Ninja magazine #22 - Against All Odds by NINJA Magazine

Ninja magazine words /

photography /

arts /

fashion /

visual trend forecasting English + Franรงais

against all odds contre toute attente cate blanchett | dita von teese | diane pernet

22 Ninja

magazine by pierre cialdella

celebrating life no matter where it takes us According to the Fibonacci sequence of Leonardo di Pisa (1170-1240), everything on earth is predetermined by mathematical probabilities. The patterns are hidden in plain sight. You just have to know where to look. Things most people see as chaos, actually follow a set of law of behavior. If we could see them, life would be magical beyond our wildest dreams. The quantum entanglement of cause and effect where everything and everyone reflect on each other, every action, every breath, every conscious thought …connected. The ratio is always the same. 1:1.618 over and over again. Galaxies, plants, sea shells, the segments of a pineapple… Mathematical in design, the patterns never lie. I live on this planet among 7 billions 80 millions 360 thousands other peoples. Today, the average person will say 2250 words to 7,4 other individuals. We'll send over 300 billions emails, 19 billions texts messages, all adding to the giant mosaic of patterns and ratios. Yet we'll still feel alone. 7 billions people on a tiny planet, suspended in the vastness of space ...all alone. How we make sense of that is the great mystery of our frail existence. Maybe it's being alone in the universe that's old us all together, that keeps us needing one another in the smallest of ways : creating a quantum entanglement of you, of me, of us. And if that's really true, then we live in a world where everything is possible. tim kring

Selon Leonardo di Pisa (1170-1240) dans sa suite de Fibonacci, tout sur la terre est prédéterminé par des probabilités mathématiques. Les plans sont juste sous nos yeux. Il suffit de savoir où regarder. Les choses que la plupart des gens voient comme le chaos, suivent en réalité un jeu de loi de comportement. Si nous pouvions les voir la vie serait magique, au-delà de nos rêves les plus fous. L'enchevêtrement quantique de cause à effet où tout et chacun réfléchit l'un sur l'autre ; chaque action, chaque souffle, chaque pensée consciente. Le ratio est toujours le même. 1:1.618 encore et encore. Galaxies, plantes, coquillages, les segments d'une orange… La moindre structure est toujours parfaite. Je vis sur cette planète au milieu de 7 milliards, 80 millions, 360 milles autres personnes. Aujourd'hui, chacun dira en moyenne 2250 mots à 7,4 autres personnes. Nous enverrons plus de 300 milliards d'emails, 19 milliards de sms, et tout cela viendra s'ajouter à la mosaïque géante des plans et des ratios. Pourtant, nous nous sentons toujours seuls. 7 milliards de personnes sur une planète minuscule, suspendue dans l'immensité de l'espace. Entièrement seuls. Comment donner un sens au plus grand mystère de notre frêle existence ? Peut-être qu'être seul dans l'univers est ce qui nous lie les uns aux autres, qui fait que nous avons tant besoin les uns des autres : la création d'un enchevêtrement quantique qui serait fait de vous, de moi, de nous. Si c'est vraiment le cas, alors nous vivons dans un monde où tout est possible.

Fait pour des images extraordinaires PA P I E R S C O U C HÉ S : C O N D AT M AT T P É R I GO R D C O N DAT G LO S S

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urveillez vos pensées avant qu’elles ne deviennent des mots. Surveillez vos mots avant qu’ils ne deviennent des actions. Surveillez vos actions avant qu’elles ne deviennent des habitudes. Surveillez vos habitudes avant qu’elles ne deviennent votre caractère. Surveillez votre caractère avant qu’il ne devienne votre destinée.

atch your thoughts before they become words. Watch your words before they become actions. Watch your actions before they become habits. Watch your habits before they become your character. Watch your character before it becomes your fate.

1 2 3 4 5 6 7

tendances visuelles / visual trend forecasting

antoine soubrier 12, jerome d’almeida 13, edgard montjean 16, nolwenn brod 17, jean l’ollivier 20, anthony prevost 21

carte blanche à / to diane pernet dita von teese 26, catherine baba 30, mr. pearl 34

mode / fashion

roger weiss 36, andrea zvadova 40, ola grochowska + andrei zach 44

diane pernet

2/2

jason last + jamie rubiano 52, aganovich 54, boudicca 56, marc audibet 58

mode / fashion

2/2

paris / fashion-week : john galliano, guy laroche, costume national 60, veronica bertini + tamara vignati 62

lire / read

le vol de l’ange / the flight of the angel 70

nous ...les gens / we ...the people

‘til the last drop 82, la chambre des pansements 88, augustin le gall 95, stephanos mangriotis 98, alfredo brant 100, pierre-emmanuel daumas 100,

andrea graziosi 104, tatiana-margaux bonhomme 108, temana maire 112

nous ...les artistes / we ...the artists

bonus / extras

isa marcelli 116, maelle de coux 118, jerome zonder 122, galerie alb 126, sainte fauste 130, le turk 134

hofesh shechter 138, cate blanchett 140, katharina ziemke 146, alexandre roche 147, benoit arridiaux 148, julia gilbert 150, temana maire 152, caroline fayette 153

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Directeur de la publication / publication director

P IERRE C IALDELLA

Rédacteur en chef / chief editor

P IERRE C IALDELLA

Directeur éditorial / executive editor Mise en page & direction artistique / layout, design & art direction Consultante mode / fashion editor

T EMANA M AIRE P IERRE C IALDELLA D IANE P ERNET

Publicité / advertising

M ATHIEU P OIRIER

Secrétaires / secretaries

M ARINA P RIMORAC C ELINE D AGOIS

Editeur / publisher

e-mail

info@ninja-mag.com

Internet

www.ninja-mag.com

ISSN

Imprimé en France / printed in France

Remerciements / thanks

2256-9359 C ONDAT PAPER www.condat-pap.com P HILIPPE V ERDIER H ENRI M AUS V ALÉRIE S ERVANT S YLVIE & M ICHEL M ARIANE & A LDO T AMARA V IGNATI

Photo de couverture / cover photo

D ITA V ON T EESE by Scott Nathan

toutes ces images L

es images d’un être, celles de son corps, ont tout d’un édifice instable. En les regardant je sens évoluer leur intensité depuis l’origine, j’entends cliqueter les couverts, je me rappelle du chaud ou du froid, du lieu et des dates, du hors-champ, de la surprise et des attentes autour de cette monnaie d’échange. A mesure que j’évolue, l’image se recompose, donne autre chose à voir que ce qu’elle m’a un jour imposé, mais sans que ses formes ne se déplacent. C’est mon rapport à elles qui mute : c’est ma disparition du miroir. A quoi donnes-tu accès en offrant une image de toi ? Ces images qui nous réunissent, où restent-elles ? S’y retrouvera-t-on toujours, même quand l’un les détruit ? Elles ressemblent à des racines séchées, aujourd’hui sans fluide et cassantes, à la limite du danger. Un jour uniques et absolues, infusées de sentiment, elles regagnent progressivement leur condition première ; un assemblage de formes et de couleurs, un grain, un flux de matière physique qui a porté autre chose que sa propre matière pour se faire élixir. Chacune d’elles plante un petit grappin dans la masse du passé qui s’éloigne. Elles ont l’allure de provocations, d’une mémoire qui ne veut pas mourir et reste comme une illusion. Aujourd’hui que nous n’y sommes plus ensemble, je comprends que leur fixité était un mirage, une dan- gereuse parodie ; qu’à côté d’elles, la vie coule et son flot menace continuellement de les faire naufrager. Qu’elles sont mes sables mouvants.

es plus belles images ont sur moi un effet commun avec les plus belles mu- siques; elles me lancent comme un train. Sans me donner envie de bouger, elles laissent échapper une partie de moi vers un espace plus haut et lointain, et c’est dans ce mouvement que je me retrouve. Ce trajet depuis les images, c’est peut- être vers moi qu’il me conduit ; vers un territoire que je connais pour le sentir à l’intérieur, et que je peux explorer sans fin. Cet espace infini, ces terres bleues qui ressemblent à la lande de Dubliners, faites de petites danses et de choeurs doo-wop, du mystère d’une image qui montre des cheveux et d’une grande haie à la tombée de la nuit, j’y marche sans entraves, avec le sourire et le sentiment de ma densité, de paysages inamovibles posant mes fondations. Je suis plus fort à ce moment que tous ceux qui cherchent en vain leurs attaches à l’extérieur, et je ne connais pas la lassitude de traverser ces zones sans cesse mouvantes, alliage perpétuellement recomposé des reliefs et climats qui me composent. Au coeur de l’orage, que m’as-tu montré de tes landes si ce n’est la mer qui borde le sable de tes plages ?

Ninja magazine #22

tendances visuelles

antoine soubrier texte

jerome dâ&#x20AC;&#x2122;almeida photos

La collection de ruptures LUI : Je viens chercher des affaires. ELLE (sans baisser son journal) : Laisse, je suis déjà passée chez le teinturier. LUI : Tu ne comprends pas... J’en ai assez, je m’en vais... ELLE (apparemment indifférente, toujours derrière son journal) : Et tu t’en vas où ? LUI : Je ne sais pas... Ailleurs. Je me planterai devant le panneau des départs et je choisirai la destination qui aura le nom le plus exotique. Un truc avec un Z ou un K... ELLE : Je te déconseille Zaventem, c’est juste en Belgique. LUI (mettant des affaires dans un sac) : Non, je pensais plutôt à Zanzibar, ou... Zhoukoudian... En Chine. ELLE (toujours derrière son journal) : C’est bien ma veine! Il faut que tu t’en ailles pour que je découvre que t’es super calé en géographie. L’homme sourit, un peu triste. LUI : Au revoir Marion...

Ninja magazine #22

tendances visuelles

edgard montjean texte

nolwenn brod photos

orrespondence — Are you tired of waiting and writing to me? You asked if I received all your letters. But I wonder if you actually read mine, and perhaps you do, but in the wrong way. Limited space forces me to reduce what I want to write and from the date at the top of the page to the signature, each word conveys a deep reality. I often have a heavy heart when I realize that my letters arouse such a distant echo in your responses if anything at all. I mention something specific, I write a story or I hint at something in particular. In your letters, I’m looking for some proof that we understand one other, that we are in harmony, but in vain. I have already told you about this in my previous letters. What about the children’s first communion? I would like to know some details about this important matter. When I asked, you said that you had already told about it! And health! Is it the absence of health that you call “in good health”? You told me about a treatment you’d under- gone and then nothing more. Don’t think less of me for being worried about you. What do I know about you, about what you think, what you do, your daily habits outdoors? I know only that you are like any housewife, forced to work in order to live with her children. You wouldn’t dare tell me anything about you that could distinguish you from others like you. Who then will be your confidant? Don’t you trust me anymore?

orrespondance — Es-tu lasse de m’attendre et de m’écrire? Tu me demandes si je reçois toutes tes lettres. Moi, je me demande si tu lis les miennes, fort mal en tout cas. La place limitée m’oblige à condenser ma pensée de la date à la signature, chaque mot exprime une réalité profonde. Bien souvent j’ai le cœur serré en constatant que mes mots n’éveillent dans tes réponses qu’un écho bien faible. J’évoque tel sujet déterminé. Je t’entretiens de telle affaire. Je fais une allusion précise. Je cherche en vain, ne serait-ce qu’un mot qui me dise que nous nous sommes compris et que nous sommes à l’unisson. Je te l’ai déjà laissé entendre dans mes précédentes lettres. La communion des enfants était une chose importante sur laquelle j’aurais aimé des détails. À cette demande, tu m’as écrit en effet... que tu me l’avais déjà écrit ! La santé. C’est donc l’absence de santé que tu appelles la bonne santé. Tu m’as dit que tu devais suivre un traitement, sans m’en dire plus. Il s’agit de ce qui est tout toi. Tu ne dois pas trouver mauvais que cela me préoccupe particulièrement. Que sais-je de toi, de ce que tu penses, de ce que tu fais, de tes occupations ? Juste ce que je sais de n’importe qui dans ton cas, obligée de travailler pour vivre avec ses enfants. Ce que je devrais savoir de toi, qui te distinguerait de « n’importe laquelle », tu n’oses pas me le dire. À qui oseras-tu alors te confier ? N’ai-je plus ta confiance que je n’ai jamais cessé de mériter ? Si je dois m’en sortir physiquement et moralement après plus de trois ans de captivité et d’exil, et ce n’est pas fini, ma tête sinon le cœur est encore intacte, et ma mémoire entière, car on vit surtout par le souvenir. J’évoque souvent avec attendrissement les preuves d’attachement que tu m’as prodiguées. Je voudrais n’avoir pas d’autre souvenir. As-tu jamais pensé que notre situation aurait pu être tout autre ? Te voilà en vacances, mère de famille sans mari et sans enfants. Quels projets aurais-tu ? Tu ne devrais avoir que l’embarras du choix pour t’occuper, au jardin et à la maison qui doit être forcément délaissée. Je t’ai vidé mon cœur et j’ai usé mes deux lettres mensuelles. Puisses-tu les recevoir ensemble ! Il me faut maintenant attendre six semaines ta réponses. Que m’apportera-t-elle? « Vraiment, mon Jean je ne comprends pas ». Mais alors qui me comprendra ? Où lirais-je les mots qui rassurent et apaisent parce qu’ils viennent de ton cœur ? Ce coeur que je verrai toujours entièrement à moi. Je ne t’ai déjà que trop perdue, faut-il que je te perde encore davantage ? Tout cela peut paraître bien petit à côté des convulsions qui tordent le dessus de notre planète, mais toi et les petits, êtes tout pour moi et le reste n’existe qu’après vous. S’il en était autrement, ta lettre ne m’aurait pas bouleversée. Je sais que tu ne peux, en deux lettres et deux cartes par mois, me livrer une description complète et fidèle de votre vie, mais tu sais écrire et tu sais en tirer le maximum. Si nous passons civils, le courrier dont nous bénéficierons sera peut-être la principale amélioration. Il faut que je m’arrête. Qu’ajouterais-je? Ne t’ai-je pas déjà tout dit ? Il me reste plus qu’à attendre, cela ne changera pas. Je ne fais pas autre chose depuis si longtemps. J’espère que mon attente ne sera pas vaine. Priez bien pour moi pour qu’il en soit ainsi et que je vous sois rendu bientôt. Je vous embrasse comme je vous aime. Je vous aime tant.

Ninja magazine #22

I still think that I never stopped deserving your trust. If I manage to leave three years of captivity and exile (and it’s not over yet) my mind, my heart are still unharmed and my memory is intact, because here we all stay alive through our memories... I often think tenderly of the proof I have of your love your devotion. I wish these were my only memories. Have you ever considered that our situation could have been completely different? Here you are, now, on holiday, the mother of a family with neither children nor husband. What were your plans? You must have had an embarrassment of riches to have to choose between the garden and the house, which might be neglected now. I’ve poured my heart out and I’ve used my two monthly letters. If only you could receive them at the same time! Now, I’ll have to wait six weeks for your response. What message will it bear? “I really don’t understand, my dear Jean” Then who will? Where will I read the soothing and comforting words that should come from your heart and show me that it’s still mine? I’ve already lost you enough; am I to wait to lose you even more? All this might look insignificant compared to the pangs of our planet being torn asunder, but everything else matters less to me than you and the children. If this weren’t true, your last letter wouldn’t have shattered me as it did. I know that you cannot relate your life in faithful and complete detail in two letters and two cards a month, but you know how to make the most of your writing. If one day we can again be civilians, if we are able to send and receive letters to one another than all will have been worthwhile. I have to stop here. What should I add? Have I not said it all? I have only to wait; this won’t change. For so long I’ve done nothing else. I only hope that it won’t be in vain. Pray for me to make it so and for me to be released very soon. I embrace you with my love. I love you so much.

tendances visuelles

jean lâ&#x20AC;&#x2122;ollivier text[e]

anthony prevost photos

Daniel Schweitzer

carte blanche

diane pernet assisted by silvia bombardini / layout

pierre cialdella

n February 2005 when much of the creative world was still wondering ‘What is blogging?’, former fashion designer, journalist and style icon Diane Pernet wholeheartedly embraced the potential of this fast-evolving digital media by launching her groundbreaking site A Shaded View On Fashion - www.asvof.com Despite the subsequent proliferation of the ‘blogosphere’, Pernet’s adventurous attitude mixed with her unparalleled commitment and integrity has served to maintain a readership of well over 400,000 per month and confirmed her position as a leading voice in her industry. As the presence of videos featuring fashion content grew exponentially on her blog and on her social media channels, Pernet soon realised that a platform was needed for the budding ‘fashion film’ genre to flourish both as an art form and as a valuable commercial outlet. Since its launch in 2008, A Shaded View on Fashion Film (ASVOFF www.asvof.com) has been shaking up the old rules of fashion by putting the focus on the moving image. The first annual festival of its kind, ASVOFF was thus born out of the artist’s need to set fashion in motion through the magic of cinema and the opportunity for dynamic entrepreneurs to tap into new business models harnessing the viral power of video to communicate brands and sell products. ASVOFF is now a celebrated international festival comprised of a short film competition, out-ofcompetition screenings, feature films, conferences, performances, documentaries and installations.

Ninja magazine #22

carte blanche diane pernet

Ali Mahdavi

Ninja magazine #22

carte blanche diane pernet

Diane Pernet: What rituals from the past do you miss the most today?

dita von teese

diane pernet exclusive interview by

Sixty or seventy years ago there was an exquisite ritual in the ceremony of presentation. It was a meticulous, slow and persevering elegance in the art of dressing up or undressing. These courteous manners have somehow gotten lost with modern life. I sat down with the always glamorous Dita Von Teese to discuss her thoughts on life and glamour

Dita Von Teese: I mostly miss that everyday things were once made with a sense of artistry and beauty. You can see examples of this everywhere in design of the past, from cars, homes, small household appliances…pretty much everything. This is something that is definitely lost for the most part at the present time, and if it does exist, it’s usually out of most people’s price ranges, whereas once upon a time, almost everyone could afford to have beauty in their everyday lives. I collect lots of antiques, and I am constantly amazed at the craftsmanship of things that weren’t even rare or costly, especially in America….even the average Joe’s car was beautiful inside and out, and you can find lots and lots of examples of craftsmanship in little things that were for the average consumer. It was just normal! It’s a reason I love flea-marketing in the US, there’s just so much of it to find here still, and cheaply. think that is because the 30s, 40s and 50s were such a great times in America, where lots of great things were being produced, for mass consumption, so there is still a lot of it that survived to be collected enjoyed now. DP: Sometimes artificial beauty is criticized yet it is similar to the muscles of an athlete, it takes strength, obstinacy and sweat to achieve and one is rewarded with satisfaction, power and self-confidence. How does that beautiful body of yours influence your personality? DVT: I do a lot of pilates, and I think the key is that you can’t ever let yourself go. I’ve never really taken time off from my regime, which is quite simple, actually, because I just keep up the good habits 80% of the time. I don’t eat junk food, and when I do indulge, it’s for a good reason, like DIVINE food from a fabulous restaurant! I don’t drink soda at all, I haven’t in over a decade and a half. I have learned that you can train your body to love healthy things, and to stop craving junk. I drink this amazing green smoothie every day and after a month of having it each morning instead of eggs, my body now craves greens. You can train your body to reject sugar too…I rarely crave sweets. I do get craving, but it’s more for things like chips with guacamole and tacos! It’s impossible to find great mexican food in paris, so I’m «safe» when I’m there, but in LA…well, there we have amazing mexican food, and actually incredible healthy food. Someone is always telling me about «some AMAZING mexican spot» in Paris, and then I go, and it’s not very good, so I’ve sort of given up on that here. Same with

vegan food…it’s all quite mediocre, we are so spoiled for haute healthy cuisine in Los Angeles. So anyway, Paris is fabulous for many, many things, but for Mexican and vegan or raw food… not so much. And asking a parisian waiter if the soup is made with cream is a kind of blasphemy. You just can’t ask that! I also have a harder time keeping up with my pilates and ballet routines there, because it’s not as easy to get around with the taxis and such, so I work very hard to stay healthy when I am living in LA so I can relax a bit on my workouts and eating while living in Paris. It’s the reason I don’t stay in paris for too long, I have to physically re-set my body in L.A.! DP: Can you tell me about your relationship to corsets? DVT: I just want to have a nice shape and enjoy the look and feel of a corset. I don’t actually have the discipline to corset train, I don’t want to live in a corset. When I was younger and corsets were really rare (there were maybe three or four good corset makers in the world, and they were hard to find) I liked wearing them a lot, but then it became all the rage, everyone was wearing them, and now there are hundreds of people making ready-to-wear corsets, and the quality is second rate, and I lost some of my interest in wearing them in my everyday life. I started wearing them in 1989, and it was just different then, there was no big pinup/ fetish/burlesque scene then. Over the years, I kept trying to up the ante by having mine made out of beautiful colorful duchesse silks, rare laces, embroidered, completely covered in Swarovski, etc, but it’s all been copied and now the only way to go beyond is to wear Mr. Pearl, because no one can do what he does. No one! He’s a master. I wear corsets onstage for my shows, for pictures, and occasionally with a dress tailored to my cinched-shape, and of course, now that I know Mr. Pearl and the quality and feel of his incredible work, I love wearing HIS corsets…. but I still can’t imagine having all of my clothes tailored to my corset-shape anymore much to Mr. Pearl’s dismay!! DP: Let’s talk about your thoughts on Burlesque and the whole movement and where do you see it in thirty years? DVT: I think that the only real way for the burlesque scene to survive is if performers start seeing it as something that isn’t just retro…if they can begin to grasp the idea of the spirit of burlesque but without thinking that it’s just about retro style. I think that the standards are being set higher as more and more performers finesse their acts, and truly unique acts are formed.

Kaylin Idora

I think we are on the right track right now, there are some really amazing acts and performers.

DP: I know you have a great passion for ballet, can you tell me about it?

DP: Can you tell me a bit about your two lingerie lines and one vintage collection?

DVT: I started taking ballet classes when I was four year old, and danced my whole life, but I was never that great at it, but I loved it anyway, and it has definitely been a great base for my burlesque shows. Ballet is the best training a burlesque dancer can get…these isn’t one ugly body position in ballet, and if you can point your toes always, without thinking about it, and have beautiful posture, hands and arms, well…that is sexy, and you’ve won half the battle of being a burlesque dancer! You can go around flat-footed or flexed-footed in burlesque! You just can’t. I am grateful that remembering the ballet stance is something my body doesn’t need to think about because I’ve spent my life doing it. I love the ballet, it’s always inspiring to me to see world-class ballet performances, and I try to go whenever I can, especially in Paris. I know a lot of Opera Garnier dancers, so I always check in with them to see what’s on before I get to Paris. It’s such a beautiful art, I get so emotional when I see great ballet. I also love being in a room full of people that appreciate live entertainment. I bawled my eyeballs out during that final pas de deux from Onegin that you and I saw in Paris! I was so affected by it! I am also astonished by Marie Agnes Gillot, she just amazes me, she’s a real ballerina in every sense of the word. I am in awe of herm and slightly terrified of her when I see her. She’s a real star!

DVT: Von Follies is the name of my affordable lingerie collection. I am so proud of what we managed to create at this price point, and the size range we are doing. I am a lingerie snob, you know…I own lots of really expensive lingerie, because I love it, and these pieces are gorgeous and stand their own up against my priciest designer pieces, so I am so excited for women to be able to have these. It comes out in Target in Australia this spring, and globally by the summertime. We will also have it available for purchase online. It’s taking some time for my projects to come to fruition, but it’s going to be worth the wait, I’m in it for the long haul, to make sure it’s all just right and so I can continue doing this when I’m done dancing. My first job was working in a lingerie store when I was 15, and I worked there for about ten years, so my interest isn’t just in putting my name on products, these things are all part of what shaped my career in the first place.

DP: Can you tell me a bit about your retro five-piece Dita Von Teese Muse capsule collection?

….Cut to the giant tabloid headline «RAUNCHY DITA DYING TO GET HER KIT OFF FOR THE QUEEN!!!!!» It never fails. And they always use the word «raunchy». Always. I can honestly say, I think the british press seem to have no accountability whatsoever on their reporting. I wish I could say I’m generalizing, but so far, in my experience, I can’t! Their sensationalist headlines have rarely have anything to do with what the person being interviewed said. Notice it next time you read their articles…

DVT: The dress collection, Muse by Dita Von Teese, is five dresses which are all based on the things in my vintage collection that I believe are timeless. I wanted to keep it very simple for each season, so I can stay focused and make sure each piece is perfect and that I really designed myself rather than having someone do it for me. Some of the dresses are based on pieces I have worn for 12 years, over and over, and that’s a testament to a dress that transcends trends. I have made them more wearable by changing little things like necklines, hemlines, etc, and making them out of the best quality fabrics so they will be made to last, both physically and style-wise. And again, we are doing these in plus sizes too. This isn’t a retro clothing line, it’s really about classic glamour that doesn’t fade with time.

DP: Can you tell me a little about the nationwide tour you are doing this year, “Burlesque: Strip Strip Hooray!”? DVT: I’ve taken the best of burlesque and we are going on tour with Live Nation supporting the tour this spring. I’m really excited about being able to perform my most lavish shows as a part of this incredible lineup of burlesque performers that I’ve chosen. There has never been a burlesque show with standards of showmanship this high, I guarantee it! Every single performer we have brings the house down! We are starting on the West Coast in America this spring, and then moving across the US and finally bringing it to Europe in late 2012. I really wanted to get back to performing in the US, because most of my shows have been in europe the past few years. The schedule will be up soon at www.dita.net

DP: When I was at your lovely apartment for Christmas I noticed all the pictures of glamorous women in various states of undress on the bathroom wall, who are your icons? DVT: Betty Grable was my first obsession, I must have been about 7 or 8 when I saw one of those WWII technicolor musicals with her and Carmen Miranda, and I was absolutely hooked on that exact era of film, the hair the makeup the wardrobe. I never get tired of watching those films, they are so beautiful and it was a special time in America. I was such a great country then. My dvd collection is mostly comprised of those technicolor musicals from the 40s. I also loved Marilyn Monroe, to watch her blend of sexuality and vulnerability is something that taught e a lot about my own performances and how bringing those two elements with a dash of humor, that’s what makes a woman sexy. It’s not about being a man-eater. It’s not about perfection…being beautiful and sexy and sophisticated in appearance while also revealing yourself and laughing at yourself, that is the magic thing that makes people root for you and love you.

— Diane Pernet for Ninja magazine —

DP: Did you study costume and if so, did that inspire you to become a performer? DVT: Well, I went to fashion school for about a year because I thought I wanted to work in fashion, but at that same time I was starting to create my shows and was modeling in the fetish scene and so I kept dropping out to travel to do jobs. And I hated sewing and pattern-making, but I was taking some classes about historic costuming and that is part of what sparked my desire to get more into the retro style in my real dressing style, and refine it. So I was just taking a few classes, failing at them because I was always missing class to pose for fetish magazines in europe…but I still got something from it all, even if it wasn’t a degree!

DVT: I really love to perform my Opium Den show, because it’s the most unique, cinematic and timeless, and I am very proud of it, and so far, no one in burlesque has blatantly copied it. My other acts and even my costumes get copied a lot. I also love to do the Rhinestone Cowgirl show, because it’s funny and outrageous, and it brings the house down when I do it in a room full of real burlesque fans, because it’s not what they usually see from me, because the staging is so difficult. But I guess it depends on who the audience is. Sometimes, if it’s a crowd that doesn’t know me, I’m happy to do my martini glass act because it’s easy for me and no matter who’s in the audience, even if they’ve never heard of me, they like it. I have been doing it so long, I usually re-invent new versions of it so I don’t get bored of doing it. Right now Mr Pearl is making a new corset for the latest version of it, and Alexis Mabille is making a beautiful tuxedo to go over it. DP: Any progress on doing a striptease for the Queen? DVT: Ha, I hate the British press! Every time I go there, it’s like this: Journalist : «Dita, would you like to perform for the Prince? The Queen?» Me: «Uh, yeah, ok, I guess so. Why not? I love doing shows, I don’t really care who it’s for.»

Kaylin Idora

DP: Is there a favorite show that you like to perform? What is it and how important are the costumes and props?

catherine diane pernet baba by

photos courtesy Gripoix

Australian stylist and designer based in Paris for eighteen years, Catherine Baba is eccentric, a modern day Greta Garbo wearing vintage pieces, a turban, sunglasses and high heels as she pedals her bike through the streets of Paris. My style could be defined as inter-war blitz, although I have a weakness for Lanvin she said. During Paris fashion week she launched a jewelry collection of couture pieces for Maison Gripoix. Catherine is always ‘on’, and rather than try to sum up our conversation, I thought it would be far more interesting just to let her speak for herself.

— On her debut collection for maison Gripoix — She was deep sea diving in the ocean of neo-romanticism! She was in the dark & smoky possibly even misty dens of the minds of the pseudo-punk poets inhaling prose verse & swaying sonnets. She was flying high in the mythological mousseline sky of opium & absinthe mingling with Wilde, Beardsley, Bernhardt & Al. One late october morn, whilst cycling on the rivoli celebrating birth, she happened upon the vitrine chez Gallignani homaging the writers poets artists from turn-of-the-century late 60s to early 1900s counter & post victorianism. She invested! Mid november she was approached to collaborate & create her collection for Gripoix. Her response ...an exaltated jadooor ! It made complete & utter poetic sense! Remember our musée d’Orsay christmas moment with Dita darling? ...an extension of that ocean! Official work on producing the collection commenced the last days of january. It was an intense birthing yes! Introducing Salomé, her headdress inspired by the play written for Sarah Bernhardt by Oscar Wilde & illustrated by Aubrey Beardsley, a tragedy later performed for the silent silver screen by Alla Nazimova. Paon, her earrings embracing the peacock, fetish avian

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talisman of the neo-romantics, symbolizing love, compassion, knowledge, patience & eternal life, his plumage eyes are stars in the heavenly hemispheric skies. Fortuna, her tresor chest locket dedicated to the goddess of fortune & luck in jade & or (gold) ... jadooor ! Cupidon, her arrow brooch, piercing through the heart from the heavens of cupids bow bleeding with desire. Geisha, her lipstick holding sautoir, devoted to the beauty of lips that whisper words of love. Dragon, her imposing pendant embracing the mythical creature that symbolizes harmony wealth & longevity. Aegle, her belt come choker, inspired by the nymph of health & beauty of the body. Phoenix, her belt come necklace & come again harness symbolizes the ancient mythical firebird resonating renaissance & eternity. Coeur, her bracelet, the heart beats life & power to love, illustrating the peacock accomplice of the neo-romantics. Venus, her pressed pouder compact cuff, represents the goddess of love & beauty. Vanity, her mirror ring, reflecting perfection when one feels to re apply & re touch oneself. ...remember our Dita moment in january, darling?

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Collection was evolving & I was describing her to you. You asked if Lakshmi the hindu goddess was represented & I descanted an ecstasmic ouiiiii ! Voila lily, her clutch bracelet, final piece but definitely not the lightest & is the brightest evoking light wisdom fertility & fortune. — Her thoughts on cinema ? — One of many divine endless embraces of references & inspirations... Joseph Losey’s ‘Boom’(1968), adapted from Tennessee Williams’ the milkman doesn’t stop here anymore, orchestrationals John barry, theatricals Elizabeth Taylor, Richard Burton, Noel Coward: The actors | the art direction | the script the cinematography | the sound | the light | the location | the looks !!! Jadooor everything ! A completely misunderstood & under rated masterpiece! Being nominated for my first film ever by the french cinema academie was and is priceless and divine! Directors, among the living, she would love to work with (an abridged version:) Jerry Schatzberg | Roman Polanski | Pedro Almodovar | Martin Scorsese | Woody Allen | Gus Van Sant | David Cronenberg | Wong Kar Wai | Jane Campion | Claude Chabrol | Quentin Tarantino | Steve McQueen | Julian Schnabel | Jim Jarmusch | Alfonso Cuaron | Spike Lee | Blake Edwards | Sofia Coppola | Guy Maddin | Zoe Cassavettes | Baz Luhrmann | David Fincher | Jean Luc Godard | Michel Hazanavicius | John Cameron Mitchell | Spike Jonze | Quay Brothers | Stephen Frears | Chris Cunningham | Ryan McGinley | Clint Eastwood... — On falling in love with fashion — When I was born my eldest sister’s heels! From then on the sky was no longer the limit ...the heavens were! Jadooor injections of Rick Owens in my life! More Vuitton male & female in her lifestylings! Moments of Martine Sitbon jadooor !

Jadooor Martin Grant ...impeccable coupe couture! Jadooor Raf Simmons, vintage Yves Saint-Laurent, Lanvin, Givenchy, Alaia, Haider, Ackermann and encore Schiaparelli, Grès, Bob Mackie, Antony Price, Jeremy Scott ...I am faithful but not possessive! ‘Dressing up’ is a glorious rite & ritual in life jadooor embracing ...be it 15 minutes or forever! Boredom en generale I do not live to embrace!

Once upon a time, many fashion weeks ago, I wore a chandelier on my head for a fashion fete. My friend, photographer Ali Madhavi, had his parents demount their chandelier from their living, bless them, to cater to my fantasia. The weight of the world was upon us! — And how would Catherine Baba describe her perfect night? — Perfect Parisian nightings to symphonic swish with divine company, divine music and divine continuations of glofificated situations! — Diane Pernet for Ninja magazine —

Venus in Furs by M. Pearl

mister diane pearl pernet by

When Mr. Pearl was a young boy of 3 he used to help his grandmother lace herself into her corset. She wore it everyday and that was the beginning of his fascination for the corset, over the years that followed his mind went in other directions. From the age of 13 he dreamt of moving to London and could not wait to leave South Africa. As soon as he finished his military service he was off to London and one of the first stops was Manolo Blahnik where he bought two pairs of shoes and then was ready to head off to the BLITZ. New Romantics were all I cared for along with the incredible museums, I had no idea I would end up in Paris but after 3 ½ years in NYC, I was introduced to Paris through Thierry Mugler whom I met in NYC and started working for in Paris. Said Mr. Pearl. Mr. Pearl started corseting himself after he saw a photograph

can lead to unfounded freedom, which are useful in human inte-

of Fakir Musafar at the age of 30. One of the most fascinating,

ractions both private and social. The perfected, hourglass shape

mysterious and seductive aspects of corsetry is the possibility to

attained through years of corset wearing suggests delicacy and

alter the human form through the use of cut, structure (boning)

discipline, elegance and an inner strength. It also gives the

and the simple, yet important, corset lace.” The best material

wearer a sense of freedom. How far you can go in reducing the

for corsets are natural fibers, silk, cotton and sadly, the unavai-

measurement of the waist also has to do with age; at one point

lable whale-bones, which give the maximum results. Some nylon

you reach a plateau where one cannot go further. “The 18” waist

is interesting for its quality as a second skin.” Said Mr. Pearl.

is magical any smaller is simply from the divine. Those with the divine status include: Ethel Granger 13 inches, Polaire 14 inches,

Dance has always awe inspired Mr. Pearl with the awareness of

Cathy Jung 15 inches, Elisabeth Empress of Austria 16 inches

the body and its lines and that in part is what led Mr. Pearl to

and Fakir Musafar, 18 inches.

the defined world of corsetry. He started out working in the wardrobe of the ballet company he was later to join. “Boned bodices

Through the years we’ve admired Mr. Pearl’s creations on the

were the initial step to the fascination with the silhouette and its

most iconic women from Dita Von Teese, Jerry Hall, Kylie Mino-

curves. I believe classical ballet and corsets are deeply connec-

gue, Sophie Dahl and seen his work on the runways of Thierry

ted.” Said Mr. Pearl. Although he is a legend in the world of cor-

Mugler, Christian Lacroix, John Galliano, Jean Paul Gaultier,

setry, Mr. Pearl considers himself a designer who employs the

Vivienne Westwood, Alexander McQueen & Hussein Chalayan.

corset and lacings into his designs, he does not consider himself a

As a total perfectionist, Mr. Pearl considers all had faults and

corsetiere. Ever since he turned 30 he has been wearing a corset

missing ingredients but although he cannot give a favorite mo-

on a daily basis. It is essential that one sleeps in their corset if

ment in his career he does admit that seeing Dita von Teese in his

they are to achieve any significant waist reduction. “Corsetry is

corset is the ultimate beauty for him. “Corsetry is an exchange

a discipline when practiced correctly it can have very rewarding

the wearer shares with the viewer, it is the most intimate of all

results for the wearer and the observer. The personality who em-

adornments. One can lace one self depending if the corset has

braces corsetry is connecting with a deeper self-awareness both

an opening in the front but to be laced and unlaced is far more

mentally and physically. ” Said Mr. Pearl. Wearing a corset is

pleasurable.” Said Mr. Pearl. — Diane Pernet for Ninja magazine —

empowering. One is contained, supported and restrained which

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carte blanche diane pernet

Ninja magazine #22

mode / fashion

innocent lies roger weiss by

assisted by valentina de mathĂ models paola fiorido and franz location casa xena (xena zupanic) clothes vintage

faces andrea zvadova

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into the wild

ola g rochowska + andrei zach models robin & james hair & make-up pace chen stylist emma pulbrook all clothes by

yao zhang stephanie wong jennifer murray

Ninja magazine #22

mode / fashion

jaime rubiano diane pernet & jason last by

Jaime Rubiano and Jason Last met when they were both in school studying fine arts. One reason that the two were drawn to each other was the fact that they shared a similar visual aesthetic regardless of the diversity in their backgrounds. Creative Director Rubiano grew up in rural Colombia while Filmmaker Last spent his childhood in Canada. In Colombia MTV and CNN with Elsa Klensch were the lifelines for Rubiano. “When Klensch did a special on this new kid called Alexander McQueen with his ’95 Highland Rape collection, I knew that I’d found the universe that I wanted to belong to.” said Rubiano. Last was also heavily influenced by music videos and the culture that surrounds them. He loved the visual language and branded identities. “There is something about the moving image and sound that draws me into it it doesn’t matter if it is cinema, video art or music video. I’ve found my inspiration comes from somewhere between MOMA and MTV. That is all I need to be inspired.” Said Last. No surprise then that the soundtrack dictates the energy of the duo’s films. Recently they worked with the composer Sarah Neufeld who created the soundtrack for their film Scalpel/Stradivarius. Other musicians that they enjoy working with are: Grimes, Black Atlass and Nicolas Leau. When the idea of shooting fashion films was still lingering in the blurred haze of experimental arts, Last and Rubiano began their journey. Last and Rubiano are risk takers and have dedicated themselves to following their own vision. Their first collaboration was the film Elegia which was based on a work by Federico Garcia Lorca and basically kick-started the work that they do today. “We weren’t aware of how we were blending fashion, art and video but we knew what we had in mind to make. It has continued to evolve from there.” Said Last. “The power that we share is our connectivity and our ability to hit the same

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marks visually, to be able to read one another’s minds, it is like a separate language between us that is purely visual.” Said Last and Rubiano. Over the years Last and Rubiano have worked with many established designers and fashion brands like Rodarte, Emanuel Ungaro, Dior Homme. Rubiano works as the Creative Director where as Jason Last is the Film Director. “Fashion allows for a lot of creative freedom, which is essential and a dream for us.” Said Last and Rubiano. Fashion film as a genre is still being defined and growing, the more brands continue to realize the power and the necessity of the moving image the more the medium will flourish. It is not about replacing printed media or runway shows it is about finding a new way to create a story and to express the art. Even though the Internet is a bit abundant and shameless when it comes to distributing new content the web also allows for another layer of interactivity. It is still a new territory without rules or limitations and perhaps that is what injects the field with just the right amount of energy. What can we expect from Last & Rubiano in the future? “We are constantly pushing our work because, in the end, all that really matters to us is what we are able to create.” Said Last and Rubiano. — Diane Pernet for Ninja magazine —

carte blanche diane pernet

photos: Marcio Madeira

aganovich diane pernet by

My first encounter with the handsome couple, I might add that they look like they just stepped out of an F. Scott Fitzgerald novel, was in Paris at my favorite tea salon. Nana Aganovich is the designer behind the brand Aganovich while Brooke Taylor comes up with the narrative and the concept. They met in 2002, fell in love and decided that they wanted to work together. Their dream was to establish their brand in Paris. Now, a third party has stepped in, the Chinese entrepreneur that every one dreams about, Jimmy K. W. Chan. Chan is admired, among other things, for his positioning of creativity over profit margins. Recently he acquired the Aganovich brand. Chan’s philosophy is to give artists the freedom to create first and then build a business around their creation. With his financial investment and managerial support, everything is now possible. In Taylor’s past he was a writer, an essayist, he’d seen himself as a kind of semi-messianic Jack Kerouac but by the time he moved to London in 2000 he did not believe in the ideas anymore. “I had burned quite a few bridges as wannabe beatniks tend to do. And since my desire to write was very much linked to my desire to experience and the ideas extracted there from the whole thing kind of stalled. The core of my interests has always been about love anyway; be it universal or incidental; the substance, the feeling, the thing and when I met Nana I met someone who had as much love to give as I did. “ said Taylor. As a writer Taylor used to spin exotic stories of international conspiracy and feminine intrigue to impress his future partner. The stories revolved around a clownish femme fatale alter ego known as Sisi Bogdanovich. This exchange evolved into a working model for the Aganovich collections. Taylor would devise the narratives that Aganovich evoked with her aesthetic. “As a writer (especially a young writer) I was always on the lookout for the dangerous muse; like Truman Capote’s Holly Golightly or Hemingway’s Lady Duff Twysden (transformed into Lady Brett Ashley for the purposes of The Sun Also Rises) I was eager to encounter that sexually charged, exotic, untamable cliché that would turn my world upside down. My first was a stripper called Squidgy in New Orleans. I was 19. Squidgy wouldn’t give me the time of day but she would let me drive her around on my motorcycle that was about it.” Said Taylor. “When I met Nana she exuded a similar sense of danger (albeit a far more sophisticated version than that of a straightforward stripper). Having grown up on 19th century Russian literature I was convinced that anyone with a name ending in -sky or -ich

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had led a far more interesting life than mine anyway. But beyond that she seemed to be cloaked in all sorts of occult energy and shadowy intrigues. Sisi Bogdanovich was my fictionalized version of Nana. I used to entertain Nana with stories about Sisi Bogdanovich ridding the world of evil but through the most dubious means. I suppose the French Nikita character would be a recognizable parallel.” Said Taylor. The collaboration has evolved and matured over the years. The power has shifted. At the beginning, kind of like a scaffolding for a building, Taylor did all the talking and maintained much of the idea of Aganovich but as they get closer and closer to the core of the brand and all the elements fall into place Nana is very much coming into her own and there is less need for the scaffolding. The clothes are going to do the talking from now on. “In my experience at least all creativity is about trust and purity and in that respect it doesn’t matter whether you are writing, dancing, designing or cooking. Your creative side is extremely stubborn. And it takes a lot of convincing to get it to cough up the goods. You have to show it you mean business by practicing your chosen medium again and again, happy to produce a string of substandard results. Once it trusts you it starts to feed you increasingly pure information, information that pertains to a much larger picture than you as an individual are capable of sustaining. In this regard it is very much Nana that is going through this process at the moment, not me. I am simply providing context.” Said Taylor. “We’re an intellectual household, we’re into clowns, we’re into the writings of Borges, we’re into puzzles and riddles, we’re into Constructivism and Futurism, we’re into the physical and metaphysical aspects of the ‘middle of nowhere’, we’re into displacement, we’re fascinated by damage and playfulness. All of this fact. But it in no way guarantees a collection expressive of these elements. The more you access the truth of what you are doing the more things seem to cross-fertilize and it all becomes more natural.” Said Taylor. — Diane Pernet for Ninja magazine —

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images: B O U D I CC A

boudicca diane

pernet by

In order to really understand the brand Boudicca, one must recognize where the name comes from. Queen Boudicca embodies aspects of love and force, values and courage, rage and revenge and power. She’s one of those heroines like Cleopatra or Dido, who brought a strong and deeper meaning to the idea of feminine royalty, a valiant passion, a dramatic spirit and ultimately tragedy. How does Boudicca the brand manage to convey these ideas through their designs? “I think fragments of this powerful energy that you so passionately draw for us have been revealed and the context of her spirit inspires us today. Yet she is rarely a direct reference point, what she stood for is a more abstract ideal for us…her mythical qualities – her history that is in a state of constant flux. Avenging justice for your people is important and this sense of loyalty and valiant passion as you state, is inherent in our work and within our every day choices but a place of imagination, a subconscious memory bank is the only place left untouched at this point. As William Gibson states there are no secrets anymore. Our future will be fully mapped and only history, the past changes in front of us. Add to all of that our own personal journey as people, which is often less brave and at times, more fragile, human in error and occasionally humour plays alongside it all.” Said Zowie Broach (one half of the design duo that makes up Boudicca). Zowie Broach and Brian Kirkby met in a run down, out of season seaside resort. “A place that belonged to Fellini in our dreams and his life, where he filmed parts of La Strada where I was Gelsemina and Brian was Anthony Quinn; a fight, a discourse, a challenge; a love that basically held our whole relationship in a few days and then we began all over again. A film, a brief encounter, a moment of truth where there were no other players to interrupt or confuse.” Broach goes on to say. The essence of the brand has not changed since their first manifesto: “form follows emotion: a documentary of ourselves and the world we live in. The collections from BOUDICCA are stories; short scenes from films, that at times are simple and reference the obvious, at

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others become complex and ill fitting. The modern paranoia of human life, the beauty and the vanity of modern life, the anger of another, the fake lies that we are told and the real truths we forget…” says Broach. “It’s an unspoken language, that garments have; more function than just covering the body. There is an intimate relationship formed between the wearer and the garment that Boudicca demand to be examined. Boudicca’s designs reflect this demand, this journey, and this social documentation, taking into account an emotional response to the system that is life. Boudicca strive to see a future of people wearing clothes that express a person’s feelings and emotions to the world they exist in. Not clothes as escapism, but of expression.” Said Broach and Kirkby. As Max Ernst said “Art is dead, long live Fashion.” Cinema is part of the brands DNA. “Every day there is a walk in and out of one scene, or at least a combination of many. It is the purest imaginative place to be and it is our future to imagine to be walking along the empty roads of an Antonioni, feel the tight zippered dress on your body as Monica Vitti did and then be part of another screen dimension where the sounds pummel you and ask so many complex questions of what it means to be in that relationship, in that skin, Murakami-esque, hear Beckett whisper ‘Rock-a-bye’ and then the train leaves the platform and the red shoes dance you forward to your death…and that was just the morning!” said Broach. Today their biggest dream is to live in the middle of a forest, have a studio where they can build cities, scrapes, online & offline, real and dream state. To read and examine their world constantly; write, ask questions, and find answers …” said Broach. — Diane Pernet for Ninja magazine —

carte blanche diane pernet

Bill Cunningham

Roxanne Lowit

Bill Cunningham

marc audibet

diane pernet by

Some people just seem destined for a life in fashion, as was the case with designer Marc Audibet. Even as a child it was vital to his survival. He used to like to disguise himself and dress up his stuffed animals. Initially he studied architecture but that was more a way of satisfying the desires of his parents than fulfilling his own dreams. The person that helped to launch him into the world of fashion was the journalist Hélènne de Turckeim who proposed him to assist with the Haute Couture at Ungaro. Later he went on to design menswear for Ninno Cerruti who he holds in the highest regard. It was at Cerruti that he learned all about the process of design and the importance of a good cut, and how to work both with tailoring and fluid volumes. He also learned about textiles and how to design for both men and women. In the 80’s he initiated what was to become a revolution in fashion. In collaboration with Dupont he was able to develop the new lycra stretch. Audibet wanted his fashion to correspond with what he saw as the overwhelming desire to be fit and to fulfill their unconscious desire to be free. “I remember a meeting with one of the first assistants at Maison Balmain, she told me how Marlene Dietrich always put a silk body suit, which had been cut on the bias and sewn entirely with elastic thread, under each of her stage costumes. This just confirmed my intuition that in order to create the textile that would be the solution to modern dressing would be to create a stretch material. His desire to realize this material caught the attention of the Director of Communications at Dupont, Michèle Guérin and she found his idea interesting and offered to give him kilos of lycra fiber and the names of manufacturers that could develop these textiles for him. It was not such an easy project, as he first had to convince textile manufacturers of the merit of his ideas. Mr. Arai, a well-known Japanese textile manufacturer initiated the work of weaving the lycra into various materials like jersey, silk, cashmere, cotton, velvet, satin, wool, viscose and other

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fibers. This process took him on about one hundred trips and much experimentation with different fabric mills from France, Italy and Japan before the truly innovative textiles were created. There was a lot of excitement around Audibet’s first stretch collection. The fashion world was introduced to stretch and Audibet found himself as, among other things, a consultant for Dupont. Journalists understood him and how his creations were different from other designers and they wrote about it. Soon other designers were also working with stretch but most of them only worked with stretch tricot and stretch jersey. Audibet worked in jersey but also made 3 dimensional garments with lycra being woven into less adaptable materials. That was the birth of stretch. Fashion is like a love story for Audibet. He wants his designs to make women feel like they are actresses and feel a freedom within their clothes. The development of the new materials allowed Audibet to reinvent the cut, and to eliminate darts and seams. His draping looks effortless like an ancient toga or a draped African dress. In the direction of freedom, Audibet celebrates and elevates the classic t-shirt, the iconic modern object. The idea of stretch was Audibet’s way of introducing the concept of modern sports into elegant designs. “It’s like a second skin but without a feeling of restraint, it is all about freedom like in dance or sports. “My designs are about sexuality, sensuality, life, death, eroticism and theatricality. “ said Audibet. He likes to refer to a quote by Coco Chanel, “In order for a garment to be beautiful it must appear that the woman wearing it has the air of being nude.” — Diane Pernet for Ninja magazine —

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fashion on

stagela

mode en scĂ¨ne Ninja magazine #22

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costume national

guy laroche

john galliano

florals elements naive colours primitive shapes mosaics macro buttons self fabrics draped asymmetric geometric cutout pleats transparent multicolors leather one-sleeved cotton lace plaiting materials kimono sleeve jungle atmospheres tie-dye

Ninja magazine #22

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como adoran el santo estos salvajes veronica bertini tamara vignati cahier de tendance / mood board

a cinematographic story by Pierre Cialdella

the flight of the Angel version franรงaise

disponible sur www.ninja-mag.com en PDF gratuit

part

screenplay in 3 parts to follow in the next issues of the magazine

Ninja magazine #22

lire / read

001 int - day – hospital room In a hospital room, luca, a teenager about 16-17 years old, is deep in a coma in a huge bed surrounded by life-support machines.

Satan … is being the bad guy around you, blah, blah, blah! Everyone knows that you’re the good child and i’m the bad!… but if daddy decided to will you his powers, it’s because i agreed to it.

Satan They might seem innocent, they might be pretty, but they aren’t worth more than a rat’s ass!

God And you brought me up here to tell me this?

sary.

God -

A woman with dark skin, in her 40’s, dressed in style “rococo”, with long black hair is seated at the foot of the bed and watches over him. Nearby, in a chair, a young boy in his twenties, somewhat pale with large feathered wings protruding from his back, is deeply absorbed by the book pretty woman. (LATER WE’LL UNDERSTAND THAT WE ARE LOOKING AT GOD AND A GUARDIAN ANGEL)

A cell phone rings and the angel elbows god who jumps to answer : God Hello! Voice off (in the telephone) It’s a catastrophe, lord! Your brother is threatening to cut luca’s life support systems if we do not surrender. God I’m with him right now. Assemble our warriors ; general meeting tonight at 9pm. It’s time we crush those bastards once and for all. God hangs up and puts the cell phone back in her pocket. The irregular beeping from the life support machines become one long tone. The guardian angel jumps up and starts tapping the machines, trying to restart them, but in vain. Then he bends over luca, shaking him. then bends over luca, taking him in her arms. She pulls him gently towards her by the hand. Luca’s body doubles: the darker version of him remains on the bed, while the other, lighter version gets out of bed and moves towards god, awake and smiling. Nurses and doctors run into the room and try, in vain, to revive luca. He is dead. No one notices neither god nor the guardian angel (who is holding the luca spirit by the hand). The 3 leave the room. In the hallway, 3 beautiful young women, one black, one asian, and one puerto rican, dressed in indian saris with large white feathered wings on their backs, are keeping guard. One of these 3 “angelettes” caresses luca’s neck and small wings appear gently on his back. The 6 of them walk down the hallway and, little by little, their image fades. 002 ext - day - sand quarry / ivry boardwalk A sign in the lower right corner of the screen indicates : “ 1 YEAR EARLIER ” A handsome man, about 50 years old, very chic and poised, with a hard face and sharp features, walks along the sand quarry on the ivry boardwalk towards god, who is seated on top of a crane (LATER WE’LL LEARN THE MAN IS SATAN). He climbs a ladder to join her, and in a very digniSatan (mockingly) You look like a mourner at her own funeral! God You’re 20 minutes late! Satan Don’t be such a whiner!

Satan (smiling treacherously) No, to discuss our next and last chess strategy…

God (nervously) Evil can do nothing but lower his arms in the face of purity. It’s so obvious, open your eyes, you don’t have a chance!

God What are you talking about?… Satan Look, i’ve been playing the bad guy for the last 2000 years, and i’ve had quite enough of taking the wrap for everything while you whore around with your faggot little angels, busy encouraging the priests to fuck little boys! All those nasty characters you’ve made me play my whole life ended up having more of a life than me. It’s time i took matters back into my own hands! God Going through your occasional existential crisis, are you?… Satan Listen, sister, your little show isn’t bringing in the viewers anymore, so stop pretending that you’re pissing chanel n°5. Now this is what we’re going to do: i’ve picked out

Satan to give me your telephone number, i’d throw it away before you could turn your back. You are so out of it! God (surprised) We don’t have to like each other, we’re just part of the same family! Satan (laughing) In that case, you don’t have anything to worry about… but i would advise you to rally the troops… …well then, later. On these words, satan jumps from the crane and, in slow motion, lands on the ground to continue walking. God doesn’t move, jaw open. 003 interior - day - television series producer’s

seen to it that she got dumped by her boyfriend. rate, and raising her young son to boot. she’ll die of a broken heart …with my help, of course…! God And can i know why? Satan It’s simple! The 2 lovers will be the pawns in our ultimate battle. If you win, they can carry out the most beautiful love story there ever was. A romance that would even make romeo’s love for his tart juliet pale in comparison, if you like. And i, i will disappear because you will have proved you imperialistic supremacy! But if i win… Ah if i win…! God You’ve never frightened me with your threats and you’re not about to trick me into playing with you now. Satan Do you not get it or what? This is not a threat, it’s already done! If you don’t intervene, the poor little idiot i’ve chosen will die. You are thus obliged to Afterwards, our battle can commence: of course, i’ll do everything i can to tear them apart. And if you are not capable of keeping them together, they will be separated by death. You will thus prove your powerlessness and it will be my turn to reign over the earth! God (jumping up and raising her voice) You are really perverted! Satan (remaining seated) We were formed by the same mold… God

God Why did you want to see me! It’s not like you to come in person! Since father’s death, the only things you’ve been interested in…

Satan (getting up) You are my adversary. So wake up!

everything you don’t understand! innocence!

Malia, a beautiful mulatto in her 30s with whoopilike dreadlocks, is sitting in front of man approx. 40 year old, slouching in a large leather chair. He smokes a cigar arrogantly, ensconced behind an enormous desk on which are placed an oscar and an emmy. The walls of the room are covered with signed photos of international personalities. Man (taking a script from a folder) What’s gotten into you recently? You’re not an idiot, as far as i can tell. Listen, i pay you to write sitcoms for the masses. And the masses are foolish, they want aaron spelling, not larry clark! Who do you think you are, trying to pass on such a piece of shit? Malia shrugs her shoulders and tries timidly to justify herself: Malia I just wanted to put a little spice in the series… for 5 years we’ve been telling the same story, and… The man cuts her off, yelling. Man For christ’s sake, you don’t derail a train running at top speed! (he throws the script at malia and gets up) I don’t want to see any more of this kind of drivel on my desk. Either you continue to write quality sitcoms for me, or you join the line at the unemployment Malia nods timidly and gets up to leave. Saturation 004 ext - day – highschool In the courtyard, luca is seated alone against a tree, his walkman on. He reads a silver surfer comic book. At his feet, 3 fairies, barely 10cm tall, dance, joyful and energetic. They are only visible to the viewer, luca does not see them.

To begin by Saturation

005 int- night – smoking room in an opium den Noah, a dark, stormy 22-24 year old (WE’LL LEARN LATER THAT HE IS LUCA’S BROTHER), is lounging on a small wooden bed in a opium den. Here and there, old chinese men in their 60s, dressed maostyle, move between the beds, serving the groggy smokers (very few caucasians). The place looks like an old chinese shadow theatre, all in wood, like tintin and the blue lotus. An old asian man, easily in his 60s, stooped and tired, approaches noah. He is carrying a tray on which is placed a small ebony and satin box. Upon seeing the boy’s vegetable state, he mutters to himself:

Astarot performs an exaggerated, ironic military salute, then drifts away, sighing.

purse, and returns to her tanning session. End split-screen – saturation

Satan (to behemoth) And you, behemoth, this is your last chance to prove that you are not completely worthless. I advise you to try your best for once.

009 int - day - living room in a luxurious apartment

Saturation 007 int - day – italian ambassy in paris years old, very classy and poised, is sitting at a (WE’LL LEARN LATER THAT HE IS LUCA’S FATHER).

Old asian man (disenchanted) White people just don’t know how to smoke… Then he bends over noah and opens the box. Inside, there is a small black ball. Old asian man My master sent me to bring you this present… Noah nods slightly, eyes half closed. The old man places the ball near the boy’s face and leaves quietly, heading to a small door which he opens. 006 int - night – back room of the opium den

Someone knocks at the door. Luca’s father Si! A woman wearing a suit, approx. 35 years old, sticks her head in the door. Secretary The minister is waiting for you in the grand salon, mr. Ambassador.

Satan How many times have i told you to never disturb me during training?! Back to work! The old man gets up shamefully and leaves the room, head bowed. Satan claps his hands together twice and everyone stops what they are doing to listen. Satan Soon, we will be going into action. I want all of you to be ready for the next full moon. Behemoth! Astarot! Come here! The tall black capoeirist cautiously approaches satan. Behemoth Yes, master? Satan (yelling) Astarot!! A beautiful woman approx. 30 years old, pale face, yellow eyes and snakes instead of hair, is is making exaggerated faces. At the call, she jumps. Disenchanted, she joins behemoth. Satan (to astarot) Astarot, you are the general now, so stop your foolishness. I want your warriors operational in 4 days!

Malia’s mother (annoyed, she cuts malia off) It’s the best thing that could have happened to you. What are you complaining about?

SPLIT SCREEN : THE IMAGE SPLITS IN 2 TO ALLOW US TO SEE THE FOLLOWING SCENE :

Malia’s mother Lower your voice, yann could hear you!

008 int - day – beauty salon

Malia So what! Do you think he doesn’t suspect anything? His father left him like a shit and isn’t coming back! What do you think i told him? (taking on an ironic tone) Oh, don’t worry darling, daddy just took a vacation

In a posh beauty salon, a very beautiful bour-

Satan lowers himself toward the old man and pushes him back against the wall without even touching him.

Malia’s mother seems not to care at all what her daughter is saying, but fakes interest.

The woman leaves and closes the door behind her. Luca’s father picks up one of the 2 telephones on his desk and dials.

Secretary Very well, sir.

Old asian man (to satan) Please excuse my intrusion, master… i’ve just delivered the magic ball to the young boy’s brother. The curse should begin as of this evening. You will be able to manipulate him as you wish.

Malia He’s gone, mom!

Malia (perplexed) What are you talking about? I’m telling you that the father of my son, you know, the man with whom i’ve shared my life for the last 6 years and whom i should’ve married, has just left me without warning, and you, all you can think of to say is: (she imitates her mother’s voice) It’s the best thing that could have happened to you!

Luca’s father Grazie, giulia. Tell him i’ll be there in 5 minutes.

(LINKING SCENE)

completely walled in wood which looks like the lower interior of an enormous old cantonese boat. There, satan, dressed like an chinese nobleman, is suspended in space. Beneath him, 2 beautiful russ-meyer-like women are wrestling in bathing suits. Here and there, boys dressed in mao vests practice martial arts exercises, beijing opera style. A tall black man practices capoeira and young skateboarders practice fencing with their boards.

In the living room of a superb apartment located at the end of ile st. Louis with a view on the seine, malia is perched on the edge of a large armchair. She is facing a bourgeois-looking woman (nouveau-riche looking) who is lounging on a large sofa (on which she is taking up 2 places), her feet up on the coffee table between her and malia. At the other end of the room, a small boy with light dreadlocks, approx. 6 years old, very calm, is sitting legs crossed in front of a tv, showing a manga cartoon.

in a tanning bed. She seems to be in her 40s, although it is not sure. (WE’LL LEARN LATER THAT SHE IS LUCA’S MOTHER)

Her cell phone rings. Cursing, she disengages herself from the tanning bed to pull her phone out of her purse. Standing naked, she answers.

you. But maybe he’ll miss you and that will make him come back…

Luca’s father Marianna, it’s me.

Malia’s mother (annoyed) Yes, you’re right, you only need to tell him the truth! That his father is a good-for-nothing who made enough money off of my back in paris, and has only to spend it until he chokes to death on it!!!

Luca’s mother What is it ?

Malia jumps up, raises a hand against her mother, but doesn’t hit her.

Luca’s father I just wanted to tell you that i’ll be home late this evening and that you shouldn’t hold dinner for me.

Malia’s mother (very calm) Oh right, go ahead, what are you waiting for? Hit me. That’s the only thing missing from your trophy case!

Luca’s mother Hello !

Luca’s mother Well, i won’t be there either. I’m going to the club. You know very well that thursday is my bridge night. Luca’s father And the children? Luca’s mother What about the children? They not crippled, as far as i know! They’re not 4 years old anymore,

Malia scoffs, which causes her mother to lose control: she delivers her an open-handed slap, knocking her backwards into her chair. Malia’s mother (raising her voice, towering over her daughter) I’ve had enough of your problems. Enough that you never do things as you should. Enough that you entangle yourself constantly in impossible situations! Look at me, i’m 48 years old and one would say i’m closer to 60… all because of you!

Luca’s father Exactly my point. I think we should spend more time with them…

Malia (calmer now) You should’ve thought of that before you adopted me…

Luca’s mother Right, ok. Look, i’m busy right now. I’ll see you this evening.

Malia’s mother (calming herself sitting down) Listen, calimero, if life was like disney, i’d be married to donald trump and living like a queen on 5th avenue.

She closes her cell phone, puts it back in her

Malia Hello fantasy…

Malia (squeezing yann tight in her arms) You know that i love you, my little prince…

Malia’s mother In any case, we can get over anything in life.

Yann Don’t worry if daddy doesn’t love us anymore. I still love you…

to be had, and you’re surely not the last… you’ll get over it. better than that prick… Malia Do you think i could leave yann to you for a couple of days, just time enough to get back on track?

Malia tears) Go kiss grandma, it’s time to go home. Yann acquiesces and runs to kiss his grandma. Fade to white 010 int - night – china club

Malia’s mother Actually, it’s not a good time, you see, because… look, i’m leaving paris. Which leads me to my next point… i said to myself that you could take care of the keys and pack up my furniture, my knick-knacks, and everything else that i can’t take with me. Would you do that for me? Malia is at a loss, mouth open, shocked, as if she cannot believe her ears. Malia What do you mean you’re leaving? Where? And why? What the hell are you talking about? Malia’s mother Look, calm down. I wanted to tell you before, but well, you know how it is… and then with all the other things happening… Malia What do you mean, “calm down” ? You announce that you’re leaving town just when i need you, when i’ve never asked you for anything, and you want me to calm down? (she raises her voice) I don’t think so! And anyway, where are you going? And when?

God, the guardian angel, and the 3 angelettes, are dining “incognito” at the china club, a very chic, colonial style chinese restaurant. A beautiful chinese woman, very distinguished, approx. 40 on a grand piano. She is singing in cantonese to music by elysabeth cooper (world famous pianist and orchestra conductor) at the piano. God (to the 3 angelettes) These are bad times, my angels. Astarot will try by all means possible to prevent tomorrow’s encounter. I don’t want you to leave them for one second. No matter what happens, be in place and ready to intervene. (to the guardian angel:) As for you, i charge you with their protection. At the slightest threat from astarot or behemoth, do not hesitate to attack and rip them to shreds. Guardian angel With respect to this meeting, are you sure it’s a good idea to have him meet this girl? I mean, you see, it’s just that she’s… not white… and twice his age. I don’t have anything against it, but it does complicate things: if i’m correct, the boy’s mother is the niece of mussolini, right?!

hung everywhere. Sweating, malia walks over to the refrigerator and pours herself a glass of milk. Then she throws herself onto the sofa. Cross-fade with the next scene 012 int - night – corner bathroom in malia’s loft Malia is reclining in the bathtub from which a large quantity of steam is rising. The room is dark and a church-like music is emitted from a cassette player placed next to the tub. Projected onto the wall behind her are videos of underwater sea She is very calm, eyes red and swollen, as if she’d been crying. Saturation 013 int - evening – luca’s room Bare-chested, wearing only underwear and socks, luca paints the outlines of marvel super hero “silver surfer”, projected by a slide projector onto one of the white walls of his room. Music is blasting out of a cd player on a stool nearby. Canvasses are piled up everywhere and pots of paint and brushes are scattered around in this messy room. The apartment appears otherwise to be very bourgeois. Luca turns off the projector and is left with his he starts to jump up and down in place. Then, he grabs an electric guitar and a toilet brush with which he begins to play whatever. He jumps like a crazy person in his room, a little like pogo to the rhythm of the noise he’s playing. He shakes his head all around, jumps against the walls, as if in a trance in a punk club. Then he puts down the guitar and throws himself down on his stomach, arms outstretched in a cross, on his bed. 014 int - dawn – luca’s room

Malia’s mother … i’m moving to rome… (she hesitates to continue) … at the end of the week. But please… Malia (she cuts her off, increasingly more agitated) What?! But it’s already thursday, you can’t leave at the end of the week!! What the hell is going on? Why did you not tell me anything before? I presume that this wasn’t decided today?… Malia’s mother There really isn’t any reason to make a scene. Malia (she gets up, disenchanted, shrugging her shoulders) Just what i needed now!…

God And what color, exactly, am i ? Anyway, this will be the last thing that my brother will expect. That should teach that ass a lesson. …and after all, there’s nothing like a little tolerance preaching to change people’s way of thinking.

015 ext - dawn – street (linking scene) The waiter, a tall handsome asian man in his early thirties, dressed in 1940’s style, approaches the table and whispers in god’s ear: Asian waiter (in god’s ear) Please, lord, your language. People are beginning to talk…

Malia goes to join yann.

God frowns. The guardian angel and the 3 angelettes, nervous, giggle quietly.

Malia (to yann) Excuse me, sir, but you haven’t seen a small boy about 6 years old around, have you?

God Where can the world go if even i can’t respect no more?

Yann shakes his head “no” and malia pretends to search under the furniture. Then she passes in front of the t.v. Preventing yann from watching.

Fade to white

Malia Ah, maybe he’s behind the t.v.!…

In a large loft with a skylight roof by which one can see the moon, malia dances out of breath in front of a large mirror. The loft is one large undivided space ; the furniture and decorations serve as dividers in the room. A large 1950’s refrigerator stands next to a large wooden table and sink, over which hangs a

Yann Move, please! I can’t see anything… Malia turns around and pretends to be surprised. Malia Oh, but there he is, my little angel!… She moves towards him and kisses him on the neck, which makes him laugh…

Luca sleeps peacefully. From outside, a music begins playing, waking him up. He sits up and then gets out of bed to look out the window. He rubs his eyes, as if he cannot believe what he is seeing.

011 int - night – malia’s loft

The living room is made up of furniture and trinkets picked up from the street. A small dance studio has been improvised in one corner with a huge mirror. At the other end of the loft is a large bathtub encircled by a mickey mouse shower curtain. Next to it, a pile of bath towels. Chinese lanterns suspended by strings of christmas lights are

From his window, luca observes 3 asian transmakeup. They approach, moving in line to the rhythm of the music coming out of the ghetto blaster that one of them is carrying on his shoulder. They are lypsync-ing and swaying, wigs in their hands, makeup smudged from the night before. In front of them, a street-cleaning truck sprays the sidewalk, leaving it wet. The neighborhood sleeps. Fade to white 016 ext - day – banks of the seine Luca walks along the deserted embankment of the seine from tournelles towards pont marie, his his arm. The guardian angel and the 3 angelettes, wings open, are seated on little white clouds 2 meters off the ground and watch him pass. (THEY ARE VISIBLE ONLY TO THE PUBLIC - LUCA DOES NOT NOTICE THEM WHEN HE PASSES.)

He runs into a group of 3 teenagers on bmx bikes who are hassling malia. Malia tries to stay calm but the boys become more and more stupid and begin shoving her. Luca approaches them. Luca (interfering) What’s up, y’think your some kind of gangsters or what? Honestly, you have no shame? The boys, surprised, stop and stare at luca. Malia is also surprised and remains with her mouth open.

One of the boys And who do you think you are, some kind of hero or what? Luca brandishes his skateboard towards the boy as if to knock him over the head, but holds himself back. The boy Don’t bother, the bitch’s yours anyway. The three boys leave. Malia (out of breath) Thank you. Malia and luca sit down along the seine, both of them a bit uncomfortable. Luca (shyly) It’s not like i solved world hunger. Malia (surprised at what he just said) Well, in any case, you’re my hero now. Luca, looking straight ahead, then at his feet, is uncomfortable. Malia realizes and smiles tenderly. Luca opens his mouth again, but nothing comes out. A serpent, undulating on the seine, approaches the bank near them. Emerging from the water, the serpent transforms into astarot (who is only visible to the viewer), who climbs up the bank and walks around them, smelling them. The serpents which form her hair are in turmoil. Suddenly, she jumps into a tree behind them and whistles with quickly down the embankment, performing a seangel jumps down from his little cloud and attacks behemoth. The two of them begin a capoiera battle. The 3 angelettes sit down and giggle, not far from malia and luca (who notice nothing). They resemble 3 high-school girls at a prom party. Malia gets up slowly, standing in front of luca, who remains seated. Shyly, they look at each other without saying anything. From his seat in the tree, astarot is livid. She jumps down and approaches malia, enters her, and takes possession of her body. Malia becomes pale and cold. She turns her head away from luca and moves away from him unconsciously. The 3 angelettes are out of control. Luca is confused. Behemoth, from his corner, delivers an ultimate right-handed punch to the guardian angel who falls into the water.

from her mother’s side. Her mother is talking with another woman at the school’s entrance. Malia Well, ok, go tell her goodbye… I’ll wait. Yann runs towards the little girl and throws his arms around her neck. She is shy, but very happy. Taking louise’s hand, yann kisses her on the cheek. Louise’s mother, a very bourgeois-looking woman, is offended. She pushes yann away and yanks her daughter towards her. Malia rolls her eyes and purses her lips, watching the scene. She is then accosted by a woman in her 30’s, dressed like an ‘overgrown college girl’: School teacher Excuse me, madam, i’ve seen you pick up yann from time to time. I presume that you are his nurse? (malia frowns) Could i speak with you for a moment?

Julie Sit down. Do you want a coffee? I was about to start another pot. Malia No, i can’t stay long. I still have 3 episodes to write before tomorrow. Julie Have you stopped dancing? Malia No, but one has to pay the rent. And anyway, with everything that’s going on right now… Well, i should get going (to yann) Yann, come and give me a kiss. I’m leaving. Yann gets up and comes running, throwing himself around malia’s neck. She takes him in her arms to give him a big kiss, after which he goes back to the video game. Julie’s husband does not look up from his paper.

Malia is surprised, but nods. School teacher I don’t know how to tell you this, it’s a bit delicate but… it’s just that yann is abnormally… introverted for his age… and when i talk to him, he seems paralyzed. His behavior is strange. So i asked myself if… well, if he isn’t experiencing any problems at home.

Julie Clement, malia’s leaving.

Julie’s husband Goodbye, malia Then he dives back into his paper.

Malia remains perplexed. Yann returns and throws his arms around her leg. School teacher (she continues) You understand, i asked to talk to his parents, but they still haven’t come to see me… do you realize that i’ve never seen them, not even at the beginning of the school year! Malia (taking yann in her arms) As for his parents, that’s me! And for your information, yann is nothing if the most normal of children! I don’t know how you run your school, but outside, he’s anything but introverted. And with that, i wish you good evening! Malia turns on her heel without waiting for the teacher’s reaction, who remains taken aback. She puts yann down and takes him by the hand.

Julie (to malia) I’ll walk you out. They walk towards the front door. Malia (in the doorway) Thanks, you’re doing me a big favor. Julie (smiling) That’s what friends are for. But i am a little worried about you. You don’t look so good… Malia Don’t worry. I always land on my feet. Anyway, we should do a girls night out. I’ve got a story to tell you… but later. Ciao… Perplexed, julie frowns her eyebrows, but says nothing and closes the door behind malia. Saturation

Fade to white

Malia (to yann, moving away) All right, come on my angel, i think we’ve earned that ice cream…

017 ext - day – elementary school entrance

Saturation

Malia is on the escalator of a big department store, hand on the rubber hand rail.

Malia waits in the street near of the entrance to an elementary school, a little behind the other parents. A bell rings out from the interior of the building. The door opens and a herd of small children from 4 to 8 years old, come running out and into the arms of their parents. Among the children, yann moves towards malia. He stops a second in front of his mother, smiles slyly, then throws his small arms around her. He raises his head, without releasing his hold.

018 int - evening – julie’s apartment

Yann The teacher was mad at me again today because you didn’t go see her.

Malia puts yann down (he runs into the apartment), then closes the door behind her and follows julie towards the kitchen. Seated at a table covered with the remains of a meal is a man in his 30’s, wall street type, who is reading the sportspage. He lowers his paper to say hello brie-

Malia (taking yann in her arms) Oh yeah? Well, we’ll go see her another time, ok? For now, we’re off to eat some ice cream! Want to? Yann Wait, wait! I didn’t say goodbye to louise! Malia (putting yann back on the ground) Who’s louise? Yann points to a little girl who is looking at him

A stylish woman in her 30’s, with brown hair and gentle face, opens the door of an apartment, decorated out of elle interiors, to welcome malia who’s holding yann in her arms. Julie Do you know what time it is? You’re really pushing it with that kid of yours.

019 int - day – department store

A hand is suddenly placed on hers. She raises her head and, on the escalator on the other side, she sees luca going down. Due to their positions and the movement of the escalators, their hands are quickly separated. They look at one another, a little disconcerted, but say nothing, not even smiling. They watch each other until they lose sight of one another. Then a hand taps malia on the shoulder who jumps in surprise. She whips around. It is the puerto rican angelette. Angelette (putting her hand over her mouth) Oh! Excuse me, i’m sorry. I mistook you for someone else. Malia smiles without a word and the 2 go off in separate directions. Saturation

Julie’s husband Good evening, malia

020 int - evening – kitchen of luca’s apartment

Then he dives back into his paper. Yann joins a young boy, age 6 or 7, in front of the tv, and the 2 begin to play a video game. Malia remains standing next to the table and her sister begins to clear it.

Around a big table in a large kitchen, decorated in a mix of modern and rustic styles, luca eats with his father, his mother, and his brother, noah. The parents are calm and composed. Noah is very sure of himself, bordering on arrogant.

They talk while eating, but luca has his head in the clouds, lost in his thoughts. The governess, a sicilian-looking woman about 50 years old, moves around the kitchen serving them. Father (to his older son) How is your internship going at Il Corriere? Noah Ok, but i’m not so sure i still want to be a journalist. It’s not turning out to be exactly what i expected… Father (raising his voice a little) Noah, do you realize what i had to do so that you could have this internship? Especially considering your college results! Noah the internship and then i’ll see. In any case, it will have been an experience… Father You know, it’s not one’s education that makes one happy. Not any more than one’s freedom, anyway. One does not become happy because one believes one is free, when that is the case. Nor because one has been well-raised – when that is true. It is rather because education makes one aware of the fact that one is happy. It widens our horizons and gives us the ability to appreciate what one has...

next to a pretty young blond pregnant angel. Her wings cover her bare torso, and she caresses her round belly. Behind them, young gymnasts, ballet dancers, and capoierists are working out. A classical bolchoi-esque ballerina, wearing a tutu and point shoes, enters the room and approaches god. She performs 2 pirouettes before bowing in front of her. Bolchoi ballerina Lord, your husband sent me to tell you that he has engaged himself as a waiter in the restaurant where malia should be dining this evening. God (sitting up straight, irritated) What? Bring him to me, immediately. If i’ve told him once i’ve told him a 1000 times not to meddle! Like he did for farah fawcett after charlie’s angels! The young dancer bows her head and leaves. God (to herself) Here we go, my hernia is acting up again. Great! Now i’m pissed off. A man in his 40’s dressed like elvis, very kitsch, enters the room and goes to kiss god on the forehead. God’s husband (unctuous) My sweetest darling, calm down. Everything will i understand perfectly, and i will be at my best!

Noah (surprised by his father’s tirade) I know dad, you already told me.

God (surprised) You don’t intend to go dressed like that, i hope!

A moment of silence. Mother (to luca, without much conviction) And you, luca, how is school going? Luca (coming back down to earth) It’s all right.

God’s husband What? Well, i hadn’t thought about it… would you prefer that i wear my electric blue suit? God (annoyed) Go on, get out! You get on my nerves. I’ve had enough of you.

024 int - day – photo development store Dressed very chic (gucci, prada, etc), julie enters a photo development store. The young man behind the counter (young student, acne, still going through puberty) breaks into an exaggerated smile upon seeing her. Young man Hello! Julie I’ve come to pick up my photos, but i’ve lost my ticket. Is that a problem? Young man No, i remember you. Just tell me your last name again. Julie Gainsbourg. He bends over to search for her photo envelope in the big drawer behind him. Young man (while searching for her photos) Like the poet? Pretty cool name! Julie Thank you. Young man Here you go! He stands up and returns to the counter. A couple in their 60’s, dressed very chic, enter the boutique. They stand behind julie and patiently wait their turn. All smiles, the young clerk opens the envelope to verify that he has the right photos. He takes them out and spreads them out on the counter. Then, his smile disappears and he becomes pale. Young man

His response seems to satisfy his mother and God’s husband leaves, disappointed. plates in silence. Mother (to the governess) Paola, make me a coffee. I’ll be in the living room. Paola Very well, madame. The mother gets up from the table and moves towards the living room. Paola begins the coffee. 021 int - evening – living room in luca’s apartment (linking scene) Luca’s mother sits on the huge living room sofa and turns on the tv by remote control. A small cloud of blue smoke forms near the sofa and a beautiful young black woman, bald, waves her hands in front of the mother’s face who quickly loses consciousness.

She grabs a bottle of scotch next to her and serves herself a glass. She looks from the bottle to the glass. She chooses the bottle and drinks from it directly. Then she claps her hands together 2 times.

The photos show julie in tube socks and a leopard g-string, with traces of lipstick on her face, in various sexy positions, with 3 beautiful mulatto men, as athletic as they are sublime. Next to them, on a low table, is a large transparent plastic bag with what looks like a large quantity of marijuana. The older man leans his head over julie’s shoulder to get a better view of the photos, but his wife pulls him back by the arm, offended.

God I want to be entertained!

Julie (not so embarrassed) Oops…

3 young rappers in their 20’s, dressed vintage style, full of energy, present themselves in front of god. Upon seeing them, she smiles again and drops back into her armchair. The guardian angel, disenchanted, frowns his eyebrows and leaves. A funky music begins playing and the young boys begin dancing hip-hop for god who is “in heaven.” Saturation

The young man puts the photos back into the envelope and looks at the price to enter it into the cash register.

God (irritated) Now why don’t i have the right to divorce him?!

THE IMAGE BECOMES BLURRY. CROSS FADE, RETURN TO THE SCENE WITH julie and malia in the

restaurant: 023 b) int – night – restaurant

023 a) int - night – brasserie turns around and paola drops her tray. Flight attendant (surprised, at paola) You can see me?! Paola Yes, and if you don’t disappear immediately, i’ll reduce you to dust. and paola picks up the tray. Saturation

Malia is bent over laughing. Malia and julie are dining in a parisian brasserie. They are seated facing each other at a table for 4. Malia I hope you brought photos from your vacation in jamaica!? Julie Actually, speaking about photos, i completely screwed that one up…

022 int - night – brothel near pigalle

Malia Oh really, how?

In an former erotic theatre-style brothel at pigalle, god is lounging in an old red velvet sofa. The guardian angel is seated at his feet, legs crossed,

THE IMAGES BECOMES BLURRY, CROSS FADING WITH THE SCENE THAT JULIE IS DESCRIBING WHICH TAKES OVER THE SCREEN.

Julie I don’t have to tell you what my reputation is in the neighborhood now! Can you imagine if it had been clement who went to pick up the photos?!! Malia Face it, girl! You adore sex and you went on married a limpdick. It can work… but it isn’t so smart to take photos!!! Julie I can’t help it if i’m an exhibitionist and clement needs to turn off the lights to take off his underwear!!

Malia Ok, i get it, but you’re not 15 years old anymore! Julie Wait a minute, you know very well that it has nothing to do with age! Mmmm, god’s best invention, the penis… a nice, large, juicy cock…

He moves away from the table humming “love me tender” from elvis. The 2 girls look at each other, then at their plates. Malia tastes hers with her burst out laughing. Saturation

Malia How could you be so sure? And if i told you that these two times are the only times in my life that i’ve come down here? Luca (smiling) … i knew, that’s all…

025 ext - day – banks of the seine They burst out laughing. Then the server (we recognize god’s husband dressed as a normal waiter) arrives. God’s husband Is everything all right here? Julie What do you have for dessert? God’s husband Ah, now it’s my turn to choose!

On the quai des tournelles, malia moves towards the same place where she was sitting with luca there. Melancholy, she sits down on a bench, then lays down on her back. She looks at the sky for a moment before closing her eyes. When she reopens them, she realizes that luca is standing next to the bench, his skateboard in his hand.

Luca hesitates several seconds before responding, than says: Luca (suddenly) …16! Malia (laughing nervously) I could almost be your mother!

around his head and shoulders. Surprised, malia towards the seine…

Malia and julie look at each other, not getting the joke.

Malia How old are you?

Luca (shy, but smiling slightly) Can i sit down?

Luca I’ve already got one and she’s not good for much… so thanks, but no! Malia What do you expect from all this?

God’s husband I’ll bring you my specialty, i promise you won’t be disappointed.

Malia (uncomfortable) Well… yeah…

He leaves, and they shrug their shoulders.

Luca sits down next to malia

Luca I want to see you again tomorrow. And the day after. And the day after that…

Malia Ok, now it’s my turn.

Luca (timidly) … i knew you’d come back…

Malia Is that all? And what if i don’t want to?

Julie (with stars in her eyes) Did you meet someone? Tell all!

Malia smiles at him, but says nothing.

Luca You want to!

Malia No, i didn’t meet anybody… well… i met a boy who defended me from an attack on the seine the other day, and something weird happened between him and me, then after… Julie (confused and disturbed) What? You were attacked? Did they hurt you? But what were you doing down by the seine anyway? And who is this kid? What are you talking about? Malia Relax, i was just walking along ile st. Louis in the middle of the day and there were these kids who wanted to start something. I don’t think they would’ve hurt me… and then this teenager passed by and told them to get lost, that’s all. Julie (lost) But what do you mean that something bizarre happened between you two? Malia Exactly! I don’t know! I found myself face to face with him like an idiot, and i was dying to kiss him! My heart was racing like when i was 14! It was so weird, i was frozen… and i can’t stop thinking about that kid…

Luca What is your name? Malia smiles nervously. She lowers her head, but forces herself to be cold. Then she gets up gently.

Malia You seem very sure of yourself. Luca Don’t think that! But at least i’m sure of one thing:

Malia I’m malia, and i have to get back. Luca (disappointed) Already?

Malia is put off and doesn’t respond, realizing that she’s been caught. They go back up the stairs from the river.

Malia Yes, it’s late, and i have to pick up my son at school.

Luca I have to go or there’ll be hell to pay when i get home.

Luca (shyly) Can i come with you?

Malia (softly) Ok.

Malia (straight) No!

Luca Where and what time can we see each other tomorrow?

Luca (timid and disappointed) Why not?

Malia (laughing to hide her embarrassment) Who said we were going to see each other again?

She walks towards the quay, and he walks at her side on the bench.

shiny golden dust falls from the sky, powders them like a thin veil of rain.

Malia What do you want from me?

Luca (gently, smiling) It would be stupid to deny our destiny!

Julie (eyes wide open) You’d better get a grip on yourself, girl, this is not a good thing.

Luca (uncomfortable) … well …nothing… just to talk…

Malia (laughing) I knew you were going to say that! Don’t worry.

Malia Talk about what?

He scratches his number on a piece of school paper and puts it in malia’s pocket. Then he skates away without turning back. Malia remains mouth hanging open, completely confused. At this moment, a young mulatto boy accosts her.

see him again.

Luca I don’t know. Get to know you.

Julie That’s the last thing we need! What am i supposed to tell your kid?! Can you picture us bringing you home-cooked food in prison? The waiter returns with 2 plates of something strange and reddish which he places on the table. Malia and julie look at each other, almost laughing, but do nothing. God’s husband Let me know how you like it…

Malia What are you doing by the river, anyway? Luca I wasn’t skating when we met. I never come here, i don’t even know why i was here at all. It’s weird. Anyway, i’ve been back everyday since then. I knew that you’d come back…

Boy Hey, cuz, lookin’ for somethin’ to smoke? ‘cause i’ve got the good stuff. Malia That depends, do you accept food stamps? his way. Boy (to himself while moving away) Loser... Fade to white

027 int - night – metro station

END OF SPLIT SCREEN: the image of bouba disappears.

Luca goes down the stairs into a metro station and walks towards a public telephone. He picks it up and dials a number.

Luca hangs up.

Luca (into the receiver) Hello, bouba? It’s me, luca! You have got to come get me, man!

Luca comes out of the metro station and wait outside… Superimposed on the image is the minute hand of large clock moves from midnight to 12-25.

SPLIT SCREEN : THE IMAGE SEPARATES INTO TWO TO SHOW bouba, a handsome boy, dark hair, pale

face, in his teens, with light dreadlocks down to his shoulders.

029 ext - night – street

They get out of the car and walk towards the disco where they go in, followed by the guardian angel. (linking scene)

front of luca who gets in. Luca Wow! Too cool!!

031 int - night - the vault (discotheque) (linking scene) Bouba and luca enter the vault. 2 doormen (the a very sexy asian woman dressed out of the “moulin rouge”, are making a very strict selection of people to go in, but bouba and luca pass without a problem. The guardian angel approaches the 2 doormen. He kisses the girl and shakes hands with the man.

028 int - night – bouba’s apartment Bouba is lounging on his sofa, visibly stoned: Bouba Whoa whoa whoa! Wait up just a minute. Now sleeping, and second, it is out of the question that i go out on a saturday night… only idiots from the suburbs go out on a saturday… Luca (getting impatient on the telephone) Are you joking? You live in the suburbs! Bouba Well, exactly, so i should know… A loud sound rings out on the line and the 2 boys no longer hear each other. Luca Hello? Hello? Shit, i can’t hear anything! Hello? Bouba? You still there? Bouba (annoyed) Hey! What are you doing, man? Hello? Fuck what a drag! Hello? The noise gets louder and they are forced to hold the telephones away from their ears. Satan’s voice is then heard in the speaker. Satan (voice off) Ah, you’ve been on my back for 2000 years! Well, today, your phone is out of order! So there! Ha ha ha ha!!!! Satan’s laugh resounds like an echo on both sides. Then the noise dissipates and the 2 boys can hear each other again. Luca Hello? Bouba? Can you hear me? Bouba What the hell was that? Luca I thought it was you trying to cut me off! Bouba One says, “interrupt me,” sir! But in any case it’s not necessary because i told you i’m not coming and i’m not. Luca Wait a sec, i never ask you for anything… and i wouldn’t ask if it wasn’t important, would i?!… so come on, get dressed and come get me, ok? Bouba Fuck, you are such a shit… Luca Come on, please?! Bouba Arrrgh! All right, give me 20 minutes… Luca Thanks! You’re a friend…

Bouba Ok, now that i’m here, in your that neighborhood, what’s your twisted plan? Luca We’re going to the vault ! Bouba Are you kidding? We’ll never get in there! And besides, we don’t want to! It’s a club for idiot yuppies who think they’re cool when in fact they’re just pathetic. And in case you’ve forgotten, we don’t go to clubs! Luca I know! But we don’t have a choice! I have the date of my life with the woman of my life, and i’d kill my mother not to miss it. So gun the engines and step on it! Bouba (chanting imitating buddhists) Nam myo renge kyo… ohmmm… ohmmm Stay zen, it’s just a nightmare, i will wake up… Luca Please, I promise! Bouba pulls himself together and drives off. 030 int/ext - night – bouba’s car (moving) (linking scene) The car moves away. The guardian angel is seated cross-legged on the roof, his wings open. Bouba Right, and if you were to tell me what’s going on, man?

Doorman (to guardian angel) How’s it going? Guardian angel (irritated) I have the feeling that this mission is going to drive me nuts… Doorman Why? What’s going on? Guardian angel Nothing, but i don’t get it why we all have to be mobilized for a little romance story! Frankly, i had more the impression of being useful in somalia… Doorman Don’t talk too fast, man. I’ve heard there’s going to be a brawl. But meanwhile, why don’t you go have a drink? It’s crazy here tonight. Who knows, her wings… Guardian angel That’d be cool, because my dick is burning! It’s been a month since i’ve emptied my balls with all this circus! The two doorman burst out laughing and the guardian angel enters the disco. The vault is a club as trendy as it is decadent, where the pseudo celebrities socialize with a mob of skaters, models, street girls, showoffs, etc. The place looks like paradise (there are, of course, all of god’s ansquares of multicolored light and one entire wall is covered with speakers. Every once in awhile, it “rains” sparkling sequins throughout the whole room. Seated on a trapeze hung from the ceiling, a fat woman dressed like a cowboy waters

Luca I’ve just become the victim of a divine plot!

her with a water pistol. Luca and bouba cross

Bouba

people dancing around them. Luca searches for

conversation. Do you mind if i roll a joint, you know, just to unwind this earthly atmosphere?

stockings, very helmut newton, arrives escorted by 2 sexy muscled guys dressed like cops. She stops in front of bouba and strikes a pose, looking at him seductively. Then she sighs in amazement, slightly sitting into one hip.

Luca Be my guest. Bouba rolls a joint while driving. Luca Ok, i met the most extraordinary woman in the world and it was like getting hit by lightening… The car swerves into the emergency lane, where bouba continues driving. Luca Hey, i don’t wanna be a pain, but you’re in the emergency lane! Bouba So what’s the problem? Isn’t this an emergency? I’m preparing a joint that’ll going to save our lives! They burst out laughing. They arrive at pigalle. Bouba parks like a maniac at the entrance of discotheque covered with blin-

Nurse (to bouba, “pulpy”) You have a prodigious amount of love to give, don’t waste it, give it to me! Marry me! Irritated, bouba frowns his eyebrows and indicates with his head that she should move on. She does so, without a word, followed by her “guards.” Luca then notices malia who is sitting with julie at a table for 6 (arrogant, stylish, chic, trendy). Luca pulls bouba by the arm and they move towards the table. Luca (to malia) I said to myself that you might need a protector. Malia smiles upon seeing luca, and gets up. Malia Good evening, skater. So just like that, you’re here…

Luca Well, it’s not really my type of crowd, but here I am! (pointing at bouba) This is my friend, bouba… Malia Hi, bouba. Bouba Hi, ma’am. Do you know where the toilets are? Malia (laughing) You see the door over there? Through the door then to the left. Bouba heads off for the toilets without answering. He pushes the door, enter, then turns right instead of left. 032 int - night – discotheque’s bathrooms (linking scene) several couples (all sexes mixed) embrace. He goes down the hallway at the end of which is a “backroom.” After feeling several hands groping him, he realizes that “he’s not in the right place”.

Bouba Who the fuck do you think you are? Jackie o?! Get lost with your tacky movie lines! I ain’t interested… Julie slaps him and tries without success to stay cold. Julie (trembling) Don’t they teach you tolerance at school? Bouba It’s tolerance you want, jackie? Bouba grabs julie by the neck, pulls her to him and kisses her hungrily. She lets him. 033 int - night – the vault Malia and luca dance face to face, then luca stops. Luca If you put your ear to my chest, you can hear the ocean… AMPLIFIED SOUND OF THE OCEAN AND HEARTS BEATING.

Luca Yeah, no, i’m not freaking out… It’s just that nothing shines when you’re not here… And our age difference gets on my nerves because it prevents us from being free… Malia Stop being a child and show me that i was right to let myself get into this. Smile ! Loud music bursts out of the high school of the arts at the moment when luca and malia pass by. The doors open suddenly: a horde of dancers of every style (classical, jazz, modern, etc) come running out of the school, invade the street and start dancing. (FAME TRIBUTE). Malia and luca do not believe their eyes nor their selves dancing with everyone else in the middle of the crowd. FADE TO WHITE – SOUND OF AN AIRPLANE TAKING OFF

035 int/ext - day – taxi driving through rome, italy Yann is sitting on malia’s knees in a taxi driving across rome. Both of them are looking out the window, amazed. The streets and monuments

Malia is surprised, she smiles slightly. Bouba (traumatized) Whoa whoa, easy with the hands! I was just looking for the toilets… Boy’s voice (coming from inside the backroom) The other end of the hallway! Bouba practically runs out and heads towards the other end of the hall. At the right place this time, he waits in line, sad and lost. He waits his turn. Against the opposite wall, a pretty young girl dressed as a manga-style prim schoolgirl is whipping a huge, strong, hairy, black man wearing only Manga schoolgirl (yelling while whipping the man) Life is a girlfriend! Black muscleman Yeah, we’re all girlfriends!! Whaouuu!! Bouba seems traumatized. Julie, malia’s friend, comes towards him. SPECIAL-EFFECT:

A real kitsh 80’s music plays over the image. Julie arrives slow-motion, hips lie’s angels”), with small sequins shimmering around her. A small star shines from her right eye when she arrives next to bouba. END S.-E.

Julie It’s bouba, right? Bouba (mockingly) Oh my god! Jacklyn smith’s back in action! Julie You don’t look very happy to be here… Bouba (disenchanted) Why, does this turn you on, the toilets? Julie (she laughs) No… i meant, to be here tonight… (bouba ignores her) Can i ask you a personal question? Bouba … 9 inches! Is that ok with you? (julie’s eyes open wide) Listen, don’t bother, i’m gay. Surprised, julie remains motionless in front of bouba. Julie (vexed) No need to get hostile…

Malia I want a drink. Let’s go to the bar.

Yann Where does grandma live?

Luca (he continues, following her) … and another thing, i’m sure i’m dreaming about you every night…

Malia We’ll be there soon, my angel. Do you like being in italy with me?

Malia You know, i’m not sure if…

Yann Yes! Very much!

Luca Shhh. You and me, it’s for life, so stop resisting!

Malia Me too, i’m happy we’re here together.

Luca takes malia’s hand and places it on his cheek, then kisses it. Fade into next

Taxi driver (in italian, without subtitles) É la prima volta che vieni a roma?

034 ext - night – streets of paris A sign in the lower right corner indicates “several months later” : Luca and malia come out of a cinema, faces radiant. They walk several blocks, arms around each other’s shoulders, at ease with one another. Malia I have to go to rome tomorrow. Do you want to come with me? Luca (surprised and disappointed) Oh yeah? For how long?

Malia No, la mia mama sta qua. A volte, vengo a trovarla. Yann What did the man say? Malia He wanted to know if we were tourists so that he could make us pay more, but i said no, so he won’t take us around the block… Yann Hee hee, you’re smart mama. FADE INTO FOLLOWING SCENE:

Malia I’m just going to see my mother for a few days. It was decided today… Luca I would love to… but my parents would never let me go if i told them who with. Malia Well, tell them the truth, it could be a chance to introduce me… Luca It’s too complicated.

036 ext - late afternoon – piazza navona, rome Malia, a cell phone against her ear, sits on a fountain in the piazza navona in rome. Nearby, yann chases after pigeons to entertain himself. Malia (into the cell phone) It’s amazing, everything is beautiful here! The people, the streets, the buildings… At this moment, 2 young hindu nuns in white habits and 3 young priests dressed in black wearing small round hats, walk across the plaza passing in front of malia, making her smile.

Passing in front of a department store (style macys or bloomingdale), the mannequins in the windows come to life and change positions, like mimes. But malia and luca only have eyes for each other.

KITSCH ITALIAN MUSIC DROWNS OUT THE CONVERSATION AND THE “LOUMA - BOOM CAMERA” RAISES UP TO MAKE A VISIT OF ROME. FADE OUT

Malia It’s ok, don’t freak out. It’s barely been 3 months since we met.

Malia, her mother, and yann cross the hall of a sumptuous palace that houses a dance school where dozens of dancers are milling about. They walk toward a room which serves as the

037 int - day – Villa Borguese, Rome

a waiter comes over. Here and there, dancers are warming up or rehearsing movements, all the while picking at a salad or drinking coffee. Waiter (in italian, without subtitles) Buongiorno. Malia (in italian, without subtitles) Un caffè machiato, per favor.. Yann I’d like a lemon ice cream! Malia’s mother (in italian, without subtitles) Quindi un gelato al limone ed un altro caffè, per favor. The waiter wipes down the table and leaves. Malia’s mother (while caressing yann’s head) Why don’t you come here to live with yann? (malia looks at her, disenchanted) That way, i could be closer to my grandson and you could start dancing seriously again… Malia (not so gently) Wait, nobody asked you to leave! And in any case, when you were in paris, you didn’t make such an effort to see us… Malia’s mother Do you think that he’s happy with the kind of lifestyle you impose on him? You, at least, you never lacked for anything… Malia You don’t have to talk about him as if he isn’t here. And what right do you have to judge how i raise him?? You don’t actually think that you were so perfect, you and dad? Always having to move, change cities, never able to have friends… oh that yes, you’re right, we never lacked anything, except maybe, everything!!! Disenchanted, malia’s mother looks at her without saying anything. Malia You’re being very nice, but i’m just beginning to put my life together and i have no intention of throwing all that away by following your example.

Malia You’re going to have to be patient awhile longer… Luca (off) Tomorrow is valentine’s day, i thought we’d pass the day together! Malia Hey! Valentine’s day is a thing for kids even younger than you! … but in any case, i haven’t forgotten you for toLuca (off) Tomorrow? 4 o’clock, why? Malia Since i can’t give you in person the surprise i have for you, i asked julie, to bring you something after your classes. Luca (off) Oh yeah? Cool! What is it? Malia If i tell you, it won’t be a surprise! What time do you want me to tell her to come by?

Malia Ok. I’ll call her now and i’ll call you back to Luca (off) Ok, i miss you! Malia Me, too… She smiles. FADE TO WHITE – SOUND OF AN AIRPLANE LANDING

Luca (voice off) Ciao principessa!! Malia Hey!! How are you? Wait a second… Malia gets up and moves away from the table to hear better. Luca (off) So, when are you coming back?

Malia sits at a table, next to a large window that overhangs the old train tracks. There are only a few people around and a chinese-like music can be heard in the room. The black angelette is dancing a folk-dance from southern india on the bar. The guardian angel and the asian angelette are kissing, sitting face to face at a table nearby. The puerto rican angelette sits in a chaise lounge reading romeo and juliet, her wet eyes wide with romance. The waitress approaches malia.

038 int – end of the day – paris airport Malia, holding yann by the hand, is waiting for her suitcase at baggage claim in the arrival hall of the paris airport. She takes out her cell phone and dials. Malia It’s me…

Malia

Malia Pronto?

She places a paper in front of him and continues. Luca lowers his head without a word. The bell rings. He jumps up, grabs his things, and runs out of the classroom, surprising the teacher and the boy next to him.

Luca runs down the hallway, hurtles down the stairs and exits the building running, smiling widely.

Malia You can’t feel pain, you don’t know what it is to feel.

Malia’s cell phone begins ringing. She takes it out of her pocket and answers.

Teacher Luca, your essay is just like you : impeccable, but without life, without passion!! I’ve given you an a-, when i should’ve given you a c. It has nothing to do with your knowledge of grammar, and your vocabulary is perfect. But italian, young man, demands also passion!! And i don’t see much of that in your work.

040 int/ext - day – high school (linking scene)

Luca (voice off) Where are you? There’s a lot of noise…

Malia (calming down) I don’t know…

Luca is sitting at a desk in the middle of a classroom, his chin resting on his crossed arms, his eyes riveted on the clock. A teacher is walking down the aisles passing out papers to the students. She comments on the homework as she passes. When she comes to luca, he raises his head towards her, contrite.

Luca (off)

Malia’s mother You really know how to hurt me.

Malia’s mother (sad) Why are you saying such horrible things to me? You know very well that you are the most important thing in the world to me!

039 int - day – classroom

Waitress (with a spanish accent) What’ll it be? Malia A martini bianco. The waitress moves away, looking at her skeptically. Spanish music plays loudly while she prepares the martini, and she takes off her apron to Then she calms down and brings malia her drink, as if nothing had happened. Malia begins to drink, head tilted toward her glass. A shadow falls over her, she raises her head : luca is standing next to the table, his skateboard in his hand. They smile at one another, both of them touched.

Luca (off) Cool, i’ll be there.

Malia (mischievous) Happy valentine’s day, skater…

Malia Great. Ok i send you a kiss. I gotta go, i’ll call you tomorrow.

Luca (radiant, he sits opposite her) Julie, eh? Not bad… wow, too cool! I love you too much, you kill me!

She hangs up and, at that moment, the loudspeaker in the airport sounds. She sighs in relief that she hung up in time so that luca would not hear… Yann pulls his mother by her jacket.

He tries to pull himself together and smiles like an idiot, grabs malia’s face and kisses her.

Yann (surprise)

Luca Come…

Malia It was a joke for your godmother, julie…

They get up, malia leaves some money on the table, and they leave.

Malia If you’re happy, then i’m happy.

They laugh. TO BE CONTINUED

Ninja magazine #22

nous sommes / we are

'till the last drop talos buccellati T

his photographic project studies the industry of blood and the strong need for blood related products from patients with acute leukemia, lymphoma or in need of a bone marrow transplant

The work aims to highlight the widespread need for blood donation. A blood donation occurs when a healthy person voluntarily has blood drawn and used for transfusions or made into medications by a process called fractionation. In the developed world, most blood donors are unpaid volunteers who give blood for a community supply. In poorer countries, established supplies are limited and donors usually give blood when family or friends need a transfusion. Many donors donate as an act of charity, but some are paid and in some cases there are incentives other than money such as paid time off from work. A donor can also have blood drawn for their own future use. Donating is relatively safe, but some donors have bruising where the needle is inserted or may feel faint. The World Health Organization set a goal in 1997 for all blood donations to come from unpaid volunteer donors, but as of 2006, only 49 of 124 countries surveyed had established this as a standard. Some Plasmapheresis donors in the United States are still paid for donations. A few countries rely on paid donors to maintain an adequate supply. Some countries, such as Tanzania, have made great strides in moving towards this standard, with 20 percent of donors in 2005 being unpaid volunteers and 80 percent in 2007, but 68 of 124 countries surveyed by WHO had made little or no progress.

In some countries like Brazil, it is illegal to receive any compensation, monetary or otherwise, for the donation of blood or other human tissues. In patients prone to iron overload, blood donation prevents the accumulation of toxic quantities. Blood banks in the United States must label the blood if it is from a therapeutic donor, so most do not accept donations from donors with any blood disease. Others, such as the Australian Red Cross Blood Service, accept blood from donors with hemochromatosis. It is a genetic disorder that does not affect the safety of the blood. Donating blood may reduce the risk of heart disease for men, but the link has not been firmly established. In Italy, blood donors receive the donation day as a paid holiday from work. Other incentives are sometimes added by employers, usually time off for the purposes of donating. Blood centers will also sometimes add incentives such as assurances that donors would have priority during shortages, free T-shirts or other small trinkets (e.g., first aid kits, windshield scrapers, pens, etc.), or other programs such as prize drawings for donors and rewards for organizers of successful drives. Most allogeneic blood donors donate as an act of charity and do not expect to receive any direct benefit from the donation.

The pictures are taken at the Giannina Gaslini International Childrenâ&#x20AC;&#x2122;s Hospital in Genova, Italy

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nous sommes / we are

la chambre des pansements tatiana margaux bonhomme / docteur mitz

Y a t-il défloration de la beauté par la trace violente d’une cicatrice ou d’une plaie ?

e défi de cette question tient en deux paradoxes : Rendre une image belle et poétique alors qu’elle est traversée par la violence imposée d’un sillon creusé par un bistouri ! Traduire par la photographie l’impression que la beauté est un aboutissement progressif, une reconquête de soi : la cicatrice postopératoire est le témoignage du séisme auquel s’est soumis la patiente volontaire. Volontaires, ces patientes l’ont été, à la fois par le désir de changer ou d’améliorer leur apparence, de subir l’affront de la chirurgie esthétique. Pour que la beauté existe, il faut non seulement notre admiration, mais aussi notre travail fait de main d’homme. La beauté est dans ce cas une construction ! Elle n’est pas immanente. C’est dans cette trajectoire que se situe ce travail photographique : il fut nécessaire de construire des environnements de lumière particuliers, de cadrer, de déplacer des meubles, de positionner les patientes, de choisir les profils, les lignes de fuite, les

volumes, de prendre la photo ; d’en sélectionner certaines parmi les dizaines de photos prises, parce qu’elles vont porter du sens. La sensation qui nous est alors transmise peut susciter admiration, révolte ou crainte. Révolte parce qu’il ne s’agit pas de tricher mais de véritables plaies. Crainte parce que, qui dit que cela ne peut nous arriver ? Qu’il s’agisse de plaies imposées par le chirurgien où des plaies d’un séisme d’un tremblement de terre ou d’une inondation dans le tiers monde, la plaie est la même : elle témoigne d’un drame de chair. C’est toujours une souillure, c’est une imposition violente qui traverse la surface de la chair et qui, en pénétrant dans le corps, fait mal à l’âme. Ici elles sont rassurantes, car il s’agit de plaies contrôlées ; bien abouties, d’un cheminement lent où tout n’est pas terminé, où tout est en cours de progression et d’amélioration. C’est cette petite note d’espoir qui se dessine de façon parfois fugitive, discrète, ailleurs plus violente et marquée sur les chairs. Ces photographies (qui sont prises alors que tout n’est pas terminé, que les cicatrices n’ont pas disparu, ne se sont pas grandement effacées) témoignent du devenir si incertain pour la patiente, qui doit garder sa confiance dans le chirurgien et dans l’acte qui a été fait.

augustin le gall

PORTRAITS D’UNE RÉVOLUTION ACTE 1 / LE PEUPLE VEUT Portraits réalisés entre février et octobre 2011, juste avant les 1ères élections démocratiques de Tunisie, après la révolution.

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PORTRAITS OF A REVOLUTION PART 1 / THE PEOPLE WANT Set of pictures taken between February and October, 2011, just before the first tunisian democratic elections after the revolution.

nous sommes / we are / DEKADRAGE COLLECTIF

‹‹ Bashar Lazaar a étudié au Babson College de Boston. Il a mis ses études de côté pour rentrer en Tunisie afin de s’y impliquer dans la vie associative

et citoyenne, notamment en créant l’association Sawty (« ma voix » en tunisien). Le 31 janvier 2011, avec Ismail Beji et Yassine Redissi, il lance un « appel à s’engager dans la construction de la nouvelle Tunisie » à la jeunesse tunisienne. « Nous souhaitons créer un cadre de réflexions et d’actions pour donner des outils à la jeunesse afin qu’elle puisse connaître ses droits et devoirs dans la vie citoyenne et démocratique ».

Fatma Nouri est blogueuse. « Je suis observatrice à France 24, spécialement pour la couverture des élections en Tunisie. Avant, je tavaillais avec les réseaux sociaux ainsi que les grandes pages de la révolution tunisie. J’espère une tunisie laïque et démocrate qui garantira la démocratie et la paix pour tous ».

› Zied Boussen est porte parole de Jeunes Indépendants Démocrates, qui a pour but d’informer les jeunes sur ce qui se passe au niveau politique et

socio-économique en Tunisie. « Je n’ai connu que le régime de l’aire BEN Ali. La dictature a empêché de parler politique jusqu’au sein des familles. Elle est encore dans la tête des gens. À long terme j’espère que cette crainte s’effacera des mentalités ».

stephanos mangriotis dunya hanya

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nous sommes / we are / DEKADRAGE COLLECTIF

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nous sommes / we are / DEKADRAGE COLLECTIF

alfredo brant

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nous sommes / we are

pierreemmanuel daumas

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nous sommes / we are

andrea graziosi

tatiana margaux me bonhom thirteen

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nous sommes / we are

temana maire tamarii moorea

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nous sommes / we are

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artistes / artists

isa marcelli agence rĂŠvĂŠlateur

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artistes / artists

maelle de coux

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artistes / artists

jerome zonder courtesy galerie Eva Hober

galerie alb Anouk le Bourdiec 64 rue Chapon 75003 Paris

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artistes / artists

Sonia Foulc

Samuel Martin

Yves Gobart

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artistes / artists

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artistes / artists

le turk

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danse / dance

hofesh shechter photos : top & left by Ben Rudick - bottom by Simona Boccedi

raichement diplômé de l’Académie de Danse et de Musique de Jerusalem, Hofesh Shechter s’intalle tout d’abord à Tel Aviv pour intégrer la Batsheva, une compagnie dirigée par le chorégraphe Ohad Naharin. Il y croise entre autre Wim Vandekeybus ou Tero Saarinen. Aujourd’hui, il vit à Londres. En 2003 il y présente Fragments, son premier opus salué. Uprising puis In your rooms et Political Mother suivront. En parallèle, il a étudié les percussions, signant certaines partitions rythmiques de ses ballets.

warded with a diploma from the dance and music academy of Jerusalem, Hofesh Shechter first moves to Tel Aviv to join the Batsheva, a reference company managed by choreographer Ohad Naharin. There, he crosses Tero Saarinen and Wim Vandekeybus. He now lives in London. In 2003 he has presented Fragments, his first greeted opus. Uprising follows, then it is In your rooms and Political Mother. In parallel, Hofesh studied the drums, signing certain rhythmic scores of his ballets.

théâtre / theater

Cate Blanchett

Grossund Klein big and small W

photos : Sydney Theater Company

hisking us down a rabbit hole and into a wonderland-like world, Gross und Klein (Big and Small) transports us to a hotel dining room in Morocco where Lotte sits alone. She is all dressed up with nowhere to go. There is no one to chat to. Her siesta tour group is ‘at odds’ so she declines to join their excursions. She hasn’t the money to pay for them anyway. For now she will sit alone, listening to the men arguing outside the window, stoically cheerful in the hope that someone, somewhere will need her help or affection. Here begins an exquisite sequence of scenes in which the courageously optimistic and perpetually disappointed Lotte searches for human connection. She is rejected by her husband, unrecognised by old friends and unfamiliar with her family. Even Lotte’s acquaintances won’t admit to being acquainted with her. Whether she is outside a window peeping in or buzzing on an unanswered intercom this iconic protagonist never quite fits. Like Carroll’s Alice, sometimes Lotte is too big for her surroundings, sometimes too small to be noticed within them.

irst staged in 1978, this delicately surreal play was written by Botho Strauss (The Park, Seven Doors, Time and the Room) who, over the course of his long and prolific career, has become one of the most extensively performed playwrights modern Germany has produced. Now another of Europe’s great writers, Martin Crimp (The City, The Country, Attempts on Her Life) has created a new adaptation of Gross und Klein. This ambitious theatre project was premiered at the Sydney Theatre in november 2011 and is now touring Europe.

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théâtre / theater

Gross Und Klein by Botho Strauss Big and Small / english text by Martin Crimp Director Benedict Andrews

With Cate Blanchett Lynette Curran, Anita Hegh, Belinda McClory, Josh McConville, Robert Menzies, Katrina Milosevic, Yalin Ozucelik, Richard Piper, Richard Pyros, Sophie Ross, Chris Ryan, Christopher Stollery, Martin Vaughan Paris / ThĂŠĂ˘tre de la Ville > 08 / 04 London 27 / 04 > 19 / 05 Vien 25 / 05 > 03 / 06 Recklinghausen 09 > 17 / 06 Cate Blanchette / Lotte / Big & Small

Une femme cherche sa place dans la ville, dans la vie. Au fil du temps, les villes ont changé, et les manières de regarder la vie. Demeure la solitude. C’est Claude Régy qui, le premier, en 1982, fait connaître en français Grand et petit. Et Botho Strauss, collaborateur de Peter Stein qui, en 1978, crée la pièce – venue en France en version originale – à la Schaubühne de Berlin. Berlin-Ouest, ville enserrée dans la RDA, où l’on imagine volontiers l’errance de Lotte, la jeune femme qui tente en vain

Marco del Grande

Cate Blanchette & Benedict Andrews

de trouver sa place, se heurte à des gens fermés sur euxmêmes, seule, de plus en plus seule sans pour autant perdre espoir… Avec Claude Régy elle était Bulle Ogier, avec Peter Stein, Edith Clever. À présent, c’est Cate Blanchett, qui, avec le metteur en scène australien Benedict Andrews, nous entraîne sur les pas de Lotte, et nous fait connaître la version anglaise de la pièce - dans la traduction de Martin Crimp. Alors, le problème se déplace. Comme d’ailleurs, depuis les années 70, s’est déplacée la situation de Berlin, de l’Europe, comme ont évolué les modes de vie. L’histoire se passe aujourd’hui dans un hôtel marocain où Lotte, touriste sans plus d’argent, sans plus personne à qui parler, se parle à elle-même, écoute les échos de la vie qui lui parviennent de derrière les fenêtres… Colette Godard

Temana Maire

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bonus / extras

katharina ziemke Sleep courtesy galerie Z端rcher

texte

alexandre roche

uit ! toc...toc... une fois...

Le salon. Allongé dans le canapé, repousser le moment...Encore une minute... Impossible de s’échapper... D’abord éteindre la télévision, une fois, bien éteinte, le noir, ne pas penser, faire ça vite! Chauffage baissé, une fois, deux fois, ranger le canapé. Ai-je bien baissé le chauffage? Vérifier, bien vérifier...maux de tête! Éteindre le salon, une fois, deux fois. Vite ne pas perdre de temps...trois fois... spasmes...vite fuir! Le couloir Vérifier la porte d’entrée, d’abord la serrure, puis le verrou...d’abord la serrure puis le verrou une fois, deux fois, trois fois.... Eteindre le couloir, rallumer, éteindre, regarder encore la porte, une fois, deux fois...maux de tête... rage...oui, c’est fermé! Ne pas penser! Voix basse... mon père! Répétition... Ils! Rire des voisins. La cuisine Le cœur en alerte, mains écorchées, frigo fermé, cafetière éteinte, robinet fermé, une fois, deux fois, trois fois... mal à la tête... Le gaz...ça se complique... sueur froide! un bouton, deux, trois, quatre, cinq, six...recommencer...un, deux, trois, quatre, cinq... je transpire, ne vois plus...encore! Arrête! Un, deux, trois, quatre, cinq...Voix basse: Arrête! Vas te coucher! Impossible! Pourquoi? Le gaz un, deux, trois...stop! un, deux, trois...Arracher la peau...Gratter d’abord les jambes, les mains... toujours la tête...C’est la fin... Dans le noir, je reste... pétrifié...Pas seul...image d’un film avant le massacre...Tête aux abois ! Tête vacille ! La chambre Courir, vite! La porte claque ! Ouf sauvé! Souffler! Réminiscence...Angoisse....sans cesse... même ritournelle: « Ai-je bien éteint? » Doucement l’ouvrir, l’obscurité! Figé, un, deux, trois, quatre minutes, c’est bien éteint! L’œil de Redon...Un bruit... C’est lui! C’est eux!...claquer la porte! Tour- ner la clef! Je suis bien enfermé, oui! Cœur en alerte, tableau retiré, peur de mourir! Porte bien fermée! Yeux bien ouverts. Le lit Sous la couverture, bien caché, tremblement, mains rouges, griffure, sang, Souvenir du sang! Vite! Eteindre...rallumer...porte fermée... éteindre...allumer... fermer...éteindre... porte...allumer...tête coupée! Éteindre... tomber de tout mon long...crier! Aban- donner! Lumière éteinte! Le Noir! Cris dan la rue! Les gens rient, les yeux fermés...derniers instants... petit tas pour- rissant...drap trempés...corps abimé... surtout ne pas mourir.

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benoit arridiaux

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julia t er gilb

caroline fayette

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Tagliatelle alla vodka dans une poêle avec un peu d’huile d’olive.

in a frying pan with a bit of olive oil.

shot de vodka.

vodka.

shot of vodka. puis retirer du feu et couvrir le temps de cuire les pates. Une fois cuites et

remove the frying pan from the stove and cover it while you cook the pasta.

poêle

tagliatelli in the frying pan. Good appetite.

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Agence Révélateur Andrea Graziosi Andrea Zvadova Anouk Le Bourdiec Anthony Prevost Benoit Arridiaux Caroline Fayette Costume National Damien Guillaume David Beckham bodywear Dekadrage Collectif Diane Pernet Guy Laroche Hofesh Shechter Company Isa Marcelli Jerome Zonder Jerome d’Almeida John Galliano Julia Gilbert Le Book Le Turk Maelle de Coux Nolwenn Brod Ola Grochowska + Andrei Zach Olfa Bouzenad Roger Weiss Sainte Fauste Talos Buccellati Tamara Vignati Tatiana Margaux Bonhomme Temana Maire

www.agencerevelateur.fr www.andreagraziosi.com www.andreazvadova.com www.galeriealb.com www.anthonyprevost.com www.bellavieza.com www.carolinefayette.com www.costumenational.com www.damienguillaume.com www.hm.com www.dekadrage.org www.ashadedviewonfashion.com www.guylaroche.com www.hofesh.co.uk www.agencerevelateur.fr www.evahober.com www.jeromedalmeida.net www.johngalliano.com www.sleeping-lessons.blogspot.com www.lebook.com www.leturk.com www.maelledecoux.fr www.nolwennbrod.com www.olagrochowska.com www.olfa-bouzenad.blogspot.com www.rogerweiss.ch www.sainte-fauste.com www.talosbuccellati.com www.tamaranati.org www.tatianamargauxbonhomme.com www.hohoamana.com