Adeline

“In Amélie, the protagonist finds a tin box of childhood memorabilia in her wall, and though it just looks like a bunch of old shit, the extreme care with which it was curated and then hidden makes it clear it was precious to some person of the past and hence to Amélie, who needs, the film posits, to get a life. Adults watching this scene are often very moved. It brings back to them, I think, a time when the smallest things take on a significance that even the largest things later on down the line can’t match. To a child watching, however, I imagine there is just the ball-ache of being found out - it was such an excellent hiding place and such bad luck that Princess Diana had to go ahead and die at that very moment, and children love to hide things because they’re given no sanctuary.”
― Krystelle Bamford, Idle Grounds

“You know what, sometimes it seems to me we're living in a world that we fabricate for ourselves. We decide what's good and what isn't, we draw maps of meanings for ourselves... And then we spend our whole lives struggling with what we have invented for ourselves. The problem is that each of us has our own version of it, so people find it hard to understand each other.”
― Olga Tokarczuk, Drive Your Plow Over the Bones of the Dead

“Je suis convaincu qu’un des objectifs de Verdun fut de se débarrasser de cette jeunesse allemande qui refusait l’ordre et la religion. On ne le sait pas assez et on ne comprend rien à la culture germanique si on ne considère pas le rapport à l’ordre et aux frustrations qu’il engendre. J’ai très vite su, grâce à la maestria de Goethe, pourquoi j’avais quitté Vienne pour l’Amérique, le pays de l’émancipation et des rêves accomplis.”
― Philippe Collin, Le Barman du Ritz