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Amuse bouche Monday (avian / fowl)

Amuse bouche Sunday (it's good to think)

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Amuse bouche Saturday (Slovenian sartorialist sarcasm)

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Amuse bouche Friday

Amuse bouche Thursday (es and es)

Also:

Babette may be the more rewarding film to watch, in part because it affirms that there are times when a single shared meal can have a transformative, even transcendent effect - something we would all like to (and should) believe.  Meanwhile, Big Night takes on the thankless job of reminding us that our most common encounter with hunger is as a recurring debt for which eating provides a reprieve but no permanent solution. 

It’s a less ennobling truth, perhaps, but one we can’t lose sight of. There’s simply nothing more fundamental to our shared humanity than our common need to eat with regularity and a measure of ritual.  I’ll leave you to decide whether the former represents a French approach to the problem of appetite and satisfaction, and the latter the Italian take on it. But it seem to me that neither gives the full picture; each is incomplete without the other.  We need Primo and Babette.

Amuse bouche Wednesday (essayer encore une fois)

Mekas tribute: John Waters from Serpentine Gallery on Vimeo.

et aussi

In 1973, six years before she was found dead in her car – the result of a "probable suicide", according to a Paris coroner – Truffaut tried to cast her in his paean to the movies, Day for Night; for reasons that remain a mystery, he couldn't get in contact with her. He was certainly smitten by what he saw in Bonjour Tristesse. He wrote in 1958: "When [Seberg] is on screen you can't look at anything else. Her every movement is graceful, each glance is precise. The shape of her head, her silhouette, her walk, everything is perfect; this kind of sex appeal hasn't been seen on the screen."

updated to add

...she has an anxious halo that bespeaks a reservoir of tremendous instability barely held in check: the specter of drug problems, emotional difficulties, dangerous liaisons. [Nathalie] Richard brings a fascinating bifurcated quality to this woman, impish yet cynical and almost terrifyingly vulnerable once you get past her seen-it-all facade: in her fierce not-quite androgyny, she seems to bring other scarred worlds to bear on the movie, to anchor its lightness in underground passions, perils, ambiguity. She isn't quite like anyone else in the movie, or the movies themselves -- Richard's so much quicker than a Jean Seberg or Anna Karina, as if channeling Martina Navratilova's reflexes through memories of the heroines of half a dozen Big Star songs. -- Howard Hampton. "The Strange Case of Irma Vep." In Olivier Assayas, ed. Kent Jones (Wien: SYNEMA, 2012), 108.

Amuse bouche Tuesday (two-fer)

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The White Shadow [via]

Amuse bouche Monday (opening credits)

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Amuse bouche Sunday (sound)

WHAT SANDY SOUNDED LIKE

First-hand field recordings of the nasty storm via SoundCloud

Radio Free Gunslinger #27: 

The Simple Interpretation of the Dream

Notebook Soundtrack Mix #3: 

TRESPASSERS WILL BE EATEN

Electric Adolescence

My Favorite Uses of Music In Film

 

 

Amuse bouche Saturday (silent)

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