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2021 AFC General Discussion

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Two English Girls

Two English Girls begins with Claude Roc (the character played by Léaud) falling from a swing, and breaking his leg, while showing off in front of some girls. For the duration of the film, Claude and the two English girls (whose names are Muriel and Anne) engage in a series of romantic adventures, all of which end, abruptly and often for no reason at all, in failure. After each dead end, the characters pick themselves up and try again, always with the same result: failure.

Two English Girls

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Using a double name is also a way to pay homage to two relatives at once, especially if you have difficulty deciding which moniker to use. Double names are popular for boys and girls and may use classic and modern names.

The English-Hindi Kya kehte ho is special to both girls, being the first song they wrote. "We wrote it in Nic's house in London [Images]. I love it because it symbolises our struggle about the realisation of our dream to make an album. We are asking our audience Kya hehte ho about our music. Our songs are a mix of Hindi and English. There is some Punjabi and Assamese language used in two tracks," says Nicole.

They claim to be here to provide 'good fun entertainment with a very reggae sound,' targeting all age groups. "We are your whole entertainment package; we sing, dance and perform," both girls chirp in unison.

In late 1891 or early 1892 Renoir was invited by the French government to execute a painting for a new museum in Paris, the Musée du Luxembourg, which was to be devoted to the work of living artists. He chose as his subject two girls at the piano. Aware of the intense scrutiny to which his submission would be subjected, Renoir lavished extraordinary care on this project, developing and refining the composition in a series of five canvases. The Lehman painting and the nearly identical version formerly in the collection of Renoir's fellow Impressionist Gustave Caillebotte have long been regarded as the most accomplished variants of this intimate and engaging scene of bourgeois domestic life.

Fifty-seven of the girls managed to escape by jumping from the trucks shortly after their abduction while 80 were released in exchange for some detained Boko Haram commanders following negotiations with the Nigerian government.

Two English Girls and the Continent belongs to what I privately call "the other Truffaut"; this wouldn't be the place to specify why I consider some of Truffaut's films (The Four Hundred Blows; Stolen Kisses; The Wild Child; Domicile conjugal; The Story of Adele H; The Man Who Loved Women; The Green Room; The Last Metro) as belonging to a pretty distinct class that I have titled: the other Truffaut. Notwithstanding, Truffaut's corpus is remarkable as one of the most astonishingly beautiful works of his century.Truffaut's cinema is the complement and the result of a very particular and highly differentiated world-view. In a genuine and authentic way, he was aware of his singularity. One of his aimsor rather of his meansof his deliberate meanswas to tell dirty things in an ingenuous, naive and gentlemanly way.Truffaut used stylized narrative forms to explore the substratum of the couple relations. He did this in even a more deliberate way than the movie authors he promoted in the '50s. Yet his approach is not a spoofing one; his exoticism isn't mockexoticism; it is related to some ancient forms of the French culture, to some metarealist traditions. To a certain Renoir (the one that didn't pretend to be naturalistic or Zolist, but who crafted exquisite _divertissements). It's not that Truffaut's picturesque is a fake one; it is strictly subordinated.In Truffaut's case, a quite peculiar world-view got the chance of a full, direct expression. What is this quality of Truffaut?What is the gist of Truffaut's art?Some have expressed it in indirect or inappropriate or even hostile way;they felt that particular quality; yet their perception is clumsily or inimically expressedso with Antonioni, who disliked Truffaut's softness and tenderness and feminineness ,if one might say so.Mrs. Deneuve, who was Truffaut's mistress (they had no children together), spoke about Truffaut's feminine side or perception. I do not think this is properly expressed.What needs to be indicated is his delicacy, subtlety, freshness, fineness, gentleness, mildness, and his frank tactfulness.His subtle, smooth irony, his civilized ,polished and indiscreet humor, his highly humane quality in exposing and defining in artistic terms the secret substratum of the human relations, of the desire and of the loneliness and alienationwith a sense of the piquant. As in J&J, whose declared complement it is, this approach helps, enables Truffaut to narrate with due smoothness and finesse a disturbing and twisted story. The same shamelessness, the same suavity.Truffaut has a very cute topic for his movie:--the feminine masturbation (and a dose of lesbianism), at the little girls (needless to say that such things are still strictly taboo for most of the mainstream cinema …);--then the _defloration.As some other Truffaut films, TEG … contains some piquant nudity and sexuality.A word about the beauty of Truffaut's actors:--a beauty that is generally mild and unobtrusive and discreetyet very physical and subtly sensual and bodily (Jean-Pierre Léaud,Kika Markham,Stacey Tendeter,Marie Mansart). One more thing to be spoken of:this one is a period movieand consequently there is a fair amount of a certain _colorist instinct, joy and gustothat I will leave the pleasure to my fair reader to discover for him/herself. Truffaut flirted here somehow with a certain trend of aestheticism and stylization that are customary in the period films. (One can perceive the trepidation of the _erotography of the epochthe interest for this kind of literary production.) On the other hand, Truffaut's huge interest in making such period films is the pendant and the complement of his studious love for a certain class of literature. Truffaut was, one knows it, such a good reader …. (On the other hand,when he adapted a book, that book was never a mere pretext; on the contraryit was the hallmark. Truffaut adapted only things that he respected. One sees that is not true about, say, Welles or Hitchcockwho go beyond the literary pretext; Truffaut reveres the book, he deepens it, he remains true to it.)The beauty of the main actors; the finesse; the writer loved by Truffaut; the twisted content; the indiscreet topic of masturbation and bodily life; the hidden substratum; the tactfulnessI hope my fair readers will give this very fine movie the esteem it deserves. Truffaut's stylizations are strictly functional; they are never vain, useless decorations; they wholly belong to the style and are directed towards the movie's meaning and are fully adequate.Truffaut is as true, as authentic as he is smooth and elegant. Through the stylistics of the social life, he reached the stylistics of the inner life.I would include Two English Girls and the Continent in a list of Truffaut's best tenor maybe even five!movieswith Jules et Jim (1962), The Soft Skin, Mississippi Mermaid, Vivement Dimanche! (1983) ….

It is later seen that Zero Two was a very unruly, passionate, fierce-tempered, self-confident, smug, assertive, and carefree girl who hated to follow the rules set up by the adults. She was very outspoken and honest, and unlike the other Parasites, she did not care about Papa and held no respect for him and the other Sages, only seeing them as people who lied to her throughout her childhood. Her seemingly care-free rule-breaking helped break Hiro out of his crippling depression and blind adherence to rules, and the cheerful affection she showed him inspired some of the other Squad 13 Parasites to be more affectionate with each other. Zero Two's behavior was also quite childlike, as evidenced by when she wiped her hands on Zorome's uniform. Zero Two also demonstrated impressive agility, performing somersaults and flips then landing on her feet every time. During the Girls vs Boy feud, Zero Two tricked the girls into believing she would cooperate with them, after which she tricked the boys into walking in on the girls while they were bathing, then proceeding to steal both the boys' and the girls' clothes. While being chased by Hiro, she teased him and laughed while running throughout the house. By doing that, she felt just a little more like a human.[3] While an exceptionally gifted parasite, Zero Two also had extremely odd quirks: eating with her hands, often licking people, such as herself, though she didn't like how she tasted; Hiro, who tastes like danger; Ichigo, who tastes sweet; and Ikuno, who tastes like a secret. She also often mused about how she wanted to go in the ocean, dousing her food in honey, and having no sense of personal space.

As the parasites are fighting a klaxosaur, it spews goo. It leaks into the cockpits and melts the girls' parasite suits. Though the boys begin spacing out, they don't tell the girls and they finish off the klaxosaur. Hiro finally tells Zero Two and the rest of the girls realize what's happened.

The girls cover themselves with a towel and glare at their partners. Besides Zero Two, who doesn't seem to mind. When Hiro tries to defuse the situation he says that Zero Two said it is better that parasites are a bit pervy, which she confirms. This annoys the girls further.

As a result, the girls split the house which Zero Two finds very strange but upon seeing Hiro she ignores the split and spends time close to him. As the boys blocked off the kitchen Zero Two walks in and Miku attempts to follow her, but the other girls pull her back. In the yard, she plays with a ball as Hiro says that everyone's gotten too stubborn and they need to do something. But she thinks the opposite and that they need to spice it up a bit. 041b061a72


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