The Olympics are not just a sporting event that draws millions of people to television every four years. It is also the name of the district of Paris, exactly from the 13th arrondissement of the French city. It is neither the most popular nor the most photogenic. Tourists do not visit it when they go. You do not take photos of its towers like the Eiffel Tower or postcard buildings and bohemian roofs. This is a multicultural area where everything is normal and the cinema is usually not interested in normalcy. Those who are interested are Jacques Audier, a director who has come to the fore in European cinema. Prophet And that he had already looked out on the outskirts of Paris Thriller on Deepani, With which he won the Palme d’Or.
with Paris, 13th arrondissement Offers an unusual film in his career. Adapts comic book series Les Intruders, By Adrian Tomin, Generation Radiography and New Ways of His Relationship. Love, sex and new technologies as a reflection of society. Generation survivors, trying to survive. Audar wrote the screenplay with Celine Skiama (first versions) and Leah Mission, one of the great promises of French cinema. They offer us a love triangle where the main voice is Naomi Merland, one of the best actors in European cinema that we find. Portrait of a woman on fire And which we shall see soon One day, one nightIsaac Lakuesta’s new film.
Merland worked with Sciamma and now he is doing it for the first time with Audiard, an experience he describes as a “dream” because for him he is one of the great directors of modern cinema. He emphasizes that working with him is like dialogue. “I was always in direct communication, I shared it … for me it is a creation and in this film, from the first rehearsals, I was lucky to find someone who cares about releasing the voice of the actor and the whole team. Wants everyone to express themselves, to submit ideas. “Shooting is like a playground where you have fun and where everyone returns the ball, but here that ball is the truth you have to find by taking risks.”
The 13th arrondissement is not unknown to Merland, but he knows and lives there. His parents still live there. “I’m glad the film depicts a different reality. Not the postcard, Paris, but the closer one who lives there. A more heartfelt Paris, even amazing. It’s a very diverse neighborhood, a lot of street art., A very free neighborhood and I think “It’s very cinematic. Of course, this film is very well portrayed and I think this area is more romantic than usual,” he said.
This is another concept that the director and his screenwriters test: about romantic love that does not exist here, which is why Noemi Merland believes that the film “re-invents the codes of love and romanticism as we know it and, above all, in the representation of love scenes.” Clearly, there were two women who co-directed the script with the audience, and for Merland, that “in feminine imaginary love scenes, A woman’s gaze In sex scenes, “” What I like about this film is that it’s a re-invention of romantic love. My Jubita, Mon Amur.
It is also different according to the portrait of sex and the new generation and the feminist movement that focuses on consent. Until recently, sex scenes were patriarchal. It is now clear that “only yes is yes” and in Paris, 13th arrondissement Sex is also different. This is seen in the character of Naomi Merland, who is “sexually liberated.” “He decides, he chooses with whom, when and how to fall in love, and there is no judgment. There is a scene that seems very necessary to me and that is rarely seen in the movies. A scene where we see that Nora, my character, does not like it, she really feels He says, but the male protagonist Camille listens to his reaction, notices him.It often happens that women do not dare to say that they do not want to.To have sex, it “no” comes out of his body, not from his lips.He avoids turning and he “He sees it, asks questions and says it’s not like that day. He understands, he does not blame, he does not insist and he does not try to give up. To show a scene that has nothing to do with it, I think, is wonderful,” he said.
The film also changes the position of the woman and puts her not as an object of desire but as an object of desire. “My character conquers her body and moves from the instrument of male desire to the instrument of her desire. The sex scenes in this film are new and there is a lot of eroticism, but in scenes like Nora and Amber dialogues, virtual dialogues, but this eroticism is in her vision and on-screen behavior. He makes many mantras in his own way Portrait of a woman on fire He explained that consent was erotic and that there was so much more eroticism in the lip than in the breast, only the male gaze created his imagination. Paris, 13th arrondissement, It is a catalog of new ways of connecting where concepts such as class, race and diversity are part of everyday life. Rejection of black-and-white Hollywood movies outside Paris.
Source: El Diario
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