Moreau takes a very similar moment—woman walking away from love interest, and only reluctantly engaging with him—and is able to make it vastly different. Moreau has asserted that thought can go on beforehand, and in each case thought surely has, directing her attitude toward each man, however these attitudes become manifest, in each case, through the same class of subtle physical responses.
As she speaks of Tommaso, she becomes lost in the words themselves, as she stares off into the distance—her hands gesticulating in a strained effort to express a feeling that her words fail to capture. She grimaces deeply, and strides away into what seems like a distant memory. Then, as the memory drives her to him, the turns to address Giovanni, dragging her into the present with him—as she concludes the recollection she begins to cry. Here we see that Moreau is able to somewhat paradoxically remain in present in the film, while leaving the cinematic present. In other words her mind occupies a time other than the filmic present, but re...
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...ain parallels that of Les Amants. At the moment of contact—specifically handholding— Moreau engages, has a moment of realization, resists, and then—to some degree, acquiesces. However the scenes, while both so vividly physical, are radically different in tone and narrative significance. This difference is initiated by the decisions Moreau makes prior to the scene —the germinal “thought (that) go(es) on beforehand”—and is carried out by actions enabled by commitment to functioning in the present moment, the moment of performance. The emotions expressed by here intense physical presence, are delivered subtly, but in such consistent abundance, that her acting appears profoundly fluid. It is perhaps for this reason, in part, that Moreau’s portrayals of feminine love are so consistently associated, in these films and others, with floods, fluids, at fluidity itself.
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