well, i am a huge fan of celine sciamma anyway. i loved girlhood. i love her previous work. story about someone is sent to paint somebody who does not want to be painted. and sciamma, you know, said that she envisaged the film as a kind of treatise on the female gaze, and i think it is that, to some extent, but the reason it works is because it engages you emotionally. yes. i mean, it's like a thriller, it is like a kind of hitchcock thing, it's, it's — you believe in the characters. and it's beautiful to look at! it looks like a vermeer! i thought that it was absolutely beautiful. but it does, doesn't it? there are clearly moments in it where you think "that actually looks like a vermeer!" and quite spare and simple, visually, but very striking, and the constant crackle of the fire throughout so much of it. and a very, very sparse use of music, and what music there is is music that is generated on—screen. there are two sequences, major sequences — the sequence at the end with the vivaldi, there's the sequence in which the thing happens which the title of the film, when ever

well, i am a huge fan of celine sciamma anyway. i loved girlhood. i love her previous work. someone is sent to paint somebody who does not want to be painted. and sciamma, you know, said that she envisaged the film as a kind of treatise on the female gaze, and i think it is that, to some extent, but the reason it works is because it engages you emotionally. yes. i mean, it's like a thriller, it is like a kind of hitchcock thing, it's, it's — you believe in the characters. and it's beautiful to look at! it looks like a vermeer! i thought that it was absolutely beautiful. but it does, doesn't it? there are clearly moments in it where you think "that actually looks like a vermeer!" and quite spare and simple, visually, but very striking, and the constant crackle of the fire throughout so much of it. and a very, very sparse use of music, and what music there is is music that is generated on—screen. there are two sequences, major sequences — the sequence at the end with the vivaldi, there's the sequence in which the thing happens which the title of the film, when everyone‘s doing

it's directed by celine sciamma, who i think is fantastic.t it's very contemporary. it's about the female gaze, but it's also a love story. it has the most extraordinary use of music, despite the fact there's very little music in it, and ijust thought it was — i — i loved it. it's beautiful. i think it's a beautiful film in every way. and also flawless. i mean, i can't think of anything that's wrong with it. i keep thinking there must be something that's wrong with it. nope, absolutely flawless. i think it's up there with parasite in terms of not a step put wrong. i'm with you on that one. and let's talk about dvd — there may be more a little more people — a little more of us all sitting at home watching films in the coming weeks, so you'll need to come up with some goodies. exactly. dvds are gonna be very important in the coming weeks. so, le mans ‘66 — or as it was known in america, where it was nominated — surprisingly — for a best picture oscar, le mans ‘66 is the story — er, ford v ferrari it was known in america — so it's basically a ki

celine sciamma is the film—maker behind this. she did a great film called girlhood a few years ago. a portrait painter. she is commissioned to paint the portrait of heloise, who is a bride—to—be — i think, it's fair to say, a reluctant bride—to—be. yes! she lives out on an island off the coast of brittany, so marianne goes off there to do this painting. quite an awkward relationship between them at first, but that relationship blossoms into romance. let's have a look. hmm. i wish i could now pull out one of those pipes from my pocket. i was just listening to the crackle of the fire in the clip, thinking how clever it was that there was the crackle of fire through so much of the film. it's — i think it is a very, very classy film. very classy film, and you could kind of get a sense of that in the clip as well. an enigmatic film. i've seen it, you've seen it. i loved it, but it's a film i want to go back to, because i think there's so much more to unlock in this movie. you get it the first time around, but i think you will continue to be rewarded with more things the more times you wa

celine sciamma is the film—maker behind this. she did a great film called girlhood a few years ago.ortrait painter. she is commissioned to paint the portrait of heloise, who is a bride—to—be — i think, it's fair to say, a reluctant bride—to—be. yes! she lives out on an island off the coast of brittany, so marianne goes off there to do this painting. quite an awkward relationship between them at first, but that relationship blossoms into romance. let's have a look. hmm. i wish i could now pull out one of those pipes from my pocket. i was just listening to the crackle of the fire in the clip, thinking how clever it was that there was the crackle of fire through so much of the film. it's — i think it is a very, very classy film. very classy film, and you could kind of get a sense of that in the clip as well. an enigmatic film. i've seen it, you've seen it. i loved it, but it's a film i want to go back to, because i think there's so much more to unlock in this movie. you get it the first time around, but i think you will continue to be rewarded with more things the more times you watch

it's directed by celine sciamma, who i think is fantastic. use of music, despite the fact there's very little music in it, and ijust thought it was — i — i loved it. it's beautiful. i think it's a beautiful film in every way. and also flawless. i mean, i can't think of anything that's wrong with it. i keep thinking there must be something that's wrong with it. nope, absolutely flawless. i think it's up there with parasite in terms of not a step put wrong. i'm with you on that one. and let's talk about dvd — there may be more a little more people — a little more of us all sitting at home watching films in the coming weeks, so you'll need to come up with some goodies. exactly. dvds are gonna be very important in the coming weeks. so, le mans ‘66 — or as it was known in america, where it was nominated — surprisingly — for a best picture oscar, le mans ‘66 is the story — er, ford v ferrari it was known in america — so it's basically a kind of racing rivalry story on—track, off—track. two great performances — christian bale and matt damon. i have

well, i am a huge fan of celine sciamma anyway. i loved girlhood. i love her previous work. paint somebody who does not want to be painted. and sciamma, you know, said that she envisaged the film as a kind of treatise on the female gaze, and i think it is that, to some extent, but the reason it works is because it engages you emotionally. yes. i mean, it's like a thriller, it is like a kind of hitchcock thing, it's, it's — you believe in the characters. and it's beautiful to look at! it looks like a vermeer! i thought that it was absolutely beautiful. but it does, doesn't it? there are clearly moments in it where you think "that actually looks like a vermeer!" and quite spare and simple, visually, but very striking, and the constant crackle of the fire throughout so much of it. and a very, very sparse use of music, and what music there is is music that is generated on—screen. there are two sequences, major sequences — the sequence at the end with the vivaldi, there's the sequence in which the thing happens which the title of the film, when everyone's doing that clapping and

i am a huge fan of celine sciamma anyway. i loved girlhood.. sciamma said she envisaged the film as a treatise on the female gaze, and i think it is that, to some extent, but the reason it works is because it engages you emotionally. it is like a thriller. it is like a hitchcock thing. you believe in the characters. it is beautiful to look at. it looks like a vermeer! there are times when you think itjust looks like a vermeer! it was absolutely beautiful. there are moments where you think that actually looks like a — very striking, and the constant crackle of the fire through so much of it. and a very sparse use of music, and what music there is is generated on—screen. there are two sequences, major sequences, and one of them is the end with vivaldi. the sequence at the end in which the title of the film happens and everyone is clapping and singing, i thought that sequence was absolutely mesmerising. i thought it was eerie and strange and beautiful and powerful and i was thrilled by the film. i absolutely loved it. terrific. i am glad you like

celine sciamma is the film—maker behind this. she did a great film called girlhood a few years ago. bride—to—be — i think, it's fair to say, a reluctant bride—to—be. yes! she lives out on an island off the coast of brittany, so marianne goes off there to do this painting. quite an awkward relationship between them at first, but that relationship blossoms into romance. let's have a look. hmm. i wish i could now pull out one of those pipes from my pocket. i was just listening to the crackle of the fire in the clip, thinking how clever it was that there was the crackle of fire through so much of the film. it's — i think it is a very, very classy film. very classy film, and you could kind of get a sense of that in the clip as well. an enigmatic film. i've seen it, you've seen it. i loved it, but it's a film i want to go back to, because i think there's so much more to unlock in this movie. you get it the first time around, but i think you will continue to be rewarded with more things the more times you watch it. looks beautiful. actually, a lot of it is quite austere. it is quite spare,

it's directed by celine sciamma, who i think is fantastic.but it's also a love story. it has the most extraordinary use of music, despite the fact there's very little music in it, and ijust thought it was — i — i loved it. it's beautiful. i think it's a beautiful film in every way. and also flawless. i mean, i can't think of anything that's wrong with it. i keep thinking there must be something that's wrong with it. nope, absolutely flawless. i think it's up there with parasite in terms of not a step put wrong. i'm with you on that one. and let's talk about dvd — there may be more a little more people — a little more of us all sitting at home watching films in the coming weeks, so you'll need to come up with some goodies. exactly. dvds are gonna be very important in the coming weeks. so, le mans ‘66 — or as it was known in america, where it was nominated — surprisingly — for a best picture oscar, le mans ‘66 is the story — er, ford v ferrari it was known in america — so it's basically a kind of racing rivalry story on—track, off—track. two gr

it is directed by a fantastic director, celine sciamma, and it is a period drama but very contemporary there is very little music in it, and ijust thought i loved it. it is beautiful. i think is a beautiful film in every way. and also flawless. i can't think of anything that is wrong with it. i keep thinking there must be something that is wrong with it. nope, absolutely flawless. it is up there with parasite in terms of not a step foot wrong. —— it is up there with parasite in terms of not a step put wrong. i am with you on that one. let's talk about dvd. there may be more people sitting at home watching films in the next couple of weeks so you may need to come up with some goodies. so they are going to be very important in the next couple of weeks. so, lamont 66. —— so, lamans 66. this was nominated for an oscar. it was known as ford versus ferrari in america, and it was a racing story with two great performances from christian bale and matt damon. christian bale got all of the attention in terms of the acting. yes. i think matt damon had the harder role. i think that role was actual