Mesmerizing Caroline - The Movie Theater (Mind control erotica)

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HVK: Why did you choose to show Paris through the eyes of a Japanese woman as the lead character, instead of a Parisian? She thought every Parisian was like Coco Chanel. For me, the Japanese delicatesse is a good drama. The culture shock creates a good story. They are not spontaneous. In France we are very spontaneous.

Love Narratively? So do we.

If you want to say something, you say it, even if it is sometimes better to keep your mouth shut. The Japanese are reserved. It is very difficult to know their thoughts. Was this a conscious decision? Slony: I am Parisian and grew up in the western part.

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Throughout my life I have lived in every arrondissement. Parisiennes is about the women I know, many of whom represent my mother, my sister, my friends.


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All the women in Parisiennes live here. French society is built by men, and French women pay the price to be independent.

I wanted to show this price in Parisiennes. The homeless character is living on the street because of the choices she made in the past. Choices that men, not women, are allowed to make. HVK: The public toilet attendant character is interesting. Most people would see her job as a kind of prison, but it is her poetic imagination that gives her freedom. We see this in her surreal re-telling of when she witnesses blood seeping out from under one of the toilet doors. Slony: To an extent all the characters are like this. The homeless person says it was her choice to live in the street.

She says it to convince herself. But it was not like that. Her poetry gives her freedom, but in reality it is not like this. It only exists in her head. The stylist is also a fantasist. She is a dominant woman with men. All her relationships with men are so crazy. She likes drama, plus drama. Eriko, what version of yourself did you bring to the role?

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Eriko: I wanted to represent the woman I was when I arrived in Paris. I had seen so many articles and films about Paris. The reality is totally different.

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I arrived in Paris 9 years ago, not speaking one word of French. It was a total culture shock for me when I met the Parisian woman. I was sometimes frightened, sometimes emotional, sometimes surprised. Very shocked.

In a good way and a bad way. Slony: The people we know are mostly directors and actors. Most of them are crazy people. They fight and they love with big emotion.


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Eriko: In the beginning I went to many parties and I ended up staying alone until 4am at the corner of the table. They talked hard with each other, fighting with each other. I learned that I had to explain my emotions and what I am actually feeling. HVK: Parisiennes was shot before the Paris attacks. I imagine it would have been difficult to make now. Slony: Yes, we shot with little time and without official authorisation. We just walked straight into the grand building.

I had the camera on my shoulder, and followed Eriko. We were lucky because on the same night there was some authorised filming going on at the Opera and they thought we were one of the crew. But we just carried on for another 30 minutes, and got all the shots we needed.

HVK: Parisiennes took 2 weeks to write and 25 days to shoot on a budget of 30, euros. How did you manage to make it happen so quickly? Slony: I knew that if I waited for the money to arrive from production companies, it would have taken too much time. The project would have died. I had friends who were willing to do things for free. The money came, bit by bit. I wanted and achieved a shooting experience that has elements of accidents and improvisations. Just like in life.

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We had to make do and adapt to the environment all the time. How did this affect the shoot? If it had been a big film, one which needed a lot of preparation, with big street installations, set locations, and with lots of takes I would have needed professional actors. But for Parisiennes I needed real life and poetry. This is because poetry can emerge from mistakes. If you cannot control everything you have to adapt.

It is this that is exciting for me. If you ask a non-professional person to play like a professional you will crash against the wall. They have to be themselves. I asked them to follow me, and to trust me. Winter Frog is currently being developed into a feature film and will be set in Napa Valley.

Captivity comes in different forms … Guillaume Gallienne with Adele Exarchopoulos. He tells complicated lies, snatches moments for sex in her cell and prison IT room and engages in numerous amounts of texting. Meanwhile, Anna plods on with her constricted life in an emotionally volatile prison environment. Gallienne plays Jean straight a different turn to the comic role in his semi-autobiographical Me, Myself and Mum. Jean is serious yet slightly dead-pan which serves to lighten, a bit, the emotional intensity, saving Eperdument from melodrama.

He then proceeds to brutally rape her. The rapist returns. Is this a feminist film?

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Love Island's Caroline Flack reveals she's finished filming her first movie

And no. He was unable to make it in Hollywood due to its violent nature. Isabelle Huppert is in London and the sun is shining bright, a lion in the sky, shaking its mane over her enigmatic chill.