audrey-tautou « WordPress.com Tag Feed

Liebe um jeden Preis

herrschubert — Fri, 04 Jul 2008 21:04:14 +0000

Ein schöner Film mit der schönen Audrey Tautou.

"Was willst Du in den nächsten Tagen machen?
- Lieben. Ich will endlich lieben.

Du hast Dir aber Zeit gelassen.
- Es ging nunmal nicht schneller. Ich würde gern... ich möchte... Dich küssen."

Mehr gibt es hier: http://www.cineman.de/movie/2006/LiebeUmJedenPreisHorsDePrix/trailer.html

Hold me close and hold me fast: Reset, Remembered, Retold

Joie — Thu, 03 Jul 2008 18:25:32 +0000

Louis Armstrong - La Vie En Rose

[audio http://www.fileden.com/files/2008/6/20/1967807/02%20-%20Louis%20Armstrong%20-%20La%20Vie%20En%20Rose.mp3]

!!! SPOILERS AHEAD !!!

Amnesia has always been a narrative shortcut for dramatic effect, particularly one of suspense, inserted in the beginning of a film (as the plot mobilizes into a detective investigation of identity) or towards its very end (as a requisite hurtle before the sappy reunion). While Wall•E is no stranger to this rule, the film and its titular character do however share an uneasy relationship to the processes of remembrance and memorization, the twin halves of what we normally assign to as "memory."

Segwaying into Meg's post about the hazy "new order" between programmes and personalities, on the most basic level, Wall•E and the Gels aboard the Axiom are "humanized" exactly because they learn to replicate what they see and hear from stored cultural knowledge embodied by the Hello Dolly VHS and the computer's memory bank of our civilization before Earth was trashed. Humanity abides not to the laws of biology, but whether one possesses the mental capacity for acquiring and recalling information, followed by enacting it within a wholly contingent situation. Alanis was right: you live, you learn. If comedy is the result of miscommunication, then our laughs and sighs during Wall•E and Eve's initial courtship stem from watching signs of affection being misread and ignored by someone who's oblivious to their intentions. Eve has only one directive so far: to find the MacGuffin (seedling in a boot).

By the second act, everything slowly changes for both robots and humans alike, culminating in a sumptuous scene of emotional recognition by Eve of her own recorded memory, her POV video as surveillance footage. It's like watching your home movies 10 years from now and noticing details that escape your attention the first time around. Eve not only witnesses Wall•E's persistent dedication during her downtime, but the same identical scenes she experienced before, now in a radically different light. Walter Benjamin couldn't be more prescient about this triumphant moment of self-awareness through the unconscious mechanism of film: tapping into a realm where objects are more fleeting than concrete, visible only within the frame that hold its precious cargo of frozen moments, gone then, here forever.

Evidently a different nature opens itself to the camera than opens to the naked eye – if only because an unconsciously penetrated space is substituted for a space consciously explored by man...The act of reaching for a lighter or a spoon is familiar routine, yet we hardly know what really goes on between hand and metal, not to mention how this fluctuates with our moods. Here the camera intervenes with the resources of its lowerings and liftings, its interruptions and isolations, it extensions and accelerations, its enlargements and reductions.

Coincidentally, Benjamin's observation mirrors director Andrew Stanton's own attitude in hiring talented cinematographer, Roger Deakins, as a lighting consultant for recreating the photographic apparatus's penchant for flaws and blemishes, an absent trait in the world of animation, where imagination soars without limit, often without direction either.

We actually had a lot of stuff that wasn't correct in our software. The math wasn't doing the right thing, so all the subtle imperfections that you're used to, that you don't pay attention to that happen with the camera lens — the way things go distorted in the background, when they do it, how the plane of focus works, what things do in the foreground — all that was either slightly or majorly incorrect with our software, and had always been. I wanted to use the camera much more directly as a tool for intimacy in the film. I mean, I got a metal box falling in love with a metal box and a dystopian background, where am I going to get the intimacy? I'm going to use it with the camera by how shallow of a lens we use and how shallow the focus is, how narrow the lens is. So fixing all that and having Roger there to sort of confirm that we were in the right ballpark with it visually was just key to getting a lot of what comes, I think, unconsciously when you're watching the film.

Luckily enough we do not need a monitor screen to access our memory, but the film, being a work of science fiction, never treads away from articulating a future where scientific wonders afford the ability to prosthetize our mind from its body. Look up the Precogs from the grandmaster himself, PKD. Instead of being confined to a particular individual or even a localized site (the brain), memory as potential and kinetic energy is transferable and disperse, to be memorized, to be recalled, to be used again and again.

Eve fidgets with her hands as she reacts tearfully to the "It Only Takes a Moment" scene from Hello Dolly, echoing the same movement of yearning that Wall•E expressed, their behavior results from imitation, their hands gradually engraved with familiar reminiscence. Through this uncanny refraction by media itself are the two able to meet eye to eye, heart to heart. This is the stuff of remembrance, in which knowledge is retrieved in a manner that speaks beyond the level of barebone plots to byzantine associations worthy of prophecies and elegies, where meaning seeks confusion as an equal adversary.

When we finally reached the final act, the threat of amnesia leaves Wall•E in a state far worse than death itself, bereft of soul and spirit. Reading the weekend testimonies, men and women, young and old wept when Wall•E reverted back to his automated self; saving him from deletion inadvertently made the adorable spunky cube into a flat square, a shell of wires and silicon chips. Of course, this also happens to be the moment when the film succumbs to the cheap miracles of resuscitation by the 'Snow White' kiss (in this case, a spark of electricity), one can only eye-roll the numerous times Matrix got through that ordeal unscathed from fanboys booing at the incredulous act of faith performed by Trinity to the dying Neo. But I guess that film was an allegory of religion or something, I prefer its simpler elements: leather, bullet time, and Keanu. Most people subscribes to what Richard Corliss recently stated in his appraisal of Wanted that fantasy films work because of a built-in motor aptly called "movie sense" in contrast to the scriptures of our common sense.

This answer may be sufficient for most audience members leaving the theater, but I think Wall•E already has its own built-in logic for this unexplainable feat of life after coma. Recall that the film returns incessantly to a pair of hands in dire search of its righty and lefty, and that the explicit origin of this romantic desire comes from a fragment of an 1960s Hollywood musical. Despite of its revamped setup, the indirect reference that director Andrew Stanton, the know-it-all movie magpie, wants the smarter kids out there to think about is Chaplin's City Lights. Joe Morgenstern beat me to the chase, but I'll have my revenge soon. For a more nuanced study of physical comedy's legacy of jesters and simpletons (Wall•E has a vast family tree), look for the related post from Keaton. In the 1931 silent film comedy, the tramp falls in love with a blind flower girl, he finds money for her surgery but lands himself in the slammer. With her sight restored along with a new flowershop, she gives the downtrodden tramp a flower, only realizing when their hands touched that he was her mysterious benefactor. She utters, "I can see now," and these final words of the film verbally substitutes for the inexpressible warmth of their third skin, a crossroads of caresses between forgotten soulmates. Stanton gleefully simulates this classic scene by dividing it temporally and spatially (and gender reversal!), first with Eve's metaphoric blindness, then at the end, with Wall•E's amnesia as mechanical blindness, both overcome by the power of touch, of hands enmeshed into one, holding its own form of material memory. In short, a love conquers all ending that isn't a deux ex machina, it's all there, like bread crumbs leading up to the satisfying payoff.

What's truly delightful and moving about Wall•E's intricate layering and retracing of past relics with present crises is the sentimental grasp it has over the viewer, paralyzing us to believe fully in the utopian dimension of the film, and I'm not referring to the optimistic epilogue, but rather how memory is fluidly passed on from human to robot, robot to robot, and on a metalevel, old media to new media, almost to the point of near indistinguishable. Yesterday's mass culture is today's national treasure. So much of the film, of form and content, relies on the fetish of live action by animation, the meticulous rendering of digital bits into its analog reality, and with that, comes the possibility of actual affect through special effects. What Wall•E hopes we remember after another 700 years is that it too was a special time capsule, a host of cultural history and emotional relevancy, waiting to be imitated by a new classic far far away.

P.S. I breathed a sigh of relief knowing that I wasn't re-viewing the tragic fates befalling on our star-crossed lovers, it would've be relentlessly cruel for Stanton to end on the lingering mood of The Notebook or A Very Long Engagement. Rated G for happily ever after.

Alzheimer 'R' Us in The Notebook

hors de prix (2006)

souljunk — Thu, 03 Jul 2008 14:33:52 +0000

jean este un chelner timid intr-un super hotel , dar este confundat de catre irene (audrey tautou) , o materialista , cu vreun bogatas . jean isi intra in rol , dar irene isi da seama apoi si il paraseste . dar jean este indragostit si se tine dupa ea , mai apoi ii copie stilul de viata ... iar restu vedeti si voi ca e super baza!

Estreias da Semana (27/06/2008)

blogye16 — Fri, 27 Jun 2008 15:29:20 +0000

- AMAR... NÃO TEM PREÇO

Título original: Hors de Prix

Gênero: Comédia Romantica

Ano: 2006

País: França

Duração: 106 minutos

Língua: Frances

Classificação: 12 anos

Diretor: Pierre Salvadori

Elenco: Audrey Tautou, Vernon Dobtcheff, Gad Elmaleh, Jacques Spiesser, Marie-Christine Adam

Sinopse: Golpista que acompanha homens idosos de olho no dinheiro, Irene conhece o garçom Jean e pensa que ele é um milionário, dando início a um complicado relacionamento.

- JOGOS DE AMOR EM LAS VEGAS

Título original: What Happens in Vegas...

Gênero: Comédia

Ano: 2008

País: EUA

Duração: 105 minutos

Língua: Inglês

Classificação: 12 anos

Diretor: Tom Vaughan

Elenco: Cameron Diaz, Ashton Kutcher, Queen Latifah, Krysten Ritter, Zach Galifianakis, Lake Bell

Sinopse: Joy é dispensada pelo noivo em Las Vegas. Enquanto isso, Jack é demitido pelo próprio pai na mesma cidade. Eles decidem afogar suas mágoas juntos com muita bebida e jogatina. Mas é claro que uma situação dessas nunca acaba bem e, no dia seguinte, acordam casados. E ganham US$ 3 milhões num cassino, dinheiro que só podem aproveitar caso permaneçam numa relação estável. Ou fazer com que o outro desista do casamento.

- WALL-E

Título original: Wall-e

Gênero: Infantil - Animação

Ano: 2008

País: EUA

Duração: 97 minutos

Língua: Inglês

Classificação: Livre

Diretor: Andrew Stanton

Sinopse: No ano 2700, a Terra se tornou um lugar inabitável devido à imensa quantidade de lixo despejado. É quando o solitário robô WALL•E, encarregado de limpar o planeta, tem a oportunidade de ter uma nova vida e conhecer os humanos, que agora vivem em uma imensa nave chamada Axiom.

- DOT.COM

Gênero: Comédia

Ano: 2007

País: Portugal/Brasil

Duração: 100 minutos

Língua: Português

Classificação: Livre

Diretor: Luís Galvão Teles

Elenco: João Tempera, María Adánez, Marco Delgado, Isabel Abreu.

Sinopse: Águas Altas é uma pequena aldeia no interior de Portugal que se torna notícia quando uma multinacional espanhola pressiona os aldeões a fechar o site da aldeia por ser homônimo de uma marca de água que os espanhóis desejam lançar no mercado. A partir daí, gera-se uma grande divisão: há quem queira manter o site, por uma questão nacionalista, e há quem queira tirar partido de uma possível compensação financeira junto à empresa espanhola.

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Can't Wait!!!

akacocolopez — Wed, 25 Jun 2008 22:23:42 +0000

Coco Avant Chanel will be the title for the upcoming film chronicling the beginning of Gabrielle Coco Chanel's success. (Starring Audrey Tautou...a much better choice than Lifetime's giving the role of an older Coco to Shirley McClane????)

Priceless (Hors de Prix)

natebrown — Tue, 24 Jun 2008 16:00:47 +0000

Went and saw this film last night. It was good. Funny, good actors, beautiful locations, and the nice guy with no money gets the girl of his dreams to fall for him. What's not to like?

I also had an epiphany as to how to make this happen in my life. All that is needed is to move to France and buy a scooter (Audrey Tautou ends up on the back of a scooter, zooming away, happily in love, just as in Amelie).

My Amelie wont stand a chance.

Audrey Tautou is new COCO

versusall — Thu, 19 Jun 2008 11:52:10 +0000

Audrey Tautou will star as Coco Chanel in a $15 million biopic about the legendary French fashion designer. More ..>>

Wallpapers VI

lizardqueen88 — Tue, 17 Jun 2008 19:49:24 +0000

Después de un montón de tiempo sin aparecer por el Blog por problemas técnicos y estudiantiles, vuelvo para publicar los Wallpapers o fondos de pantalla que he hecho desde entonces. Espero que os gusten y también espero seguir mejorando y arriesgando más en el diseño, pero de momento, esto es lo que hay.

El primero es de Audrey Tautou, famosa por ser la protagonista de Amelie. Sólo utilicé una foto y ya veis que quedó resultón y elegante, al menos me lo parece.

El siguiente que os enseño es de una actriz llamada Christina Applegate, aparece en La cosa más dulce y se hizo famosa gracias a una genial serie Estadounidense llamada Matrimonio con hijos. Sencillito también.

Claire Danes, actriz también, sale guapísima en Stardust, uno de sus últimos trabajos. Es algo diferente de los dos anteriores y muy elegante.

Ahora vamos con un actor, Colin Farrell, estupendo y muy guapo, con fama de tipo duro. EL wallpaper lleva tres fotos y unas cuantas capas de efecto de color, a veces el trabajo no está relacionado con cuánto te gusta el resultado.

Uno de los actores con la carilla más adorable que existen, Elijah Wood, el famoso Frodo de la saga de ESDLA, de la que me declaro aficcionada, pero estas fotos están relacionadas con uno de sus mejores trabajos, Everything is illuminated.

Volvamos a las actrices, esta vez le toca a Eva Green, que apareció de hada en La brújula dorada, guapísima e inteligente, además es uno de los mejores walls que he hecho nunca y eso que no me costó mucho, las fotos eran fantásticas con ese toque oriental y Galliano... así que lo monté y listo.

Hayden Pannetiere, no la conocía, pero al parecer es una de las actrices de Heroes, la serie, simplemente vi sus fotos y me gustaron, escogí estas tipo Pin-up y listo.

Una de mis actrices favoritas, Julianne Moore, fantástica y brillante en todos sus trabajos, yo me quedo con El gran Lebowski y Las horas. Además es guapísima, eso si, reivindico que en las fotos dejen de ponerle moreno de bote en la piel, ella está guapísima con su tez blanca y su pelo rojizo, como vemos en este wall.

Kate Hudson no es que me guste demasiado como actriz, aunque tampoco ha tenido la oportunidad de desenvolverse en mejores papeles, quizá me gustase en Casi famosos, le iba muy bien ese papel, era muy natura. En estas fotos está muy elegante.

De una Kate, vamos a otra, ahora con Kate Winslet, que me gusta más que la anterior, tiene una belleza muy natural y versátil además.

No voy a mentir, me encanta la estética Pin-up y cuando vi a Rose McGowan, actriz de belleza extraña, que apareció en Planet Terror y Death Proof hace relatívamente poco, tuve que hacer este wall.

Actriz y guapa es también Salma Hayek, mis debilidades reunidas en estas fotos, tul, flores y color rosa... es inevitable.

Más natural es la actriz de comedias Sandra Bullock, es guapa de forma natural y nos entretiene un rato.

Y por último mostrar el wall de Scarlett Johanson, en unas fotos menos exhuberantes de lo que a muchos y muchas les gustaría, pero me parecieron bonitas para combinar en un wall.

Y esto ha sido todo por hoy, ahora el descanso post-exámenes y otro día más. Un saludo!

Amélie

moviecrackhouse — Mon, 16 Jun 2008 21:35:29 +0000

"One person can change your life forever."

Amélie, or Le Fabuleux Destin d'Amélie Poulain is near perfect in terms of enjoyment. This movie is a treat. It's quirky, funny... and I can watch it over and over. Audrey Tautou is brilliant in this movie.

The story is about a young woman who grew up sheltered without much human contact beyond her father [because he was afraid for her and her supposed 'heart condition'...]. When she grows up, she moves out on her own and takes a job as a waitress in a little cafe. Her life changes when she discovers a long, lost treatsure in her apartment and decides to return it to the previous occupent, and she sees how it affects him. From that moment on, she decides to devote her life to the happiness of the people around her, including some very funny, colorful characters. And along the way, she may even find what she's day dreamed about her whole life: love.

This movie is beautifully produced, giving it a modern fairy-tale feel. It's a quiet yet wild, mischievous ride. 4 1/2 out of 5.

~ HELENA

Add'l Info: Released: Apr 25, 2001 • Runtime: 122 minutes • Rated R for sexual content

Audrey Tautou

Bianca Chiaradia — Sun, 15 Jun 2008 15:45:17 +0000

Bafão, eu fiquei emocionada, porque sou fã dessa mulher.

Audrey Tautou, atriz francesa, que ficou famosa com o filme O fabuloso destino de Amélie Poulain (2001) é o novo rosto da campanha do perfume Chanel Nº5.

Ela vai substituir Nicole Kidman, estrela do último comercial, baseado no filme Moulin Rouge (também de 2001). Kidman contracenou com Rodrigo Santoro e teve a direção de Karl Lagerfeld.

Audrey será a estilista Coco Chanel na película ‘Coco Before Chanel’. O filme está em produção e conta com a direção de Anne Fontaine.

A nova campanha do Chanel Nº5 tem previsão apenas para 2009, com direção confirmada de Jean-Pierre Jeunet. O mesmo diretor de O fabuloso destino de Amélie Poulain .

É esperar pra ver!

Number of the Link

samunsted — Fri, 13 Jun 2008 17:06:45 +0000

Downey Jr for Sherlock Holmes?

Here's an interview with Baltar, aka James Callis.

The Happening is getting killed.

The Hold Steady are adding extra cuts to the special editions of Stay Positive.

Cameron Crowe has signed up Reese Witherspoon and Ben Stiller for his next project.

Here's an interview with Alan Moore.

JJ Abrams is to prequel Fringe with a comic.

U2 is selling a Basquiat.

Blender has an oral history of Sub Pop.

David Denby discusses You Don't Mess With the Zohan and The Incredible Hulk.

An adolescent gives an account of his experiences with the work of Greg Araki.

It seems to be Audrey Tautou week on The Guardian.

Here's a clip from Guy Maddin's My Winnipeg.

Leo as Captain America?

Coldplay on Guitar Hero... My Chemical Romance is bad enough.

Aziz Ansari is to be in the Office-spinoff.

This dude's photos of Russia are amazing. (Thanks to Boing Boing for pointing this out).

Paper Magazine has a nice list of the twenty-five most stylish ladies of song.

Did cable news assassinate the Clinton campaign?

Lots of new Dark Knight shizzle has turned up ahead of next month's release.

Hello Magazine Interview With Audrey Tautou

Grace — Wed, 11 Jun 2008 06:09:48 +0000

Hello Magazine interviewed actress Audrey Tautou about her latest film Priceless...

Q: In Priceless your character Irene is quite a departure for you; she’s a real seductress…

A: "She's far from the kind, shy, discreet types I tend to play. It was a change to play a woman who's a seductress, a manipulator and a liar! It was great to realise I could be that kind of 'real' woman!"

...and her upcoming role as Coco Chanel...

Q: And you are going to play the legendary designer Coco Chanel in a new movie?

A: "That’s true; I start shooting at the end of the summer. It's not a bio-pic, though, it’s about her early life, her personality, the experiences that lead us to see and understand who she will become."

Read the full interview at Hello Magazine.com.

Saudades do "Velho Mundo"

ptescarolo — Tue, 10 Jun 2008 22:39:07 +0000

Estou numa fase meio européia. Herança de "uma grande e gloriosa viagem à Europa", como bem disse Jack Kerouac. E isso, claro, reflete no cinema. Mas não comecei a ver filmes europeus só para dizer que virei cult. Quero mesmo é matar a saudade de alguns lugares, sobretudo Paris. E, por isso, meu julgamento fica um pouco prejudicado. Não consigo falar mal de um filme que tem Paris como cenário, caso deste Bonecas Russas (Les Poupées Russes, 2005).

O filme é a continuação de Albergue Espanhol. E, aqui, mantém a velha regra: o primeiro filme da série é bem melhor. Mas o segundo não é ruim, apenas um pouco cansativo. Culpa da extensa e desnecessária duração e de algumas cenas chatíssimas que ilustram os delírios do protagonista. Sabe aquelas cenas maluconas em que o personagem imagina coisas, as pessoas flutuam, o filme emudece e coisa e tal? Isso só funcionava bem no desenho Fantástico Mundo de Bobby. Apesar disso, o filme leva 6,5.

Imagina ter uma vista dessas da janela: dá pra não se apaixonar por Paris?

Bonecas Russas (Les Poupées Russes, 2005)

Direção: Cédric Klapisch; Com: Romain Duris, Kelly Reilly, Audrey Tautou e Cécile de France

Enfim, Juntos (Ensemble, c'est tout)

LELLA — Sun, 08 Jun 2008 23:29:09 +0000

"Nenhum homem é uma ilha..." ( Ernest Hemingway)

Poderiam ter deixado apenas "Juntos" na tradução do título. Pois o que escolheram desvirtua o propósito da história. E qual seria? O encontro, não tão casual de quatro pessoas, que juntos enfrentarão seus medos, seus sentimentos de perdas, suas frustrações. E até o medo de sofrer uma nova e grande desilusão.

Camille (Audrey Tautou) conhece Philibert (Laurent Stocker) entrando no mesmo prédio onde moram. Ele mora num grande apartamento. Já ela, mora no que talvez tenha sido a ala dos empregados no passado daquele prédio. Há uma certa empatia de ambos, o que dá início a uma amizade. De pronto, ficamos cientes que ela trabalha como faxineira em escritórios. Embora desenhe muito bem. Dele, vamos descobrindo aos poucos. Embora muito culto, por um problema, tem sua vida profissional emperrada.

Com Philibert mora Franck (Guillaume Canet). Ele é Chef de cozinha. Um tanto carcamano. Em suas folgas, leva prostitutas para o apartamento. Que além de transarem, ele bebe muito e ainda coloca um som alto. Philibert faz vista grossa, até por gostar dele. Franck também tem uma avó que por conta do gênio, de humanos, só tolera ele e uma vizinha. Ela é Paulette (Françoise Bertin). Mora sozinha. Numa casinha cheia de plantas e animais.

O que irá unir de vez esses quatro será, uma gripe forte em Camille, que faz com que Philibert a leve para sua casa, para cuidar dela. E de tabela, um tombo de Paulette. Que faz com que Franck também reavalie sua postura até então.

O que me motivou mais a ver o filme, foi a atriz, Audrey Tautou (A doce Amélie Poulain). Depois sem dúvida foi a história do filme. Mas... Faltou algo para que o filme me motivasse a rever. Pena! A história se perdeu... E eu não sei explicar onde. Até para quem conhece as minhas análises, já sabem que eu adoraria uma história assim. Por mostrar que ninguém se faz sozinho. Que é muito bom uma mão amiga. No exemplo de Camille, mesmo tendo uma transação comercial, veio em ótima hora. O filme é bom, mas poderia ter sido um ótimo filme.

Por: Valéria Miguez (LELLA).

Enfim, Juntos (Ensemble, c'est tout). 2007. França. Direção e Roteiro: Claude Berri. Elenco: Audrey Tautou, Guillaume Canet, Laurent Stocker, Françoise Bertin. Gênero: Drama. Duração: 97 minutos. Adaptação do livro homônimo de Anna Gavalda.

Coco before Chanel: la locandina del film

trendandthecity — Mon, 02 Jun 2008 09:53:29 +0000

Molte di voi ci chieodno notizie riguardao l'atteso film (il nuovo atteso direi, visot che l'evento dell'anno è andato ins ala il 30 Maggio) sulla vita di Madamoiselle Coco Chanel e noi vi mostriamo questa, la locandina ufficiale, a conferma che Audrey Tautou è davvero il volto che la Francia ha scelto per rappresentare una delle donne più importanti della storia della moda.

Autore: Sonia Grispo

Upcoming Movies I WILL see

euphrosini — Sun, 01 Jun 2008 17:13:27 +0000

The WACKNESS

August 29 2008

Why? Because Olivia Thirlby is awesome, Josh Peck = Nickelodeon star with an appreciation for 90's Hip-hop which kind of makes me just want to pinch his cheeks, Mary Kate support, Famke Janssen won me over in Nip/Tuck as the hottest trannie ever. Basically, I was sold on the film when I first read the synopsis because it brings something new and fun to the table. Ideas out of the box always pull me in... even if they aren't always executed well, atleast their a step in the right direction. Plus, it's time for the 90's to make a come-back.

Cocoa Avant Chanel

Release Date: TBD

Why? I have the biggest girl crush on Audrey Tautou. My obsession with French film made me watch: Amelie and then He loves me, He loves me not which then led to Dirty Pretty Things. She was amazing in both English and French. It says alot when the performance can travel through the language barrier. Plus, I love the poster. She looks totally bad-ass which will be great to see something different from her usual quirky-lovey characters

Bricklane

Why? Because I read the book and I love seeing the story transferred to film. Also to see someone else's interpretation of the story and the characters.....

The Dark Knight

Why? It actually looks like an entertaining and not generic "blockbuster." And anyways, Christian Bale won me over with his freaking amazing performance in Harsh Times.. If you haven't seen it, I say watch... its so intense. And yes.. the hype got me .. their campaign has gotten so much attention I might as well see if the product is worthy of the promotion.

American Teen

Why? I'm a sucker for buzzed about movies and reality television.

Step Brothers

Why? Will Ferrell for the most part is funny (no one kills it 100% of the time) and the red band trailer cracked me up (what can I say.. I'm a sucker for dirty language): http://www.apple.com/trailers/sony_pictures/stepbrothers/

I kissed a girl and I liked it.

natalielewis — Wed, 28 May 2008 21:49:30 +0000

I forgot to mention I saw "Priceless," with Audrey Tautou the other day. It was a sweet comedy ("I hate chick flicks," my companion mentioned) but nothing extraordinary. It made me think I could pull off golddigging though, which I thought was a seriously bad influence. I also prayed that Audrey wouldn't die from not eating, because I was pretty sure I could see every bone in her body; my forearms were bigger than her calves.

Back in Boston. The flight was long and grueling, but luckily for the first half I was sitting next to an Oregon State student who was really nice and shared the same hate for the amount of leg room united provides if you are not in "economy plus" (literally about 8".) Crossing my legs on an airplane is a trying task.

Lesley called me while I was picking up my bags at baggage claim. I was shocked to hear from her, considering I thought she might never come back from France. We had a good chat and arranged to have another "catchup" chat because we haven't really spoken much over the past year, and good lord we are excellent at gossiping. Our conversation was no more than 20 minutes long, but I learned and shared more than I probably 'ought to... ;)

I arrived back in my apartment a bit after midnight. My flight got in early around 11:45, and on the cab ride home I seriously considered calling the chinese food place next door and picking it up upon arrival. I settled for an episode of law and order and some cream cheese and wheat thins. I felt ill (I hadn't eaten for about 9 hours) and I wanted to die. So I crawled into bed and watched "Smokin Aces" which wasn't nearly as bad as I thought it would be.

Woke up today, started doing laundry, packing, and cleaning. For a place that is "mine," I really don't feel at home right now. Not sure why. Everything is covered in a fine layer of dust and although everything in the house is mine, it feels like something has changed since I've returned to it. The air felt stale, like there was no circulation (I left a back window open to avoid this.) But I'm glad I didn't attempt to clean anything before I left. That would have just been... bad.

Back to work. Much to do, and only 4 days to really do it in. Meeting Mattaboo at Shabu Shabu tonight and I am psyched... I love that shit for some reason even though I'm paying to cook my own food. Perhaps it's just the fabulous company I seem to do it in...