By Blanchot M
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Extra resources for Au moment voulu
The superficial juxtapositions in their first encounter could not be starker – images of Amande versus images of Nikita. And yet it is Amande – sitting next to her, standing behind her, caressing her cheek – who manages to touch into the other, more humane, eventually feminine, Nikita. And it is Nikita who, in her three visits to that space, progressively reveals or fabricates her other selves. Intriguingly and appropriately, this space is known, in the context of the film, as the makeup room – a place of transformation.
The buildings were 1940–50s in design and the space available was 20,000 square metres – almost a square half-kilometre or, for Anglophones, 703,125 square feet. This huge amount of space allowed Weil to have his sets in place at all times, create four walls IBT025 – Nikita 22 5/11/09 11:54:57 PRODUCTION CONTEXTS 23 where necessary and, equally beneficially, allowed for a spatial logic of decor to breathe life into the characters. But I think we need to stop and consider, for a moment, the impact of these buildings on the film as a location in time and space in their own right.
Nikita goes along the conveyor belt of transformation, passed from one group of men to another. The raw material she represented at the beginning is gradually stripped of its unwanted elements, thoroughly cleaned and reprocessed into an acceptable working machine that will do the owner’s bidding. From punk murderer to state assassin, from raw goods to polished goods, Nikita is as fabricated – as much a man-made object as any other manufactured product. IBT025 – Nikita 24 5/11/09 11:54:57 PRODUCTION CONTEXTS 25 When she looks at Amande and asks her if she too was once like her, it is as if Nikita is staring into her own future.
Au moment voulu by Blanchot M