I WILL THINK OF LITTLE ELSE UNTIL IT COMES OUT. DIFFICULT TO BREATHE WRITING THIS.
I HAVE WRITTEN AT LEAST THREE STORIES ABOUT HOSTAGE TAKERS IN THE PHILIPPINES, I HAVE TROUBLE WRITING ABOUT ANYTHING ELSE RECENTLY IT SEEMS.
WRITING IN ALL CAPS À LA KANYE BECAUSE I DO NOT TRUST MYSELF WITH PUNCTUATION, IN SUCH A STATE.
ISABELLE HUPPERT ♥ BRILLANTE MENDOZA?
I ♥ ISABELLE HUPPERT AND BRILLANTE MENDOZA.
BRILLANTE MENDOZA WHOSE FILM KINATAY WON HIM THE BEST DIRECTOR AT CANNES.
BRILLANTE MENDOZA WHOSE FILM KINATAY WAS CALLED THE WORST FILM IN THE HISTORY OF CANNES BY ROGERT EBERT.
Indignance has calmed me, I can write like a person who can control herself again.
Whether I actually am such a person is not to be answered today or ever.
The face of Brillante Mendoza, which for me contains all manner of intimacy and solace, manners which I have yet no ways of describing.
The face and voice of Isabelle Huppert. Isabelle Huppert in all of Michael Haneke’s films. Isabelle Huppert in LE TEMPS DU LOUP. And the girl who played her daughter burning hay to make light.
Isabelle Huppert stabbing herself in LA PIANISTE.
I still want to see the film LA VIE PROMISE with Isabelle Huppert and Pascal Greggory, because I have been in love with Pascal Greggory for some time now, probably beginning with watching him in LA FIDELITÉ, the first film adaptation of LA PRINCESSE DE CLÈVES I had ever seen.
LA PRINCESSE DE CLÈVES, a book I love to madness, but I can’t talk about it now.
Only to say that I have always loved le prince de Clèves and if one has male archetypes (Darcy, Heathcliff, Holden Caulfield, etc.), then le prince de Clèves is mine. (If one can have archetypes for a subject about which one has little to do; that’s not true; a subject with which one has a peculiar and super-specific intimacy.)
Le prince de Clèves, and Chang Chen’s character (also named Chang) in Wong Kar-wai’s HAPPY TOGETHER.
And Tony Leung in everything, though Tony Leung is the archetype for me, for my way of being in the world, not only (and perhaps not at all) for the kind of person I love.
However, the film adaptation of LA PRINCESSE DE CLÈVES I really prefer is Christophe Honoré’s LA BELLE PERSONNE, with Léa Seydoux. Whom I am also in love with. I will write about it later, maybe. It being the film, not my love for Léa Seydoux, though that would of course find its way in, as love does.
Pascal Greggory was also in a somewhat ridiculous short film for the house of Chanel, directed by Karl Lagerfeld. But he was perfect in it, perfect because Pascal Greggory is always able to find the secret pockets of grief and longing and timidity and sexual disappointment in everything, even and especially in a ridiculous aging king of St. Tropez.
It seems to me it is always time to be ridiculous and moving, even for those of us who are not or are not yet or never will be aging men.
Post-script: Oh, yes, I almost forgot; I wrote this at the PANK blog, featuring an excerpt by Manuel Ramos Otero.