Watching movies about the artistic main characters reminiscing about their tragic doomed loves that happen to be set in France, and here I am fixating on their kitchens and fire light.
"To be hurt by our own ability to love is a fate that has doomed us Or brought only a few to salvation" - my friend Owais sayed on a random summer noon.
Portrait of a Lady on Fire × The Picture of Dorian Gray
[Image ID: "Harry," said Basil Hallward, looking him straight in the face, "every portrait that is painted with feeling is a portrait of the artist, not of the sitter. The sitter is merely the accident, the occasion. It is not he who is revealed by the painter; it is rather the painter who, on the coloured canvas, reveals himself. The reason I will not exhibit this picture is that I am afraid that I have shown in it the secret of my own soul."]
An examination of tenderness in film, by me. Originally published on my now-deactivated art account (cerise.annette on IG) in my sophomore year of high school as a personal project. I have always been interested in the way love languages have been portrayed in media as well as the transition from often violent/tragic love to softness (in terms of queer relationships). But! that kind of analysis will be saved for later, hopefully when I get around to reviewing The Handmaiden (2016). As for now, please enjoy!