I’m starting to feel a little creepy writing about childrenall the time, but this girl has an epic beauty, an effortless chicness and an impressive modeling portfolio that is far beyond her ten years. According to Facebook, Thylane Lena-Rose Blondeau is from the Ivory coast and was born in 2001. She’s not only adorable, but stunning, with a face that reminds us of Brigitte Bardot in a way that no one has besides Lara Stone; and that perfectly messy Lou Doillon-esque hair that only the French seem to be able to attain. It’s a tad disconcerting how much she just looks like a model (I guess she is only a few years shy of real working model age), but not as disconcerting as one of the editorials she was put in.
Rachel Zoe took ABC’s Nightline on a tour of her four month old baby boy Skyler‘s closet, and his wardrobe is just as ‘bananas’ as you expected. Unsurprisingly, little Skyler will never have to worry about showing up at the playground in the same outfit as another kid. He’s got custom made Missoni sweaters and […]
Composed by Lourdes Hernández González Performed by Russian Red
An inescapable, if less directly comparable, piece is the erotic graphic novel series, The Lost Girls, which featured three women talking about their lives in between having passionate sex with one another. Much like our silver screen heroines, the protagonists in the novel begin with lies and gradually uncover dark secrets and ugly truths about one another.
Of course, The Lost Girls starred bizarre-o versions of Wendy Darling (Peter Pan), Alice (you guessed it, Alice in Wonderland), and Dorothy Gale (The Wizard of Oz), but the story structure and the half-cocked tone are one in the same.
The soundtrack is big, beautiful, and utterly out of place. Bold and colorful, a collection of hyperactive opera-meets-tango tunes that swell and rise with the action then, drop out completely once the moment has passed. It feels like riding an emotional subway – speedy swells and rushes come to abrupt stops, then build and crash again. It will either infuriate or exhilarate you.
The theme song is a gorgeous, unusual folk ballad, “Loving Strangers,” which weaves in and out of the movie. It’s a beautiful song, with a banjo bass line and a lilting vocal, but its sound doesn’t really fit the nature of an erotic drama. Did I mention there’s a banjo?
Separated already from the narrative of Alberto Iglesias, Julio Medem opts for a music application that is essentially aesthetic and dramatic, but that it is not built as a musical script, as brilliantly offered Iglesias. This score is elegant, beautiful and profound that delves into the sensual, highlights the colors of the film and provides a careful calmness, a brilliant combination of orchestra and voices. But it is essentially cosmetic, having no claim to any narrative. At times, it resembles the kind of music that the “Cirque du Soleil” applies to their shows, in the best sense of the reference.
Your mileage with the film will vary a great deal, depending on your tastes. It’s always wonderful to watch beautiful women cavort playfully, to talk art and love, and most of all, enjoy wildly passionate sex. The film is beautifully crafted, with out-of-this-world cinematography and strong performances.