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Trois couleurs: Bleu [Three Colors: Blue] (Krzysztof Kieślowski, 1993)
Aug
15
cerulean
Julie (Juliette Binoche) in a blue wallpapered room, observes blue beads suspended in front of a window with a cerulean sky and ocean behind it. Throughout the story, her clothing changes from white, to black, to the darkest charcoal blue, to Prussian blue. DP: Slawomir Idziak.
Cerulean, or blue: in food or fashion*
“I'm just fine. I have everything here. I have the TV. You can see the whole world”
– the mother
How could I not pick at least one instalment of Kieślowski's Trois couleurs trilogy. Here's blue, the liberté of the tricolor. Blue occurs as the sky to fall through, the room without life, and the cloth that binds.
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Lola Montès (Max Ophüls, 1955)
Aug
14
Bavaria
Celebrating Oktoberfest [in September/October] and the Bavarian royals [rip]: a royal character or family*
“The painter takes his time. He doesn't like her dress. He doesn't like her gloves. One day he asks her if she dares pose for him – all in pink. She dares! And the king, enraptured by her pose, offers her a palace!”
– circus master
Maria Dolores Porriz y Montez, Countess von Landsfeld, Lola Montès for short, now a circus attraction, once the mistress to Ludwig I, King of Bavaria. While her fellow circus performers play Lola's former lovers, the ringmaster tells her story.
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La carrière de Suzanne [Suzanne's Career] (Éric Rohmer, 1963)
Aug
13
thé
A woman reaches for a silver teapot. We only see her hand. DP: Daniel Lacambre.
“I know. I know you. I know you very well.”
– Suzanne
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Il fiore delle mille e una notte [Arabian Nights] (Pier Paolo Pasolini, 1974)
Aug
13
cerulean
Cerulean, or blue: a building or structure*
“Eh, i sogni a volte insegnano male, Dùnya, perché la verità intera non è mai in un solo sogno, la verità intera è in molti sogni.”
One of the many exotic locations is the مسجد شاه, [Masjed-e Shah, or Shah Mosque] in Iran with its otherworldly blue and blue-adjacent tiles.
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Il deserto rosso [Red Desert] (Michelangelo Antonioni, 1964)
Aug
12
green
Valerio (Valerio Bartoleschi) and his mother Giuliana (Monica Vitti) in an arid industrial landscape. Giuliana wears a brilliant green coat, its shade between pea and moss, depending on the drabness of her surroundings. DP: Carlo Di Palma.
Green, in food or fashion*
“She'd discovered a small beach far from town, with crystal-clear water and pink sand. She loved that spot. The colors of nature were so beautiful, and there was no noise. She'd leave only when the sun did too.”
– Giuliana
Antonioni's first film in colour beautifully utilises Vitti's brilliance – of her auburn hair, her porcelain teint, her vivid costumes (by Paola Carloni) – against the drab landscape.
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Du côté de la côte [Along the Coast] (Agnès Varda, 1958)
Aug
9
yellow
Yellow, in food or fashion*
“Tourists prefer the trendy colors, yellow and blue. Pacing fancies, hotels are painted yellow and blue. Blue wins. All women want to be fashionable. All women wear blue, except the English, those learning to swim, and the Germans, who are dedicated to green.”
– narrator
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Paparazzi (Jacques Rozier, 1963/1964)
Jul
29
A character has a camera or takes photos*
It buzzes on the set of Le mépris. These mosquitos, the Italians say paparazzi, swarm La Bardot, make it merely impossible for anyone – themselves included – to do their job. But Bardot knows them, too well, and gives them what they want, when she wants it.
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La boulangère de Monceau [The Bakery Girl of Monceau] (Éric Rohmer, 1963)
Jul
28
un gâteau
A young woman in an apron grabs a French cookie. DPs: Bruno Barbey & Jean-Michel Meurice.
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La vérité [The Truth] (Henri-Georges Clouzot, 1960)
Jul
25
Bardot and two men in a café. She has her head on Sami Frey's shoulder while the other man kisses her arm. The table in front of them holds a full ashtray and small coffee cups. DP: Armand Thirard.
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L'argent [Money] (Robert Bresson, 1983)
Jul
22
A man at an ATM holds on to a Visa credit card with tweezers. DPs: Pasqualino De Santis & Emmanuel Machuel.
Everything's expensive: someone is a at bank or ATM*