le procès

AY THAT CENSOR AMIRITE

DOING SOMETHING FOR LEST BC I COULDNT RESIST

IF YOU COULD SEE THROUGH ALL THE CENSOR THEN SHUSH DON’T SAY ANYTHING JUST WAIT FOR FINAL RESULT

PRETTY SURE I’LL MESS UP THE FACE BUT WHATEVER LOLOLOL

10

Swinging London 1967,
complete series of photos of the magazine “Paris Match” on the psychedelic fashion in London. October 1967. Jane Birkin appears in two photos. Photos by Philippe Le Tellier (Paris Match)

Foster Siblings Feuilly and Montparnasse
  • Feuilly is a few years older than Montparnasse, and has been living in the orphanage for as long as he can remember. He’s managed to channel that anger, jealousy, and sadness he used to feel into something positive
  • Montparnasse hasn’t
  • He’s just a kid who craves attention and care and reassurance
  • One day, Feuilly finds him crying alone in the bathroom, his knuckles blooded and his knees grazed, a little lost boy of 7. Some older kids say he looks too soft and needs to be roughened up. No matter how harshly Montparnasse tries to push Feuilly away, he collapses in Feuilly’s arms in tears
  • Feuilly patches up his scraped knees while Montparnasse is sitting on the cold and impersonal kitchen counter. Parnasse doesn’t say anything. He’s ashamed, for the most part. But grateful, too
  • Montparnasse does get rougher through the years. Better be on top of the foodchain than crying alone in a bathroom stall. No one makes comment on his soft face anymore.
  • But he does keep a soft spot for Feuilly. Montparnasse sometimes gives him stuff from his candy stash, while making other kids pay full price
  • Feuilly teaches Montparnasse things sometimes. Feuilly loves that, learning. He’s got a whole bunch of books under his bed and two library cards. Montparnasse, not so much. But he does like to listen
  • Feuilly being the closest thing to family Montparnasse has ever had
  • Feuilly having a fondness for that kid he won’t see as anything else than that seven year old he took under his wing
2

Brigitte Bardot during the filming of the movie ‘Les Femmes’ by Jean Aurel, in front of the Arch of Constantine, in the street in Rome, Italy, in 1969. Photo by Ghislain Dussart

E’ notte alta e sono sveglio

sei sempre tu

il mio chiodo fisso.

Insieme a te ci stavo meglio

e più ti penso più ti voglio

Tutto il casino fatto per averti

per questo amore

che era un frutto acerbo

e adesso che ti voglio bene

io ti perdo…

…Ancora, ancora,ancora

perché io da quella sera

non ho fatto più l'amore

senza te,

e non me ne frega niente

senza te.

Anche se incontrassi

un angelo direi:

“non mi fai volare

in alto quanto lei.”