The Lover also offers an account of the world of the white colonisers, specifically of the women. Marguerite Duras: The Lover contains a dazzling depiction of the immense power in which a woman can bathe when she’s the object of deep adoration. She is barely yet a woman, blankly unconcerned, alive only in the present, and utterly ruthless, in that way only the young can be. She mistreats him, exposes him to the ridicule of her brothers. The girl, never named, only ever “she” or “I”, is almost disdainful of her lover, disgusted by his abject lust. It contains a dazzling depiction of the immense power in which a woman can bathe when she’s the object of such adoration – a first-hand perspective rarely captured in writing, at least in my experience. The Lover ( French: LAmant) is a 1992 romantic drama film produced by Claude Berri and directed by Jean-Jacques Annaud. The evening, hosted by the cookbook shop Archestratus and orchestrated by chef Paige Lipari, is a simple affair, featuring a menu drawn entirely from Marguerite Duras’s personal recipes. It’s the story of a 15-year-old girl from a French family, embarking on a sexual relationship with the son of a Chinese millionaire, who becomes painfully enraptured with her. Light Industry is having some friends over for dinner, and we’d love for you to come. Duras recreates the warm haze of the Saigon of her childhood so powerfully, steam rises from the pages. The Lover was written when Duras was 70, and floats delicately in that soft, nebulous space between memoir and make-believe.
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