Instead of doing the important stuff I need to do in my life (get these braids out of my head) I’ve created a tumblr dedicated to Black British (in the afro-Caribbean not political sense) Cinema: http://blackbritishcinema.tumblr.com/
Submissions more than welcome, especially if you make films yourself.
"I know what would happen [in Hollywood]. I look at Hollywood movie posters and I know what to expect. I do not want more fame or more money. I am happy with what I have. I do not want to make a film to make a film. I just want to have a nice life—not a career. […] I don’t actually enjoy making films, to be honest. Well, I enjoy acting, but only after they say ‘action’, when the camera is rolling. Hair and make-up, promotion, waiting around, I’m fed up with all of that. It’s taken up too many years of my life… Pride is more important to me now, because your films live with you forever. I’m never going to make another one that I don’t care for."
Born September 20, 1964
Strolling | Ep 8 (by Cecile Emeke)
BRAND NEW ep of #strollingseries; We talked the pill, mental health, anxiety, depression, “where are you from”, healthy eating, books & more. Keep in touch via one our social networks to stay updated about future episodes!
Stills from Gloria (2014)
Directed by Sebastián Lelio, starring Paulina García
Chile’s official entry for Best Foreign Language Film at the 86th Academy Awards.
Tala va Mes – (Altın ve Bakır )– İran Filmi – 2011.
Why are you looking at me like that?
I love you. I love you so much.
Seeing the two women, [Vanda’s character Clotilde and real life-named Clotilde Montron], together in Pedro Costa’s Ossos is striking – the unkempt unwashed hair, the ungroomed eyebrows, the upper lip hair, lack of even natural cinematic makeup – help establish the elements of realism. Both are gender ambiguous to the typical spectator, illustrating the expectancy of gender performance for women in cinema, as well as the expectation of the operation of the gender binary (women are clearly demarcated as “feminine” cis females). I would even say that Vanda’s challenging of this expectation is what makes her so “dangerous” [as Costa described her]. This refreshing imagery, coupled with the unapologetic look of confidence Duarte exudes when Clotilde and Tina dress for work as housemaids, reinforces why Duarte is so magnetic and fascinating to observe. The contrast of her more delicately-featured friend does nothing to deter her confidence, which makes the description “total lack of respect” further apply to gendered beauty standards. More than this, Vanda represents a woman often not seen in cinema: a woman unconcerned with expected gender performance and appearance.
— Apexa M. - Vanda’s Resistance: Exploration of Vanda Duarte in Pedro Costa’s Fontainhas trilogy | FilmAntidote.com