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Sounds perfect Wahhhh, I don’t wanna
augerer

Anonymous asked:

What do you think, will Harrow & Gideon actually end up together in Alecto? Because it's very obvious that they love each other, but is it romantic? And if not, will it become? Also, there's the Body and them generally being very repressed, and there's a lot of things that still have to happen in book 3... (this is me basically begging you to tell me they're gonna be together lol)

augerer answered:

Dear Anon:

There are no guarantees in this wretched world, but I would be deeply, deeply, surprised if Gideon and Harrow were to not end up together in Alecto.  I feel so confident about this that the question I’m in fact asking my friends about is whose POV various relationship milestones are going to occur in (we think we’ll get a first kiss from Gideon’s POV!  We just feel this way!)

Since this is a very nine-themed piece of literature, I shall provide you with nine bulletpoints of arguments!  The first two above and the rest under the cut.

  • 1) Is Harrow going to end up with Alecto?

No.  I really do not think so.  Alecto is like, 10,000 years old (ok she’s been asleep for a lot of that but she was still alive for probably 200 years or something?) and Harrow fell in love with her when she was TEN and she saw her CORPSE.  ONCE.  that shit cannot possibly be healthy.

i just don’t think it’s a good message or coherent to have harrow end up in a relationship with someone she’s been fixating on without knowing them, instead of someone (GIDEON) that she actually has a meaningful relationship with that has been developed for two going on three books.

super excited to see what’s up with alecto!  want to see what’s up with her personality, feel confident that God majorly screwed her over somehow.  i’m sure she’s going to have compelling relationships with gideon and harrow and the rest of the cast!  but i do not think that ending up with harrow is how it’s going to go down.

  • 2) Is it romantic for Gideon?  I absolutely think that Gideon at least is explicitly framing their relationship/her desire for harrow as romantic, as seen by: tons of shit after she wakes up in Harrow.  You can basically open up to any page of Gideon POV in Harrow and see this happening, but here is a grab bag of examples:

“I was so dumb to think a tub of ancient freezer meat was my girlfriend.  Please show me how to do a press-up.  Also, I’m very obviously attracted to y–” and then gideon cuts off because she’s too embarrassed to finish.  THIS IS NOT PLATONIC.

“I’d touched your intestines, which is usually what, fourth date”

the fight she gets in with Ianthe, which is for many reasons, all of them harrow related, some of them clearly rooted in romantic jealousy.  “like she’d never put her hands on you, never made you want her, and never imagined there’d ever be a reckoning.”  hello?

ianthe EXPLICITLY argues to gideon that harrow is not in romantic love with her, (with the implication that that’s what gideon wants from harrow), and instead of denying this normally gideon basically says “ACTUALLY, you fool, my love for harrow has transcended romance, due to being convinced she could never love me back” none of which is much of an argument she isn’t in love with harrow if you think about it for more than two seconds.

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ladyonfire28
ladyonfire28

POALOF DVD Commentary Masterpost

Here are all the different scenes of the DVD commentary I’m translating. I’ll try to update it after every new post ! A huge thank you to @bereaving who’s the one who makes ALL the gif sets here. A true hero. 

Céline’s words of introduction on the DVD/Blu-ray

Céline comments on the very first scene of the film

Céline talks about the boat + jumping in the water scene

Céline comments on Marianne’s arrival on the island

Noémie talks about how her costume helped her to get into the character of Marianne

Céline talks about the castle

Céline explains the importance of the workshop set

Céline talks about her new challenge with the sound reconstitution

Céline explains how she used light and candles in her film

Céline talks about Sophie’s role and the creation of a new horizontal dynamic between the characters

Céline comments the discovery of the faceless portrait and the match cut with the headless dress

Céline talks about the role of the countess and her horizontal relationship with Marianne

Céline on creating Marianne’s workshop and the importance of the curtain

Céline explains why and how she created the desire to see Adèle/Héloïse’s face

Céline talks about the first exchange of glances between Marianne and Héloïse

Adèle explained how she prepared for the role of Héloïse and how she perceived her character 

Noémie looking like a tired kid at Christmas

Céline and her desire to show the work of the painter

Céline talks about the scarves and Adèle’s gazes

The beach as the end of the world for Héloïse

Céline talks about the first time she heard Adèle’s voice as Héloïse on set

Céline talks about the sound work on the waves and the unexpected good weather in Brittany

Céline talks about filming the painting

Céline talks about the first real exchange between Héloïse and Marianne and about a key sentence of the film

Céline talks about the difficulty of not having a model and the art of self portrait

Céline and Adèle talk about the first scene of intimacy between Héloïse and Marianne

Marianne is the first character to burn during the piano scene

Céline commenting on one of her dreamed scenes, that was the “but I also felt your absence” scene

Céline talks about how the first portrait is presented to the audience

Céline explains how she wanted to resolve conflict differently from most other films

Céline talks about guilt and fire

Céline comments on the portrait on fire and its meaning

Céline explains how she created the delay of conflict

Céline explains how the film dynamic changes after Marianne shows Héloïse the first portrait

Céline talks about the arrival of a third character in the frame

Céline talks about the relationship between Héloïse and her mother

Noémie explains how she approached the role of the painter

Céline on filming desire in the “look at me” scene

Céline comments the representation of menstruation in her film

How Totoro has inspired Céline Sciamma

Céline explains her love for the kitchen place and its signification

Céline talks about the difficulty of the sequence shot of Marianne preparing to draw Héloïse and the importance of the candles 

Céline talks about the technicality of the scene where Marianne draws Héloïse in secrecy

Originally, the “if you look at me, who do i look at” scene was the scene of the first kiss

Céline comments on Adèle’s innocence when shooting the card game scene

Claire Mathon talks about filming Adèle and Noémie’s faces

Céline talks about her desire to film the art of embroidery

Céline talks about the representation of sorority in the film

Céline explains the importance of the reading scene of the myth of Orpheus and Eurydice

Céline Sciamma and Claire Mathon talk about the bonfire scene

Céline explains the thought and making process of the first kiss scene

Céline comments on the first ghost apparition 

Céline talks about her tribute to Persona in the second kiss scene

Céline explains the scene of intimacy in the morning

Céline and her pockets obsession

Céline talks about the complexity of the abortion scene

Céline explains why it’s important to represent the abortion within the film

Céline and Noémie talk about their chemistry with Adèle and how the environnement created by Céline helped them

Adèle explains why filming the sex scene was something she enjoyed doing

Céline comments on the second ghost apparition

Céline Sciamma : “we hope to democratize this method of hydration”

Céline, Adèle and Noémie talking about the scene of conflict

Céline talks about the beginning of the end of the love story

Céline said they picked the most emotional take for the “forgive me” scene

Céline and her desire to talk about miniatures

Céline and Adèle talk about page 28 and the explanation behind that figure

Céline comments the mirror scene

Céline says she wrote the “don’t regret, remember” scene for the last audition of Noémie and how her chemistry with Adèle moved her

Céline comments on the last bed scene

Noémie being very moved (and pale) during Adèle’s last day of shooting

Céline commenting the exhibition/ Louvre scene, which was the last scene that was shot for the film

Céline reading the script of the final scene of Portrait (+ the audio)