Retro BS, celebrating the galaxy of women in this world... also Mafin, POALOF, Adèle Haenel, WoSo & other random goodies || R | 4X | 🏳️🌈 | 🇪🇺 | Header by @clairedsfield (re-edited via ezgif.com)
Created on 3rd of August 2020 (and updated hereafter as much as possible, but you know how it is 😅; the Excel file with all of the below is saved here for the time being.)
This is a master list gathering various interviews etc. with Céline, Adèle and Noémie (and others that were interviewed together with them, or in relation to them and their work), translated by @mlleclaudine, @ladyonfire28 and moi (@thexfridax). I would like to thank and applaud Claudine and Aimée for your massive contribution to the Portrait fandom.
There are so many more of you (@pensoakspaper, @unfumble, @morningmightcomebyaccident, @hedawolf, @empressofkalumina, @bereaving, @tenemos-que-hablar, @rosedelosvientos … to name a few) who keep the fire and conversation around Portrait and C/A/N alive by creating art and content – merci, this is also for you!
@justanotheruntitled04 created a master list of videos/audios with any of the three of them here. More Youtube translations can be found here: @akaiimee.
Aimée’s amazing POALOF DVD commentary master post can be found here. [C’est fini 😥]
***UPDATES***
If you want to find out more about Adèle’s theatre work, check this out.
POALOF podcasts made by @podcastofaladyonfire can be found here.
@scorpio-sky has created a DVDography of Adèle’s work, it’s here.
An inofficial fan-made transcript (French plus English stage direction) of POALOF can be found here, a collaboration 😍 between @pensoakspaper, @mlleclaudine, @ladyonfire28 and @morningmightcomebyaccident.
@page28club provided English subs for Adèle’s anti-racist transfeminist roundtable [troll alert during the Q&As 😡] and Boomerang interview [Césars, Les héros ne meurent jamais, Le Corps Lesbien].
Folks, we have the unofficial English translation of the French POALOF screenplay (Plain Archive) HERE, brought to you by yours truly @mlleclaudine, with support from @tonovember, @morningmightcomebyaccident, @ladyonfire28 and @hedawolf among others.
#MeToo in France: Interview with Marine Turchi (Nov 2020), Mediapart article about Adèle Haenel’s case (paywall; Nov 2019), Mediapart interview with Adèle Haenel (Nov 2019). 💔
@ladyonfire28 wrote her first piece about cinema, choosing Céline Sciamma’s debut film Water Lilies, see here in French or in English.
A CALL FOR SUBMISSION for Portrait fanart can be found here. A joint initiative by @empressofkalumina, @mlleclaudine, @rosedelosvientos and @thexfridax. 🖼️👻🔥 [on hold until further notice]
Interview with Céline Sciamma on ‘Coming of Age, in Life and Film’ (Berlinale Talents, March 2021) via @celinesfiamma
L’Étang review in the NY Times (May 2021)
How Good Filmmaking Brings a Script to Life - Wonderful scene breakdown of Portrait of a Lady on Fire by LFTS / Michael Tucker (May 2021), also highlighting the unofficial English translation of the POALOF screenplay by @mlleclaudine, with support from @tonovember, @morningmightcomebyaccident, @ladyonfire28, and @hedawolf
L’Étang recaps [1], [2], [3] by yours truly, @thexfridax (June, Aug 2021, May 2022)
Weird Céline Sciamma profiles, for good measure [1], [2]
Dee has created another comprehensive blog, this time for Céline’s works and collaborations
A lovely profile of Céline Sciamma via @mlleclaudine
The French Institute UK - Petite Maman Q&A with Céline Sciamma (Feb 2022)
Q&A with Adèle Haenel after a screening of POALOF in Vienna (May 2022)
Weird Adèle Haenel profile [1]
Trial against C.R.: Mediapart reports from the 1st and 2nd day (Dec 2024) translated by @mlleclaudine, pre-trial coverage with more background information - document only available in French [1], after the verdict [1, 2, Mediapart interview and podcast (only ep. 1 available for free)], Mediapart dossier (behind a paywall, see translations above)
I’m happy to add anyone else to this list, too! The more the merrier. 😉
Photo by Foc Kan/WireImage
Somewhat ordered by year of publication and C/A/N/others (as of 3rd of Aug 2020: 78 186 ✨; any further updates will be put at the bottom of each year to make my life easier (=> for those older than 2021):
2024
Adèle Haenel: "Je suis la représentante de cette enfant qui a disparu, que personne n'a protégée" [also see above for Mediapart coverage of the trial from Dec 2024]
2023
Adèle Haenel, itinéraire d’une artiste en lutte
“J’ai décidé de politiser mon arrêt du cinéma” : la lettre d’Adèle Haenel à “Télérama”
Noémie Merlant : Je n'ai jamais cédé
Noémie Merlant, actrice pleine de surprises : “J’ai toujours peur qu’on ne comprenne pas mes blagues”
Noémie Merlant : «On devrait tous être féministes, aussi bien les hommes que les femmes»
"Je la regardais et je revoyais Titanic !" : Noémie Merlant raconte son tournage vertigineux avec Kate Winslet
Tête-à-tête avec Noémie Merlant, grande promesse du cinéma français
2022
Interview with Céline Sciamma: “Alliances are extremely important”
“I’M NOT DOING CINEMA ANYMORE” [Adèle Haenel]
Noémie Merlant : «J'ai longtemps cru qu'il fallait être parfaite, ce qui me verrouillait»
Noémie Merlant : la comédie, “c’est très plaisant et libérateur”
Rokhaya Diallo & Adèle Haenel: Le combat des mots
2021
Céline Sciamma à propos de «Petite Maman»: «Je me cache moins qu’avant dans mes films»
«Le regard d’enfant est un regard perçant» Céline Sciamma, Petite Maman
Céline Sciamma : “Je veux donner du pouvoir politique aux mères”
Céline Sciamma: “Toute ma vie, je me suis demandé comment était ma mère à mon âge”
CÉLINE SCIAMMA | Interview
Céline Sciamma : « Pour une cinéaste, on ne sépare pas la femme de l’artiste »
Director Sciamma ‘It’s a dance with ghosts’
"On est du côté des enfants, de leur regard sur leurs parents": Céline Sciamma à propos de son nouveau film, "Petite Maman"
Reviews on Pétite Maman: [1], [2], [3]
Céline Sciamma : «S’engager rend toujours vulnérable»
Céline Sciamma, réalisatrice de “Petite Maman”: “Sur le tournage, je me demandais, que ferait Miyazaki ?”
Céline Sciamma: “’Petite Maman’” est le parfait film post-pandémie"
Baise-moi et King Kong théorie de Virginie Despentes
Adèle Haenel dans les eaux incestueuses de «L’Etang»
Feu!
«L’expérience offerte par une œuvre d’art devrait être centrale»
Reviews on L’Étang: [1], [2], [3]
Avec «Tár», Noémie Merlant entame son rêve américain
Noémie Merlant : "L'expérience de la salle de cinéma manque terriblement"
Interview / De Sciamma à Mixte : Nina Meurisse, l'actrice de Caen qui a la cote!
2020
CÉLINE SCIAMMA : «DiCaprio est une icône lesbienne. »
Céline Sciamma: inventer une femme pour les raconter toutes
Aïssa Maïga and Adèle Haenel : «Finally there’s something political happening»
Noémie Merlant, l'actrice qui dévergonde le cinéma français, se confie
Noémie Merlant (JUMBO) : "Si je ne fais rien, il faut que je sois dans l'eau"
The making of Shakira with Noémie Merlant
Noémie talks about Jumbo in L’instant cinéma
JUMBO, NOEMIE MERLANT
A Good Man Behind the Scenes
Rising star Noémie Merlant: 'Being a model is terrible. It shouldn't exist’
Noémie Merlant: «Quand ça dérange, ça titille des choses importantes et utiles»
Noémie Merlant: "I remember very well the pride I felt on the red carpet."
Noémie Merlant, in the light
*Noémie Merlant talks about the César*
“The double life of Noémie Merlant”
Jumbo - Interview de Noémie Merlant & Zoé Wittock
Rencontre avec Zoé Wittock et Noémie Merlant sur le film "Jumbo"
Zoé Wittock & Noémie Merlant: Jumbo Instagram Live 28 March 2020
Rencontres confinées : Claire Mathon à propos du film Portrait de la jeune fille en feu - 29 avril
From mourning to resilience, Gisèle Vienne discusses her next creation with Adèle Haenel
***UPDATES below***
Céline Sciamma: "Le militantisme est un moment de grande vulnérabilité"
Céline Sciamma & Annie Ernaux: Sœurs de Combat
Céline Sciamma
Translated interview with Adèle Haenel, heroine of “Portrait of a Lady on Fire”; Translated excerpt from ’“Portrait of a Lady on Fire” - Approaching the True Face* of Adèle Haenel’ [2 in 1]
Haenel gets up and gets out
#4 Adèle Haenel
"Not correctness, but towards raising questions": the gaze of actress Adèle Haenel
“The experience of being alive is not the priority of the government”. Conversation with Gisèle Vienne, Adèle Haenel & Ruth Vega Fernandez
Adèle Haenel
Interview d'Adèle Haenel et Noémie Merlant pour la sortie Portrait de la jeune fille en feu au Royaume-Uni [1, autotranslated]; [2]
Fashion and cinema interview with Noémie Merlant, star of French cinema at the Deauville Film Festival
Rencontre avec Luàna Bajrami, étoile montante
2019
‘We started a culture war‘
Céline Sciamma • Réalisatrice de Portrait de la jeune fille en feu
Céline Sciamma: «Il y a eu un sacrifice de lesbiennes dans toute l'histoire du cinéma»
«Portrait de la jeune fille en feu» : entretien avec Céline Sciamma [1]; Portrait of a Lady on Fire: An Interview With Céline Sciamma [2]
Entretien avec Céline Sciamma : « Je veux juste qu’on arrête d’opposer le point de vue féminin au point de vue universel. »
Céline Sciamma, en feu et en flammes
Céline Sciamma, la femme qui filmait les femmes
Céline Sciamma: «Portrait de la jeune fille en feu» est un film totalement dédié à l’amour»
"Portrait de la jeune fille en feu" : Céline Sciamma et Adèle Haenel s'embrasent
"Portrait de la jeune fille en feu" : rencontre au Méliès de Montreuil
«Je ne viens pas pour servir la soupe» : entretien avec Adèle Haenel
Viennale Star Adèle Haenel: ‘Equality is sexy’
A new politics of love - An interview with Adèle Haenel on 'Portrait of a Lady on Fire'
Adèle Haenel: Figurehead of the new French Film
Adèle Haenel: 'Sex in cinema is usually quite pathetic’
Adèle Haenel (German interview)
Adèle Haenel en rediffusion et Pomme en déconfinement
Exclusive interview with Noémie Merlant and Adèle Haenel, lead actresses in ‘Portrait of a Lady on Fire’
Entretien avec Adèle Haenel et Noémie Merlant
Interview Noémie Merlant et Adèle Haenel : «En tant que comédienne, en tant que femme, il y a beaucoup d’échos.»
Dance of the gazes and female desire
[PORTRAIT] Noémie Merlant : «J’ai progressivement essayé de choisir des rôles féminins qui ont du sens »
Festival de Cannes 2019 : Noémie Merlant, «Quand je m’éteins, je vais voir un film et je re-rêve »
France tv & vous / République, le film interactif avec France.tv lab [Noémie Merlant, Lyna Khoudri]
Rencontre avec Hélène Delmaire, la peintre lilloise du film « Portrait de la jeune fille en feu »
Christel Baras, la directrice de casting qui a découvert Adèle Haenel à 11 ans
***UPDATES below***
Focus Vif, September 26, 2019: Dixit Céline Sciamma
Vertiges de l’amour
Céline Sciamma, le feu sacré & Noémie Merlant, portrait of an actress
CÉLINE SCIAMMA: "Si on me demande ce qu’est le female gaze, pour moi, c’est partager."
Culture : Feux croisés entre Céline Sciamma et Monica Sabolo
Rencontre Céline Sciamma: "Il faut créer les conditions de sa liberté"
Céline Sciamma : «Je voulais faire un voyage dans l’histoire de l’art d’un point de vue féminin»
The female gaze: An interview with Céline Sciamma; Interview with director Céline Sciamma; Sciamma: ‘I want to show images of daily life that are missing’ [3 articles in 1]
Interview : Céline Sciamma «Ils ne savent pas voler, elles, elles savent.»
Love and let love
Céline Sciamma: ‘I love films that hate me!’
Director Céline Sciamma: ‘I try to create new forms of eroticism’
Forgotten women
‘I am a film activist’ - Interview with Céline Sciamma
“On ne s'en laisse plus conter. On écoute ce qu'on ressent.” (Adèle Haenel et Noémie Merlant)
Adèle Haenel : «Le respect pousse à s’investir»
Rencontre avec Adèle Haenel, à l'affiche de trois films à Cannes
Actress Adèle Haenel: The French Revolutionary
Portrait de l’artiste en jeune femme
2018
Adèle Haenel, le jeu sacré
Adèle Haenel : «Il y a toujours matière à rire de soi »
***UPDATES below***
Adèle Haenel : “J’ai grandi avec La Cité de la peur et Les Trois Frères”
Adèle Haenel: «Je fais souvent les choses à l’envers»
2017
Entretien avec Adèle Haenel – Sophie dans 120 battements par minute
No, I’m not made of sugar: Shooting star Adèle Haenel
Génération Slimani
Adèle Haenel et Adèle Exarchopoulos : Orpheline
Adèle Haenel in an interview for 120BPM
***UPDATES below***
Screenplay writer Céline Sciamma: The women behind the big emotions
Un fantôme que l’on décrit avec complaisance est un fantôme qui cesse d’agir 👻
Adèle Haenel. L’émotion brute
‘I have ten years, then I become part of the system’
"120 BPM" à TÊTU : Les acteurs nous ont confié les secrets du tournage
Adèle Haenel in 2017 [3 articles merged]
Quand Adèle (Haenel) rencontre Adèle (Exarchopoulos)
Noémie Merlant & Naomi Amarger: ‘Heaven will wait’
2016
Translated interview with Adèle Haenel [and others] on ‘The Bloom of Yesterday’
Adèle Haenel, l'insaisissable
Le Grand Journal du 23/03 avec Wassim Nasr, Stéphane Gatignon, Adèle Haenel et Marianne Denicourt - CANAL +
MASTERCLASS du 6 oct 2016 - La Fille Inconnue
Dans la tête de Adèle Haenel
Noémie Merlant dans «Le Ciel Attendra »
Chris Kraus about Adèle »Machine Gun« Haenel
***UPDATES below***
André Téchiné et Céline Sciamma: entretien croisé autour de Quand on a 17 ans
Interview : Céline Sciamma
Adèle Haenel, la nouvelle héroïne des frères Dardenne
Adèle Haenel, géante dans Les Ogres
Interview with Adèle Haenel about ‘The Unknown Girl’
Les Ogres. Adèle Haenel: "Ne valorisons pas trop la souffrance"
Adèle Haenel: “Je ne veux pas me résoudre au cynisme”
Adèle Haenel: “And the fight against racism, is that a black thing?”
Adèle Haenel : «La plus grande force de l’homme, c’est le pardon»
Adèle Haenel : “Dire ‘Allez vous faire foutre !’, c'est un peu mon moteur” [Télérama; long version]
Adèle Haenel, comédienne : “Le cinéma blanc et masculin, j'en ai marre” [Télérama; short version]
Noémie Merlant, talent brut
2015
‘Being young means: To refuse’
Une apparition de cinéma [!!!]
Brouiller les pistes [!!!]
Les grandes actrices sont des femmes intelligentes
Une minute sans cligner des yeux
On va te manger
***UPDATES below***
Adèle Haenel, la belle dégenrée 😱
2014
Filming of ‘Girlhood‘
‘Girlhood’ - A meeting with Céline Sciamma
"'Bande de filles' montre des Blacks à l’écran et ça nous rend fières"
Céline Sciamma: «Les grands films libèrent des territoires plutôt qu’ils ne les occupent»
Cannes 2014: Céline Sciamma, fille de bandes
Adèle Haenel : "Je ne pose pas de limite quand j’ai donné ma confiance"
Les verbes d'Adèle: Rencontre avec Adèle Haenel, actrice
Adèle Haenel - Force vive
***UPDATES below***
Course en Tête
Adèle Haenel : “A un moment on commence à tellement se kiffer qu'on fait n'importe quoi”
Adèle Haenel, petit soldat
La belle vie d'Adèle Haenel
Adèle Haenel: « J’aime l’idée que les filles s’endurcissent »
Interview d'Adèle Haenel : "La relation avec un réalisateur fait tout"
Adèle Haenel: cherchez le garçon… manqué !
Adèle Haenel: “On ne me reproche plus de ne pas être assez féminine!”
“Elle a un fort potentiel burlesque”, Adèle Haenel racontée par André Téchiné
“Une super-héroïne sans superpouvoirs”, Adèle Haenel racontée par Thomas Cailley
2013
***UPDATES below***
Adèle Haenel - La belle audacieuse
2012
Adèle Haenel et Nicolas Maury: conversation ciblée sur Avignon
Une journée avec Adèle Haenel
***UPDATES below***
Interview with Céline Sciamma
2011
***UPDATES below***
Tomboy - Interview with Céline Sciamma
Céline Sciamma, quand tourner est un jeu d’enfants
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Marta walks in on Andrés and Valentina. She talks to the girls at the store and finds out the perfume sales haven’t rebounded after the synthetic ingredient debacle. In the office, she finds Andrés on cloud nine. He says they’re finally both happy in love and asks how things are with Fina. She says good but she can’t wait for Bianca to leave. That she was there for Fina during difficult times and that bond is not easily severed.
Fina comes in with news she’s joined a photographer’s association hoping for more work (huh?? she’s a little busy at the moment…) and ready to get to work when Marta drops the bombshell news of doña Clara’s offer. Fina doesn’t take it well and demands Marta refuse. Marta isn’t sure how she can given she’s the widow. Fina says tell her the truth. And about Santiago? A half-truth, then. Marta isn’t sure Clara will buy it. She thinks she’ll keep digging, and she reminds Fina they have a body in their garden. Fina then demands she tell Clara the truth about how her son was a monster but Marta says she can’t do it. It would ruin her. Then why tell me anything, Fina says, if you’ve already made up your mind?
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Oooh Bianca's colors are showing. Oooh I can't wait for Fina to figure out what's going on. It's going to be legendary. I almost have to watch her scenes peeking through my fingers until then, though...
T-minus eight rows until Intarsia!! Can't happen too soon - Marta (and my heart) need that colorful fortification stat!
Different layers, and how 15 seconds can deliver that much devastation.
This scene hit like another betrayal, but it also makes a point about Fina that I wouldn’t have thought of if not for tagging Eze’s wonderful gifsets of it, so I am mainly revisiting those tags here.
In this episode, Marta and Fina get a breakfast of tense negotiations, even if they finish up with the Family Cadenza (00:09:52-00:10:03 in the Mafin Drive Cut) at Marta’s generous decision to donate Pelayo’s money to charity. Whereas Bianca and Fina get a jaunty art collab montage of Fotógrafa Fina where everything just flows with ease, and with some tango soundtrack to boot.
Fina has asked Marta over for breakfast, which mainly signifies that Marta has not spent the night (we don’t know for long Bianca painted the night before, after Marta fled the scene). Marta is in her full lumberjack small-check lesbian armor, high collar-fit, dense fabric. And Fina may have foregone the turtleneck armor, but she has just one button open on her shirt. With Bianca on her couch, it was two.
What Fina underlines in this scene – even as Marta fights to have an honest conversation – is how unwilling she is to put in the painful work an actual relationship takes, which in this case would be opening up about her own suffering and learning about Mart’s suffering in turn. Instead, Fina evades it like an irrationally defiant toddler avoids bath time.
Fina doesn’t want to talk about Pelayo, she doesn’t want to hear about Marta’s reasonings, the anger at “he wiped out our lives with a stroke of a feather” remains at that, as does Marta’s “We both suffered a lot”, but they both leave it at that abstract place, yet again without learning what the other one has gone through (this feels like an intentionally left-out-for-now puzzle piece. Hopefully with a resolution down the road. I don't care if it takes another 100 episodes!).
The scene revisits another Mafin core element, the double “Mírame” (00:08:00) that has always been, especially at moments when they were at odds, a touchstone to stop and listen to each other and communicate with honesty. Here, Fina openly says “no!” to it and refuses to look up, until Marta calls her out by her name, and even then, Fina avoids and evades as much as she can.
The peace at the end of this scene is brittle: the mention of the charity gets the Broody, Foreshadowing Clarinets of Doom – as of 626 we know why – at 00:08:32, the Bugging High Strings of Gaslight underlie Fina’s “it’s resolved, then” (00:09:34); while at least Marta’s good intentions, with mention of Isidro, get a gentle flute soundlayer, 00:09:04. Oh Marta. This just nailed the coffin shut and you don’t even know it, and it is evidenced by the Camera Work of how behind Marta, Bianca’s workspace, easel and brushes loom the entire time, like an abyss rising up behind Marta without Marta being able to see it.
Fina is not doing the work yet, and she even looks away when she kisses Marta’s hand (00:10:03) when she did the same thing to Bianca the day before and nearly kissed her lips, too. Seeing Marta’s struggle and Fina’s evasion makes the photography collage (and Bianca’s continued invasion) all the more of a betrayal in contrast.
This is the happiest with have seen Fina, with her camera, since she left. And photographing another woman in a playful setting, and with a tango soundtrack in a sexteto arrangement soundscape (as of 00:23:27), did belong to Mafin before: that’s the 363 darkroom love scene, with “la mujer de mi vida”. It’s also a reference to ep 370 and Fina taking semi-nude photos of Marta, one of which would then be her parting gift (“siempre te recordaré así mi amor”). And it is taken away here. This particular intimacy had been Mafin-coded, and Fina, with that smile, and sing-songing along, now has given the intimacy of her gaze in such a setting to Bianca, while still keeping Marta at arms’ length, and wow, that hurt.
And while Fina tells Bianca happily that she made up with Marta (she should tell Bianca a lot less in general!), and while Bianca continues to lay her traps, there’s Fina allowing the teasing (Bianca’s “usted-ing”) and the intimacy of the conversation while she sits on her bed, working while Marta is only allowed in across the distance of a breakfast table, after a night spent apart, like a formal guest.
And I kept thinking about why the intimacy of Fina’s gaze being given away here is such a cruel point, but the photography is not just a point about Mafin, it is an even deeper point about Fina.
Eze suggested that the photography career that is her is what Fina built from scratch in her situation of loss and exile in Argentina, and while that is a valid point, I got stuck on another because photography is also the only thing that Fina managed to hold onto in her situation of loss and exile.
Fina took along her camera(s) when she had to leave her life behind. Photography is what Fina could grow and use as a lifeline and it was one thing where she still was herself. It was something to remember herself by: Fina was a photographer before she left.
Granted, she was still working as a saleswoman, but she talked with Marta about job opportunities (Marta who said in ep 373 that she wouldn’t want Fina to miss a career chance just because of her and being tied to Toledo and the tienda). Fina got paid jobs and had growing recognition. She had a darkroom and a wife and friends who encouraged her, and who organized spaces and supplies and an exhibition for her.
Photography is a space where Fina had found herself, and it is a facet of Fina that Pelayo did not manage to take away even as he took everything else from her: her life, her love. And there is a poetic justice in that Fina managed to keep this one thing that revolves all around Fina's perspective of the world, through her lens. It is about her gaze, about Fina’s stance in the world and its traces that Pelayo tried to erase, but Fina still had a camera even if nothing else.
In that context, it is notable that Bianca met Fina while Fina was wearing her camera (Bianca has described that she saw Fina with her camera in a bar) because it shows Fina The Photographer as a constant. Fotógrafa Fina was still/already there, and is not a result of Bianca molding her into her little bob muse.
Rather, Fina the Photographer is a throughline. Even as Fina had to give up Marta she did not give up herself because she still had her newly discovered passion for photography. This is who she is and she found it, and she held onto it.
But what Fina needs to remember now is that she was a photographer before Bianca and that she is an artist also very much without Bianca. It was Isidro who left her a camera, it was Marta who gave her another and bought her books and encouraged her; it was Carmen and Claudia organizing that exhibition, even Gema offering that early job of photographing Teo that nurtured Fina’s talent. All that gave her equipment and jobs and recognition.
Fina. Honey. You don't need some Chacracore Barbie buying you with her contacts and her My Little Farm setup and her 'my artist’s gaze uncovered you as an artist' narrative. That is perhaps the most insidious of Bianca’s suggestions: that Fina has become an artist through Bianca and that Bianca has been the one discovering Fina's talent when really all that Bianca has done was offer amplification from a point of privilege.
Fina needs to rip off that mask – the one that incongruously appears in this photoshoot – both from her own sense of self, from her own face that she still does not show to Marta fully, and from Bianca, to uncover the selfish scheming and chained “freedom” (the one where she owes Bianca her life, her sense of self, her career, her recovery, her time, her attention, her apartment) for what it is.
And she needs to stop smiling at Bianca like this (yes, I know this is played up intentionally and that actually bodes well for longterm Mafin, but how will you ever come back from this, Fina?). Please.
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When Bianca first appeared, some of my tags mused that SdL would never put Bianca in bed with Fina because of ageism (not that I would want that on a plot level, but on a level of feminism and opportunities/scope for 50+ actresses) and would never put in anything explicit but HOBOY WAS I EVER WRONG.
And props to Román for swaggering in as the 50+ suave dyke "if you're not ready for it just call it artsy" who just knows she can seduce everyone and their mother and so she does. That SdL never doubts that and explicitly gives Bianca this capacity and makes the viewer complicit is, from a feminist perspective, wonderful.
(also from the perspective of being an older woman who is so appreciative of her age group being given agency of all sorts on screen, but in particular sexual agency. Menopause is not the end, and also fuck Patriarchy!)
