, c’est le même plan qui assez large et juste on la voit marcher. Ils parlent de male gaze parce qu’ils ont pas arrêté de mater Anamaria et c’est tout. Y a qu’à voir les critiques les plus likées c’est soit des gens qui disent être tombés amoureux d’elle soit pour parler du male gaze. Mais vous voilez pas la face c’est les mêmes personnes. La plupart du temps c’est des gros plans sur la tête. Après éviter de montrer la scène ça aurait peut-être été bien, ça je dis pas.

D’ailleurs Anamaria Vartolomei a de quoi devenir une des meilleures actrices françaises de tous les temps. Branchez vous maintenant avant que ça devienne une opinion mainstream. Elle est excellente

Alors déjà y a pas vraiment de male gaze je sais pas de quoi ces gens parlent. Y a même une scène où tu ressens que le caméra fait tout son possible pour qu’on ne la voie pas nue. Y a un mec qui a écrit que quand elle dit qu’elle veut plus vendre son cul ça coupe sur un plan de son cul. C’est faux, c’est le même plan qui assez large et juste on la voit marcher. Ils parlent de male gaze parce qu’ils ont pas arrêté de mater Anamaria et c’est tout. Y a qu’à voir les critiques les plus likées c’est soit des gens qui disent être tombés amoureux d’elle soit pour parler du male gaze. Mais vous voilez pas la face c’est les mêmes personnes. La plupart du temps c’est des gros plans sur la tête. Après éviter de montrer la scène ça aurait peut-être été bien, ça je dis pas.

D’ailleurs Anamaria Vartolomei a de quoi devenir une des meilleures actrices françaises de tous les temps. Branchez vous maintenant avant que ça devienne une opinion mainstream. Elle est excellente

The first 20 minutes and last 30 minutes were really great. A few scenes in particular really stood out: The club scene with the flashing green lights over a close-up of Maria’s unconscious face, the dread-inducing scene of Maria’s head being dunked under water while Bertolucci gives Marlon Brando the feedback to be more violent, the first few scenes of Noor and Maria and the immediate chemistry they have.

The main thing I struggle with in this movie is that scene, which, even if I was to concede that there was a tasteful way to re-enact a scene like that, the gratuity of how it’s handled here certainly wouldn’t meet the criteria. Overall I much preferred the more personal side of this movie, both the strife and the softer more tender moments, the downfall and recovery of a woman abused and humiliated by a system where “films are made by and for men”, over the dramatized re-enactment of infamous events. However, as sympathetic a depiction as it is, it’s hard to ignore the irony of an entire third of Maria Schneider’s bio-pic being an event she clearly didn’t want to mark her career. While this definitely shows her more positively than the previous public perception, it’s strange to me how it just shifts from the common characterization of her as a sexual deviant, to a new one where she’s simply a helpless victim who, even in her attempts to reclaim autonomy, is shown to not really be in control, subordinated to her trauma.

The first 20 minutes and last 30 minutes were really great. A few scenes in particular really stood out: The club scene with the flashing green lights over a close-up of Maria’s unconscious face, the dread-inducing scene of Maria’s head being dunked under water while Bertolucci gives Marlon Brando the feedback to be more violent, the first few scenes of Noor and Maria and the immediate chemistry they have.

The main thing I struggle with in this movie is that scene, which, even if I was to concede that there was a tasteful way to re-enact a scene like that, the gratuity of how it’s handled here certainly wouldn’t meet the criteria. Overall I much preferred the more personal side of this movie, both the strife and the softer more tender moments, the downfall and recovery of a woman abused and humiliated by a system where “films are made by and for men”, over the dramatized re-enactment of infamous events. However, as sympathetic a depiction as it is, it’s hard to ignore the irony of an entire third of Maria Schneider’s bio-pic being an event she clearly didn’t want to mark her career. While this definitely shows her more positively than the previous public perception, it’s strange to me how it just shifts from the common characterization of her as a sexual deviant, to a new one where she’s simply a helpless victim who, even in her attempts to reclaim autonomy, is shown to not really be in control, subordinated to her trauma.

The first 20 minutes and last 30 minutes were really great. A few scenes in particular really stood out: The club scene with the flashing green lights over a close-up of Maria’s unconscious face, the dread-inducing scene of Maria’s head being dunked under water while Bertolucci gives Marlon Brando the feedback to be more violent, the first few scenes of Noor and Maria and the immediate chemistry they have.

The main thing I struggle with in this movie is that scene, which, even if I was to concede that there was a tasteful way to re-enact a scene like that, the gratuity of how it’s handled here certainly wouldn’t meet the criteria. Overall I much preferred the more personal side of this movie, both the strife and the softer more tender moments, the downfall and recovery of a woman abused and humiliated by a system where “films are made by and for men”, over the dramatized re-enactment of infamous events. However, as sympathetic a depiction as it is, it’s hard to ignore the irony of an entire third of Maria Schneider’s bio-pic being an event she clearly didn’t want to mark her career. While this definitely shows her more positively than the previous public perception, it’s strange to me how it just shifts from the common characterization of her as a sexual deviant, to a new one where she’s simply a helpless victim who, even in her attempts to reclaim autonomy, is shown to not really be in control, subordinated to her trauma.

The first 20 minutes and last 30 minutes were really great. A few scenes in particular really stood out: The club scene with the flashing green lights over a close-up of Maria’s unconscious face, the dread-inducing scene of Maria’s head being dunked under water while Bertolucci gives Marlon Brando the feedback to be more violent, the first few scenes of Noor and Maria and the immediate chemistry they have.

The main thing I struggle with in this movie is that scene, which, even if I was to concede that there was a tasteful way to re-enact a scene like that, the gratuity of how it’s handled here certainly wouldn’t meet the criteria. Overall I much preferred the more personal side of this movie, both the strife and the softer more tender moments, the downfall and recovery of a woman abused and humiliated by a system where “films are made by and for men”, over the dramatized re-enactment of infamous events. However, as sympathetic a depiction as it is, it’s hard to ignore the irony of an entire third of Maria Schneider’s bio-pic being an event she clearly didn’t want to mark her career. While this definitely shows her more positively than the previous public perception, it’s strange to me how it just shifts from the common characterization of her as a sexual deviant, to a new one where she’s simply a helpless victim who, even in her attempts to reclaim autonomy, is shown to not really be in control, subordinated to her trauma.