#*viktoriya z. | Explore Tumblr posts and blogs

skrzeczz · 4 years ago

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8,10,24,31,39,41,46,50,76,89,131,155,156

8. Kim była ostatnio przytulona przez Ciebie osoba?

Koleżanka na pożegnanie

10. Na co teraz czekasz?

Aż się wyprowadzę z Grudziądza i zacznę wszystko od nowa z mam nadzieję pozytywnym skutkiem. Nie wiem dlaczego, ale widzę największą szansę na szczęście w rozpoczęciu nowego życia, czuję że tutaj mam za dużo wkurwienia i jakoś się duszę

24. Co byś zrobił, mając własne 15 minut sławy?

15 minut apelowałbym o dokarmianie zwierzaków, adopcje ze schronisk i szerokopojętą miłość do futrzaków

31. Jakich perfum dziś używasz?

Zabawne w sumie, bo kiedyś mamita zamówiła coś dla siebie z avon i coś tam męskiego wzięła z perfum, no i raz spróbowałem i mówię sobie, że nie takie to chujowe, no i naprzemiennie w sumie używam tego z avonu i mexxa niebieskiego albo jaguara haha, nie mogę się zdecydować, ale ogólnie ludziom najbardziej siada ten avon właśnie, co dziwne, ale z czystym sumieniem polecam, bo pozytywnie się zaskoczyłem

39. Co odpowiadasz kiedy ktoś mówi “będzie okej”?

Że dziękuje, zawsze doceniam to, kiedy ktoś stara się pomóc, nieważne jak nieudolne i daremne byłyby to próby:)

41. Ludzie mają wrodzony talent do wybierania właśnie tego, co dla nich najgorsze. Jak myślisz dlaczego?

Nie mam pojęcia, my ludzie lubimy to często to, co zakazane, złe i nieprzystępne. Taka już nasza natura, że ciągnie nas najczęściej do czegoś do czego nie powinno i często wiemy, że są lepsze wybory, to i tak nie zmienia naszej decyzji, zabawne w sumie

46. Lubisz zasypiać w zupełnej ciemności czy przy świetle?

Zdecydowanie w zupełnej ciemności. Musiałbym być mocno zmęczony, żeby zasnąć w miarę szybko przy zapalonym świetle czy telewizorze. Ja muszę mieć ciemno i cicho (no może poza muzyką w uszach), żeby mi się komfortowo zasypiało

50. Jakie masz zainteresowania?

Interesuję się podróżami, poznawaniem nowych miejsc, kultur, ogólnie lubię tripować, sama podróż z punktu a do b mnie kręci, bo lubię nastrojowe rzeczy, więc jakas nocna droga autostradą to dla mnie bajka. Poza tym mocno jestem wkręcony w sprawy kryminalne, jakieś morderstwa czy zaginięcia, słucham masę podcastów na ten temat, oglądam dokumenty, no i chciałbym studiować kryminologię. Poza tym interesuje się piłką, jak na chłopa przystało haha no i to chyba tyle z zainteresowań, nic ciekawego, chciałbym w sumie mieć taką pasję, żeby móc parę godzin dziennie w tym siedzieć z czystej zajawki

76. Jak zaczęła się twoja przygoda z tumblrem? Jaki był powód założenia bloga?

Założyłem konto jakoś w 2014 chyba, jakaś dziewczyna z którą wtedy jeszcze przez gadu rozmawiałem go miała i się wkręciłem w sumie reblogując jakieś romantyczne pościki, to dawało upust emocjom, jakby czułem że te posty określają mój ówczesny stan, więc to było dobre. Dopiero po latach wszedłem w tę całą toksyczną społeczność i za bardzo zacząłem żyć tumblrem, a za mało światem otaczającym mnie w rzeczywistości, aż zniknąłem na prawie dwa lata, żeby wrócić kilka miesięcy temu

89. Twoja ulubiona postać z bajek Disney’a?

O kurde, nie mam pojęcia, nie oglądałem wielu bajek disneya, u mnie zazwyczaj się ograniczało do cartoon network albo zigzap gdzie aparatke i szóstke w pracy oglądałem XD

131. 5 znanych osób, które uważasz za atrakcyjne.

Zara Larsson jest sztuką po prostu

Cher Lloyd

Tokio z domu z papieru

Cheryl Blossom z Riverdale

Viktoriya Agalakova, ta co w Ku Jezioru grała

Ciężkie pytanie ogólnie, na siłę musiałem delikatnie wybierać XD

155. Masz na coś alergie?

Na pewno na jakieś pyłki w lato, bo zawsze wtedy mam w chuj katar i jak wezmę jakąś allegrę czy coś, to mi przechodzi, ale nigdy u specjalisty z tym nie byłem

156. Opisz jak jesteś teraz ubrany.

Siedzę na bokserach w skietach z umbro z biedry i w bluzie z fila, która jest pami��tką ze związku XD

kurde, nigdy tyle pytań nie dostałem, dziekuje bardzoo

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steveramsdale · 4 years ago

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Big dipper Blog - 10.10

This blog is, essentially, the same as last week’s. There are some alternative factual details, but they are superficial. Anyway, you could just reread (or remember) last week’s offering and save yourself a bit of time. If you do decide to read on, we could make it more fun. You could try to decide for yourself the highest high and the lowest low. Remember, it’s just for fun. There’s no prize, so don’t write, text or email.

I think, as people, we are supposed to grow, to learn, to develop. That’s the most startling revelation you’ll read today. Adversity can be, I’m told, an opportunity for such personal growth. It may, in fact, be true, that I have been learning about myself. I wonder if my ‘issue’ is that if one thing is wrong, it affects everything else. See what you think.

On Saturday, my chief goal was to get the car de-registered and get the papers I need for me to be able to export it. The police centre I needed to go to was advertised as opening at 9:30 so I had time to get up and get sorted. I had a wonderful colleague on notice to be available for telephone translation if necessary.

I took a 6am trip to the shop through the park. Many people were already out running, I’d say 100 or more and it’s not a big park. Much of Tashkent has given up on lockdown.

Soon it was time to head off for the simple process of taking my car off its registration here! Google maps took me behind the centre where there was no gate. It was not difficult to find a way round to the front. That was the last time a problem was easily solved on Saturday. When we got the van and went to register it for the first time, the father and son who sold it to us, took me and helped. Even so, when we got there, they accepted the help of a man who was at the centre to do just that - help, for a fee, people through the process. He charged me about £20 but probably saved us 3 or 4 hours by knowing what to do and going to the front of queues. When I returned to the scene of this lengthy but problem-free process, there were, again, these free-lance ‘sorters’ and I decided it would be worth accepting help. The price was about the same. However, the first problem emerged in minutes. The address. I knew, back in September, that this would be a problem one day, would bite me on the bum. Sorry, I forgot to say that this blog would contain strong language and adult themes. I have a credit card-sized, well, card which is my ownership document (log book). It has all of the details about me and my van. So, of course, the address is our old address. Now, in my passport, I have my new address. I did not sort this out. The people at the centre said they could not de-register me until I changed the address (of course I questioned this), and that I could not change he address there but had to go to the centre in Yunusabad. I paid about £2 for something and my assistant asked for (and received) about £5 for his help. I set off for the other centre.

Long-time readers may (won’t) remember that at the original registration, we also went to two centres - the wrong one first. The centre I had to go to now was that ‘wrong’ one. I love symmetry, and here it was. When I got there, again came the offers of help. There were more guys here and they wanted £60. I declined, at this rate. I first drove into the inspection hall. Here they check the car against the ��tec-passport’ as the credit-card is called. They match up the chassis number, etc. I had the papers from the first centre, so that went through without a hitch. Thereafter, the day was just a big hitch or series of small hitches that’s looked like one big hitch. We return to the Uzbek system, seen at the Kazakh border (remember) of needing to go from window to window, room to room. However, I was soon (a relative term) told that I would not be able to deregister the van until I had proof that I was leaving the country too. This would be in the form of a stamp in my passport given by my landlord! This cuts a longer story short and, by now, includes Miss Viktoriya as my telephone translator. I was certain that this could not be right (by the way, the miss-matched address was no longer an issue. It would mean, for example, that an Uzbek could not export a car to a relative in Russia! I tried explaining this, we went back to the main hall to talk to the boss a couple of times, but no one was changing this story. I phoned Pim, the export guy who has helped with every stage of this van conversion, and he put me on to a colleague. We talked and he also spoke to the officials there but got the same answer. Pim then told me that his people would look in to it more on Monday (yes, this story goes on) and help to sort it. The woman I had been dealing with insisted that I go back to the other centre and get my £2 back - which was an incorrect charge. She even phoned them to arrange it for me. I didn’t go back. Not for £2.

As an aside, there has to be a better way for the authorities to organise this free-for-all. The system is not a system. Queuing is almost non-existent and the mass of people at peak times is ridiculous. The spivs there to help....It is bad enough in normal times, but while a pandemic is still around....

So now I was free, for the rest of Saturday and Sunday to worry and consider the prospect of being unable to send the van (and the ridiculous amount of other stuff) home. Here is where I realised that this one problem took over everything. I heard that cafes and restaurants would be allowed to re-open on Monday and immediately thought of Ecorn. I should have been more happy. I wasn’t. I did decide I would go and have a chicken caesar sandwich after work on Monday.

Monday was a tough day. There quite a lot of end of year stuff at school, practical stuff, which I’m finding stressful. Then there’s this. The rule is ridiculous but it seems to be the rule! Then, some good news - someone offered to help me. I had called Ekaterina, the woman who deals with staff visas and registration. I thought that she would know about this stamp I needed or would be able to find out. She did not know about the stamp but said that she would go with me to the car centre to find out about it. I still had the papers. We went after my last lesson and when she was free. We went to the office of the ‘Saturday woman’. She wasn’t in the office but her colleague remembered me and said I could go to the main room. We went across and up to a free window. Ekaterina spoke to the police officer there. He immediately told us that no such stamp was needed and, had I brought the car, or even just the number plates, he could have done it there and then! We had gone in a taxi. I asked if there was time for me to go and get the plates then, but there was not. I resolved to go early the next day as he said it would take about 30 minutes. And suddenly the world was full of sunlight and joy again. I looked with pleasure upon my fellow Uzbeks, pushing to the front of queues and standing too close to each other.

We shared a taxi as Ekaterina lives quite close to the centre. I enjoyed (really enjoyed) my Ecorn sandwich. Life was good again. As an aside, these were my first taxi rides since The 22nd March. I saw Z—- JB so I’m sure KB is out there somewhere. Will I see it?

On Tuesday morning, as planned, I went back to the Gai. It opens at 8 so I was there at 7:30. The officer from the evening before was the first to arrive and had the key for the room (more of a hall, really). My first lesson of the day is at 9. School is a 15/20 minute taxi ride away away (I was going in to school to do some of the other jobs I have to do), so this would be a doddle. I was the only customer. I had the number plates and the documents and handed them over. The officer began the process. After about 20 minutes we went over to the cassa (the payment room. He took me. It was about £6. The woman there said I should go back to get my refund (I had given her my receipt from the other place). I agreed that I should but did not say I would not. A taxi there and back would be about £4! We returned to the main room. he continued the process. Time continued to move on. More customers began to arrive. Many went to my guy’s window and he flitted between my job and theirs. None of them could see the ‘maintain distance’ stickers on the floor. These were very obtrusive, written in Uzbek and Russian and invisible to local men. As time ticked on, it was clear I would be late for my first lesson. I sent my students an email. I waited. Eventually, my officer moved across the room, to a computer. This is it. he’s going to print my papers. After about another 20 minutes, I saw the ‘printing’ notification/animation appear on his Windows ME screen. And, five minutes later, he was handing me the paper work. It was done. My first lesson of the day was abandoned but I had what I needed.

One more observation here - no one in Tashkent will be getting coronavirus of the chin.

While I was feeling sorry for myself, over the weekend, I saw people collecting rubbish being moved on by the police. I have mentioned previously, that there are always people sorting through the rubbish bin. The mostly seem to be collecting plastic bottles but take anything of value. This group of four had huge bags of plastic and were near ‘my’ bins. I have no idea why four police men were moving them on. I wondered how many plastic bottles you would need to collect in a day to ‘make a living’. I also wondered what these people had done wrong, ‘stealing’ my rubbish. I also wondered why I had been feeling so sorry for myself trying to sort out my ‘huge problem’. Perspective. It had gone. It has returned but I did not know it could be so fleeting.

I did some lessons at school on Tuesday and began all of the sorting, packing and tidying tasks. Mafirat, my TA, was in too. The internet is not great at school! It was good tom see people, but I was not entirely comfortable.

On Thursday, working from home again, I decided to go for coffee out before work. While walking round I saw two kittens playing and stopped to say ‘hi’. One had jumped into a ditch but the other stopped and looked at me. It the looked back at its mother (I’m guessing but 99.9% sure). She came stalking round a bush. She was ready to attack me if necessary. It was not necessary.

The fire engine and disinfectant squad were also back. While I was out, they sprayed all the way up the stairs in my building, so I imagine they were going through all of the buildings.

Thursday was also the day I would take the van. I had loaded everything. I had stuck the paper transit number plate in the front window. I was ready to go. It is a short drive to Pim’s warehouse. Of course I was stopped by a police man. he wanted to know why I was driving without number plates. As soon as I showed him the paper plate stuck in the window, he was fine. At the warehouse, about six guys unpacked everything and re-packed it in their boxes. It was (is) a ridiculous amount of stuff. And so, I left Munisa with strangers, to travel alone on the journey we should have made together.

And if I did stop at Ecorn and have another caesar sandwich, that’s nobody’s business but mine.

There were children playing inside my building. This is the first time this has happened. I could hear three or four playing further up the stairs - laughing and running around. Later, while I was talking to Mairi and Fred, they were outside my door. They were having a good time. I don’t know why they were playing on the stairs and I don’t mind. It was nice to hear voices and laughter.

Also on Thursday, in my last lesson of the day, guided reading, two notable things happened. A high and low (you decide). In our morning English lesson, we had defined some vocabulary, including ‘bittersweet’. We had talked about the meaning, in terms of taste, of the two parts of the word. They said they were happy that they understood it. The guided reading was Kensuke’s Kingdom. I had not realised it was the last chapter. We were suddenly at the end. I can assure you there are no spoilers ahead. As I was reading, I suddenly found myself getting emotional. The two main characters were interacting and I felt that I was going to cry. In fact, I did. The events of the last two or three paragraphs got to me. They are relevant to my situation, I suppose. This has never happened to me before in a lesson. I always tear up at the end of Sister Act 2 (the cinema’s greatest achievement) but this is a new one. One of the students said “Oh Mr Ramsdale, don’t cry!” The postscript didn’t help, but I regained my composure.

We talked about the complex emotions of the ending. One of my brightest students only every joins in through the chat. I looked in the box and she had written one word. -‘bittersweet’. My work here is done.

I know it’s been a longer one, but there are a few loose ends and thoughts.

Returning to an old them, I heard ‘unite together’. I also heard ‘plateaued off’. Unnecessary, people. Perhaps I should have said ‘returning back to an old theme’.

I saw JB. Driving over to the centre, I saw E___JB. So they’ve been out for a little while. Appropriately, the driver got that plate from one of the centres I went to this week!

Let’s finish with Trump. I mean that in both senses of that sentence. This week he again asserted that testing causes cases of the virus, so testing is bad. He also said that if people stop calling others racists, racism will quickly go away. At what age do toddlers acquire the concept of object permanence? He’s not there yet. If we can’t see him, will he cease to exist?

And that’s it. What sort of week has it been? Bittersweet.

See you next time.

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warcrousvickstot-blog · 5 years ago

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WT Utsunomiya Final 2019 Eleven Sports Full LiveTV No Sign Up Calendar

http://wwwshort.com/sport

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News, WT Utsunomiya Final 2019. WT Utsunomiya Final 2019. Utsunomiya, Japan. Saturday, November 2, 2019 - Sunday, November 3, 2019. UTSUNOMIYA (Japan. One player to keep an eye on for each one of the 12 participating teams at the FIBA 3x3 World Tour Final 2019, which will take place in Utsunomiya, Japan on November 2-3. FIBA 3x3 World Tour 2019 calendar unveiled with record 11 events in longest season yet Thursday, January 31, 2019 Utsunomiya to host FIBA 3x3 World Tour Final 2019.

Women Renju Final (WT. World Championship 2019. You can see the results below. The games are on the homepage of Renju International Federation.

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Who will make it to the FIBA 3x3 World Tour Utsunomiya Final.

Overview. The organiser of this event has not written a description for this event yet. FIBA3x3 - Final. 3x3WT Utsunomiya Masters 2018, Facebook. Tashkent 2019 WT Cadet Champs. M -41kg Final KARIMOV Z.(UZB. UTSUNOMIYA (Japan. Money shot" by RUN THE FLOOR feat. Awich and kZm is the official song of the FIBA 3x3 World Tour Utsunomiya Final 2019. WT Utsunomiya Final 2019 - Day 1: 2019-11-03 00:00:43 November 3, 2019: WT Utsunomiya Final 2019 - Day 2: View all. About Us. Address: Slavonska 47, 34551 Lipik, Croatia Email: 3× Phone: 385 98 161 0433. Lipik Streetball history. Recent News. Tashkent 2019 WT Cadet Champs. W -33kg Final EREMINA Viktoriya(RUS) vs WASSANA Natkamon(THA. Duration: 8:49. World Taekwondo 13,808 views. 8:49.

FIBA3x3. 3x3WT Utsunomiya Masters 2017 - Finals. Tashkent 2019 WT Cadet Champs. W -33kg Final EREMINA. Tashkent 2019 WT Cadet Champs. W -55kg Final KIM J.(KOR) vs. Tashkent 2019 WT Cadet Champs. W -33kg Final EREMINA Viktoriya(RUS) vs WASSANA Natkamon(THA) World Taekwondo. Loading. Unsubscribe from World Taekwondo? Cancel Unsubscribe. Photos, WT Utsunomiya Final 2019.

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thesarkisian-blog · 5 years ago

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XII Spotkania Teatralne BLISCY NIEZNAJOMI: UKRAINA

XII Spotkania Teatralne BLISCY NIEZNAJOMI: UKRAINA Organizator: Teatr Polski w Poznaniu 10–15 września 2019 Dyrektorka artystyczna festiwalu: Agata Siwiak Program: Joanna Wichowska, Agata Siwiak **** Фестиваль Близькі незнайомі: Україна Організатор: Театр польський у Познані 10-15 вересня 2019 Арт директорка фестивалю: Аґата Сівяк Програма: Йоанна Віховська, Аґата Сівяк W Polsce mieszka i pracuje ponad 1 mln 200 tys. Ukrainek i Ukraińców, co stanowi ponad 3,5% ludności kraju. Wielkopolska jest na drugim miejscu w Polsce pod względem liczby zatrudnionych obywateli Ukrainy. Po raz pierwszy od czasów powojennych stajemy się społeczeństwem wielokulturowym. Dlatego też festiwal Bliscy Nieznajomi – w ostatnich latach prezentujący polski teatr i sztukę – zmienia formułę: głównymi bohaterami tegorocznej edycji będą Ukrainki i Ukraińcy. Poznamy różnorodność form teatru naszych sąsiadów, który czerpie zarówno z literatury, jak i z historycznych archiwów, tradycji awangardy początku XX wieku, czarnego kabaretu, choreografii i muzyki nowoczesnej. Wszystkie festiwalowe spektakle mówią głośno o tym, o czym zazwyczaj mówić nie wypada. Odsłaniają tajemnice i podważają utarte przekonania. **** У Польщі мешкаe і працюe понад 1 200 000 українок і українців, що становить понад 3,5% населення. Великопольське воєводство займає друге місце в Польщі за кількістю працевлаштованих громадян України. Вперше, від повоєнного періоду, ми стаємо мультикультурним суспільством. Тому Фестиваль Близькі незнайомі – який в останні роки презентував польський театр і мистецтво – також змінює формулу: головними героями цьогорічної едиції будуть українки і українці. 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Вони Відкривають таємниці і кидають виклик усталеним переконанням. **** ZAPROSZONE SPEKTAKLE Biennale Warszawa MODERN SLAVERY 10 września, godz.19.00, Duża Scena, Teatr Polski w Poznaniu reżyseria: Bartosz Frąckowiak scenografia: Anna Maria Kaczmarska muzyka, dźwięk: Krzysztof Kaliski, Maciej Szymborski koncept: Bartosz Frąckowiak, Natalia Sielewicz dramaturgia: Natalia Sielewicz światło: Michał Głaszczka mapy i wizualizacja danych: Jakub de Barbaro aktorzy i aktorki: Beata Bandurska, Magdalena Celmer, Maciej Pesta, Martyna Peszko, Anita Sokołowska, Konrad Wosik premiera: maj 2018 czas trwania spektaklu: 120 min Polska w statystykach dotyczących współczesnego niewolnictwa zajmuje niechlubną pierwszą pozycję w Unii Europejskiej. Niewolnicy są w zasadzie wszędzie – w znanych warszawskich restauracjach, na placach budowy, w zamkniętych zakładach produkcyjnych, w przetwórniach, sadach i na farmach. Pochodzą z Ukrainy, Białorusi, Korei, Filipin, Chin, Wietnamu. Niekiedy są Polakami. Raport Global Slavery Index ujawnia, że w Polsce w 2016 r. żyło ponad 181 tys. nowoczesnych niewolników, co odpowiada 0,476% populacji Polski. Niewolnictwo nie jest tu jednak metaforą określającą każdy rodzaj wyzysku. Mówimy o sytuacjach niepłatnej pracy przymusowej, związanej z handlem ludźmi czy fikcyjnym zadłużeniem. Zespół Biennale Warszawa przeprowadził śledztwo i sprawdził, skąd biorą się takie statystyki, z jakimi sytuacjami, miejscami i historiami są związane. Istotne było poszukanie odpowiedzi na pytanie, dlaczego to zjawisko jest całkowicie niewidoczne i rzadko komentowane w debacie publicznej. Z tego działania powstał spektakl-wystawa. Spektakl ukazuje niewolnictwo jako współczesne zjawisko globalne, mające rozmaite odsłony i ekspresje, związane z dramatami i biografiami bardzo różnych ludzi, z różnych kultur, religii i ras. Niewolnicy nie żyją bowiem daleko, na fantazmatycznych i nierealnych plantacjach, ale również tuż za ścianą sali najbardziej wykwintnej warszawskiej restauracji. **** Teatr „Publicyst” / Театр „Публицист” (Charków) CZERWONE WESELE / Червоне весілля 11 września, godz. 19.30, Malarnia, Teatr Polski w Poznaniu idea i dramaturgia: Viktoriya Myronyuk / Вікторія Миронюк reżyseria „żywej gazety”: Kostiantyn Vasiukov i Hanna Onyshchenko / Костянтин Васюков, Ганна Онищенко badania historyczne: Viktoriya Myronyuk, Mykyta Kozlov / Вікторія Миронюк, Нікіта Козлов scenografia: Daria Khalina / Дар'я Халіна kompozytorka i akompaniatorka: Alexandra Malatskovska / Олександра Малацковська performerzy i performerki: Daria Palahniuk, Mykyta Kozlov, Maksym Omelchenko, Diana Kovalenko, Yuri Vasiuta, Mariia Kryshtal, Dariia Yaroshenko premiera: wrzesień 2017 czas trwania spektaklu: 70 min Po rewolucji październikowej „czerwonym weselem” była nazywana świecka ceremonia celebrująca nowy, rewolucyjny porządek, inspirowana przez awangardowe idee wolności, wspólnoty, równości, wyzwolonej seksualności, emancypacji. Spektakl Teatru „Publicyst” jest przewrotną rekonstrukcją tego świeckiego obrzędu. Wykorzystując różne formy sceniczne (talk show, re-enactment formatu „żywej gazety” – amatorskiego pokazu teatru rewolucyjnego; musical), spektakl prezentuje różne metodologie pracy z materiałem dokumentalnym i historycznym. Ironiczne zanurzenie w idee i estetykę porewolucyjnej rytualności służy zbadaniu, jakie znaczenie dawne idee mają dzisiaj w społeczeństwie, które wciąż wyzwala się spod wpływów sowieckiej przeszłości. Przyglądając się świeckiemu rytuałowi sprzed stu lat, artyści i artystki Teatru „Publicyst”, podejmują zarazem refleksję nad znaczeniem procesu dekomunizacji, jaki obecnie ma miejsce w Ukrainie, nad przeszłością i pamięcią. Teatr „Publicyst” powstał ponad 30 lat temu jako teatr studencki. Wywodził się z popularnych w czasach Rosji Radzieckiej amatorskich grup teatralnych, zajmujących się propagowaniem głównych założeń obowiązującej w tamtych czasach doktryny. Dzisiaj, w nowoczesnym środowisku Charkowa „Publicyst” jest znany jako jeden z najważniejszych teatrów alternatywnych. W swoich spektaklach podejmuje ważne tematy społeczne, zajmuje się krytyczną rewizją przeszłości (w tym sowieckiej), poszukuje nowoczesnych form teatralnych i nowych form komunikacji z widownią. **** Pierwszy Teatr / Перший театр (Lwów) PIĘKNE, PIĘKNE, PIĘKNE CZASY / Прекрасні, прекрасні, прекрасні часи na motywach powieści „Wykluczeni” Elfriede Jelinek 12 września, godz. 19.00, Duża Scena, Teatr Polski w Poznaniu reżyseria: Roza Sarkisian / Роза Саркісян dramaturgia: Joanna Wichowska choreografia: Ninel Zberea / Нінель Збєря scenografia i kostiumy: Diana Khodiachykh / Діана Ходячих aktorzy i aktorki: Nataliia Alekseienko, Olena Basha, Vitalii Hordiienko, Ihor Huliuk, Iryna Zanik, Valeii Kolomiiets, Lubov Kuz, Mykhailo Ponzel (w tym spektaklu brak transkrypcji nazwisk aktorów na ukraiński) premiera: lipiec 2018 czas trwania spektaklu: 110 min Historia opisana w książce Elfriede Jelinek „Ausgesperrten” służy realizatorom i realizatorkom spektaklu jako punkt wyjścia do refleksji na temat powojennego społeczeństwa zainfekowanego przemocą. Traumy wojny i czasów powojennych ujawniają się jako wszechobecna agresja, zarówno ta widoczna na ulicach, jak i ta codzienna, skrywana za zamkniętymi drzwiami kulturalnych mieszczańskich domów. W spektaklu poznajemy trzy rodziny, trzy różne modele wychowania… i bardzo podobne mechanizmy reprodukowania przemocy. Czy jesteśmy w stanie wyzwolić się z tych mechanizmów? Czy ofiary przemocy muszą koniecznie stać się katami? Czy dzieci skazane są na powtarzanie błędów rodziców? Czy wychowanie to system nakazów i zakazów, proces dostosowywanie się do obowiązującej normy? Jak funkcjonuje społeczeństwo w stanie powojennej traumy? Czy jego jedyną obroną jest tworzenie mitów na własny temat? Przemilczenia i manipulacje? I co się stanie, kiedy mity podda się wątpliwość, a to, co przemilczane zostanie wypowiedziane na głos? Scena Pierwszego Teatru zamienia się w Wiedeń końca lat 50. XX w. tylko umownie. Tak naprawdę opowiadana historia rozgrywa się – jak zawsze w teatrze – tu i teraz: na konkretnej scenie, w konkretnym mieście, dzisiaj. Twórcy i twórczynie spektaklu problematyzują teatr jako miejsce, w którym w mikroskali odzwierciedlają się procesy społeczne, struktury przemocy i relacje władzy. Podejmują refleksję nad przyszłością: w końcu powojenne czasy są wciąż jeszcze przed nami. Spektakl jest efektem współpracy charkowsko-lwowskiej reżyserki, uznawanej za jedną z najważniejszych młodych ukraińskich twórczyń teatralnych i polskiej dramaturżki współpracującej m.in. z Teatrem Powszechnym w Warszawie. Lwowska premiera zapraszana jest na festiwale, a wśród widzów ma status spektaklu kultowego. **** RESTAURACJA UKRAINA / Ресторан Україна (Kijów, Charków) 13 września, godz. 19.00, Duża Scena, Teatr Polski w Poznaniu performerki: Nina Khyzhna, Oksana Cherkashyna/ Ніна Хижна, Оксана Черкашина dramaturgia: Dmytro Levytskyi / Дмитро Левицький dźwięk i oprawa wizualna: Yevhen Yakshyn / Євген Якшин badania przypadków korupcji: Piotr Armianovskyi / Пьотр Армяновський projekt świateł: Yevhen Kopiiov / Євген Копйов premiera: wrzesień 2017 czas trwania spektaklu: 50 min Spektakl o korupcji realnej i mentalnej, o zniewoleniu, władzy patriarchatu, ojcach i oligarchach, córkach i aktorkach, o Ukrainie i Ukrainkach. Z elementami ukradzionej mistrzom choreografii. Wymóg stworzenia spektaklu o korupcji wywołuje aktorski strumień świadomości i serię performatywnych halucynacji, podczas których ujawnione zostają wspomnienia z dzieciństwa, osobiste traumy, idiosynkrazje, lęki, gniew, poczucie braku zawodowego spełnienia i bezradność. Czy ta niemożność mówienia o korupcji oznacza niezdolność wypełnienia narzuconego zadania? Czy zawiera filistyńską perspektywę, zgodnie z którą korupcja, owszem, musi być potępiona, ale ja i tak jestem najważniejsza? Lecz jeśli osobiste jest polityczne, jest jego przyczyną i skutkiem, w takim razie być może ten przypływ osobistego jest gestem wyzwolenia: od wymogu uczenia się na pamięć cudzych słów, od zapisanego scenariusza, od scenarzysty, od władzy, od szefa, od Ojca? W końcu motywy antyautorytarne, podobnie jak antyoligarchiczne i patriotyczny, są częstymi efektami ubocznymi ruchów antykorupcyjnych. A jednak ciało Ojca leży na stole już dość długo. Co oznacza, że tak naprawdę scenariusz istnieje, a zakończenie jest otwarte. Dlatego uwolnienie osobistego wciąż może albo stać się gestem wzięcia odpowiedzialności, albo przykuć naszą uwagę tak mocno, że nie zauważymy, że miejsce starego Ojca już zajął Ojciec nowy. Premiera spektaklu, zrealizowana przy wsparciu Goethe-InstitutUkraine, odbyła się w ramach Międzynarodowego Dnia Korupcji. **** PSYCHOSIS / Психоз (Charków, Kijów, Lwów) spektakl oparty na motywach dramatu Sarah Kane oraz wierszy Anne Sexton i Sylvii Plath 14 września, godz. 18.00 i godz. 20.00, Malarnia, Teatr Polski w Poznaniu reżyseria: Roza Sarkisian / Роза Саркісян scenografia: Diana Khodiachykh / Діана Ходячих muzyka: Alexandra Malatskovska / Олександра Малацковська performerki: Nina Khyzhna, Oksana Cherkashyna, Alexandra Malatskovska / Ніна Хижна, Оксана Черкашина / Олександра Малацковська premiera: marzec 2018 czas trwania spektaklu: 70 min Kijowska premiera Kane zdaje się próbą odrzucenia przypisanego autorce zbanalizowanego sztafażu poetki przeklętej – zrozpaczonej, inspirującej licealistki, takiej jakich wiele. A zarazem dania wyrazu zażenowaniu, które towarzyszy psychicznemu cierpieniu kobiecego (i nie tylko) podmiotu samobiczowanego przez własny intelekt. „Wstyd, wstyd, wstyd”, „sorom, sorom, sorom” – powtarza się refren. To próba przejścia od wstydu do empowermentu. Witold Mrozek, „Dwutygodnik.com” „Czarny kabaret o nielegalnej miłości i śmierci”, „dwubiegunowe show”, „psychodeliczny wieczór panieński”, „feministyczna rewia”, „manifest wyemancypowanej kobiecości” – to tylko niektóre z określeń, jakimi opisywała spektakl ukraińska krytyka i publiczność. Spektakl celebruje siłę kobiet: świadomych i szalonych, niepokornych i bezczelnych, cierpiących i śmiejących się z własnego cierpienia, nierozważnych i nieromantycznych. Na scenie toczy się nieustanna gra z granicami: bólu, „normalności”, formy teatralnej, społecznego tabu. Wszystko to służy dekonstrukcji mitu o miejscu kobiety w społeczeństwie. Spektakl, zrealizowany przez bezkompromisowe charkowskie artystki, rozpoznawalne w całej Ukrainie, jest uważną, dotkliwą analizą tego, jak działa norma i normatywność w patriarchalnym społeczeństwie, które dla kobiet rezerwuje tylko ograniczony zestaw ról. Wyprowadza widza ze strefy intelektualnego i estetycznego samozadowolenia, myli tropy, sprowadza na manowce i odbiera mu bezpieczną rolę konsumenta cudzych wzruszeń. Miłość, rozpacz, depresja i śmierć, obecne w słynnym dramacie Sarah Kane i w wierszach amerykańskich „poetek przeklętych”, w spektaklu nabierają nieoczekiwanych kształtów. Jeśli rozpacz – to w rytmie songów, jeśli depresja – to wymieszana z autoironią. Seksualność bywa zarówno bolesna, jak i groteskowa. „Chora” może stać się lekarzem, i na odwrót. Pierwotna wersja spektaklu została zrealizowana w kijowskim teatrze „Aktor” w ramach projektu British Council Ukraine „Taking the stage” Obecna, zmodyfikowana, wersja jest produkcją niezależną. **** Teatr im. Wandy Siemaszkowej w Rzeszowie LWÓW NIE ODDAMY 15 września, godz. 19.00, Duża Scena Teatru Polskiego w Poznaniu reżyseria: Katarzyna Szyngiera scenariusz: Katarzyna Szyngiera, Marcin Napiórkowski, Mirosław Wlekły dramaturgia: Olga Maciupa scenografia: Przemysław Czepurko, Katarzyna Ożgo muzyka: Jacek Sotomski światło: Michał Stajniak wideo ze Lwowa: Miłosz Kasiura kostiumy: Ireneusz Zając aktorzy i aktorki: Oksana Czerkaszyna, Dagny Cipora, Małgorzata Machowska, Mateusz Mikoś, Piotr Mieczysław Napieraj, Robert Żurek (brak transkrypcji nazwisk) premiera: sierpień 2018 czas trwania spektaklu: 110 min Jesteśmy wychowani w kulcie pamięci. Myślimy o niej jak o drzewie. Pamięć należy pielęgnować, dbać o jej korzenie, by dawała nam schronienie i poczucie wspólnoty, by stanowiła punkt odniesienia w zmieniającym się świecie. Tymczasem pamięć znacznie bardziej przypomina rzekę. Nie tylko nieustannie płynie i zmienia się, lecz także dzieli i wyznacza granice. Wierzymy, że trzeba pamiętać, by oddać sprawiedliwość przodkom, by być członkiem narodowej wspólnoty, by w przyszłości uniknąć tragedii. Rzadko jednak zastanawiamy się nad tym, jak łatwo pamięć staje się pożywką dla uprzedzeń, konfliktów, nawet nienawiści. Stosunki polsko-ukraińskie ilustrują ten mechanizm. Choć tyle mamy wspólnego w teraźniejszości, tak wiele dzielimy planów i obaw o przyszłość, nasze relacje wciąż układamy pod dyktando trudnej przeszłości. Nadarza się doskonała okazja, by o tym porozmawiać. Tysiąc lat temu spotkaliśmy się po raz pierwszy. Wojowie Bolesława Chrobrego przegonili za Bug rycerzy Jarosława Mądrego, obrzuciwszy ich inwektywami. Sto lat temu trwała bitwa o Lwów i wojna polsko-ukraińska. Pół roku temu polski minister pojechał do Lwowa, uwolnić z klatek kamienne lwy, symbolizujące polską przeszłość miasta. Spektakl „Lwów nie oddamy” powstał na podstawie materiału dokumentalnego. Wykorzystując wypowiedzi zebrane w wywiadach, ankietach i źródłach pisanych pokazuje, jak uprzedzenia i nienawiść karmią się pamięcią. **** FILMY DOKUMENTALNE DONBAS 11 września, godz. 17.00, Kino Muza scenariusz i reżyseria: Siergiej Łoźnica premiera: maj 2018 kraje produkcji: Niemcy, Ukraina, Francja, Holandia, Rumunia czas trwania: 110 min Akcja filmu rozgrywa się w Donbasie, wschodnim regionie Ukrainy, kontrolowanym przez liczne grupy przestępcze. Trwa wojna hybrydowa – konflikt pomiędzy ukraińską armią zasilaną ochotnikami a bojówkami separatystycznymi wspieranymi przez rosyjskie oddziały. Koszmar staje się udziałem ludności cywilnej. Z drugiej strony toczy się codzienne życie, a przez ekran przewija się galeria postaci: roześmiana młoda para, skonfundowany niemiecki dziennikarz, którego służby kontrolne biorą za faszystę, czy okradziony właściciel luksusowego auta. Siergiej Łoźnica w swoim najnowszym filmie fabularnym w hipnotycznym, pełnym groteski stylu zabiera nas w podróż przez Noworosję – państwo-widmo, w którym żołnierze nie wiedzą, kto nimi dowodzi, a sąd odbywa się na ulicy w postaci publicznych linczów. Tu propaganda uchodzi za prawdę, wojna za pokój, a nienawiść deklarowana jest jako miłość. Jedynym sposobem na przeżycie jest śmiech… Film został nagrodzony za najlepszą reżyserię w sekcji Un Certain Regard na Festiwalu Filmowym w Cannes. Donbas to opowieść o człowieczeństwie i cywilizacji w dobie postprawdy i fake newsów. O każdym z nas. JAZDA OBOWIĄZKOWA 12 września, godz. 17.00, Kino Muza scenariusz i reżyseria: Ewa Kochańska produkcja: Magdalena Borowiec / SQUARE film studio ltd. (Polska) premiera: listopad 2018 czas trwania: 72 min Dziesięcioletnia Julia Polniuk trenuje łyżwiarstwo figurowe. Ma coraz mniej czasu, aby odnieść sukces i spełnić oczekiwania swoich bliskich. Po wybuchu Euromajdanu jej rodzina wyemigrowała do Polski. Decyzję o przeprowadzce podjęła mama Julii, Marina. W dwa tygodnie spakowała walizki, wypisała dzieci ze szkoły, a nowo wyremontowane mieszkanie wystawiła na sprzedaż. Teraz rodzina Polniuków stara się o obywatelstwo polskie i rozpoczyna całkiem nowe życie w Warszawie. Bez pracy, zabezpieczenia finansowego i dobrej znajomości języka. Marina rzuca losowi wyzwanie, szukając w Polsce lepszych perspektyw na przyszłość dla swoich dzieci. Zrobi wszystko, aby miały lepsze życie niż ona. Największe nadzieje pokłada właśnie w Julii. W tym roku dziewczynka ma szansę wystartować w Młodzieżowych Mistrzostwach Polski. A za tym idzie sukces, uznanie i początek kariery sportowej. Julia próbuje sprostać oczekiwaniom mamy, ale jest jej bardzo trudno w nowym kraju, w nowej szkole, pod okiem wymagającej trenerki. Czy będzie w stanie rozwinąć skrzydła, niosąc ciężar cudzych ambicji i oczekiwań...? **** KONCERT OTWARTA. MUZYKA NA GŁOS I PIANINO / Вiдверта. Mузика для голосу і фортепіано 11 września, godz. 22.00, Malarnia, Teatr Polski w Poznaniu wokal i pianino: Alexandra Malatskovskaja / Олександра Малацковська czas trwania: 60 minut Koncert Alexandry Malatskovskiej – kompozytorki, wokalistki, pianistki i aktorki. Artystka jest autorką muzyki do licznych spektakli (m.in. Rozy Sarkisian, Oleny Apchel, Oleny Avdieievej) i filmów krótkometrażowych. Jej pierwszy solowy album Otwarta, z kompozycjami na głos i fortepian ukaże się w tym roku. Więcej na stronie http://teatr-polski.pl/bliscy-nieznajomi/

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heldvisionsarch · 3 years ago

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okay thinking abt how my ocs refer to people they’re associated with, within their cities, long post under the cut :

rhiannon : acting grandmaster gunnhildr, reconnaissance captain lawrence, cavalry captain albrecht, master ragdvi/ndr, miss noelle, ms. lisa, amber, albe/do, miss sucrose, grandmaster var/ka, timeaus, and sir / dame ( first name here ). all other citizens are referred to with mr, miss, mrs, ms, mx ( first name here )

salem : benny, fischl / o/z, guild master cyrus, captain ( knight lastname here ), grandmaster jean, adventurer ( first name here )

jason : the knights are referred to with titles, but by their first names. ( ie ; captain kae/ya, grandmaster jean, captain e/ula, ect ) mr, miss, mrs, ms, mx ( first name here )- all peers are reffered to by first names. roro ( andromache ), big sis ari ( arianne ), sel / lene ( selene )

ariane : only first names, no honorifics. ro ( andromache ), jace / jay ( jason ), sel / lene ( selene )

andromache : my master ( ski/rk ), miss lisa, grandmaster j/ean, mr ka/eya, master di/luc, miss eu/la calls the other older vision users who aren’t adults in potions of power by big bro / big sis.

selene : mostly follows andromache and jasons’ honorifics. some people will be reffered to as auntie / uncle ( first name ).

emi : your / her excellency ( k/oko/mi ), general g/orou, shognate soldiers are refereed to by last name only, but she uses first name with resistance members.

imogen : standard honorifics useage. ( mr, ms, mx, ect ) last name until told otherwise.

viktoriya : first name, no honorfics, unless dealing with people high up on the food chain, though she often refferes to others as ‘ darling ’.

#˗ ˋ 🌠 out of ﹕ WELCOME TO THE CRINGE AND FAILZONE !#˗ ˋ 🌠 worldbuilding ﹕ I'M SPRUCING UP YOUR GACHA GAME !#˗ ˋ 📖 yukimura emi ﹕ ONI DEFECTOR !#˗ ˋ 📖 ariane beaulieu ﹕ MOONGAZING CRYBABY !#˗ ˋ 📖 jason beaulieu ﹕ IMPERFECT SNOWFLAKE SQUIRE !#˗ ˋ 📖 salem mocháin ﹕ THE STARLESS SAINTESS !#˗ ˋ 📖 rhiannon stelaro ﹕ THE STAR—BRIGHT KNIGHT !#˗ ˋ 📖 andromache beaulieu ﹕ ORCHID RUNT !#˗ ˋ 📖 imogen drosselmeier ﹕ LAVENDER'S DEVOTION !#˗ ˋ 📖 selene beaulieu ﹕ STARRY EYED LASTBORN !#˗ ˋ 📖 viktoriya passerine ﹕ THE NIGHTINGALE SONGSTRESS !#long post /

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natsthinkitythinkthinkthonk · 7 years ago

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Top Ten Favourite Female Seiyuu

My first one didn’t do a whole lot of justice, so I decided to have another go at it! Here we go! Time to edit this up!

I notice that I didn’t include as many female seiyuu in my honourable mentions, but that’s because I had an easier time choosing here! I kind of knew what voices I liked from the beginning. I also don’t like the really high pitched annoying characters sometimes (with exceptions), so that was taken into consideration.

Some honourable mentions that I didn’t get the chance to mention were: Yuu Kobayashi, Ami Koshimizu, Chiwa Saito, Marina Inoue, Mai Nakahara, and Mamiko Noto. I love their voices and their roles, but I haven’t watched a whole lot of them either in anime or singing. I also seem to remember seiyuu more from their characters, and it’s a real shame that there aren’t as many female anime characters that are as well developed as their male counterparts which is why I don’t remember their characters as often. But most of it is just because I haven’t watched their major work yet.

Honourable Mentions:

Sakura Ayane

I just wanted to give a shout out to her because her performance of Uraraka is amazing, and she really nails her positive personality. She plays a range of other characters (sadly I haven’t watched most of them). I’ve been impressed by her other characters as well. Niwatori in Juuni Taisen has such an innocent personality at first, and even though it wasn’t a very good anime, she gave this character a lot of life despite being a character with only one episode of development. Haru in Nisekoi was the annoying little sister nobody wanted, but I’m proud of the fact that she makes me hate some characters that she plays because I think that’s the point most of the time. Suzuka from Tokyo Ravens is another example of this. That doesn’t mean she doesn’t have range though. Her role as Ryouko in Tsurezure Children surprised me. Roles: https://www.youtube.com/watch?v=yh6QDBvTn34 Singing: https://www.youtube.com/watch?v=OpV6YFq6SrU Bonus: https://youtu.be/DRUzKPD68W0

Aoi Yuuki

Range. Just range. I can’t tell it’s her ever. Just never. I originally knew her for voicing Tsuyu from My Hero Academia, but after searching her up, I realized her range. Even though I didn’t watch most of the anime she has done, just clips of it can give you the biggest shock of a lifetime. I didn’t realize she was Kayo from Erased, Madoka from Madoka Magica, Tatsumaki from One Punch Man, Diane from The Seven Deadly Sins, and Lulu in League of Legends. She apparently also games. Roles: https://www.youtube.com/watch?v=D7pnmeV3MD0 Singing: https://www.youtube.com/watch?v=Q1C4bmNIWyA

Aya Hirano

(I couldn’t find a gif of her, but have a Haruhi)

Okay, so maybe she has fallen off the grid for a bit, but the reason for some people now hating her is really stupid. I won’t get into it, but people are allowed to have lives outside of their work. Who would’ve known? Besides that, she is a talented singer who I know for voicing Lucy from Fairy Tail and Haruhi from The Melancholy of Haruhi Suzumiya. She is also known for her role as Konata in Lucky Star and Misa in Death Note. Roles: https://www.youtube.com/watch?v=dcDIA_VDyXA Singing: https://www.youtube.com/watch?v=WWB01IuMvzA (wow this song is catchy)

NOW FOR THE LIST!

10. Maaya Uchida

This is slightly bias because she did just such a good job playing Hiyori. I love her voice and can’t imagine anyone else playing one of my favourite characters. With that being said, I think the best role I’ve seen from her, but she has done a ton of other roles too. Takanashi Rikka from Chuunibyou demo Koi ga Shitai! is another role that stands out to me. She truly makes me want to believe alongside her with her “eighth-grade syndrome”. Alluka from Hunter x Hunter is a role I didn’t expect, but I thought for the few clips I watched it was amazing and bone-chilling. I haven’t watched Rea from Sankarea, Yusa from Charlotte, and a bunch of other roles. Roles: https://www.youtube.com/watch?v=YkGPh-BIoHo Singing: https://www.youtube.com/watch?v=KYSz35K8LaM

9. Mizuki Nana

Wow. I have a hard time recognizing her too, but maybe that’s because of her incredible range. On top of being a singer, she’s a tremendously talented voice actor. I know her as the soft-toned Hinata, but she has so many other roles. I haven’t watched a lot of her more prominent roles, but I have watched her as Hakuei Ren in Magi, Lan Fan in Fullmetal Alchemist: Brotherhood, and Kisaki in WWW.Working! She has several other roles that I haven’t watched. The reason she has been placed this high on this list is that of the range I’ve seen in her performance and that craziness of her voice. Roles: https://www.youtube.com/watch?v=SZpcbDTZhbw Singing: https://www.youtube.com/watch?v=qBO64zFAF1Q

8. Romi Park

(I couldn’t find a gif)

Yes. Her range is amazing. Edward Elric was given a voice by her. She is relatable, and she’s bilingual (and possibly trilingual) too! She speaks Korean and she has studied English! I haven’t watched a lot of shows with her in it (or at least completely), but here are a few roles that you might know her from. Ganta from Deadman Wonderland, Toshirou from Bleach, Temari from Naruto, Akane from Danganronpa, Switzerland from Hetalia, Angelina from Black Butler, Hange from Attack on Titan, and so many other roles! She’s really good at singing too! She’s so talented! Side note: She often represents Arakawa Hiromu (the mangaka of Fullmetal Alchemist), and I didn’t notice until now. Wow. Roles: https://www.youtube.com/watch?v=tgmvx1yfr4Q Singing: (in English apparently) https://www.youtube.com/watch?v=tgmvx1yfr4Q (Japanese) https://youtu.be/cWbMom6MDCE

7. Tomatsu Haruka

Weirdly, sometimes I have a hard time recognizing her voice. She has voiced such a large range of characters. She was one of the characters who gave me feels in Anohana where she played Anaru. I had so much fun watching a clip of Gintama’s genderbend where she played a female Gintoki. She was an independent protagonist in a shoujo as Shizuku in Tonari no Kaibutsu-kun and the Miyakoshi horrible cook who kills in WWW.Working. Other people might know her as Asuna from SAO, Megumi from Accel World, Shiro from Tokyo Ghoul, Ichika from Waiting in Summer, Rena in ReLife, Megumi from Shiki, and now you might know her as Zero Two in Darling in Franxx. But my favourite role from her is definitely Morgiana from Magi. She was such a badass, and I loved every minute with her on screen. She has so many other roles, and she sings really well too. Roles: https://www.youtube.com/watch?v=zQOmY_gFQrE Singing: https://www.youtube.com/watch?v=zwEofctFN3E

6. Kana Hanazawa

She has done so many characters and is really popular. I love a lot of her roles, but this list is full of only the best of the best, so number 6 isn’t that bad! I love a good number of the characters she does too. She made me absolutely despise her in Akame Ga Kill as Seryuu. She was great as Shiemi from Blue Exorcist and broke my heart a little as Kanade from Angel Beats. I loved her little side roles as Lucy from Bungou Stray Dogs and as Kougyoku Ren from Magi. Sonohara from Durarara, Natsume from Tokyo Ravens, Chiaki from Danganronpa, and Onodera from Nisekoi are just a few other roles I’ve watched from her. I hope to watch Psychopass, the Monogatari series, Orange, Sakurada Reset, and Steins;Gate. Roles: https://www.youtube.com/watch?v=VDC6SpI3xA0 Singing: https://www.youtube.com/watch?v=z-caezFDfTs

5. Sora Amamiya

She voices so many cool characters! Her portrayal of Akame was awesome. I was in it since then. But like all these other actors: range. I mean, Aqua from Konosuba is a character I despise, but she plays her brilliantly and makes me hate her so much. Other characters I’ve watched her play are Elise from Bungou Stray Dogs, Natsuki in Anthem of the Heart, Elizabeth in The Seven Deadly Sins, Touka in Tokyo Ghoul, and Shiho in WWW.Working. She has a lot of other roles too! Roles: https://www.youtube.com/watch?v=AaQsOj9RUOY Singing: https://www.youtube.com/watch?v=Q9IN61D92OY https://www.youtube.com/watch?v=rb85LQHEdqU Bonus: https://www.youtube.com/watch?v=SQR5UM9VeyE

4. Saori Hayami

She’s so cool. I’ve seen her play Chiriko from Anohana, Himawari from Boruto, Sharyuu from Juuni Taisen, and Emi from Your Lie In April. One of her most outstanding role for me was Shirayuki. I wouldn’t have it any other way because she gives her such a feeling of elegance, humility, and innocence. But one of the best roles I’ve seen from her is as Shouko from A Silent Voice. That movie shocked me and left me absolutely stunned. Her portrayal was timeless, moving, and amazing. I was hit in the feels, and her performance along with Miyu Irino will probably stay with me forever. She sings some good OPs, but she can also scream at the top of her lungs and play some insane characters. Just look at Kakegurui. I have only seen a couple of scenes from that anime, but there are so many other roles that I want to see from her! Serebryakova, Viktoriya Ivanovna from Youjo Senki, Urara from Yamada, Yukino from SNAFU, Yutsugi from the Monogatari series, Minami from Tokyo Ghoul (Jack), Shinoa from Owari no Seraph, Saki from Higashi no Eden, and several other roles! Roles: https://www.youtube.com/watch?v=AhBvZWG8oRQ Singing: https://www.youtube.com/watch?v=n_9PWDkqbcs

3. Rie Kugimiya

Okay wow. She’s amazing. Alphonse Elric has such a childish and innocent personality that was aided by her voice. She gave Taiga the perfect tsundere voice. She gives Kagura life and energy with her high-pitched voice. Those are my top three roles from her. Nobody else would ever be able to top those. Nora from Noragami is a character that I love to hate. I really want to watch her as Shana in Shakugan no Shana and as Juuzo from Tokyo Ghoul, and even though she doesn’t have as many roles that I want to catch up on, she plays three anime characters that I love. Her voice is the only one I hear when I see those three characters, and I would love to see her in other works as well. Roles: https://www.youtube.com/watch?v=mL6wgRNtkcc Singing: https://www.youtube.com/watch?v=ayJdEzhqQ0I

2. Maaya Sakamoto

Holy moly her singing voice is really good. Her relationship with Kenichi Suzumura is so sweet, and I wouldn’t have found out about him if it wasn’t for her. She can play little girls, boys, and wonderfully beautiful well-developed androgynous characters. Her role in Kara no Kyoukai as Shiki sends chills down my spine. It almost distracted from the fact that I had no clue about the timeline. She portrayed the craziest Crona in Soul Eater was absolutely insane. Scherezade from Magi was another role I’ve seen from her. Nino from Arakawa Under the Bridge was so quirky and wonderful, and I loved her weirdness. Haruhi was another role from her that I absolutely loved. She was calm, talented, and played a nice protagonist that I liked compared to the rest of the main cast. But I have so much catching up to do on her other roles because she has so many! Motoko from Ghost in a Shell, Falangies from Arslan Senki, Shinobu in the Monogatari series, Ciel in Black Butler, Merlin in the Seven Deadly Sins, and Eto and Sen from Tokyo Ghoul. She is such a badass because she plays a lot of cool characters. Roles: https://www.youtube.com/watch?v=coN0PuJrp_o Singing: https://www.youtube.com/watch?v=5j74CRP-QCA https://www.youtube.com/watch?v=4SL_Hd4ItPw

1. Miyuki Sawashiro

She is honestly such a nice person. I watched a segment with her and her brother. She sounds like an awesome older sister. She plays so many badass women. Bishamon is honestly such a caring badass goddess who takes in people because she wants to care for them. She is a respectable goddess who is one of my favourite Noragami characters. Celty is a mysterious biker who is also a badass. Even though she barely speaks literally in Durarara, Miyuki reads her texts perfectly. The quest to find what she has been missing is one of my favourite sides of the story. Seo from Gekkan Shoujo is an inspiration who I love to this day. She’s one of my favourite characters, and I always rewatch her scenes. I have also seen her as Kusaribe in Zetsuen no Tempest (which I didn’t really like), Isasawa in Angel Beats, Touko in Danganronpa, Ul and Ultear in Fairy Tail, and Ayane in Kimi ni Todoke. I want to watch a lot more anime with her in the future including Shion in Psychopass, Sugura in the Monogatari series, Toto Sakigami in Deadman Wonderland, Seri in K, Shane in Charlotte, Kira in Btooom, Leona in Yamada, Himeko in Kokoro Connect, Kana in Kiseijuu, and Kurapika from Hunter x Hunter. I love her voice and her singing. She apparently knows how to play the piano too. I can’t even express in words how much respect I have for her. Roles: https://www.youtube.com/watch?v=lAcgJyuO5rM Singing: https://www.youtube.com/watch?v=4AM5OaDR-5U Bonus: https://www.youtube.com/watch?v=oBhlM0UpHLU

I think this concludes the list. I had such a hard time coming up with the order. I love my female seiyuu picks, and if you know anyone that I missed that I should’ve mentioned, just tell me! There aren’t that many female seiyuu Tumblr accounts though, so if you know any, send those to me too!

Shout out to @akaskira for this idea!

#miyuki sawashiro #maaya sakamoto #haruka tomatsu #rie kugimiya #romi park #kana hanazawa #saori hayami #maaya uchida #aoi yuuki #nana mizuki #sora amamiya

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ao3feed-drstrange · 5 months ago

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ᴘʀɪᴢᴇ ғᴏʀ ɪɴғɪɴɪᴛʏ | ᴍᴄᴜ | ᴡᴛᴍ

read it on AO3 at https://ift.tt/SjMPIld by EllizabethStark 𝐏𝐫𝐢𝐳𝐞 𝐟𝐨𝐫 𝐈𝐧𝐟𝐢𝐧𝐢𝐭𝐲 | 𝐌𝐂𝐔 | 𝐖𝐓𝐌 🔵🔴⚫⚪ [𝚁𝙾𝚉𝙴𝙿𝚂𝙰́𝙽𝙾] „𝓓𝓮𝓪𝓽𝓱 𝓲𝓼 𝓷𝓸𝓽 𝓽𝓱𝓮 𝓰𝓻𝓮𝓪𝓽𝓮𝓼𝓽 𝓵𝓸𝓼𝓼 𝓲𝓷 𝓵𝓲𝓯𝓮. 𝓣𝓱𝓮 𝓰𝓻𝓮𝓪𝓽𝓮𝓼𝓽 𝓵𝓸𝓼𝓼 𝓲𝓼 𝔀𝓱𝓪𝓽 𝓭𝓲𝓮𝓼 𝓲𝓷𝓼𝓲𝓭𝓮 𝓾𝓼 𝔀𝓱𝓲𝓵𝓮 𝔀𝓮 𝓵𝓲𝓿𝓮." V roce 2017 dva roky po Civilní Válce která se stala trochu jinak než Wanda doufala, je klid a přesto stojí na pokraji války o lidskost, o celý svět. Když se kameny nekonečna rozhodnou že cena bude příliš velká, a že je potřeba zasáhnout, každý jeden z nich musí být dohnán svou minulostí a tím kým byli, tím kým jsou a tím kým budou v budoucnosti. Musí sledovat svoje životy na obrazovce, a potřebují se připravit na budoucnost která by je mohla všechny zničit, nebo ne. Words: 106, Chapters: 1/?, Language: Čeština Fandoms: Marvel Cinematic Universe, The Flash - All Media Types Rating: Teen And Up Audiences Warnings: Graphic Depictions Of Violence, Major Character Death Categories: F/F, F/M Characters: Stephen Strange, James "Bucky" Barnes, Lucifer Morningstar, Tony Stark, Loki (Marvel), Barry Allen, Steve Rogers, Pietro Maximoff, Alexsander Romanov, Thor (Marvel) Relationships: Stephen Strange/Katherine Banner, James "Bucky" Barnes/Ellizabeth Stark, Lucifer Morningstar/Hayley Barnes, Tony Stark/Viktoriya Romanoff, Loki/Cameron Maximoff, Barry Allen/Rosemary Romanoff, Steve Rogers/Isabelle Barton, Pietro Maximoff/Rebecca Fury, Alexsander Romanov/Persiphone Odinsdottir, Thor/Clarisse Rogers Additional Tags: Not Wanda Maximoff Friendly read it on AO3 at https://ift.tt/SjMPIld

#IFTTT #stephen strange #dr strange #sorcerer supreme #marvel #the avengers #ao3 #ao3feed

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vm4vm0 · 4 years ago

Video

vimeo

Club Kuru - I'm Still a Man (Director's Cut) from Will Dohrn on Vimeo.

Club Kuru: I'm Still a Man - Director's Cut

*This film was shot entirely in camera. All of the wing mirror reflections you see in this film are 100% real.

A journey of a man trying to escape his 'shadow'. Behind the scenes photos on my website - willdohrn.net/portfolio/im-still-a-man-1

'In Jungian psychology, the "shadow" refers to an unconscious aspect of the personality which the conscious ego does not identify in itself, or the entirety of the unconscious, i.e., everything of which a person is not fully conscious. In short, the shadow is the unknown side.

Because one tends to reject or remain ignorant of the least desirable aspects of one's personality, the shadow is largely negative. There are, however, positive aspects that may also remain hidden in one's shadow, especially in people with anxieties, and false beliefs.'

Huge thanks to everyone that worked so hard on making this happen.

Cast

Gordon Bibby Pete Cuffe Bentley Kalu Viktoriya Valcheva Ines Michelotto Ratiba Ayadi Tabitha Avanzato Susan Daniel Bunny Bread

Crew

Director - Will Dohrn Producer - Callum Harrison Producer - Tom O’Driscoll DOP - Spike Morris Executive Producer - Aaron Z. Willson Production Company - Ground Work

1st AD - Alfie Knight Focus Puller - Orlando Morris Grip - Neil Blakesley Gaffer - Hélio Ribeiro Electrician - Matt Simons Trainee Electrician - Catarina Rodrigues Casting - Coralie Rose Casting - Carmen Young Art Director - Phoebe Platman Art Dept. Assistant - Naomi Lily-Block Stylist - Vanessa Aller Colourist - Jon Howard Editor - James Deason Runner - Amy Madden Stylist Assistant - Tom Basi Make Up Artist - India Excell

Special Thanks

Callum Harrison, Spike Morris, Tom O’Driscoll & Laurie Erskine.

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sportpolls · 6 years ago

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Видео обзор матча Виктория – Динамо З смотреть онлайн - 14.02.2019

Новый пост опубликован на https://sportpolls.ru/video-obzor-matcha-viktoriya-dinamo-z-smotret-onlajn-14-02-2019/

Видео обзор матча Виктория – Динамо З смотреть онлайн - 14.02.2019 - Обзоры футбольных матчей

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topmixtrends · 7 years ago

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IT’S HARD TO MISS the similarities between Cristian Mungiu’s Graduation (2016) and his breakout film 4 Months, 3 Weeks and 2 Days (2007). Both films focus on a single protagonist engaged in an all-consuming quest on someone else’s behalf. Each unfolds over a very short time period — one day, in the case of 4 Months; three days, in the case of Graduation. Each film either begins or concludes with a moment of sexual violence against women. And both are defined cinematographically by tight framing and long takes, the sense of urgency and paranoia that have become synonymous with Mungiu’s style. The vision they advance is that of the world as a cruel place where violence simmers under the surface of everyday life. The similarities between the two films — one set in 1987, the other in 2015 — led many reviewers to conclude that Graduation was Mungiu’s attempt to point out how little has changed in Romania in the 25 years since the fall of the Ceaușescu regime. But Graduation is also a meditation on the shifting line between East and West and a first attempt to sketch out the existential situation of the post-1989 generation: those born and raised entirely after the collapse of the Soviet Union and the Three Worlds system.

Where 4 Months centered on two friends, Graduation focuses on an intergenerational father-daughter duo. Romeo (Adrian Titieni) is a highly respected doctor in Cluj, bent on ensuring that his daughter Eliza (Maria-Victoria Drăguș) is able to emigrate to the West. Having come of age before the fall of communism, Romeo conceptualizes the world in terms of a clear East/West divide. Halfway into Graduation, Romeo finds himself chatting with his old friend, the police inspector (Vlad Ivanov), at the top of a mountain ski resort just outside the city. The two middle-aged men look westward and reminisce about going up the mountain in their youth. “The view this way doesn’t look as good anymore,” the police inspector says. “Yes, the trees have gotten too high, you can’t see past them,” Romeo retorts. His willful interpretation of the inspector’s critique of “the West” in the most literal manner possible is consistent with his idealism: his idea that “over there” things work differently — that state institutions are less corrupt, that individuals are promoted based on their merit and not their family’s connections. Eventually, we learn that Romeo and his wife Magda (Lia Bugnar) had emigrated to the West in the 1980s but returned when the Ceaușescu regime fell in the hopes that they could help build a better, more honest Romania. It is no surprise, then, that Romeo’s utopian vision of the West feels antiquated, frozen in time: it belongs to an older political framework.

Eliza’s sense of her place in the geopolitical scheme of things is never fully articulated (presumably, because Mungiu himself is closer in age and sensibility to Romeo). She certainly belongs to the more global Generation Z, a generation defined simultaneously by increasing cultural homogeneity across borders and the revalorization of the local that homogeneity has inspired. As the film progresses, it becomes clear that Eliza feels deeply ambivalent about the possibility of emigration. She appears skeptical of her father’s beliefs and reluctant to live out the life he has planned for her. The film concludes with Eliza asserting her right to decide — for herself — whether she stays or goes.

Although the film portrays certain parent-child dynamics that are universal, one wonders to what extent Eliza’s resistance is informed by recent shifts in Europe’s political geography. For a film that explicitly addresses the dream of the West and the problem of the Eastern European brain drain, it is surprising that the European Union is never mentioned. After all, Romania, together with Bulgaria, joined the EU in 2007, when Eliza’s character would have been only 10 years old. The only indication of the EU’s presence in the film, however, is a basic plot point: Eliza needs to take the state-wide exam entitled, like the French one, baccalauréat, to receive her high school diploma because that is the European standard. Shouldn’t other administrative reforms, the greater oversight demanded by the European community, have wrought greater changes in the intervening years? Mungiu speaks through this omission about a fact that is loudly discussed in many Eastern (and not so Eastern) European kitchens: the twilight of the European project.

At first glance, Graduation might not have much in common with Deniz Gamze Ergüven’s Mustang (2015) and Kirill Serebrennikov’s The Student (2016), two other films from “the East” that have done remarkably well on the festival circuit. The films come from Romania, Turkey, and Russia — countries with vastly different histories. Yet all three attest to the darkening of the skies over the Western horizon and the resurgence of archaic forces that these countries believed to have left behind in their 20th-century efforts to secularize, modernize, equalize. If in Graduation these forces are nepotism and corruption — along with the sense that Romanian society is a morass impervious to progress — the situation presented in Mustang and The Student is far more dire. Both films portray the revival of religious fundamentalism in their respective countries with all the familiar, dreadful repercussions for women, gay and transgender people, and so-called “freethinkers.”

In all three films, the generation gap is the principal narrative device through which these resurgent forces emerge. Like lab specimens on specially prepared slides, the films’ teenagers are caught between two advancing panes of glass: increasing skepticism toward the Western liberal project on the one hand, and the threat of regression into religious or nationalist dogma on the other. The films struggle to balance a sociological impulse with an accusatory tone as they set about interrogating the failure of their respective states to make good on the promise of that emancipatory moment, back in 1989: “Where are we 25 years later?” they ask. “Why the stagnation across the board? Why the radical turn to the right?”

Mustang, now available on Netflix, focuses on five orphaned sisters who go to live with their traditional grandmother (Nihal Koldaş) and uncle (Ayberk Pekcan) in a village in Eastern Turkey. The girls are spotted playing on the beach with some boys, and rumors begin to circulate. From that day on, the girls are no longer allowed to return to school and find themselves increasingly imprisoned inside the house. They must shed their jeans and tennis shoes for long, modest dresses, and spend their days learning the finer domestic arts. After the girls run away to attend a soccer match, their grandmother begins to marry them off one by one. With the oldest two sisters out of the house, it becomes apparent that the uncle is sexually abusing the middle sister, Ece (Elit İşcan), at night, and has, perhaps, abused the others. In the end, only the younger two sisters manage to escape — westward — to Istanbul.

The Russian film, The Student, serves as a rejoinder to Mustang, highlighting the power men stand to gain at the expense of subalterns. Given that the screenplay is based on a German play (Marius von Mayenburg’s Märtyrer), the film is appropriately set in Kaliningrad, formerly a German city known as Königsberg. That the city was also home to Immanuel Kant makes it the perfect stage for a battle between religious fundamentalism, incarnated by teenager Veniamin Yuzhin (Pyotr Skvortsov) and Enlightenment reason, performed by his Jewish-born, atheist biology teacher, Elena Krasnova (Viktoriya Isakova). Having read and seemingly memorized the entirety of the New Testament, Venya, as he is more commonly called, sets out on a crusade against what he sees as the moral decadence of his school. He exasperates his female classmates with his admonitions that they dress and behave more modestly, and his teachers with lengthy quotations from the Bible that contradict their curricula, from the theory of evolution to the Industrial Revolution. He does not even spare institutionalized religion, informing the school’s priest, Father Vsevolod (Nikolay Roshchin), that he is nothing but a venal phony, more interested in gold than in God. It is not long before he has the largely female school administration giving in to his demands. Venya’s most admirable foe and the only adult in the film who refuses to bend to his will, proves to be the biology teacher; his only supporter is a gay classmate named Grisha (Aleksandr Gorchilin), who is madly in love with him. The film concludes with a homicidal explosion of anti-Semitism and homophobia the likes of which have never before been seen in a Russian film.

In addition to directing films, Serebrennikov is also a prominent theater director in Russia. The Gogol Center, his Moscow theater, is known as a bastion of artistic freedom and liberal values. At the end of August 2017, just over a year after The Student premiered at Cannes, Serebrennikov was placed under house arrest in what was widely perceived to be government payback for his theater’s progressive agenda. (He was charged with embezzlement of government funds.) Serebrennikov’s biography leaves no doubt about his own ethical and political commitments, and reviews of the film over the past year — overwhelmingly positive — did not fail to connect the story to Putin’s reintroduction of compulsory religious education into Russian public schools three years prior. Still, viewers might wonder why the director decided to give so much screen time to a reactionary and hateful position. Doubtless, Serebrennikov wanted to show how seductive religious fundamentalism can be, as well as how weak liberal institutions are against its onslaught. But he has succeeded all too well. Despite the horrific acts he commits, Venya’s energy, focus, and — dare I say, chutzpah — make him a far more compelling character than his materialistic and sex-crazed classmates, the conciliatory administrators, or the increasingly (and I wince as I write this) hysterical biology teacher. Like all coming-of-age stories since time immemorial, from Fanny Burney’s Evelina through J. D. Salinger’s The Catcher in the Rye, the protagonist’s initiation into adulthood becomes an occasion for social critique; his or her (real or self-proclaimed) innocence becomes a device for revealing society’s hypocrisy.

Graduation and Mustang, though far more straightforward, work in a similar way. Their young, female characters are the victims of violence rather than its perpetrators; their confrontation with adult society might be something that happens to them rather than something that they actively provoke, the way Venya does. But the confrontation still takes place, and it is inevitably violent. All of the films’ teenagers live with the constant threat of rape. Eliza is nearly raped, but manages to fight off her aggressor in the episode that sets off the chain of events in Graduation. In Mustang, the sisters must either submit to sex with a complete stranger when they are married off, or else suffer their uncle’s nighttime intrusions. [1] Finally, in The Student, we find not one but three instances of sexual violence. First, Venya himself is sexually aggressed by one of the girls he’s been taunting in school. Then, he falsely accuses the biology teacher of having touched him inappropriately in order to have her fired. In the end, Venya eventually catches on to the fact that his only “disciple” is sexually attracted to him, and flies into a violent rage. (“The student” is a poor translation of the Russian title, which is a pun on the words “disciple” and “martyr.”)

In this climate, where sex is brutal and virginity sacred, adults prove absent or ineffectual guides for the films’ pubescent figures. The idea of “bad parenting” then presents itself as a kind of accusatory metaphor for the failure of one generation — the one that lived through 1989 as adults — to construct a safer, gentler, and more stable world for their children. It is hard to determine, however, just how big of a claim each of these films wants to make about the society it is portraying. All three seem to be equally invested in conveying the texture of everyday life while reviving some of the least modern genres, those least amenable to realism: Graduation is a morality tale; Mustang, with its five princesses who must escape an evil ogre, a fairy tale; and The Student — that most Biblical of all genres, a parable. This formal choice might appear strange at first. Why choose genres defined by their very universality to tell stories that trade in historic and cultural particularity? Morality tales, fairy tales, and parables are, of course, known as instructional genres. More than that, however, all three are involved in the process of transmission, in the passing down of wisdom from one generation to the next. What better choice, then, to comment ironically on the intergenerational breakdown at the heart of all three films?

If the generation that lived through 1989 as adults failed their biological children, so, too, Graduation implies, did the European Union fail its adoptive children — the most recent, Eastern European members. In this latter case, however, it was not a failure to provide something (more stable institutions, a stronger economy), so much as a failure to hold these countries accountable, to set up rules and boundaries that would help them overcome their “bad habits.” Consequently, the films demonstrate that the East/West divide persists both within the European Union, and beyond its borders.

Even if “Europe” has lost much of its luster, the “West” as a whole still remains an internal reference point, an organizing principle. These films address a Western audience, as any film hoping to attract critical attention on the festival circuit does. Tellingly, too, the characters all still speak from a position clearly identified as lying outside of the West. In Graduation, Romeo’s home, though situated in a communist building block, is filled with antiques that recall the time when Romania was part of the Austro-Hungarian Empire (and thus more a part of Europe). The soundtrack — all exclusively diegetic, coming from Romeo’s CDs or the radio — prominently features Handel. The “West” remains aspirational, something that has to do with a sense of harmony and peace, something that may be approached through art but that is still an “elsewhere.” Mustang and The Student, in turn, emphasize their position at the border of Europe. The seaside locations (the first takes place by the Black Sea, the latter by the Baltic Sea) already suggest a kind of liminality, which the dual identity of Istanbul/Constantinople and Kaliningrad/Königsburg further reinforces. [2] In The Student, the West is associated with the “cosmopolitan” (the old Stalinist code word for “Jewish”) teacher and her values: the power of reason, the equality of men and women, the importance of the division between church and state. In Mustang, the viewer finally lets out a sigh of relief, knowing the girls “have made it” only when we see them cross the Bosphorus, from the Asian to the European part of Istanbul.

The inevitable question the protagonists face is not, however, “Should I stay or should I go?” as it once was, but “Can I even get out?” The mobile camerawork reinforces the characters’ sense of frustration as they rove around highly contained spaces, be they a city (Graduation), a single home (Mustang), or a school (The Student). The sense of claustrophobia that emerges makes the viewers yearn for an Outside, but its existence is increasingly under question. The difficulty for these teens, we come to understand, lies both in disentangling themselves from the forces holding them back and a lack of faith in the destination.

Despite their structural and stylistic similarities, each of these films responds to the challenge differently. Mustang, perhaps because it was made by a director who herself grew up “outside,” in France, is (literally) the sunniest: not only do the two younger sisters make it to Istanbul, but we also do not worry about the fate that awaits them in the city. The girls are miraculously able to locate a “good fairy,” their former teacher, who welcomes them in with open arms. The Student, with its reappropriation of a German play, strongly implies that there is no Outside, that the forces of nationalism and religious fundamentalism that it depicts are latent in every society and may emerge at any moment. In Russia, perhaps, it has simply happened sooner or more easily. The film beseeches its viewers not to give up, to follow the biology teacher’s example as, in the final scene, she nails her shoes to the floor, proclaiming her right to stay in the school and, by extension, in present-day Russia. The attitude of Graduation is, perhaps, the most ambivalent. We understand perfectly why Romeo goes to such lengths to get his daughter to the United Kingdom, and we also admire her desire to stay. Graduation suggests that some dreams — even outdated ones — are simply too hard to give up on.

I would like to thank Marijeta Božović for suggesting “bad parenting” as a playful term for the intergenerational dynamic here, and Victoria Baena for helping me think through the role of genre in these films.

Masha Shpolberg is a PhD Candidate in the joint Comparative Literature and Film & Media Studies Program at Yale University. Her work focuses on Eastern European cinema and the evolution of documentary film form.

[1] It should be noted that the film does offer two alternatives: one of the sisters manages to convince the family to marry her off to the boyfriend she loves, and Ece, before committing suicide, finds a (questionable) way to rebel and take charge of her body by inviting an unknown young man to have sex with her in the car while her uncle runs some errands.

[2] Recent Russian cinema in general seems to be quite interested in the question of provincial youth. Two other recent, successful films addressing this topic have taken place far away from Moscow: Nigina Saifullaeva’s Name Me in the Crimea (the film came out just before Russia annexed the peninsula), and Natalia Meshchaninova’s The Hope Factory in the industrial city of Norilsk, located in the Far North, above the Arctic circle. Both scripts were written by Liubov’ Mul’menko. The films came out in 2014.

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