Andy Warhol and Catherine Deneuve by Jean-Jacques Bugat
Catherine Deneuve, Belle de jour, Luis Buñuel, 1967
Catherine Deneuve in Repulsion (1965, dir. Roman Polanski)
“My aim was to show Carole’s hallucinations through the eye of the camera, augmenting their impact by using wide-angle lenses of progressively increasing scope. But in itself, that wasn’t sufficient for my purpose. I also wanted to alter the actual dimensions of the apartment — to expand the rooms and passages and push back the walls so that audiences could experience the full effect of Carole’s distorted vision.
Accordingly we designed the walls of the set so they could be moved outward and elongated by the insertion of extra panels. When ‘stretched’ in this way, for example, the narrow passage leading to the bathroom assumed nightmarish proportions.”
-Polanski, quoted in Roman (1984)
Catherine Deneuve in Repulsion 
Catherine Deneuve in Peau d’âne (Jacques Demy, 1970).
I’m due for a Deneuve marathon (the Mia Kirshner marathon comes after), which will roughly begin with Repulsion, calm down to a scrummy but pivotal level of mellowness only obtained through the trope of lesbian vampire film with The Hunger, and eventually finish with Belle de Jour. There has to be a drinking game for this, and it would be a bizarre and perverse one orchestrated by the power of Laura Mulvey - one quaffs one’s shiraz every time poor Catherine is inadvertently punished, defiled and/or tortured onscreen in a manner akin to the proverbial Hitchock blonde?
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