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‘It’s not a question of ignorance, Laurence, it’s a question of taste’
Ruth Adams

narrator of his own career. References Andrews , M. ( 1998 ), ‘ Butterflies and caustic asides: housewives, comedy and the feminist movement ’, in S. Wagg (ed.), Because I Tell a Joke or Two: Comedy, Politics and Social

in Screen plays
Sarah Wright

on specific contextualisations or references which allow spectators to engage in a ‘proper’ way? Secretos del corazón (Secrets of the Heart), directed by Montxo Armendáriz, was released in 1997. Set in the 1960s, it featured a child protagonist and made visual and thematic allusion to El espíritu de la colmena. But, like La lengua de las mariposas (Butterfly’s Tongue, José Luis Cuerda), released two years later in 1999, which similarly delivered affective performances through its child protagonist, it raises questions concerning its use of nostalgia and its

in The child in Spanish cinema
Barry Jordan

Total (1985), followed by two years teaching filmmaking at Salamanca University. He returned to commercial directing in 1987 with El bosque animado (The Haunted Wood), winner of five Goyas, a surrealist fantasy, located in Galicia and the first of a series of rural comedies. His break-through film, which did very well internationally, was the period adaptation La lengua de las mariposas (Butterfly’s

in Alejandro Amenábar
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Brief Encounter (1945), The Passionate Friends (1949) and Summer Madness (1955)
Melanie Williams

‘up and down like the erratic temperature of a feverish patient’ lacking ‘the easy unforced line of Brief Encounter’,97 while the Express found it ‘a butterfly of a film – and not an easy one to put a net over. It keeps fluttering around, showing the gossamer brilliance of its wings, but somehow it never gets close enough to be pinned down.’98 Although The Passionate Friends was being gently criticised for its lack of steadiness and certainty, by choosing to compare the film to a gorgeous shimmering butterfly or an unsettling fever dream, the critics also managed to

in David Lean
The ‘screenplays’ of the New Wave auteurs
Sarah Leahy and Isabelle Vanderschelden

de 5 à 7 ): CLÉO: Minute, beau papillon: être laide, c’est ça la mort. Tant que je suis belle, je suis vivante et dix fois plus que les autres. (Wait, beautiful butterfly: ugliness is death. As long as I look beautiful, I am alive, ten times more than the others

in Screenwriters in French cinema
Douglas Keesey

: elle se sentait souvent humiliée, aussi la disait-on orgueilleuse’10 (Beauvoir 1958: 101). If Elena is the picture-perfect butterfly, then Anaïs is the unevolved larva, the flesh not yet informed by spirit – ‘une gourde’, ‘une truie’, ‘une grosse tâche’, ‘ce bout de viande cru’,11 as she is variously called throughout the film. ‘J’en ai marre qu’on me traîne comme un boulet’,12 Anaïs tells Elena, for she is made to feel like a physical weight oppressing her sister’s spirit, holding her back from achieving the ideal romance she aspires to with Fernando. Of the two

in Catherine Breillat
Martin O’Shaughnessy

scornful of her women students who ‘spread their thighs’ to get a husband and cry when men leave them. The more fragile Brenda feels hemmed in by the patronising way her husband, family and friends look upon her at home. In contrast, all three women are empowered in Haiti. Sue comments that she feels free and alive, like a ‘butterfly’. Elsewhere, this might make her the object of ridicule, she notes, aware of her plumpness, but not in Haiti where people’s difference is accepted. Brenda, we know, has found sexual satisfaction but, more than that, is seen in active pursuit

in Laurent Cantet
Tierra (1996)
Rob Stone

place at the centre of chaos theory, as if the proverbial butterfly were somehow aware of the typhoon that might be caused by its fluttering wings and is frozen by its conscience, thereby falling to Earth just like Ángel. In Tierra, however, the infinite choices thrown up by all these contradictions, doubts and imaginings come down to a simple election between two women: Ángela or Mari. Mari wins out at the film’s conclusion, which provides a tenuous and temporary balance, but mostly suggests irritation with solipsism and a reaction against the existentialist headache

in Julio Medem
Douglas Morrey and Alison Smith

space of Paris as a backdrop for both seeking and acting, so that we can never be entirely certain whether her character dies for real or for fake. Rivette’s performance spaces have boundaries so open that the whole outside world becomes potentially connected to the theatre space, and any passer-by may, in a variant of the ‘butterfly wing’ effect, pass in and out of its ambit and play a role in its development. Even if this

in Jacques Rivette
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The Innocents (1961)
Neil Sinyard

to see something in the garden; or her presentiment about Miles’s early return home from school. When the governess questions Flora about this latter point, she is too engrossed in the sight of a butterfly trapped in a spider’s web to give a straight answer. Is this casual childish cruelty or demonic possession? For the scene when Miles meets the governess for the first time and is being brought home

in Jack Clayton