(not) MY LIFE TO LIVE

There's a sense of irony and contradiction in the title of this film, as indicated notably by the scene in which Nana is told by the pimp that she has to accept anyone who has the money to pay. The clinical (rather than romantic or melodramatic) way in which this scene is presented (pimp in VO with mismatched shots of Nana in various stages of "dates") flattens the work of prostitution to an object of study, so far as to drain it (prostitution) of any feeling or drama. Why does this film use prostitution in this manner? From PRETTY WOMAN I learned that it's fun to be a prostitute, that they have limits (no mouth kissing; that's saved for love), meet billionaires and have the same travails as other couples. Plus, the johns always are hot like Richard Gere (who hasn't found the right arm-candy woman who will just let him be!!!), the world (store managers) accepting of them, and that they turn down pigs like that played by George Castanza (because that's creepy). I am so confused.

Masculin Feminin

A cinematic essay rather than a film (with story, narrative, etc), this film presents some nice topics for thematic discussion and some points of investigation into cinematic operations. What you think?

OK OK Now for THE PIANO PLAYER

After unintentionally dising (dissin'??) Jules and Jim, I offer this space for reaction and thoughtful engagement with Shoot the Piano Player.

Shoot the Piano PLayer

A real introduction to the often contradictory styles Truffaut forwards. In what ways can you talk about Shoot the Piano PLayer?