Status Updates From It Girl: The Life and Legac...

2/2 “…be understood when it’s viewed in its totality. She was a complex and flawed woman who navigated a web of ambitions, creativity, and relationships. Again and again, her image was taken away from her, and yet she worked to take it back and wrestle with her own history. It was not one outfit, one relationship, one song, or one role. Jane Birkin made herself real.”

1/ “Birkin’s career does not neatly fit into one clearly defined box. She was more than the sum of all those parts. Seeing her simply as an inspirational figure flattens her. By the end of her life, she’d moved on from her role as a muse. She was a tastemaker who changed the world around her, altered the cultural fabric of the times with her artistry and individuality. The nature of her fame can only really…

2/2 “…there to comfort you, that I’ll be gone. I put you in orbit only to abandon you,’ she says, and then adds almost offhandedly that she needs to put everything in the girls’ names for the purposes of taxes and duties.”

1/ “Birkin worried that, in the years following Kate’s death, she had been so wrapped up in her own distress that she didn’t think of her children who were alive; that she glorified Kate. She admits she spent sleepless nights wondering what it meant to have put three beings into the world: Who would die, and when, and how? Her own mortality was clearly at the top of her mind. ‘And the fact that I won’t be..

2/ “…has been left untouched.

‘It smells the same,’ she says on-camera. ‘It’s almost like being in a dream.’ She remarked that the rue des Saints-Pères, a street perpendicular to rue de Verneuil, is like the mythological river Styx. ‘I don’t cross it. Everything that happened there seems to be from another time. As if this life belonged to another person. It’s strange.’”

1/ “The title of [Jane by Charlotte] is a conscious echo of the Agnès Varda documentary, positioning itself as a sort of sequel. But unlike the genre-bending creativity of Jane B. par Agnès V., the dialogue between the filmmaker and subject feels strained, even if the settings are familial: Birkin’s home, a visit to a bulldog breeder, Birkin’s first trip back to Serge Gainsbourg’s home, which

I fear I am learning that I do not give a flying fuck about the perils of the rich and famous. Especially when told in the third person.