#women in cinema collective

[mothalaalee]

Malayalma Cinema is witnessing the fall of Patriarchy and I'm so here for it.

[artfilmaesthetics]

‘Le Bonheur’ (1965) dir. Agnès Varda 💐

[theersatzcowboy]

Eve's Bayou (1997)

In this (truly fantastic) coming-of-age classic, a girl living in an affluent Creole neighborhood in mid-century Louisiana reckons with her power of foresight and the impact it has on her family's buried secrets.

Director: Kasi Lemmons

Cinematographer: Amy Vincent

Starring: Jurnee Smollett, Lynn Whitfield, Meagan Good, Samuel L. Jackson, Diahann Carroll, Debbi Morgan, Vondie Curtis-Hall, Branford Marsalis, and Lisa Nicole Carson.

[thousurroundingverdure]

[oldfilmsflicker]

new-to-me #430 - Collecting Stories From Exile: Chicago Palestinians Remember 1948

[hotvintagepoll]

Propaganda

María Félix (Doña Barbara, La Mujer sin Alma, Rio Escondido, La Cucaracha)—Maria Felix is still possibly the most well-known Mexican film actress. She turned down multiple-roles in Hollywood and a contract with Metro-Goldwyn-Meyer in order to take roles in Mexico, France, and Argentine throughout the 1940s, 50s, 60s. She was so famous and so respected as a dramatic actress that she inspired painters, novelists and poets in their own art--she was painted by Diego Rivera, Jose Orozco, Bridget Tichenor. The novelist Carlos Fuentes used her as inspiration for his protagonist in Zona Sagrada. She inspired an entire collection by Hermes. In the late 1960s Cartier made her a custom collection of reptile themed jewels. She considered herself to be powerful challenger of morality and femininity in Mexico & worldwide--she routinely played powerful women in roles with challenging moral choices and free sexuality. But even still, years after he death, she is celebrated with Google Doodles, and appearances in the movie Coco, and holidays for the anniversary of her death.

Julie Andrews (The Sound of Music, Mary Poppins)—Oh where to start .... I'm not sure I even know how. She's just perfection. And it's not fair I can't bring post 70s work into this, because she just gets better and better, and her drag performance in to die for. But in the era I CAN talk about, she shows she has THE RANGE. Beautiful, feisty, funny, holding her own against Christopher Plummer, Paul Newman, Rock Hudson. Oh she's luminous.

This is round 4 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

María Félix:

She's Thee Hot Vintage Movie Woman of México. She's absolutely gorgeous and always looks like she's about to step on you. you WILL be thankful if she does.

"María Félix is a woman -- such a woman -- with the audacity to defy the ideas machos have constructed of what a woman should be. She's free like the wind, she disperses the clouds, or illuminates them with the lightning flash of her gaze." - Octavio Paz

María Félix is one of the most iconic actresses of the Golden Era of Mexican Cinema. La Doña, as she was lovingly nicknamed, only had one son, and when her first marriage ended in divorce her ex-husband stole her only child, so she vowed that one day she’d be more influential than her ex and she’d get her son back. AND SHE DID! María Félix rejected a Hollywood acting role to start her acting career in Mexico on her own terms with El Peñón de las Ánimas (The Rock of Souls) starring alongside actor, and future third husband, Jorge Negrete. She quickly rose to incredible heights both in Mexico and abroad, later on rejecting a Hollywood starring role (Duel in the Sun) as she was already committed to the movie Enamorada at the planned filming time. Of this snubbing she said, quote: “I will never regret saying no to Hollywood, because my career in Europe was focused in [high] quality cinema. [My] india* roles are made in my country, and [my] queen roles are abroad.” (Translator notes: here the “india” role means interpreting a lower-class Mexican woman, usually thought of indigenous/native/mixed descent —which she had interpreted and reinvented throughout her acting career in Mexico— and what abroad was typically considered the Mexican woman stereotype, with the braids, long simple skirts, and sandals. This also references the expectation of her possibly helping Hollywood in perpetuating this stereotype for American audiences that lack the cultural and historical contexts of this type of role which would undermine her own efforts against this type of Mexican stereotypes while working in Europe) She was considered one of the most beautiful women in the world of her time by international magazines like Life, París Match, and Esquire, and was a muse to a vast number of songwriters (including her second husband Agustin Lara,), artists, designers, and writers. Muralist Diego Rivera described her as “a monstrously perfect being. She’s an exemplary being that drives all other human beings to put as much effort as possible to be like her”. Playwriter Jean Cocteau, who worked with her in the Spanish film La Corona Negra (The Black Crown) said the following about her, “María, that woman is so beautiful it hurts”. Haute Couture houses like Dior, Givenchy, Yves Saint Laurent, Balenciaga, Hérmes, among others, designed and dressed her throughout her life. She died on her birthday, April 8, 2002, at 88 years old, in Mexico City. She was celebrated by a parade from her home to the Fine Arts Palace in the the city’s Historic Downtown, where a multitude of people paid tribute to her. Her filmography includes 47 movies from 1942 until 1970, and only two television acting roles in 1970. She has 2 music albums, one recorded with her second husband, Agustín Lara, in 1964 titled La Voz de María y la inspiración de Agustín «The voice of María and the inspiration of Augustín», and her solo album Enamorada «In Love» in 1998. Her bespoke Cartier jewelry is exhibited alongside Elizabeth Taylor’s, Grace Kelly’s and Gloria Swanson’s. In 2018, Film Director Martin Scorsese presented a restored and remastered version of her film Enamorada in the Cannes Classics section of the Cannes Festival and Google dedicated a doodle for her 104th birthday. On august 2023 Barbie added her doll to the Tribute Collection.

Julie Andrews propaganda:

"She has such a simple but amazing beauty to her. Not to mention her amazing and melodic singing voice!"

"Roles like nannies and governesses can make us forget how attractive she was! A perfect combination of elegant and adorable, with the most incredible vocal range to boot!"

"Besides having one of the most amazing singing voices ever to grace the silver screen, Julie always had an understated beauty to her that wasn't always shown off on screen. But it's there nonetheless because her characters managed to pull some of the hottest men ever to grace the screen."

"The juxtaposition between carefree Maria and stern but fun Mary Poppins shows the power of the acting of this HOT VINTAGE MOVIE WOMAN"

"Charming, genteel, incredibly charismatic, beautiful, and has an angelic singing voice to boot. Her screen roles as Maria in The Sound of Music and Mary Poppins are absolutely iconic for a reason and she originated several well-known Broadway roles before those."

"the most beautiful woman 12 year old me had ever seen possibly"

"OMG OMG OMG she’s definitely been submitted before how could she NOT but!!!! I loveeee her so muchhhh rahhhh prebby!!!! cool!!!! mary poppins the beloved <33333 some people dislike it but I love jolly holiday so much because it IS a jolly holiday with Mary!!! no wonder that it’s Mary that we love!!!!!"

"I know many people who were taught in singing lessons "when in doubt, pronounce words how julie andrews would pronounce them." THATS CALLED INFLUENCE. THATS CALLED MOTHERING THOUSANDS."

[shesnake]

hi Deah do you have any film related books that you would recommend or ones that you personally have found interesting/taught you valuable info about understanding and or making movies appreciation and thanks in advance if you do have some ur open to sharing 😌

hello! I should really expand my reading but some titles I do like from my areas of interest:

In the Blink of An Eye (Walter Murch) - as an editor this is my bible it really breaks down everything I love about film personally and gives me lot of inspiration

Film Art: An Introduction (Bordwell & Thompson) - I had to read a most of this in the early years of my degree and if you don't know a lot whole lot about film it's genuinely very helpful learning cinematic techniques and languages. I think it's also really great at showing what it is that makes hollywood/western cinema work for mainstream audiences which, if you're serious about film, I think is very important to learn regardless of of how limited one might think that world is + they release new editions every couple of years to include up-to-date examples on newer movies

New Queer Cinema: The Director's Cut (B. Ruby Rich) and also The Celluloid Closet (Vito Russo) - very obvious, but still very important to understanding lgbt cinema history and achievements. they're not the only books but they're the most accessible ones to start with.

Monsters in the Closet: Homosexuality and the Horror Film (Benshoff) - book on queer-coding in horror from the 90s which DEFS needs an update but I think is still good.

It Came From the Closet: Queer Reflections on Horror (Vallese) - got this as a gift and have unfortunately not read yet but I believe it IS the update for the above listed book I've been waiting for + the contributors are excellent

The Monstrous Feminine & The Return of the Monstress Feminine (Barbara Creed) - wish this was a bit more diverse but still makes great points about women in cinema

Slow Cinema (Tiago & Jorge) - collection of essays about 'slow cinema' and filmographies by directors like Apichatpong Weerasethakul, Tsai Ming-liang, Lav Diaz etc

Reality Hunger (David Shields) - not fully focused on film but a great manifesto and gives you good background if you're thinking of getting into experimental film/media

I also really love review compilation books by critics! The Great Movies by Roger Ebert taught me a lot when I was teenager (unpacks the filmbro canon VERY well) and also Jim Ridley collection People Only Die of Love In Movies

+ love when there are 'movie companion'/visual guide books of my favourite films. I especially love the one for treasure planet and also recently A Vast Pointless Gyration of Gas and Rocks Oh My GoD the full title is so long but it's for everything everywhere all at once.

also I read a lot of source material for book adaptation films because I like to one-up everything I watch + adaptation as an art form fascinates me seeing which parts of a narrative work and don't work between mediums, often giving me a greater appreciation for one or both.

some magazines/publications I like to check out every once in a while: Little white lies, metro magazine (australia), senses of cinema, cahiers du cinema, sight & sound, the film stage

[boombox-fuckboy]

any podcast recommendations for guys Going Through It. im a sucker for whump and i’ve already listened to TMA and Malevolent sooo

Fiction Podcasts: Characters Going Through It / Experiencing the Horrors

Gore warning for most, here's 15 to get you started:

I am in Eskew: (Horror) David Ward is arguably the Guy Going Through It. Stories from a man living in something that very much wants to be a city, and a private investigator who was, in her words, "hired to kill a ghost". Calmly recounted stories set to Eskew's own gentle, persistent rain. The audio quality's a bit naff but the writing is spectacular. If you like the writing, also check out The Silt Verses, which is a brilliant show by the same creators.

VAST Horizon: (Sci-Fi, Horror, Thriller/Suspense Elements) And Dr. Nolira Ek is arguably the Gal Going Through it. An agronomist wakes from cryo to discover the ship she's on is dead in the water, far from their destination, and seemingly empty, barring the ship's malfunctioning AI, and an unclear reading on the monitors. I think you'll like this one. Great sound design, amazing acting, neat worldbuilding, and plenty of awful situations.

Dining in the Void: (Horror, Sci-Fi) So, the initial pacing on this one is a little weird, but stick with it. A collection of notable people are invited to a dinner aboard a space station, and find not only are they trapped there, but they're on a timer until total station destruction: unless they can figure out who's responsible. And there's someone else aboard to run a few games, just to make things more interesting. The games are frequently torturous. If that wasn't clear.

The White Vault: (Horror) By the same creators as VAST Horizon, this one follows a group sent to a remote arctic research base to diagnose and repair a problem. Trapped inside by persistant snow and wind, they discover something very interesting below their feet. Really well made show. The going through it is more spread out but there's a lot of it happening.

Archive 81: (Horror, Weird Fiction, Mystery and Urban Fantasy Elements) A young archivist is commissioned to digitize a series of tapes containing strange housing records from the 1990s. He has an increasingly bad time. Each season is connected but a bit different, so if S1 (relatively short) doesn't catch your ear, hang in for S2. You've got isolation, degredation of relationships, dehumanisation, and a fair amount of gore. And body horror on a sympathetic character is so underdone.

The Harrowing of Minerva Damson: (Fantasy, Horror) In an alternate version of our own world with supernatural monsters and basic magic, an order of women knights dedicated to managing such problems has survived all the way to the world wars, and one of them is doing her best with what she's got in the middle of it all.

SAYER: (Horror, Sci-Fi) How would you like to be the guy going through it? A series of sophisticated AI guide you soothingly through an array of mundane and horrible tasks.

WOE.BEGONE: (Sci-Fi) I don't keep up with this one any more, but I think Mike Walters goes through enough to qualify it. Even if it's frequently his own fault. A guy gets immediately in over his head when he begins to play an augmented reality game of entirely different sort. Or, the time-travel murder game.

Janus Descending: (Sci-Fi, Horror, Tragedy) A xenobiologist and a xenoanthropologist visit a dead city on a distant world, and find something awful. You hear her logs first-to-last, and his last-to-first, which is interesting framing but also makes the whole thing more painful. The audio equivalent of having your heart pulled out and ditched at the nearest wall. Listen to the supercut.

The Blood Crow Stories: (Horror) A different story every season. S1 is aboard a doomed cruise ship set during WWII, S2 is a horror western, S3 is cyberpunk with demons, and S4 is golden age cinema with a ghostly influence.

Mabel: (Supernatural, Horror, Fantasy Elements) The caretaker of a dying woman attempts to contact her granddaughter, leaving a series of increasingly unhinged voicemails. Supernatural history transitioning to poetic fae lesbian body horror.

Jar of Rebuke: (Supernatural) An amnesiac researcher with difficulties staying dead investigates strange creatures, eats tasty food, and even makes a few friends while exploring the town they live in. A character who doesn't stay dead creates a lot of scenarios for dying in interesting ways

The Waystation: (Sci-Fi, Horror) A space station picks up an odd piece of space junk which begins to have a bizzare effect on some of the crew. The rest of it? Doesn't react so well to this spreading strangeness. Some great nailgun-related noises.

Station Blue: (Psychological Horror) A drifting man takes a job as a repair technician and maintenance guy for an antarctic research base, ahead of the staff's arrival. He recounts how he got there, as his time in the base and some bizzare details about it begin to get to him. People tend to either quite like this one or don't really get the point of it, but I found it a fascinating listen.

The Hotel: (Horror) Stories from a "Hotel" which kills people, and the strange entities that make it happen. It's better than I'm making it sound, well-made with creative deaths, great sound work, and a strange staff which suffer as much as the guests. Worth checking out.

[youremyheaven]

The Spectrum of Femininity & Cancer Rashi: A Study

in my previous posts, i had delved into why Punarvasu & Pushya women are often considered the feminine ideal and the various archetypes they present on the screen and in real life (look out for more posts regarding the same!!) and i had mentioned a little bit about the feminine spectrum as seen through nakshatras in the cancer rashi, in this post, im going to explore this further.

Cancer rashi consists of 3 nakshatras:

Punarvasu 20 degree gemini to 3 degree cancer

Pushya 3-16 degree cancer

Ashlesha- 16-29 degree cancer

Tropically Ashlesha is entirely Leo and the nakshatra of Ardra is sidereally entirely Gemini; this means only Punarvasu & Pushya remain in the Cancer rashi in both tropical and vedic systems.

We must understand the feminine journey through these nakshatras as they appear, so we will begin with;

Ardra

This nakshatra is associated with destruction and transformation. This nak's deity is Rudra, the most aggressive form of Lord Shiva. Ardra is associated with purification and renewal through demolition. it is also associated with storms and is symbolized by a teardrop.

The mythology of Ardra nakshatra can be briefly summarised as follows:

Lord Brahma desired his own daughter, and knowing this,the other celestial Gods were enraged and their collective fury gave birth to Rudra.

Rudra's purpose was to prevent this incestuous union, he thus slayed him but the other Gods felt regretful about the whole situation and disowned Rudra.

Rudra is heartbroken at this unjust and unfair treatment; his teardrops come down as thunderous storms.

Given this context, I have often noticed with Ardra women that they tend to be Gamines.

A Gamine is defined as a "young woman who is attractively boyish or possessing a mischievous boyish charm"

These natives tend to be slightly androgynous; there is a conflict between masculine and feminine energies.

The most famous Gamine of all time, Audrey Hepburn had Shatabhisha moon (another Rahu ruled nak).

I have already mentioned that Ingenues in cinema tend to be played by Rohini, Mrigashira, Punarvasu & Pushya natives, who also tend to possess Ingenue essence

However, although they're both youthful, Ingenue & Gamine essence are entirely distinct from each other.

Ingenue is pure yin, whereas Gamine is yang with a yin undercurrent. There is a hint of femininity; one that is not fully developed. It is NOT a mature, womanly, grown up energy but rather an adolescent, in the process of blossoming, kind.

Here are some Gamine (essence) celebs:

Ariana Grande- Ardra sun

Charli XcX- Ardra rising

Leslie Caron- Ardra sun conjunct mercury

Lea Seydoux, Ardra sun

Cyndi Lauper, Ardra sun

Aubrey Plaza, Ardra sun

Princess Diana, Ardra sun

Carly Simon, Ardra sun

Kristin Kreuk who is Ardra moon

Nicole Richie who is Ardra moon

Stella McCartney also Ardra moon

You can see how these women project a delicate, youthful boyish charm.

Rahu is a shadow planet, it does not have any light of its own and thus seeks to absorb light from other sources. This is a very Yin principle and thereby Rahu is the most feminine after Venus. However the feminine energy as we understand it through the nakshatras in Cancer rashi is not just about absorbing energy or holding energy but it is the ability to give and accommodate that Yin space internally. These natives can absorb energy but cannot retain it.

2. Punarvasu

these natives have weathered the storm of Ardra and now seek safety and shelter, hence why a common archetype Punarvasu women seem to play on screen is that of the Ingenue. the youthful, slightly naïve and clueless creature who has to be helped.

the main distinction between an ingenue and a gamine is the fact that the former is naive and innocent whereas the latter is mischievous and teasing. Many Punarvasu women possess an Ingenue essence;

Miranda Kerr, Punarvasu moon

Drew Barrymore, Punarvasu moon

Kristen Bell, Punarvasu sun

Karina, Punarvasu moon

Punarvasu women are known for their bubbly, effervescent personalities. wide-eyed and happy-go-lucky, these natives are usually very chirpy and charming. They're like the main lead in a romcom; very easy to like, deeply perceptive but endearingly clueless at the same time.

from the wide eyed, innocent ingenue, Punarvasu women mature into the Ideal Woman. it is well known that most Punarvasu women marry well, from Kate Middleton (Punarvasu moon) who married Prince William to Miranda Kerr (Punarvasu moon) who is married to the CEO of Snapchat.

another archetype that the Punarvasu woman represents is the Mother. they contain the vast abundance of the cosmos, they are natural givers and their deity is the Mother Goddess Aditi herself. the downside of this is that they can often be enablers; unnecessarily expending their empathy to those who do not deserve it.

Kris Jenner, probably the most famous mom of our times (lol) is a Punarvasu moon. besides Kylie, all her children tend to treat her poorly (Punarvasu being an enabler trope).

Sofia Vergara played one of the most well known fictional moms on TV. She has sun & moon in Punarvasu. even on the show, there are numerous instances where Gloria is taken for granted.

Morticia Addams was both the Trophy Wife/Ideal Woman and the best mom ever (if you've watched the movie, you'll know). She was played by Anjelica Huston who has Punarvasu sun

probably the most famous fictional mom, Maria from the Sound of Music is played by Julie Andrews has Ketu in Punarvasu

3. Pushya

after the abundance of Punarvasu, comes the restriction of Pushya, it concerns itself with holding energy. Punarvasu is ruled by Jupiter which allows for limitless expansion but Pushya is governed by the limitations of Saturn.

these women are highly desirable and much sought after, but its almost like they cant enjoy themselves too much. there are always certain terms that they have to live with. Saturn is structure and discipline, as well as karma and punishment, so it makes sense why these natives seem to live their lives experiencing abundance and lack, almost simultaneously.

in the movie Malena, the protagonist is a widow living alone in a small Italian town. she is desired by everyone; sexualised and even stalked. i had already talked about how Pushya/Punarvasu create women who are highly sought after by men.

the main dilemma in this movie rests on the fact that even though the whole town is obsessed with Malena, she does not benefit from it; she is dehumanized and subject to a lot of cruelty. a pitfall of being so desired is that, while others seem intrigued by Pushya, not everyone understands Pushya natives.

Malena is played by Monica Bellucci who has Pushya moon.

Paris Hilton, Pushya moon was born to riches, however she suffered horrific abuse as a teenager and struggled in her personal life for a very long time. Paris is the quintessential "poor little rich girl". She was subject to sexual and institutional violence but not many people see her in that light at all. Most people view her as a spoilt brat and an airhead.

fun fact, the character London Tipton from the show Suite Life of Zack & Cody was based on Paris Hilton. Tipton is also emotionally neglected by her father and lives alone in her family's hotel. Brenda Song who played London Tipton is a Pushya moon like Paris herself.

here's an excerpt from one of Paris Hilton's interviews:

The irony, she says now, is that she became this icon of licentiousness when she wasn’t even promiscuous. “I was portraying this sex-symbol vibe, but inside I did not feel that way at all. And I did not trust anyone because I had such huge walls that I built around my heart. I didn’t want to let anyone in, and I didn’t want to be hurt, so I didn’t want to ever give myself to someone.”

this to me is very Punarvasu & Pushya coded. these women are sexualised to the nth degree but they're usually sexually conservative and often have very few partners.

Selena Gomez, Pushya stellium (sun, venus & rising)

Selena is one of the wealthiest celebrities in the world and her cosmetics line is one of the most successful celebrity makeup ventures ever, however her personal life has always been troubled, from her chronic illness to her dating history and most recently, there has been disturbing news about how The Idol starring her ex, The Weeknd is heavily inspired by her life and struggles.

Selena is a highly desirable woman, she's been at the top of the game for so long but she's still discredited as a singer and not taken seriously and in recent years, her appearance has been ridiculed and was subject to horrible bodyshaming despite the fact that her struggle with her illness is well known. Pushya is known as a wealth giving nakshatra but it also subjects the native to a lot of struggles.

Celine Dion, Pushya rising

Celine Dion was 12 years old when she met 38 year old Rene Angelil, who would go on to become her manager and husband. It's only logical to assume that he groomed her but Dion's life has had many struggles, she grew up underprivileged and was recently diagnosed with a rare chronic illness.

in the movie Million Dollar Baby, Maggie is a poor waitress who trains and works very hard to become a boxer. however, she is critically injured and cannot fight again, her family proves to be selfish jerks and she meets with a tragic ending. This is a very cautionary Saturnian story of working hard, succeeding, and still meeting difficulties, representing the dark side of Saturn. Maggie is played by Hillary Swank who is Pushya Sun.

Angelina Jolie, Pushya rising

Jolie has had a very difficult life, she battled eating disorders, suicidal tendencies, self-harm, drug addiction and despite being a wealthy, desirable woman, struggles in her personal life (including TW domestic violence)

Jolie is another one of those celebrities who cant seem to catch a break. A highly desirable woman, wanted by everyone, but understood by very few.

Pushya gives the native the ability to hold vast amounts of energy but they're unable to expand it. They seem to face barriers and limitations that prevent them from expanding fully. The feminine energy here is one that has to work hard and discipline themselves. they cultivate grace intentionally. they have to strive to achieve emotional fulfillment. The giving feminine of Punarvasu becomes the restrained feminine in Pushya.

in Punarvasu, we saw the giving nature of the feminine, they seem to have an endless reservoir of compassion, empathy and yin energy. the downside of this is that they're easily taken advantage of, and they're too forgiving of others; their insistence on taking the high road means others who are less deserving get further ahead than them in shorter spans of time. but it is this refinement, and natural elan that makes them the "Ideal Woman". Jupiter's magnificence means that these women possess the kind of vast mental space others can't even conceive of; this creates intrigue as to how they never seem to run out of "energy" (i use this term in its spiritual sense).

in Pushya, we saw the restrained feminine, they work hard and strive to get where they are, however, they seem to operate within a box, they're the beautiful bird within a gilded cage. the reason why this nak is considered the height of femininity is because of the discipline it takes to wield the yin energy consciously and with reservation. Punarvasu seems to give to everyone without discrimination; she's the Celestial Mother but it is very crucial to learn how to discriminate and in Pushya, presided by Saturn, we learn to control and channel our femininity and yin energy in a discriminate manner. not everyone can have them, this makes them all the more appealing.

4. Ashlesha

the very last nak in the Cancer rashi and one which lies entirely in Cancer is Ashlesha. after the giving and holding stages of the feminine, in Ashlesha, we come to confront the dark feminine.

every peak is followed by a valley; in Pushya we reached the height of femininity and now there is a reversal almost, a return to girlhood and unrefined femininity.

there is a descension to darkness and there is a desire to return to the self and to exist for one's self. we've seen how Pushya women often lead difficult lives, now, in Ashlesha, femininity enters its villain era. Its done being treated unfairly and poorly, so in Ashlesha, we see the manifestation of the dark feminine.

Ashlesha is associated with tantra; ascending above the giving traditional feminine and embracing the demonic feminine.

Megan Fox, Ashlesha moon

Jennifer's Body depicts Ashlesha's unique feminine journey quite well. Jennifer is taken advantage of and almost sacrificed but in the process she gains supernatural powers and feasts on boys to maintain it. This trope of being abused, gaining power and using it to get back at people who caused their suffering or represent it is a very common Ashlesha trope.

Charlize Theron, Ashlesha Sun

in the movie Monster (based on a true story), Charlize plays a prostitute who is raped and abused; she in turn becomes a serial killer who kills her clients

This is a very common Ashlesha trope that I will explore more in future posts!!

the earliest a woman was unburdened was in girlhood but if you really think about it, girlhood was a time when you had no agency and no voice; a child is a powerless creature and has to wield their emotions to get by (by throwing tantrums, by being coy etc). children are expected to behave a certain way; they're rewarded for good behaviour and punished for bad. the burden of femininity is absent but with it goes feminine power. thus an Ashlesha native has to resort to other ways to wield their power. this is where the demonic feminine comes to play.

these individuals are self-contained because they have a tendency to think that they could be taken advantage of if they're too trusting. remember how little kids are warned? don't talk to strangers, don't go after the nice man offering candy. children are taught to be afraid and mistrusting, to be alert and cautious, for their own sake/safety.

this nakshatra's deity is Naga (a serpent God of the underworld) and if you think about how snakes are, they are creatures who are entirely limbless, they live on the ground, they rely on their intuition to sense danger, and their only defense is the venom they hold in their body, without which they're utterly helpless. but being highly poisonous, they can destroy any creature in an instant, no matter how big or strong the creature is. they cannot fight the way other animals do, they are not designed that way. this is true of Ashlesha natives as well. they have to be stealthy, secretive, cautious, and manipulative (the word manipulation is often interpreted negatively but even charisma is manipulation, so its all about how its wielded)

Ashlesha is Mercury ruled, mercury is a "eunuch" planet and is genderless. to me it represents the pre-pubescent stage where an individual has not yet attained sexual maturity; in this stage, the native is sexually curious, and wildly imaginative but both afraid and incapable of true intimacy.

Mercury is the smallest planet, therefore these natives do not have the vast emotional reservoir of say Punarvasu or Pushya (which is not to say they're not emotional) thus they're unable to give their energy to others. They're very picky and very deliberate with who they give their energy because they feel drained very easily. But what they lack in the emotional sphere they compensate with intellect. Mercury-ruled nakshatras always give the native raw natural intelligence. these natives are very smart.

Lana Del Rey is Ashlesha Moon. Early on in her career, she was accused of being fake & inauthentic. She sang about sadness and sugar daddies in a way that presented itself as an aesthetic and gave rise to the whole girlblogger/coquette community for whom she is the patron saint. Lana has moved on to other concepts with her albums but her influence over this community continues to stay. Her music heavily features an abusive figure, heavy doses of melancholy, and an unhealthy obsession with money & glamour, even though the subject matter is sad, she sets it up in the most theatrical of ways.

most importantly, she presents herself in her songs as this naïve, lost, perpetually sad, self-loathing creature, presenting the feminine in a way that it seldom is presented. this female gaze is what has made her soooo relatable to so many young girls and women.

in fact the coquette community itself is very Ashlesha coded imo, embracing girliness over womanliness, "gaslight, gatekeep, girlboss", "female manipulator", you name it, there is an undeniable Ashlesha influence at play, including the fact that many of its figureheads have Ashlesha placements.

Vera Farmiga, Ashlesha Sun played Norma in Bates Motel. both her character and the show itself feature many Ashlesha tropes.

Norma is a very possessive, overprotective mother (Cancer women have complicated relationships with their mothers, this manifests in the most toxic way in Ashlesha), here the Ashlesha native plays the Mother and (spoiler alert) her son develops an alternate personality that is an extension of Mother, killing anyone he thinks could pose a threat to their relationship. Norma grew up in an abusive home and faces abuse at the hands of men all her life. The entire show revolves around this dysfunctional Mother-Son relationship with the son embodying his Mother.

Cancer rashi nakshatras are passive by nature and this is taken to new lengths in Ashlesha which is the concluding Cancer nakshatra. these natives cannot seem to do things in a straightforward way, ruled by the smallest planet Mercury which governs the intellect, these natives achieve whatever they want by playing mind games (if unevolved) or by using their intellect (if evolved).

The reason Jupiter is known for always taking the high road is because it has the expansiveness to do so. Mercury gives very little space inwardly so they have to be emotionally conservative and frugal. This is why they seem manipulative to others; they have to use their limited resources to achieve what they want, they cannot "give endlessly".

its interesting how Cancer rashi concludes itself in a Mercury ruled nak since Cancer is Moon ruled and feminine and Mercury is a "eunuch" planet and without gender. The feminine journey had its seeds in the feminine but malefic nakshatra of Ardra; which contributes to the androgyny of these natives (primarily yang but with a hint of yin), developing into the Ingenue (or Maiden) and Mother in Punarvasu, both of whom give endlessly because of naivete and later because of compassion, then learning restraint & discrimination in Pushya (the height of femininity) where natives experience abundance but cannot indulge in it fully ( Saturn teaching discipline). In Ashlesha, we see the dark feminine, rising above everything a woman should "ideally" be. There is nothing "ideal" about Ashlesha, it represents that which is considered taboo, it is an outcast nakshatra and depicts raw, unrefined femininity.

Excluding Rahu ruled Ardra, the Cancer rashi spans nakshatras ruled by Jupiter, Saturn and concludes in Mercury. Both Jupiter & Saturn are masculine planets and Mercury is an eunuch planet. Feminine energy at its most expansive is Punarvasu and at its height, its in Saturn, and its "valley" venturing into its darkness is Mercury which rules the mind. This is a very interesting journey, representative of an experience most women are familiar with; women are expected to be givers, but later, with experience learn how to discriminate with their giving and ultimately decide to put themselves first and be, selectively selfish.

I hope this was interesting<33

[wei-ying-kexing-apologist]

Bengiyo's Queer Cinema Syllabus

For those of you who don’t know, I decided to run the gauntlet of @bengiyo’s queer cinema syllabus, which is comprised of 9 units. I have completed four of the units (here is my queer cinema syllabus round up post with all the films I’ve watched and written about so far). It is time for me to make my way through Unit 5- Lesbians, which includes the following films: The Incredibly True Adventure of Two Girls in Love (1995), Bound (1996), Water Lilies (2007), Saving Face (2004), D.E.B.S. (2004), Set It Off (1996), The Handmaiden (2016), Carol (2015), Imagine Me and You (2005), Two of Us (2019), Rafiki (2018), and The Color Purple (1985). 

Today I will be watching:

Rafiki (2018) dir. Wanuri Kahiu

[Run Time: 1 hour 22 minutes, Language: Swahili, English, Available on: Tubi, Google Play, Apply Play, Amazon Prime, YouTube rentals]

Summary: "Good Kenyan girls become good Kenyan wives," but Kena and Ziki long for something more. When love blossoms between them, the two girls will be forced to choose between happiness and safety.

Cast:

Samantha Mugatsia as Kena Mwaura

Sheila Munyiva as Ziki Okemi

Here is what I have learned about Rafiki (main source is Wikipedia):

Rafiki was adapted from author Monica Arac de Nyeko’s short story Jambala Tree. 

Rafiki was the first feature film to feature two women falling in love to come out of Kenya.

Rafiki was the first Kenyan film to be screened at the Cannes Film Festival.

Rafiki was banned in Kenya for promoting homosexuality after the writer and director refused to change the ending. Homosexuality is illegal in Kenya and can result in 14 years imprisonment, but support for LGBTQ rights is growing. 

The writer and director, Wanuri Kahiu, sued the Kenyan government in order to allow the film to be screened in Kenya long enough to meet the eligibility criteria for entry into the Academy Awards.

The ban on the film was lifted for seven days, and every day it played to a sold out audience and brought in millions of shillings (1 million KES is ~7,700 USD)

Rafiki won Best Narrative Feature at the 2019 Seattle Queer Film Festival and a Silver Hugo Award at the Chicago International Film Festival. In total, Rafiki received 17 nominations and 17 awards at various international film festivals. 

This was Samantha Mugatsia’s first role and Samantha won an award for Best Actress from the FESPACO festival.

Wanuri Kahiu is also the cofounder of a media collective called AFROBUBBLEGUM which supports African art “for its own sake.”

Samantha Mugatsia was in another film in 2018 but I do not see additional credits on IMDB, Sheila Munyiva was still getting work as recently as 2023, and Wanuri Kahiu is still working as well. 

So needless to say, this film is incredibly important and successful despite the barriers it found around it. I saw some reviews for this film that mentioned how the narrative was rather simplistic and the characters fairly flat and while I do not entirely disagree, though I also do not consider that to be 100% accurate. I think there are a lot of little moments of dimensionality in some of the characters that make me want to see more of them. Blacksta’s clear romantic interest in Kena and the way in which he is constantly kind and friendly to her to the point where he is the one she goes to for comfort after everything goes to shit only to have his last appearance be him stalking off angry that Kena is “hurting all the people that care about” her when she tells him she loves Ziki. 

Mama Atim being homophobic to the point of a) aiding in the discovery and subsequent facilitation of a gay bashing by the local community and b) not letting Kena touch her when they meet in the hospital where Kena is working as a doctor, only to immediately turn around and tell Kena that Ziki is back in the country, thereby facilitating their reunion and the hopeful ending that got this film banned in the first place. 

Kena’s father being kind and relatively accepting of his daughter’s homosexuality while there are implications around (though never direct references to) the reason he may be divorced, and remarried, with a child on the way. 

Ziki being the one not to care about how much of their intimacy the public may see only to be the one to pull away from Kena after they get caught, because she is experiencing severe consequences for perhaps the first time (that is an assumption on my part, I just know the girl is relatively wealthy). 

All of this to say that often the moments of complexity are small, but they do exist. 

Anyhoo, I think what I am thinking the most about in way of this film is less the plot and more everything else around it. Because this queer cinema syllabus is a warm up to watching BL, the challenges this film had with getting funding (their funding sources all came from outside of Kenya), with distribution, the legal battles Kahiu had to fight to get this film seen in a country she so clearly and deeply loves. Despite that, this film was a success, it broke a number of different barriers, and I will perpetually find it interesting how the prospect of money or positive attention can do so much to get a story out into the world. 

This film promotes illegal behavior, this film was banned from airing in Kenya as a result. Yet, this film still aired in Kenya because someone making a legal ruling gave it a chance to meet eligibility criteria for one of (if not the) most famous awards shows in the world. And at the end of the day it wasn’t even the film that Kenya ended up submitting to the Academy Awards. This film sold out theaters, it raked in cash, it was the first in a number of ways. 

It just makes me think of countries like Korea where, sure, homosexuality is not illegal, but where certain rights are still denied to queer people. Where very few celebrities are openly queer for risk of losing their jobs, yet continues to create BLs that gain international attention. Hell, even Thailand, which has established themselves as a BL soft power, sees many openly queer people struggling to find work in the film industry in spite of how many queer stories are getting pumped out. Also, I will no longer be accepting dead fish kisses from queer shows if the first lesbian love story out of Kenya gave us actual kisses. 

I don’t know exactly where I am going with this, I do not consider the situation of BL and the situation of Rafiki to be identical, just similar. That Rafiki still obtains concessions from a country where being queer can get you incarcerated because it has the chance to be seen in high profile competitions is an interesting, though not entirely surprising, phenomenon. 

About the film itself: I loved the use of color in it, it falls into the same trend of all other lesbian films in that a lot of it is comprised of silent glances between women longing to be together. I think it went for a wider net with a shallower lens rather than a smaller scope and deeper exploration. I felt like the film definitely started slow, but that the relationship between Ziki and Kena developed incredibly fast, to the point where I wondered if they were maybe already together in some fashion before the film even started (not dating, but at least both already having established a mutual interest, etc). I do think Kahiu did a good job of putting enough detail in that it felt like there were other things happening around the main plot to flesh out the world these characters were living in. 

I loved that when we first learn about Ziki’s desires, it is to get out of Kenya, go somewhere people have never met an actual African, and not be like other Kenyan girls. But that when the choice to leave is removed from her, and she is sent to London to escape the societal backlash from being caught being queer, that she does not want to go. I loved that Kena was the one who spent a lot of time hiding her sexuality and her affection for Ziki before they were discovered, only to be the person to try to continue, to be visible, to be with Ziki after they are caught and beaten. 

I thought it was so incredibly brave of Kena to walk up to Ziki’s door, look Ziki’s mother in the eye, and ask to talk to her daughter after everything that had happened the previous night, after being threatened by Ziki’s mother when she first catches them, and insulted by her mother when she comes to pick Ziki up from the police station. 

I am in awe of people who stick to their convictions in cases like this. Wanuri Kaihu, who just wanted to “portray a "normal love story" that acknowledges the heroic challenges of choosing a "difficult love"” and does not see this act as a political one did not back down when faced with the options of removing hope from the ending and letting the film play in her own country or letting these girls meet again, in the sunshine, and have it kept from her own people. It reminds me of Strange Fruit from Unit 4, actually, when Kyle Schickner rejected $6 million in funding for his film because it would not have then been able to make his main character Black and gay. I marvel at how often people do not make those same decisions. 

Favorite Moment

Okay, so. It is a very short and simple moment, only a few seconds long, but from my perspective it is one of the most important scenes in the entire film. Right near the end, after Kena has gone to see Ziki and Ziki has told her she will be sent to London, she goes and sits on a bench by herself. And after a moment someone just quietly takes a seat next to her. It is the other out, gay character who we have seen multiple times in passing. They just look at each other, neither of them says a word. But dear GOD I loved it so much. 

Every time we have seen him before this moment, he is being harassed on the street. He is clearly living an entire life with his own struggle that exists completely outside of Kena and Ziki’s. At one point his face is bandaged, a clear indicator that he had recently been physically assaulted. Every time Kena is present when he is being harassed all she can do is get up silently and walk away. She never stands up for him, she never checks in on him. I actually had a moment of disappointment at one point when Kena storms off and Ziki goes to check on her upset because Kena left her alone. Kena opens the sliding door of the van and I thought for just the briefest of seconds that it might cut to that guy sitting there. 

Instead it is candles, and they have sex, and that is also great and I am glad that scene exists, but I think in the times we are living in now, I was a little sad to see that they were not silently supporting each other. WHICH IS WHY I AM SO GLAD THAT HE DID AT THE END. 

It is so so so so so important to me that this gay man, who has been living his life openly and suffering for it, and knows what it is like just sits down next to Kena to let her know that he is watching, that he is there, and that he understands. And he doesn’t even have to say a fucking word. That is community looking out for each other, and it will be beautiful every time. 

Favorite Quote

“I wish we could go someplace we were real”

Score

8.5/10

It was not my favorite film, but I am so grateful that it exists, and I hope that the queer people living in Kenya who need movies like this one have found a way to watch it, and I think that the fact this film exists at all is amazing. 

Coming up next, the last film in Unit 5: Lesbians- The Color Purple. I actually just got the audiobook from the library so I am looking forward to approaching the film viewing with more of an adaptation lens on it.

[theersatzcowboy]

Mississippi Masala (1991)

Two of the Hottest People You’ve Ever Seen fall in love—despite the protestations of their families and the cultural differences that divide them—against the backdrop of the dreary Deep South in Mira Nari’s sexy, undeniable romantic dramedy.

Director: Mira Nair

Cinematographer: Edward Lachman

Production Designer: Mitch Epstein

Costume Designers: Ellen Lutter and Susan Lyall

Starring: Sarita Choudhury, Denzel Washington, Roshan Seth, Sharmila Tagore, Charles S. Dutton, Joe Seneca, Ranjit Chowdhry, Mohan Gokhale, Natalie Oliver-Atherton, Sahira Nair, and Konga Mbadu.

[hellish-cruelty]

24th November, 2024

Watched Payel Kapadia's All We Imagine As Light last week and my heart has grown fonder since. It reminded me of why I love cinema as much as I do. I was drowning in the same overused stories, until this came like fresh air and saved me a little.

Kapadia's brilliant soulful scenes are enthralling and yet so unassuming. It's for everyone who lives in faraway cities where loneliness collects itself in a bundle. You'll feel your loneliness recede slowly as you become one with the movie. You'll see yourself in Prabha, a caged nurse shun by her husband and Anu, an adventurous fierce woman, both navigating life, longing and social realities in Mumbai. Though, this Mumbai is not laced with dreams but with darkness and melancholy. A city of illusion and impermanence, and yet one must imagine the light. Under the city's shimmering blue, I reimagined myself in it's female friendships, desire and insecurities. The film explores countless themes without overdoing it. One dialogue that stuck with me is 'Class is a privilege. Reserved for the Privileged.'.

The film reveals itself like poetry, the verses of which I found in Agnes Varda (female solidarity, cats), Chantal Ackerman (how it deals with loneliness in cities, city as a character), Edward Yang (social alienation, fractured modernization) and many more. The tenderness and sensibility of the film stays with you, slowly healing, slowly transforming something in you.

I love loneliness. I love love women. I love love love cinema.

All We Imagine As Happiness.

[rachelsimbuild]

Billionaire - Olympus Mansion - The Sim 4

More pictures and information here: rachelsim.mysapo.net/billionaire-olympus-mansion-the-sim-4

💖 Map : Any map you want fit the size lots - Size : 64 x 64

💖 Pack to used : High School Years - Snowy Escape - Cats & Dogs - Get Together - Get To Work - Spa Day - Vampires - Luxury Party - Notdefined

💖 6 bedrooms - 2 large living rooms - 2 small living areas - 1 home cinema room - huge men's and women's dressing room with nautical style - open gym - spa with yoga outside - sauna - outdoor dining table - rooftop party area - 1 children's room - professional live stream room - small swimming pool area on the rooftop - glowing tree garden - outdoor bar area - outdoor movie viewing area - 1 pet room - 1 employee room - 1 laundry room - garage - reading room - empty shelves containing items collected in the game and more.....

💖 Inspired by the mythical Mount Olympus in Greek mythology, where the gods resided to create a real paradise for Sim, this truly fantastical home seems to have stepped out of a fairy tale. Nature blends seamlessly with the house, its elegant design exuding sophistication without sacrificing grace. The house also features a luminous garden that shines brightly at night, with rooms that seem almost heavenly. Come and admire this exquisite blend of Greek mythological beauty and sophistication with me.

🌟🌟🌟 Download here : https://ko-fi.com/s/9df37e8464

[brunettedelulu]

The Timeless Divas of the Arab World: Icons of Culture and Power.

The Arab world has produced an array of legendary divas whose influence transcends borders and generations. From the enchanting voices of classical music to the bold icons of modernity, these women have shaped Arab culture while challenging societal norms. Their contributions to music, cinema, and even political movements have left an indelible mark not just in the Middle East, but globally. Let’s explore the rich tapestry of the most influential Arab divas whose legacies endure today.

Umm Kulthum: The Voice of Egypt

Often referred to as “Kawkab al-Sharq” (Star of the East), Umm Kulthum’s impact on Arabic music is unparalleled. Born in Egypt at the turn of the 20th century, her powerful voice and unique ability to convey deep emotions made her a beloved figure throughout the Arab world. Her music, grounded in traditional Arabic scales yet modern in its approach, was a source of unity in a politically fragmented region. With songs like Al-Atlal and Enta Omri, Umm Kulthum became not just a cultural figure but a symbol of Arab identity and pride.

Her monthly radio performances in the mid-20th century would bring cities to a standstill. It wasn’t just her mastery of Arabic maqam or her exceptional vocal control that captivated audiences; it was her ability to tell the story of an entire nation through music. She remains an iconic figure, revered across generations as the quintessential Arab diva.

Fairuz: The Eternal Voice of Lebanon

Fairuz, known as the “Jewel of Lebanon,” emerged during a period of immense political upheaval in the Arab world. Her music became synonymous with the resilience and beauty of Lebanon, particularly during the Lebanese Civil War. Her collaboration with the Rahbani Brothers produced timeless classics that blended Western influences with Arabic tradition, a reflection of the cultural crossroads that Beirut represents.

Fairuz’s voice, often described as ethereal, manages to evoke both nostalgia and hope. Her songs like Bint El Shalabiya and Le Beirut are as much personal odes as they are collective anthems for displaced populations and war-torn regions. Today, Fairuz’s music serves as a bridge between the past and present, her voice still celebrated across the Arab diaspora.

Asmahan: The Tragic Diva

Asmahan, born to a Syrian Druze family in 1912, had a short but highly influential career. Her life was the stuff of legend—drama, intrigue, and an untimely death at the age of 31. With a voice that could effortlessly glide between classical Arabic music and Western operatic styles, Asmahan’s songs reflected the complex identity of a woman navigating multiple cultural worlds. She captivated audiences with songs like Ya Habibi Ta’ala and her starring roles in Egyptian cinema.

Her mysterious death in a car accident has only added to her allure, sparking countless theories and immortalizing her as one of the most enigmatic figures in Arab entertainment history. Her legacy lies in her versatility, her ability to cross genres, and her willingness to push against the confines of traditional gender roles in a conservative society.

Modern Divas: Sherine and Majida El Roumi

The modern Arab world continues to produce iconic divas who both respect tradition and embrace contemporary trends. Sherine Abdel-Wahab, with her dynamic voice and bold personality, has risen to become a pop sensation across the Arab world. Her music blends traditional Egyptian rhythms with modern pop, making her a standout in today’s competitive industry.

On the other end of the spectrum is Majida El Roumi, whose operatic voice and commitment to classical Arabic music have earned her a loyal fanbase. Majida’s songs are marked by their poetic depth and social consciousness, making her not just an entertainer but a cultural commentator.

Divas as Cultural Icons

The influence of Arab divas goes beyond their musical talents. They are symbols of cultural resilience, often representing the hopes and struggles of their respective countries. Whether through their music, public personas, or political engagements, these women have consistently broken barriers, offering an empowering narrative for future generations.

In a region where social and political upheavals are commonplace, the Arab diva stands as a beacon of continuity, a reminder of the region’s rich cultural heritage. Their voices, whether mournful or joyous, continue to resonate with millions, proving that the power of music knows no bounds.

[hotvintagepoll]

Propaganda

María Félix (Doña Barbara, La Mujer sin Alma, Rio Escondido, La Cucaracha)—Maria Felix is still possibly the most well-known Mexican film actress. She turned down multiple-roles in Hollywood and a contract with Metro-Goldwyn-Meyer in order to take roles in Mexico, France, and Argentine throughout the 1940s, 50s, 60s. She was so famous and so respected as a dramatic actress that she inspired painters, novelists and poets in their own art--she was painted by Diego Rivera, Jose Orozco, Bridget Tichenor. The novelist Carlos Fuentes used her as inspiration for his protagonist in Zona Sagrada. She inspired an entire collection by Hermes. In the late 1960s Cartier made her a custom collection of reptile themed jewels. She considered herself to be powerful challenger of morality and femininity in Mexico & worldwide--she routinely played powerful women in roles with challenging moral choices and free sexuality. But even still, years after he death, she is celebrated with Google Doodles, and appearances in the movie Coco, and holidays for the anniversary of her death.

Vyjayanthimala (Madhumati, Amrapali, Sangam, Devdas)—Strong contender for /the/ OG queen of Indian cinema for over 2 straight decades. Her Filmfare Lifetime Achievement Award came not a moment too soon with 62 movies under her belt. Singer, dancer, actor, and also has the most expressive set of eyes known to man

This is round 5 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Vyjayanthimala:

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María Félix:

She's Thee Hot Vintage Movie Woman of México. She's absolutely gorgeous and always looks like she's about to step on you. you WILL be thankful if she does.

"María Félix is a woman -- such a woman -- with the audacity to defy the ideas machos have constructed of what a woman should be. She's free like the wind, she disperses the clouds, or illuminates them with the lightning flash of her gaze." - Octavio Paz

María Félix is one of the most iconic actresses of the Golden Era of Mexican Cinema. La Doña, as she was lovingly nicknamed, only had one son, and when her first marriage ended in divorce her ex-husband stole her only child, so she vowed that one day she’d be more influential than her ex and she’d get her son back. AND SHE DID! María Félix rejected a Hollywood acting role to start her acting career in Mexico on her own terms with El Peñón de las Ánimas (The Rock of Souls) starring alongside actor, and future third husband, Jorge Negrete. She quickly rose to incredible heights both in Mexico and abroad, later on rejecting a Hollywood starring role (Duel in the Sun) as she was already committed to the movie Enamorada at the planned filming time. Of this snubbing she said, quote: “I will never regret saying no to Hollywood, because my career in Europe was focused in [high] quality cinema. [My] india* roles are made in my country, and [my] queen roles are abroad.” (Translator notes: here the “india” role means interpreting a lower-class Mexican woman, usually thought of indigenous/native/mixed descent —which she had interpreted and reinvented throughout her acting career in Mexico— and what abroad was typically considered the Mexican woman stereotype, with the braids, long simple skirts, and sandals. This also references the expectation of her possibly helping Hollywood in perpetuating this stereotype for American audiences that lack the cultural and historical contexts of this type of role which would undermine her own efforts against this type of Mexican stereotypes while working in Europe) She was considered one of the most beautiful women in the world of her time by international magazines like Life, París Match, and Esquire, and was a muse to a vast number of songwriters (including her second husband Agustin Lara,), artists, designers, and writers. Muralist Diego Rivera described her as “a monstrously perfect being. She’s an exemplary being that drives all other human beings to put as much effort as possible to be like her”. Playwriter Jean Cocteau, who worked with her in the Spanish film La Corona Negra (The Black Crown) said the following about her, “María, that woman is so beautiful it hurts”. Haute Couture houses like Dior, Givenchy, Yves Saint Laurent, Balenciaga, Hérmes, among others, designed and dressed her throughout her life. She died on her birthday, April 8, 2002, at 88 years old, in Mexico City. She was celebrated by a parade from her home to the Fine Arts Palace in the the city’s Historic Downtown, where a multitude of people paid tribute to her. Her filmography includes 47 movies from 1942 until 1970, and only two television acting roles in 1970. She has 2 music albums, one recorded with her second husband, Agustín Lara, in 1964 titled La Voz de María y la inspiración de Agustín «The voice of María and the inspiration of Augustín», and her solo album Enamorada «In Love» in 1998. Her bespoke Cartier jewelry is exhibited alongside Elizabeth Taylor’s, Grace Kelly’s and Gloria Swanson’s. In 2018, Film Director Martin Scorsese presented a restored and remastered version of her film Enamorada in the Cannes Classics section of the Cannes Festival and Google dedicated a doodle for her 104th birthday. On august 2023 Barbie added her doll to the Tribute Collection.

[brian-in-finance]

Photo: Oliver Holms / EE BAFTA Film Awards • Charles Finch & Chanel Pre-BAFTA Party • 17 February 2024 / Found on Twitter

Video 📹 from Instagram

Harper’s Bazaar UK • May 2024

FLASH! We join Lon­don’s glit­terati at Chanel and Charles Finch’s an­nual star-stud­ded pre-Baf­tas bash

Dramatic skies poured outside on the eve of the Baftas, but the intimate corners and warming fireplaces of 5 Hertford Street drew in Britain’s best-loved talents and Hollywood stars for the annual Charles Finch and Chanel party. Emily Blunt and Tom Ford kissed hello, before collecting glasses of champagne and going over to greet Gwendoline Christie and Giles Deacon. As the mariachi band played a lively set, Gugu Mbatha-Raw, George MacKay and Minnie Driver chatted together, while Bel Powley and Douglas Booth unwound after a busy day, having first attended a birthday lunch for Powley’s mother, before the Simone Rocha A/W 24 fashion show, declaring with intent: ‘Now we can relax!’

Bob Geldof and Mariella Frostrup linked arms to lead the charge down to dinner, followed by Isla Fisher, who was admiring the interiors. Once everyone was seated, Charles Finch addressed the room: ‘It has been an incredible year for cinema,’ he said, also paying homage to his co-host Chanel and its historic affinity with film – creating haute-couture outfits for productions such as the New Wave Last Year at Marienbad, and countless memorable red-carpet looks. Over lobster salad and poussin, conversation and wine flowed: the nominees Margot Robbie and Greta Gerwig were deep in conversation, and Richard E Grant caught up with his Saltburn director Emerald Fennell. Last year’s winner Emma Mackey was all smiles in anticipation of presenting the Rising Star Award, saying, ‘It’s quite mad, I’ve no idea who will get it, so I hope I don’t mess it up.’ It was almost midnight when guests began to descend on the dancefloor, where the party was only just beginning.

Page 170

60 SECONDS WITH…

CAITRÍONA BALFE

Who would play you in a film of your life?

‘Saoirse Ronan – she would make me very fabulous.’

Your all-time favourite soundtrack

‘Le Mépris. It’s so evocative and takes you somewhere incredible.’

The movie that changed your life

‘Dead Poets Society. It showed me the power of storytelling and solidified the fact that I wanted to be an actor.’

A silver-screen icon you’d like to meet

‘Gena Rowlands is my absolute idol – I’m holding out hope.’

Page 174

Remember… the people I find beautiful are the people who inspire me. I love unusual beauty like Peggy Guggenheim, who had incredible style and taste. Gina Rowlands is also someone I think of as beautiful. I like women like that. I like men like that. It's not all necessarily about the Best Body or the Best Hair. I think it's much more important to do incredible things with your life. — Caitríona Balfe, Cara (magazine), August 2016