"If cinema is a woman then certainly there are many shores"
About this Quote
Depardieu’s line lands like a flirtation that knows it’s being overheard. “If cinema is a woman” is an old, loaded metaphor: the art form as muse, body, conquest. Then he twists it into geography - “many shores” - turning film into an erotic coastline, a place you keep arriving at, leaving, returning to, never exhausting. It’s a romantic brag and a love letter at once: cinema as both partner and territory, desire as travel.
The subtext is pure Depardieu: appetite elevated into philosophy. He’s long cultivated a persona of excess - sensual, unruly, proudly unpolished - and the quote reframes that as artistic curiosity. “Many shores” suggests variety over fidelity, not just in roles and countries but in styles, moods, and moral climates. It’s also a sly defense of restlessness: if cinema is vast, then a single harbor would be a kind of betrayal of the medium itself.
Context matters because Depardieu’s career is defined by motion across borders: French prestige films, populist comedies, international productions, auteur collaborations. His cinema isn’t one nation or one register; it’s a map. Still, the gendering does real work - it makes cinema “available,” something to be approached and possessed. That’s why the line is effective and unsettling: it sells the intoxicating boundlessness of film while revealing an older, masculine grammar of desire behind the romance.
The subtext is pure Depardieu: appetite elevated into philosophy. He’s long cultivated a persona of excess - sensual, unruly, proudly unpolished - and the quote reframes that as artistic curiosity. “Many shores” suggests variety over fidelity, not just in roles and countries but in styles, moods, and moral climates. It’s also a sly defense of restlessness: if cinema is vast, then a single harbor would be a kind of betrayal of the medium itself.
Context matters because Depardieu’s career is defined by motion across borders: French prestige films, populist comedies, international productions, auteur collaborations. His cinema isn’t one nation or one register; it’s a map. Still, the gendering does real work - it makes cinema “available,” something to be approached and possessed. That’s why the line is effective and unsettling: it sells the intoxicating boundlessness of film while revealing an older, masculine grammar of desire behind the romance.
Quote Details
| Topic | Movie |
|---|---|
| Source | Help us find the source |
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