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KIRSTEN COSTAS
KIRSTEN COSTAS
23 July 1968 – 23 June 1984
DEATH OF A CHEERLEADER
            Kirsten Costas was an American high school student who was murdered by her fellow classmate, Bernadette Protti. Kirsten lived in Orinda, California and was a member of the swim team and cheerleading squad. At school Kirsten was popular, a cheerleader and known for her charisma. Bernadette was jealous of her or simply wanted to be like her. She was desperate to be close friends with Kirsten and when she felt rejected, she wanted revenge.
Kirsten was murdered in 1984, aged 15. Bernadette was lured into Kirsten’s family vehicle with a fake invitation. When Kirsten found out there was no dinner or party, she became angry, and the girls had an argument. Kirsten got out of Bernadettes vehicle and ran to a nearby house and told the owners, Alex and Mary that her friend went ‘weird’ and asked if she could use their phone. Kirsten was unable to reach her family via phone, so Alex agreed to drive her home. Alex later told police that he noticed a vehicle following them.
When Alex dropped Kirsten to her home, she walked up to her front door, and as Alex was to drive away, he thought he saw Kirsten having a fist fight with another person. What he witnessed was Bernadette stabbing Kirsten five times and then fleeing the scene. Kirsten’s neighbours discovered Kirsten wounded body and on arrival at the hospital she died.  
The police took six months to discover who Kirsten’s killer was. Investigators were suspicious of Bernadette due to her lying during questioning. An FBI officer told Bernadette that they knew she killed Kirsten and that she would be arrested. Bernadette wrote her mother a letter with a confession, and she was then arrested. Investigators believe that Bernadette never intended to take Kirsten to a party or dinner and planned to kill her that night. Kirsten served seven years in prison and was released in 1992, aged 23 and changed her name.
There’s been two film adaptions made based on this crime which you can watch for free on YouTube. In both films the victim is portrayed with blond hair and the perpetrator as a brunette. In real-life it was the other way round; Kirsten was brunette, and Bernadette was blond. The film A Friend to Die For (also known as Death of a Cheerleader) (1994) starred Tori Spelling and remains a favourite with viewers. A remake called Death of a Cheerleader (2019), featured Sarah Dugdale as the victim.
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#kirstencostas #bernadetteprotti #deathofacheerleader #afriendtodiefor #torispelling #sarahdugdale
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alldancersaretalented · 5 months ago
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Choreographers and where they danced at
ALDC
Rachel Kreiling (NYCDA Faculty) Gianna Martello (ALDC Faculty)
Bobbie’s School of Performing Arts
Mandy Korpinen (Radix Faculty)
Bolero
Nika Kljun (Jump Faculty)
CC & Company Dance
Kirsten Russell (Jump Faculty)
Center Stage Performing Arts Studio
Ashly Costa (Nuvo Faculty) Jenna Johnson (24Seven Faculty)
Club Dance Studio
Kalani Hilliker Brynn Rumfallo (Club Dance Faculty) Jaycee Wilkins (Club Dance Faculty)
Dance Academy USA
Cindy Salgado (NYCDA Faculty)
Dance Connection 2
Erica Marr (Jump Faculty and Club Faculty)
Dance Connections (Greensboro)
Jared Grimes (NYCDA Faculty)
Danceology
Alexa Huey (Danceology Faculty) Jackie Mougel (Danceology Faculty)
Dance Precisions
Molly Long (Jump Faculty and Project 21) Scott Myrick (Pave Faculty) Lonni Olsen (The Space Faculty) Jessica Riches (the Space Faculty)
Dance Town
Rudy Abreu (Dance Town Faculty) D'Angelo Castro (Dance Town Faculty) Ruby Castro (Dance Town Faculty) Easton Payne (Dance Town Faculty) Camila Schwarz (Jump Faculty)
Dance World Academy
Mristen Gorski (Nuvo Faculty)
Denise Smith Dance Studio
Akira Uchida (Jump Faculty)
Denise Wall's Dance Energy
Travis Wall
DC Dance Factory
Elizabeth Petrin (24Seven Faculty)
Elite Dance By Damian
Chelsea Sebes (Evolve Dance Complex)
Evolve Dance Complex
Lauren Herb (Evolve Dance Complex Faculty)
Focal Point Dance Studios
Angela Cifone
Haja Dance Company
Madi Mac (Evolve Dance Complex Faculty)
Joanne Chapman School of Dance
Shannon Mather (24Seven Faculty and Mather) Blake McGrath (24Seven Faculty)
Just Plain Dancin'
Kenzie Fisher (K2 Studios) Kierra Fisher (K2 Studios)
Kathy Haller School of Dance
Julia Pearson (Danceology Faculty)
Kerry Smith's Academy of Dance Arts
Michael Keefe (Jump Faculty)
Larkin Dance Studio
Eva Igo Madison Jordan (Larkin Faculty) Taylor Sieve (Jump Faculty) Mackenzie Symanietz (Larkin Faculty)
Le Studio
Suzi Taylor (NYCDA Faculty)
Mary Alice's Dance Studio
Ali Dietz (NYCDA Faculty)
Master Ballet Academy
Sophia Lucia
Mather Dance Company
Kenzie Fisher (K2 Studios) Kierra Fisher (K2 Studios) Emily Madden (Mather Faculty) Autumn Miller (The Space Faculty) Lonni Olsen (The Space Faculty) Jessica Riches (The Space Faculty) Lexie Rosenstrauch (Mather Faculty) Nicole Smith (Mather)
Michelle Latimer Dance Academy
Kayla Radomski (Radix Faculty) Dana Wilson (NYCDA Faculty)
New Jersey Tap Ensemble
Jason Janas (Radix Faculty)
OCPAA
Hannahlei Cabanilla (Jump Faculty) Rheana Tumang (Studio X)
Pelagie Green Wren Academy of Dance
Kelby Brown (24Seven Faculty)
Perry Mansfield School of the Performing Arts
Jess Hendricks (24Seven Faculty)
Plumb Performing Arts
Jordan Pelliteri
Project 21
Selena Hamilton Addison Moffett Kelly Sweeney
Royal Dance Works
Jaci Royal (24Seven Faculty and Royal Flux)
School of the Arts
Brooke Pieroti (24Seven Faculty and TDC of SF)
Studio 19 Dance Complex
Courtney Schwartz (Radix Faculty)
Taps & Company
Chloe Arnold (NYCDA Faculty)
The Academy of Dance Arts
Madi Hicks (24Seven Faculty and Moving Forward Dallas)
The Dance Club
Joey Dowling (NYCDA Faculty)
The Dance Company of San Francisco
Chantel Aguirre (Nuvo Faculty)
West Coast School of the Arts
Lex Ishimoto (Jump Faculty) Jazelle Torre (Club and Project 21 Faculty)
Westside Dance Project
Megan Goldstein
Westside Ballet
Kim Craven (NYCDA Faculty)
??
Chaz Buzan (Radix Faculty) Tina Caspary (Radix Faculty) Danny Lawn (24Seven Faculty and Club Faculty) Ashley Moffitt (Club Faculty) Nick Meola (Nuvo Faculty and Danceology Faculty) Nick Young (24Seven Faculty)
feel free to send me a message or anon if there are people missing (which I know there are)!
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morbidology · 9 months ago
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On June 23, 1984, 16-year-old Bernadette Protti invited 15-year-old Kirsten Costas under false pretenses to an initiation dinner for the Bob-O-Links, a junior league-style volunteer group at Miramonte High School in Orinda, California.
Expecting a dinner for the new members, Kirsten became upset upon discovering there was none. Protti then suggested they attend a nearby party, but Kirsten declined and exited the car in frustration.
Seeking help, Kirsten approached a nearby house and explained that her friend had acted strangely, requesting a ride home. Agreeing to assist her, the occupants of the house accompanied Kirsten to her front door. However, as Kirsten stood on her porch, Protti, who had followed them in her own car, emerged and viciously stabbed her five times.
The motive for this seemingly random act of violence remained unclear until Protti confessed to her parents through a letter, detailing feelings of jealousy and inadequacy that culminated in Kirsten's murder. Protti expressed bitterness over perceived social slights, such as losing out on cheerleading and desired club memberships, which she believed Kirsten embodied.
During the trial, the defence painted a picture of Kirsten as a bully who taunted Protti for her socioeconomic status and allegedly threatened to expose her as gay. These provocations were cited as contributing factors to Protti's actions.
Despite the prosecution's push for first-degree murder charges, the judge ultimately sentenced Protti to second-degree murder. She was released on parole in 1992 under a new identity.
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imaven · 4 months ago
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' no me gusta estar aquí solo. ' en la costa rocosa con @calebine
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necesitaba distraerse, ocupar cada minuto despierto en la misión, o volvería a encerrarse en su habitación a marcar a alguno de los números que había rastreado en su búsqueda, alguno debería haber contratado a kirsten, y si seguía recibiendo negativas, buscaría otro. hasta poder abandonar el recinto. buscó un poco de equilibrio, elevando ambos brazos, al pisar la siguiente roca, a medida que la noche se acercaba, la marea se volvía un poco más agresiva. ‘ ya nos vamos, quiero ver si habían runas por acá ’ se inclinó un poco y lo que pensó que sería una buena pista, fue producto de su imaginación. ‘ uh — son arañazos, ¿no? ’ apuntó con su mentón en dirección a la roca, o quizás marcas del tiempo, no pasó mucho rato para que una nueva marejada impactara con sus zapatos. ¿y los de caleb? ‘ ¿te mojaste? ’ no quería mirar, lo iba a matar, más por la risa que estaba ahogando. 
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blckbile · 1 year ago
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“what should I tell mom about quitting the cheer squad? i don’t want her to be mad at me for doing what i did but i’m just not comfortable with cheerleading” / Imogen to Stu <3
"I don't tell mom anything anymore. Don't tell her. Just make sure her wine glass is always filled, then just say these three words - Kirsten Costas. 1984. I'm uncomfortable with you cheerleading, what if you get stabbed. MOM, WHAT IF IM GETS STABBED!" Stu really did watch too much true crime and the dark was in his humor.
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dan2theyell · 2 years ago
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tilbageidanmark · 2 months ago
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MOVIES I WATCHED THIS WEEK (#199)
4 MORE TURKISH CLASSICS:
🍿 BURNING DAYS, a slow-burn, overlooked thriller-Noir about a strait-arrow youngish state prosecutor arriving in a remote little town in Anatolia, where he discovers, to his detriment, that it is rife with political corruption. Tense and surprisingly-ambiguous, with a latent homo-erotic sub-plot (which obviously caused a scandal in Turkey when it screened). There are subtle metaphors of a boar hunt, xenophobia and massive sinkholes on the playa around the town, which adds complexity to the suspense. Underrated and recommended - 8/10.
(This is the 1,000th film that I've seen this year.... Congratulations?...)
🍿 VANISHED INTO BLUE (2012) is a quiet little masterpiece, played in one unassuming tracking shot. A boiling kettle slowly steams a mirror on the wall, and the story is told as a reflection in that mirror. A middle age woman is serving a meal to her husband, who's about to give her some disturbing news. 10/10.
🍿 In Nuri Bilge Ceylan's CLIMATES (2006) he and his real-life wife play a couple whose marriage falls-style apart. Anybody who ever lived through a relationship that painfully disintegrates, will be able to recognize the pains here. Not as searing as Bergman's 'Scenes from a marriage', or as devastating as 'A Marriage story', this is a slow-burn and silent masterpiece. The film is told from the husband point-of-view, even though he's a mildly-unsympathetic, mildly-chauvinistic asshole. There's even a "Western-style" rape-game scene that is unsettling. 8/10.
This is my 8th film by Ceylan. He is such a classic story-teller, and each of his movies deals with different topic in all too different environment, but all are so humane. The only films of his I haven't seen by now are 'The small town' and 'Clouds of May', which are next in line.
🍿 LAW OF THE BORDER (1966) was one of the first realistic films of the "New Cinema" in Turkey. The Neo-Western story took place in a poor, primitive village, dependent on subsistence smuggling and sheep farming. It was re-discovered and restored by Martin Scorsese's 'World Cinema Foundation'.
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2 POLITICAL THRILLERS:
🍿 "Nobody gives a shit of what happens in Northern Ireland..."
HIDDEN AGENDA (1990), my 7th film by Ken Loach. A straight political thriller, so very different from all the social-realist dramas of his that I've seen so far. Younger Logan Roy and Frances McDormand and the complicity of the British security forces in pure terrorism upon the Irish. And the conspiracy goes all the way to evil Margaret Thatcher! Of course, the film was "controversial" among right-wing Brits at the time, who viewed the IRA then like some people do the Palestinians now. It wasn't exactly '3 days of the condor', more like... [Costa-Gavras' 'Z'?... Not sure what...] It's time to listen to some Pogues again... 7/10.
🍿 SEVEN DAYS IN MAY (1963), another of John Frankenheimer's nail-biting cold war thrillers about a military conspiracy and a Coup d'état in the United States. The plot's ideological background is the nuclear disarmament with the Soviets. Starring friends Burt Lancaster (with his 'You know it when you hear it' intonation) and Kirk Douglas, the Brad Pitt and George Clooney of that era. Also, another unmistakable voice, that of producer John Housman, here in a cameo of a decorated Vice Admiral (his first acting role), and Ava Gardner.
It surely is Lieutenant General Michael 'Flynn's (Ret.) favorite film (Except of the ending)... 7/10.
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THE CLOSING OF WINTERLAND was a 5-hour-long concert given by the Grateful Dead on December 31, 1978, the last concert given at the arena before it was shut down. ♻️.
RIP, PHIl LESH!
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2 FANTASTIC DOCUMENTARIES, BEST FILMS OF THE WEEK!
🍿THE ABOVE (2015), my third documentary gem from Kirsten Johnson (After 'Cameraperson', 'Dick Johnson is dead'). A mysterious white blimp is hovering over Kabul, Afghanistan, like a large sky whale. It’s a U.S. military surveillance balloon which is highly classified, and people work and mill around under its watchful eye. 9/10. [*Female Director*]
🍿 PONY BOYS (2022) is the wholesome, terrific story of two brothers, 9 and 11 year old, who traveled alone by a pony cart from their Boston suburb to the 1967 expo in Montreal, Canada. The successful 27 days, 350 mile journey was encouraged by their free-thinking mom, and was a delight to watch from start to finish.
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2 PEEPING TOMS:
🍿 The much admired PEEPING TOM, the film that just about finished Michael Powell's career. A lurid tale about a developmentally stunted, creepy serial killer who shoots snuff movies of his female victims. Since they both came out at the same year, and both featured a perverted slasher, the comparison to Hitchcock's 'Psycho' is unavoidable, but unwarranted in my view. I couldn't see complexity in the psychological make-up of the man-child murderer, and not much depth in making the movie audience voyeurs together with him. The garish cinematography and artificially-colorful Mise-en-scène however were standouts. (Opening Shot Above). "He won't be doing the crossword tonight!" 2/10.
🍿 The much earlier PEEPING TOM from 1897 was strait voyeurism, but not much else. It figures: Within 2 years of the invention of the new media of 'moving pictures', it would be applied for pornography.
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In ISLAND SONGS (2017), Icelandic musician Ólafur Arnalds drives around the island and meets seven other local artists. Together they create ethereal songs and melodies, and play them out in beautiful churches, tiny villages and community centers.
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3 BY INDIA DONALDSON:
🍿 While waiting for her new feature Good One, which was heralded as "The year's best debut", I watched her previous 3 shorts.
MEDUSA (2019) is a sexy story of a sexy young woman who is sexting with a marble statue. Roger's daughter does young women well.
🍿 HANNAHS was a bit more enigmatic. Another young woman cons her way into another woman’s NYC apartment. She's cute but irritating. The directing of this one is exceptional. 7/10.
🍿 She has an expressive voice and a style of her own. IF FOUND (2021) is possibly the best introduction to her work. An odd, dog-crazy young woman steals a dog that was left tied to a fence. [*Female Director*]
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PYTHONS X 2:
🍿 THE PYTHONS: SOMEWHERE IN TUNISIA, CIRCA A.D. 1979 is a lovely behind- the-scenes documentary done during the filming of 'Life of Brian'. It also commemorated their 10 year anniversary working as a troupe. I loved the Tunisian ambiance! (Via)
🍿 FAWLTY TOWERS (1975) is considered one of the greatest British television programs. Cleese is the nervous and rude hotel owner, his real-life wife Sybil, Manuel the waiter, Etc. I took in the first episode again, just for laughs. ♻️.
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After ‘The court Jester’ I vowed not to sit through another Danny Kaye's cringey slog-fest. But then I saw this fabulous tap dancing clip with new-to-me Vera-Ellen, and wanted more of her. Ouch! Ghost story-gangster-musical WONDER MAN (1945) where he plays twin brothers was painful to watch on all levels. Even his ‘Ochi chyornye’ and the final opera patter, his only two singing numbers, were just not great. No more! 2/10.
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100 YEARS OF ULYSSES (2022) is a middle-of-the-road, idolized Irish documentary about James Joyce's process of writing his novel. A bit masturbatory and self-congratulating, but still moving in parts. I forgot how rebellious he was, how revolutionary were his political visions for Ireland. 6/10.
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SOME TERRIFIC SHORTS:
🍿 THE EGG (2019) is a magical nugget, created by Philipp Dettmer, the creator, head writer and CEO of the amazing channel 'Kurzgesagt.' It's a philosophical story about transcendentalism and re-incarnation, recreated by the same flowery style used on their scientific videos. A brilliant 10/10!
🍿 FOR THE HUNGRY BOY (2018) is my all-time favorite Paul Thomas Anderson work, even more than his “Phantom Thread”, out of which these discarded shots were collected. Vicki Krieps is a major crush. The score is Jonny Greenwood's "House of Woodcock" from the movie. 10/10!
🍿 BRAZIL (1981), my first film by underground Brazilian director Rogério Sganzerla. It's a musical postcard that could be issued by the Tourism Bureau, and features clips by João Gilberto and Gilberto Gil. The frothiest, most romantic music in the world. Also, inexplicably some clips of Orson Welles 1942 trip to Rio.
🍿 LIFE IN RETRO FUTURE WORLD, an AI short that takes us back in time to a better future. Many more from Stephen Patterson. (via)
🍿  
(ALL MY FILM REVIEWS - HERE).
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markdigitalcr · 1 year ago
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La historia de una estadounidense que quedó varada en Costa Rica y abrió un hotel de lujo
Stefanie Tannenbaum cofundó el hotel boutique Sendero, situado en Nosara, Costa Rica, tras quedarse atrapada allí durante la pandemia. Cortesía de Kirsten Ellis   En febrero de 2020, Stefanie Tannenbaum viajó a Costa Rica con su pareja y su bebé para pasar unas largas vacaciones. Por CNN  Pero tras quedarse atrapada en la ciudad costera…La historia de una estadounidense que quedó varada en Costa…
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mattholicguilt · 2 years ago
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Blorbo Wrapped
character playlists made this year:
matt murdock
douglas davenport
kirsten mcduffie
addison wells
roberto da costa
jean grey
xorn
bucky barnes
fanfiction written about...
scott summers: 12
jean grey: 9
matt murdock: 7
madelyne pryor: 5
charles xavier: 4*
logan: 4
julie and the phantoms: 4
ororo munroe: 3
kurt wagner: 3
* these were certainly not complimentary
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My 52 Favourite Films of the Decade 2010-2019: The Complete List
Random stats:
52 movies chosen directed by a total of 57 directors. 5 directing duos, 4 of which consisted of a woman-man directing duo. Only 1 directing duo was made up of 2 women.
American cinema dominated with 28 films. I went with the country listings as provided by IMDB which leads to some strange results like how 2 Days in New York, filmed and set entirely in NYC is not a U.S. production but Wadjda, filmed entirely in Saudi Arabia is (it’s something to do with who gives money, don’t ask me how it’s calculated). This was followed by French cinema with 10 films and Israeli cinema (4 films) and then a smattering of other countries. 
15 directorial debuts. The high number didn’t surprise me so much. Studies have been done and it’s often much harder for women directors to make a second film than make their debut. Actually when it comes to the debut directors on my list about half have had runaway success and put out at least one or more films already, a handful have moved into TV work and a handful seem to have disappeared which is depressing.  What did please me is how many films were 3rd, 4th, 10th or more films proving that there are women directors with long careers who just keep getting better. 
5 documentaries. I always think of myself as someone who doesn’t like documentaries so this seemed surprisingly high for me.
2 sequels both of which I liked better than their predecessors and both of which I think stand completely on their own.
2 films by directors who are no longer with us. Thank you Agnès Varda and Ronit Elkabetz.
0 repeat directors. This mostly worked out that way naturally. The directors who came the closest to having 2 films on the list were Debra Granik (Winter’s Bone missed out) and Céline Sciamma (for Girlhood), both of which were ultimately fairly easy to cut.
The List:
2 Days in New York dir. Julie Delpy (2012)
Amour Fou dir. Jessica Hausner (2014)
The Babadook dir. Jennifer Kent (2014)
Beach Rats dir. Eliza Hittman (2017)
Cameraperson dir. Kirsten Johnson (2016)
Clip dir. Maja Milos (2012)
Declaration of War dir. Valérie Donzelli (2011)
Divines dir. Houda Benyamina (2016)
The Edge of Democracy dir. Petra Costa (2019)
The Edge of Seventeen dir. Kelly Fremon Craig (2016)
Enough Said dir. Nicole Holofcener (2013)
Faces, Places dir. Agnès Varda & JR (2017)
The Farewell dir. Lulu Wang (2019)
A Film Unfinished dir. Yael Hersonski (2010)`
Fill the Void dir. Rama Burshtein (2012)
The Fits dir. Anna Rose Holmer (2015)
Fort Tilden dir. Sarah Violet Bliss & Charles Rogers (2014)
Gett: The Trial of Viviane Amsalem dir. Shlomi Elkabetz & Ronit Elkabetz (2014)
A Girl Walks Home Alone at Night dir. Ana Lily Amirpour (2014)
Hustlers dir. Lorene Scafaria (2019)
I Think We’re Alone Now dir. Reed Morano (2018)
The Kindergarten Teacher dir. Sara Colangelo (2018)
Last Night dir. Massy Tadjedin (2010)
Leave No Trace dir. Debra Granik (2018)
Little Forest dir. Yim Soon-rye (2018)
The Loneliest Planet dir. Julia Loktev (2011)
Lore dir. Cate Shortland (2012)
Lost in Paris dir. Dominique Abel & Fiona Gordon (2016)
The Love Witch dir. Anna Biller (2016)
Meek’s Cutoff dir. Kelly Reichardt (2010)
Middle of Nowhere dir. Ava DuVernay (2012)
Mudbound dir. Dee Rees (2017)
Obvious Child dir. Gillian Robespierre (2014)
On Body and Soul dir. Ildikó Enyedi (2017)
Palo Alto dir. Gia Coppola (2013)
Portrait of a Lady on Fire dir. Céline Sciamma (2019)
Private Life dir. Tamara Jenkins (2018)
Raw dir. Julia Ducournau (2016)
Songs My Brothers Taught Me dir. Chloé Zhao (2015)
Stories We Tell dir. Sarah Polley (2012)
Their Finest dir. Lone Scherfig (2016)
Things to Come dir. Mia Hansen-Løve (2016)
Toni Erdmann dir. Maren Ade (2016)
Vamps dir. Amy Heckerling (2012)
Vazante dir. Daniela Thomas (2017)
Wadjda dir. Haifaa al-Mansour (2012)
Wonder Woman dir. Patty Jenkins (2017)
The Wonders dir. Alice Rohrwacher (2014)
Woodshock dir. Laura & Kate Mulleavy (2017)
You Were Never Really Here dir. Lynne Ramsay (2017)
Zero Dark Thirty dir. Kathryn Bigelow (2012)
Zero Motivation dir. Talya Lavie (2014)
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morbidology · 1 year ago
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On June 23rd, 1984, 16-year-old Bernadette Protti lured 15-year-old Kirsten Costas from her home under false pretenses. Protti invited Kirsten to a supposed initiation dinner for the Bob-O-Links, a junior league-style volunteer group at Miramonte High School in Orinda, California. Her real intention was to befriend Kirsten, but when they arrived and found no dinner prepared, Kirsten grew upset. Despite Protti's offer to take them both to a nearby party, Kirsten declined and exited the car, walking away.
Kirsten sought refuge at a nearby house, expressing concern about Protti's behavior. She asked the occupants for a ride home, and they agreed to help. However, as Kirsten reached her front door, Protti, who had followed them in her own car, appeared behind her and violently stabbed her five times on her own porch. The motive for this seemingly random murder remained unknown for months until Protti wrote a letter confessing her guilt to her parents, who promptly took her to the police station.
In her confession, Protti revealed deep-rooted feelings of jealousy and inadequacy that led her to commit the murder. She expressed disappointment over not making the cheerleading squad, failing to join her desired club, and being excluded from the yearbook staff. These perceived rejections, combined with a sense of being unable to change aspects of herself like looks, wealth, and popularity, fueled her anger. Kirsten, as a varsity swimmer and cheerleader, represented the embodiment of what Protti felt she lacked, making her a target of her frustration.
During the trial, the defense put forth the argument that Kirsten had teased Protti, often mocking her and labeling her as "weird." Additionally, they claimed that Kirsten belittled Protti's less privileged background, even mocking her ski equipment during a ski trip. Moreover, Kirsten allegedly threatened to spread rumors about Protti's sexuality using a derogatory term common in the 1980s.
Bernadette Protti was convicted of second-degree murder. Subsequently, she was paroled in 1992, provided with a new identity to begin anew.
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beautifulfaaces · 5 years ago
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Female Canadians Masterlist
2000s
Adrianna Di Liello
Alexandra Chaves
Ali Skovbye
Anna Cathart
Anna Pniowsky
Ava Grace Cooper
Beatrice Kitsos
Ella Ballentine
Ella Farlinger
London Robertson
Maitreyi Ramakrishnan
Minnie Mills
Olivia Solo
Paulina Alexis
Peyton Kennedy
Whitney Peak
Yael Yurman
90s
Aadila Dosani
Aislinn Paul
Aleece Wilson
Alessia Cara
Alexia Fast
Alexa Rose Steele
Alexandra Beaton
Alexandria Benoit
Alicia Josipovic
Alison Thornton
Aliza Vellani
Allie Goodbun
Alyssa Baker
Amalia Williamson
Amanda Arcuri
Amy Forsyth
Ana Golja
Anais Pouliot
Bailey Pelkman
Brenna O’Brien
Briar Nolet
Brittany Raymond
Caitlin Mitchell Markovitch
Camille Cresencia Mills
Chelsea Clark
Chloe Rose
Conner Dwelly
Cristine Prosperi
Daniela Bobadilla
Daniel Illescas
Eliana Jones
Emilia McCarthy
Emilija Baranac
Emily Bett Rickards
Emmerly Tinglin
Grace Dove
Hayley Law
Humberly González
Inanna Sarkis
Jamie Bloch
Jeni Ross
Jenna Clause
Jocelyn Hudon
Jordan AlexanderA
Kacey Rohl
Karena Evans
Karis Cameron
Katherine Barrell
Katie Douglas
Keara Graves
Kiana Madeira
Kirsten Prout
Laine MacNeil
Maddie Phillips
Melinda Shankar
Melissa Roxburgh
Merritt Patterson
Morgan Taylor Campbell
Natalie Hall
Olivia Ryan Stern
Olivia Scriven
Sarah Dugdale
Sarah Fisher
Sarah Grey
Sarah Jeffery
Sasha Clements
Skylar Healey
Taylor Hickson
Taylor Russell
Tiera Skovbye
Vanessa Grasse
Vanessa Morgan
Willa Milner
Zenia Marshall
Zoe Belkin
Zoe de Grand Maison
80s
Ace Hicks
Alex Paxton Beesley
Alexz Johnson
Ali Liebert
Alison Pill
Alli Chung
Allie Bertram
Allie MacDonald
Alvina August
Amanda Crew
Amber Borycki
Amber Marshall
Andrea Bang
Anna Paquin
Annie Murphy
Brie Blair
Brooke D’Orsay
Brooke Nevin
Carly Pope
Carly Rae Jepsen
Chelsea Brummet
Chelsea Hobbs
Christie Burke
Christie Laing
Cobie Smulders
Crystal Lowe
Danielle Kind
Elana Dunkelman
Elise Gatien
Emily vanCamp
Italia Ricci
Jessalyn Wanlim
Jessica Lowndes
Jewel Staite
Jill Morrison
Kaitlyn Leeb
Kate Corbett
Katherine Ryan
Kristen Hager
Kristin Kreuk
Kylie Bunbury
Laura Vandervoort
Lauren Collins
Mae Martin
Mackenzie Davis
Martha MacIsaac
Megan Park
Meghan Ory
Melissa McIntyre
Melissa O’Neil
Miriam McDonald
Missy Peregrym
Nikohl Boosheri
Rebecca Dalton
Sara Canning
Sarah Barrable-Tishauer
Sarah Gadon
Sarah Lind
Shannon Baker
Shay Mitchell
Sheila Shah
Shenae Grimes
Tasya Tells
Tatiana Maslany
Tori Anderson
Valerie Tian
Vanessa Lengies
70s
A. J. Cook
Alex Rice
Alexandra Castillo
Amanda Brugel
Amber Goldfarb
America Olivo
Brigitte Kingsley
Brittany Allen
Caroline Dhavernas
Chandra West
Chelah Horsdal
Erica Durance
Gabrielle Miller
Glenda Braganza
Inga Cadranel
Jennifer Finnigan
Jennifer Robertson
Katheryn Winnick
Kathleen Robertson
Keegan Connor Tracy
Kelly Hope Taylor
Maxim Roy
Melanie Paxson
Michelle Nolden
Piercey Dalton
Rachel McAdams
Rekha Sharma
Sabrina Grdevich
Sarah Chalke
Zoie Palmer
60s
Anke Engelke
Gloria Reuben
Leslie Hope
Melissa DiMarco
50s
Gwynyth Walsh
Marilyn Norry
Unknown Birthday
Alison Wandzura
Beatrice King
Carina Battrick
Catherine Lough Haggquist
Daniela Sandiford
Emma Paetz
Genevieve DeGraves
Jena Skodje
Kayla Heller
Melanie Nicholls King
Olivia Cheng
Romi Shraiter
Shailene Garnett
Siobhan Murphy
Stephanie Costa
Tanya Moodie
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savewritingnsw · 4 years ago
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Save Writing NSW
An open letter to Create NSW and the NSW Minister for the Arts
We, as writers and active members of the literary community, were dismayed by Create NSW’s decision not to grant Writing NSW Multi-Year Organisations Funding in their latest round, despite the fact that Writing NSW was recommended for funding.
This decision demonstrates the ongoing devaluation of literature within the Australian arts funding landscape. We know literature is the most popular artform in the country, with 87% of Australian reading some form of literary work in any given year, yet in this round Create NSW offered only 5.7% of their ongoing funding to literature organisations.
The decision to defund Writing NSW carries a particular sting. Writing NSW is the leading organisation representing writers in a state with a long literary history and one that is home to many of Australia’s leading publishers, writers, literary agents and other core participants in the Australian literary industry.
Writing NSW is an important stepping-stone for writers at the beginning of their careers, providing high quality professional development programs, and it also employs emerging and established writers to deliver and lead these programs. For decades the organisation has provided high-quality courses, seminars, workshops, festivals, events, grants and literary prizes. In putting such programs at risk, Create NSW is jeopardising both an entry point and an ongoing support system for writers.
Macquarie University research shows that the average income of an Australian author from their practice is $12,900. The current economic crisis caused by the coronavirus pandemic makes the situation of writers even more precarious. Writing NSW offers key employment opportunities to writers, through teaching, publication, speaking engagements and both curatorial and judging positions. The removal of these opportunities will mean many writers will not be able to maintain the other income streams that support their writing careers.
The removal of $175,000 from a single source would be catastrophic for any business – not-for-profit or otherwise. For a government funding body to enact such a blunt economic withdrawal in the midst of a global pandemic and without concern for the economic flow-on effect to hundreds of industry professionals is deeply distressing.
We call on Create NSW to reverse this decision and ask them to reveal their future strategies for arts funding and how they plan to rectify the disparity in funding between other funded artforms and literature.
As writers, we will never accept the loss of a vibrant, essential cultural network such as Writing NSW.
What you can do We invite anyone affected by Create NSW’s decision – writers, publishers, literary agents, illustrators, readers alike – to co-sign this letter. You can copy and customise this letter to draft a version from your own point of view on this matter to send to a Member of Parliament.
To co-sign this letter, add your name here: shorturl.at/dERX6
Signatories
Pip Smith, Writer, creative writing teacher Sam Twyford-Moore, Writer and arts administrator Fiona Wright, Writer, editor, critic, reader Gabrielle Tozer, Author, writer, editor Brigid Mullane, Editor Jules Faber, Author, Illustrator Dr Christopher Richardson, Author and academic Liz Ledden, Author, podcaster, book reviewer Kate Tracy Ashley Kalagian Blunt, Writer, reviewer, reader Julie Paine, Writer Nick Tapper, Editor Belinda Castles, Writer and academic Simon Veksner, Writer Amanda Ortlepp, Writer, reader, reviewer, High School English Teacher Bronwyn Birdsall, Writer, editor Robin Riedstra, Writer, reviewer, reader, English teacher Dr Delia Falconer, Writer, critic, academic Robert McDonald, Author, writer, creative writing teacher Dr Kathryn Heyman, Author Wai Chim, Author Kirsten Krauth, Writer, editor Tricia Dearborn, Poet, writer, editor Dr Mireille Juchau, Writer Gail Jones, Writer Dr Jeff Sparrow, Writer, editor, academic Linda Jaivin, Writer, editor, translator Adara Enthaler, Poet, editor, literary arts manager Keighley Bradford, Writer, editor, arts and festival administrator Nicole Priest, Reader and aspiring writer Shamin Fernando, Writer Andrew Pippos, Writer Bianca Nogrady, Writer and journalist James Bradley, Writer Ali Jane Smith, Writer Dr Eleanor Limprecht Idan Ben-Barak, Writer Jennifer Mills, Writer Nicole Hayes, Writer, podcaster Michelle Starr, Writer/journalist Phillipa McGuinness, Writer and publisher Vanessa Berry, Writer and academic Blake Ayshford, Screenwriter Emily Maguire, Writer Sarah Lambert, Screenwriter Anwen Crawford, Writer Sarah Bassiuoni, Screenwriter Jackson Ryan, Writer, journalist, academic Simon Thomsen, Journalist, editor, other wordy stuff Ivy Shih, Writer Miro Bilbrough, Writer, filmmaker, screenwriting teacher, script editor Graham Davidson, Writer, artist, festival director Christos Tsiolkas, Writer JZ Ting, Writer, lawyer Susan Francis, Writer, teacher Suneeta Peres da Costa, Writer Dr Harriet Cunningham, Writer, critic, journalist Adele Dumont, Writer, reader Sheree Strange, Writer, book reviewer, book seller Phil Robinson, Reader Ashleigh Meikle, Reader, writer, book blogger Naomi RIddle, Writer, editor Cathal Gwatkin-Higson, Writer, book seller Hannah Carroll Chapman, Screenwriter Angela Meyer, Writer, editor Steve Blunt, Reader, supporter Ambra Sancin, Writer, arts administrator Michelle Baddiley, Writer, reader, archive producer Dinuka McKenzie, Writer, reader Catherine C. Turner, Writer, reader, freelance editor and publisher, arts worker Hilary Davidson, Writer, poet, academic, reader Dr Eleanor Hogan, Writer Nicola Robinson, Commissioning Editor Kim Wilson, Screenwriter Jane Nicholls, Freelance writer and editor Lisa Kenway, Writer Virginia Peters, Writer Sarah Sasson, Physician-writer and reader Dr Joanna Nell, Writer Laura Clarke Author / Copywriter Nicole Reddy, Screenwriter Anna Downes, Writer Sharon Livingstone, Writer, editor, reader Lily Mulholland, Writer, screenwriter, technical editor Benjamin Dodds, Poet, reviewer, teacher Markus Zusak, Writer Alexandria Burnham, Writer, screenwriter Sam Coley, Writer Marian McGuinness, Writer Selina McGrath, Artist Adeline Teoh Natasha Rai, Writer Catherine Ferrari, Reader Jessica White, Writer & academic Zoe Downing, Writer, reader, creative writing student Amanda Tink, Writer, researcher, reader Lisa Nicol, Children's author, screenwriter, copywriter Aurora Scott, Writer Gillian Polack, Writer, academic Susan Lever, Critic and writer Denise Kirby, Writer Michele Seminara, Poet & editor Meredith Curnow, Publisher, Penguin Random House David Ryding, Arts Manager Catherine Hill Genevieve Buzo, Editor Hugo Wilcken DJ Daniels, Writer Linda Vergnani, Freelance journalist, writer and editor Tony Spencer-Smith, Author, writing trainer & editor Dr Viki Cramer, Freelance writer and editor Petronella McGovern, Author, freelance writer and editor Jacqui Stone, Writer and editor Talia Horwitz, Writer, reader & writing student Sophie Ambrose, Publisher, Penguin Random House Rebecca Starford, Publishing director, KYD; editor and writer David Blumenstein, Writer, artist Rashida Tayabali, Freelance writer Sheila Ngoc Pham, Writer, editor and producer Rosalind Gustafson, Writer Alan Vaarwerk, Editor, Kill Your Darlings Gillian Handley, Editor, journalist, writer Karina Machado Isabelle Yates, Commissioning Editor, Penguin Random House Michelle Barraclough, Writer Natalie Scerra, Writer Melanie Myers, Writer, editor and Creative Writing teacher Emily Lawrence, Aspiring Writer Nicola Aken, Screenwriter Jennifer Nash, Librarian, writer Clare Millar, Writer and editor Kathryn Knight, Editor, Penguin Random House Linda Funnell, Editor, reviewer, tutor, Newtown Review of Books Stacey Clair, Editor, writer, former events/projects producer at Queensland Writers Centre Virginia Muzik, Writer, copyeditor, proofreader, aspiring author Lisa Walker, Writer Sarah Morton, Copywriter, aspiring author, Member of Writing NSW Board Laura Russo, Writer and editor Vivienne Pearson, Freelance writer Justin Ractliffe, Publishing Director, Penguin Random House Australia James Ley, Contributing Editor, Sydney Review of Books Alison Urquhart, PublisherPenguin Random House Debra Adelaide, Author and associate professor of creative writing, University of Technology Sydney Magdalena Ball, Writer, Reviewer, Compulsive Reader Anna Spargo-Ryan, Writer, writing teacher, editor, reader Charlie Hester, Social media & project officer, Queensland Writers Centre Mandy Beaumont, Writer, researcher and reviewer Chloe Barber-Hancock, Writer, reader, pre-service teacher Dr Patrick Mullins, Academic and writer Wendy Hanna, Screenwriter Chloe Warren Dianne Masri, Social Media Consultant Jane Gibian, Writer, librarian, reader Dr Airlie Lawson, Academic and writer Karen Andrews, Writer, teacher, reader Tim Coronel, General manager, Small Press Network and Industry adjunct lecturer, University of Melbourne Tommy Murphy, Playwright and screenwriter Evlin DuBose, Editor, writer, screenwriter, director, poet, UTS's Vertigo Magazine Tony Maniaty, Writer Emma Ashmere, Writer, reader, teacher Alicia Gilmore, Writer Suzanne O'Sullivan, Publisher, Hachette Australia Jacqui DentWriter, Content Strategist Rachel Smith, Writer Intan Paramaditha, Writer Cassandra Wunsch, Director TasWriters (The Tasmanian Writers Centre) Meera Atkinson Eileen Chong, Poet, Writer, Educator Debra Tidball, Author, reviewer Beth Spencer, Author, poet, reader Lou Pollard, Comedy writer, blogger Bronwyn Stuart/Tilley, Author and program coordinator, Writers SA Gemma Patience, Writer, illustrator, reviewer Amarlie Foster, Writer, teacher Dr Felicity Plunkett, writer Angela Betzien Drew Rooke, Journalist and author Michael Mazengarb, Journalist RenewEconomy Katrina Roe, Children's author, broadcaster, audiobook narrator Liz Doran, Screenwriter Arnold Zable, Writer. Tom Langshaw, Editor, Penguin Random House Brooke Maddison Monica O'Brien, ProducerAmbience Entertainment Jacinta Dimase, Literary AgentJacinta Dimase Management Jane Novak, Literary AgentJane Novak Literary Agency Sarah Hollingsworth, Arts Organisation ManagerMarketing and Communications Manager, Writers Victoria Barbara Temperton, Writer Sandra van Doorn, Publisher Red Paper Kite Alex Eldridge, Writer Karen Beilharz, Writer, editor, comic creator Esther Rivers, Writer, editor, poet Jane Pochon, Board Member, lawyer and reader Zoe Walton, Publisher, Penguin Random House Eliza Twaddell Alison Green, CEO, Board Member, Pantera Press Emma Rafferty, Editor Sarah Swarbrick, Writer Dayne Kelly, Literary Agent, RGM Léa Antigny, Head of Publicity and Communications, Pantera Press Jenny Green, Finance, Pantera Press Sarah Begg, Writer Mark Harding, Writer, Brand Manager, Social Media and Content Specialist Shanulisa Prasad, Bookseller Katy McEwen, Rights Manager, Pantera Press Olivia Fricot, Content Writer/Bookseller, Booktopia Jack Peck, Writer, Open Genre Group Convenor, Writing NSW, Retired Kathy Skantzos, Writer, Editor Serene Conneeley, Author, Editor Kerry Littrich, Writer Merran Hughes, Creative Cassie Watson, Writer Lisa Seltzer, Copywriter, Social Media Manager and Marketing Consultant Gemma Noon, Writer and Librarian Tanya Tabone, Reader Laura Franks, Reader, Editor, Writer Dani Netherclift, Writer Who to contact We urge you to join us in advocating for Writing NSW and the state of funding for Australian literature, by contacting Create NSW, your NSW Member of Parliament, and the NSW Minister for the Arts.
Chris Keely Executive Director, Create NSW Email: [email protected]
The Hon. Don Harwin, MLC Phone: (02) 8574 7200 Email: [email protected]
Who to else to contact
The Hon. (Walt) Walter Secord, MLC Shadow Minister for the Arts Phone: (02) 9230 2111 Email: [email protected] Ms. Cate Faehrmann, MLC Greens representative for Arts, Music, Night-Time Economy and Culture Phone: (02) 9230 3771 Email: [email protected] A full list of names and contact details for NSW State MPs is available here.
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donnerpartyofone · 5 years ago
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I almost missed the fact that Lifetime had remade their own true crime classic DEATH OF A CHEERLEADER, but when I caught up with it, I watched it twice the same day. The first film, originally issued as A FRIEND TO DIE FOR and starring Tori Spelling more or less as herself, is an entertaining and somewhat campy dramatization of the murder of popular teen Kirsten Costas by her underdog classmate Bernadette Protti. 2019's DEATH OF A CHEERLEADER is a heartbreaking and often hair-raising retelling of the story, that does for the Costas case what the powerful LOVE YOU TO DEATH did for Deedee and Gypsy Rose Blanchard. While a few artificial touches remind you that you're watching something designed for TV, DOAC is painfully convincing on the whole, with every actor striving to make their role the best role in the movie. The shallow, meanspirited victim remains tragically human, the adorable goth friend captures your heart with her mission to rescue the future murderer from the ravages of the rat race, all of the mothers are overwhelmingly moving, and Aubrey Peebles gives what is honestly an Oscar-calibre performance as the terminally jealous Bernadette Protti. The movie does not absolve her of her sin exactly, but her every appearance begs you to bring her a glass of water and give her a hug. I don't think Peebles has had a chance to do anything this serious so far, and I hope that trend doesn't last. She's not the only reason that the new DEATH OF A CHEERLEADER is so completely devastating, but on the virtues of that movie alone, she might be my new favorite actress.
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aautiemiller-rockcenter · 6 years ago
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Radix Orlando Teen Solo Results 2019
1. Isabella Tagle - Interpretation of Mike (Stars Dance Studio) OTE
2. Ally Pereira - Life On Mars (Studio 61 Dance Company), Kailey Worontsoff - Forsaken (Dance Universe) OTE
3. Bella Weisz - Warning Sign (Dance Universe), Thiago Pacheco - Staircase (Stars Dance Studio) OTE
4. Olivya Sessing - Skeptical (The Industry Dance Academy), Isa Amaro - Cavallo (Kalon Dance Company) OTE
5. Yareliz Rodriguez - You Believed (Xplosive Dance Academy), Destanye Diaz - Any Dream You Want (Stars Dance Studio) OTE
6.  Sophia Chambers - Walking Side By Side (Dance Universe), Ashlyn Metcalf - Silvery (Xtreme Dance Studio), Kellie Kessling - Falling (Ballet Elite Dance Studio)
7. Brianna Calderon - I Will Remember (Danceworks Costa Rica), Aoife Porter - DKLA (Focal Point Dance Studios)
8. Jada Specht - Frida (New England Dance Academy), Kaitlyn Esquivel - Amen (Dance Universe), Madyson Ling - Accepting The Nowadays (Raskin Dance Company)
9.  Sofia Gander - Woman (West Florida Dance Center), Katie Timmins - The Other Side (Dance Universe), Morgan Beyer - Tell Me (Britney Boyd Dance Company), Aryssa Ebbeler - Rare Perception (Skyra Studios), Kylie Kishinevsky - Hideaway (Stars Dance Studio)
10. Allison Hidalgo - Prologo (Danceworks Costa Rica), John Dekle - Paralyzed (Britney Boyd Dance Company), Kirsten Montes - Let The Light In (In Motion Dance Project), Piper Hotson - Fragments (Dance Universe)
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quimeraradiomx · 6 years ago
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Reseña: “Lizzie” (El asesinato de la familia Borden)
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Se una buena chica (aplique esta frase tanto en 1890 como en el siglo XXI)
Películas como “Lizzie” (nombrada “El asesinato de la familia Borden” en México) tienen que decirnos algo mas que discursos sobre las psicopatías a las que están casi inevitablemente destinados todos aquellos que pierden, por muerte o abandono, a su madre o padre, y se quedan con un tutor que resulta ser un adefesio humano. Lizzie perdió a su madre a los dos años, sí; y fue criada por una mujer que se convirtió en su madrastra cuando habían pasado solo dos años de la muerte de su mamá. Pero esto no sería razón suficiente para que se convirtiera en asesina. Lo que sucedió es que Lizzie contaba con un espíritu libre, contestario y hosco; con una mente lista y unas emociones intensas, casi al punto del descontrol, que la hicieron distinguirse de su hermana Emma y optar por actuar para poder salir de ese hoyo en el que se sentía. Asi, esta historia viene más a ser el retrato de un ser humano que quiere ser libre; que no está de acuerdo con las normas sociales venidas de la moral y los valores conservadores tradicionales, y que en su desesperación por poner un alto a un ser humano que la está lastimando a ella y a quienes ama y que está amparado por toda la sociedad que defiende el orden a costa de desigualdades y abusos, es orillada a tomar una decisión que le cambiara la vida para siempre.
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Nuestro contexto es: Massachussetts, 1892. Son tiempos en que luchamos por conceptos creídos e impuestos durante mas de un siglo empiezan a cambiar solo por los avances acelerados de la tecnología desde la invención de la luz eléctrica. Sin embargo, la renuencia a cambios de injerencia social estaba al alza, y personas como Lizzie Borden no tenían cabida en la sociedad. La película justo pone la llaga en los límites estipulados por cuestiones de género: las mujeres están en casa como objetos decorativos, sin opción de ingreso a instituciones educativas, con el peso de la mirada, opinión y juicio de los demás acerca de cualquier cosa que hagan o digan, y destinadas a una actitud servicial y sumisa frente a los hombres. Este contexto machista, sin embargo, sería también un curioso factor para el desenlace de una historia real sobre el asesinato a sangre fría de un matrimonio de clase media estadounidense.
“Lizzie”, dirigida por Craig William Macneill y escrita por Bryce Kass, toma un referente del folklore estadounidense para mostrarnos a una “asesina del hacha” encarnada por Chloe Sevigny (Amor y amistad), que sinceramente es mucho más delicada y estilizada que la Lizzie Borden real, que a la edad de 32 años tomó una decisión de vital importancia para lo que sería su futuro. La historia, contada desde la perspectiva de Lizzie, casi logra hacernos sentir que tenía elementos de sobra para matar a su progenitor y a su madrastra; nos hace verla como la “buena” e “incomprendida” de la historia, nos hace hasta perdonar o secundar su acción. Que Sevigny sea, además de la protagonista, una de las productoras del filme, quizá nos explica un interés femenino en contar la historia de una mujer orillada a cometer un crimen con tal de sobrevivir a las condiciones sociales donde estaba obligada a vivir. Que Sevigny quisiera también ser la intérprete de la pequeña Borden es más que entendible desde esta misma óptica.
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La película inicia con el final: han matado a los señores Borden. Los desfiguraron. Los asesinaron en su propia casa. Y a Lizzie la estan interrogando para saber si su padre tenía enemigos; como policía, lo más sencillo es empezar por ese camino la investigación. Es en ese momento donde se nos invita a saber lo que ocurrió seis meses antes de ese suceso, cuando Bridget Sullivan, interpretada por Kristen Stewart (Crepúsculo), llega a la casa Borden para iniciar una carrera de mucama. La historia escrita por Bryce Kass nos irá hilando sucesos como una correspondencia amenazadora hacia el señor Borden; una repulsión hacia él de parte de los trabajadores de sus negocios; la estipulación en el testamento de que a su muerte su yerno administre toda su fortuna (porque una mujer no podría hacerlo y él solo tiene a sus dos hijas y a su esposa), hasta la violación y abuso ejercido sobre todas las mujeres que viven en esa gran casa, para que justo la película se convierta en una de estas historias de asesinatos donde uno quiere averiguar quién es el culpable, cómo cometió el delito y cuáles eran sus motivos.
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No importa si los espectadores conocen la historia de Lizzie Borden con anterioridad, porque en realidad pese a la forma sutil de mostrarnos que al señor Borden más de uno se lo quería cargar, pronto inferimos quién es el autor del delito y por qué motivos lo hizo. Sin embargo, eso no quita que la película le dé al público una sorpresa por añadir un motivo más a la lista de “por qué matar a mi padre” de Lizzie, además de que la forma en que Macneill decide representar el asesinato de los Borden es inesperada, satisfactoria y emocionante. Entrar en una historia donde se ha matado cruelmente a un par de personas, para después descubrir cómo era ese par y el por qué los mataron, nos hace respirar tranquilos por ver “triunfar” al débil, por mirar la justicia por propia mano. Y es que si uno tiene un buen motivo, claro que puede hacer lo que quiera en este mundo de violencia exacerbada, ¿cierto…?
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“Lizzie” es una película que cumple con entretenernos, con mostrarnos una cara mas de Kirsten Stewart que se esfuerza por sacar más y distintas cualidades actorales, y para sumar a la cultura general que tenemos sobre asesinos dignos de rememorar por su rocambolesco perfil. Sin embargo, si el espectador se anima a reflexionar sobre temas como: el que las mujeres continúan no pudiendo salir acompañadas para ir al teatro, no por el motivo moral y de repercusión social que tenían en 1892 sino porque ahora para las mujeres es tranquilizador ir con alguien y les aminora el miedo a ser violentadas o abusadas en las calles; o el que sigue siendo motivo de incredulidad las proezas y grandes acciones hechas por mujeres; o el abuso que ejercen personas poderosas sobre quienes están a su cargo o a su servicio, entonces tendrá una lectura fresca que seguro hará a la película ser algo más que la decisión dominguera para ver en el cine. 
Por:  Jessica Rito / @jeskany 
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