The → thé
You know you're in front of a perfect scene when the screenshot craft is becoming tedious. Screenshooting is not what you make of it: to excel in it, you have to ensure you're getting the right millisecond, the one which encompasses all the other millies. And when you're dealing with the énormité of Whit Stillman, where every gesture is so eloquently captured, you're bound to hit an obsessive slump.
Stillman's way to deal with self consciousness is THE BEST EVER. It's a part of what makes him such a great director to watch when you're not in the place you were supposed to be, in the sense of it not being the place you were built and programmed to think as your one and only habitat.
I catch a glimpse of the weatherwoman on TV pointing over the map, and for a minute I'm confused - what is this bulging form showing on screen? Then I remember - oh, this is a different part of earth, it's not the one I've been glimpsing over its weather reports from since I can remember. The weather report, the iPad changing my the to thé - It's the little things which suddenly remind you the out-of-placeness.
Exile is a destiny which Stillman's characters choose with vigor, courage, and idiotism. It is an incredible mix. Also, it's not just a matter of territory: the estrangement from society is what the damsels in Damsels in Distress are wilfully and strongly adhere to. However uncool, foolish or crazy it will deem them, they will not be contaminated.