Female directors are in charge, and the focus seems to naturally turn to the side that we often ignore when we think of great men, the film There is no great joy and great sorrow, just like an old man looking back on life, everything is insipid. Audrey Tautou's slightly stubborn lips, as well as the unadorned eyebrows, the weak body is actually very different from the real chanel, but I still seem to find something similar to Chanel in her eyes. Traits, a kind of loneliness, a kind of firmness, a kind of momentary loss, a kind of charm. . . . . .
Although it is the eve of Chanel's brilliant career, it is actually a tragedy of love. For the delicate relationship between lovers, lovers and lovers in French films, I have always expressed my understanding as a bystander. Chanel never got married in his life, but like Austin, in my opinion, he understands love, men and women themselves.
Love Chanel's unisex dress, the tenderness with which she touches the cut fabric, a woman who helps liberate women from body and mind.
She said: - those women wear such heavy hats, how can they still think?
- love, il fait bien ou mal, il fait très mal.
- No changes, do as I said, black fabric, it will stand out more (the other ladies at the dance are all white, and of course they were shot that way)
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