#jacques prevert

Più tardi sarà troppo tardi,

Alicante by Jacques Prévert

An orange on the table Your dress on the rug And you in my bed Sweet present of the present Cool of night Warmth of my life

Alicante de Jacques Prévert

Mille anni e poi mille

Non possono bastare

Per dire

La microeternità

Di quando m’hai baciato

Di quando t’ho baciata

Un mattino nella luce dell’inverno

Al Parc Montsouris a Parigi

A Parigi

Sulla terra

Sulla terra che è un astro.

Jacques Prévert

🎶❤️

📷 Robert Doisneau

Il primo per vederti tutto il viso

Il secondo per vederti gli occhi

L’ultimo per vedere la tua bocca

E tutto il buio per ricordarmi queste cose

Mentre ti stringo fra le braccia.

With “A Volta,” Allouche Gallery looks at the evolution of the legendary b-boy and street artist Doze Green through paintings and drawings. In the show, viewers find an artist who influenced a generation and a transformative moment in his practice upon moving to Brazil. (Green was most recently featured in Hi-Fructose’s print magazine with Volume 35.). See more here.

* * * *

These things and these people were also affected, and despite his misery this little world with all its light has been a beauty for him.

(Jacques Prévert for Izis)

Autumn Leaves

(Les Feuilles Mortes)

Johnny Mercer, English

Jacques Prevert, French

Joseph Kosma, music

The Peter Maurice Music Co Ltd

The first thing you need to know about The King and the Mockingbird is that it is clearly the product of many disparate styles, sensibilities, and time periods. Although the film was initially developed in the 1940s, various rereleases over the decades have gradually added new material; thus, the version that currently exists is a bit of a visual hodgepodge: the quality of the animation varies dramatically from scene to scene, and characters frequently veer “off-model.” At one moment, the vibrantly colorful and gracefully fluid imagery evokes the Golden Age of Disney (especially Pinocchio); the next, the sketchy outlines, flat shading, and rapid-fire editing more closely resemble those weird Gene Deitch Tom and Jerry shorts.

Fortunately, the story’s substance—its fiercely antiauthoritarian, anti-capitalist themes—remains consistent throughout. Utilizing the familiar tropes and archetypes of a conventional fairytale as a narrative foundation, director Paul Grimault and his co-writer, Jacques Prévert, craft a delightfully subversive satire. Our heroes—a humble chimneysweep, a beautiful shepherdess, and an anthropomorphic bird clad in the garb of a pauper—are average, blue-collar, working-class folks increasingly radicalized by the indignities that they suffer under an oppressive regime. The primary antagonist, on the other hand, is the eponymous monarch—an incompetent, ineffectual tyrant that is nevertheless cruel, egomaniacal, and insatiably bloodthirsty. He reigns in the fashion of a schoolyard bully that amuses himself by shooting stray cats with a BB gun—and his worst habits are enabled by a servile, sycophantic, and grotesquely conformist (its members are literally indistinguishable) secret police force. The symbolism isn’t exactly subtle… but considering it still feels relevant and topical to today’s political climate, perhaps that obviousness isn’t such a grievous flaw.