씨아나

Louis Malle is famous for his unconventional way of canvassing the world: he used filmmaking as his personal tool for examining foreign perspectives of experience. He was determined to offer the audience new realms and horizons of thought. However, his art was often censored and marginalized, leaving him disregarded as a dilettante. The topics he challenged were not only socially, but morally and spiritually provocative. Something that links Pretty Baby with some of his other motion pictures is the adolescent point of view. This particular choice of style helped him in his exploration of the concept of “loss of innocence”. He was transfixed by the moment of corruption of the child by the adult, who embodies the touch with reality. He chooses his character (Violet, portrayed by Brooke Shields) to be socially-exiled and living in a spiritually and morally isolated area. Malle decides to focus on a child raised in a whorehouse to investigate the genesis of amorality and its relations to nature and nurture. Storyville functions as a societal petri dish: its legal separation from the rest of the country leads to its moral and spiritual isolation from the surrounding world. Pretty Baby is also a study of Laura Mulvey’s concept of the male gaze, which links with the idea that the child is imbued with oozing sexuality by adults themselves. Violet becomes a libidinal tabula rasa, a blank visage onto which the spectators project their own desires. ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀

POV: it’s beginning of spring, first rays of sunshine, fruits have color again, the blue reflects the clear sky above, it’s peaceful and wholesome

and you just simply keep pushing, until days don’t feel like something you should get through, but something you can’t wait to experience :)

Just another day in the quarantine, but make it aesthetic 

and that’s that. 

Louis Malle’s fiction debut, the languid noir Ascenseur pour l’échafaud (Elevator to the Gallows) was a harbinger of the arrival of La Nouvelle Vague. The new wave of French filmmaking brought a rejection of conventional modes of film production. The innovative cinematic attitude was linked to experiments in style, editing and narrative. Malle’s Ascenseur is itself an exercise in style. The exceptional crime noir was based on Noël Calef’s pulp fiction novel, which follows a chain of unfortunate events triggered by the act of murder. However, instead of sticking to the plot in a traditional screen-adaptation manner, Malle, with the help of the cinematographer Henri Decae, introduces a different kind of substance to the production. The prolonged tracking shots of Jeanne Moreau’s flånerie through the streets of Paris, accompanied by Miles Davis’s ultra-cool jazz, launched a new fashion of filmmaking in European cinema. Florence’s aimless sauntering through the expressionist Paris embodies Malle’s love for Hollywood noirs. Her traipsing down Champs-Élysées is gorgeously shot as if with a hidden camera, resembling Godard’s À bout de souffle, which came out two years later. It remotely reminds the spectator of René Clément’s portrayal of London in his 1954 production Monsieur Ripois (Knave of Hearts). However, what makes Malle’s off-studio street shots different is that they reflects his own melancholy, escapist temptation, and nocturnal solitude. Reflective blacks and harsh whites combine to show sterile wet streets and soulless bars, inhabited only by fatigued drunk Parisians, conversing in apathetic whispers. ⠀⠀⠀⠀⠀⠀⠀

[YES.]

@notfine-mp3

LUSH Series - Gouache by Madeleine Bellwoar