gender &mdash; settima https://write.underworld.fr/settima/tag:gender @settima@zirk.us Mon, 20 Apr 2026 09:46:00 +0200 Orlando (Sally Potter, 1992) https://write.underworld.fr/settima/section-class-boxinfo-markdown-1-zl7x <![CDATA[section class="boxinfo" markdown="1" div class="title" Orlando (Sally Potter, 1992)/div div class="month" Jan/div div class="dont-fill" /div div class="daynr" 24/div div class="occasion" Billy Zane's birthday/div div class="img" Orlando (1992)/div div class="caption" Orlando (Tilda Swinton) and Shelmerdine (Billy Zane) in intimate embrace. DPs: Aleksey Rodionov & Andrew Speller./div div class="txt" A [favourite] Billy Zane film for his birthday (1966). "This future of yours Shelmerdine, when it's gonna begin? Today? Or, is it always tomorrow?" ### – Orlando As ordered by Queen Elizabeth I (Quentin Crisp), nobleman Orlando remains young and traverses exotic scenery, civilisations, time, and gender./div div class="tags" ##### #Bales2025FilmChallenge #SallyPotter #VirginiaWoolf #TildaSwinton #QuentinCrisp #JimmySomerville #TobyJones #ThomHoffman #BillyZane #DavidMotion #AlekseyRodionov #AndrewSpeller #drama #biography #LGBT #gender #BookAdaptation #UK #Russia #Italy #France #Netherlands #1990s/div /section ]]>

Orlando (Sally Potter, 1992)

Jan

24

Billy Zane's birthday

Orlando (1992)

Orlando (Tilda Swinton) and Shelmerdine (Billy Zane) in intimate embrace. DPs: Aleksey Rodionov & Andrew Speller.

A [favourite] Billy Zane film for his birthday (1966).

“This future of yours Shelmerdine, when it's gonna begin? Today? Or, is it always tomorrow?”

– Orlando

As ordered by Queen Elizabeth I (Quentin Crisp), nobleman Orlando remains young and traverses exotic scenery, civilisations, time, and gender.

#Bales2025FilmChallenge #SallyPotter #VirginiaWoolf #TildaSwinton #QuentinCrisp #JimmySomerville #TobyJones #ThomHoffman #BillyZane #DavidMotion #AlekseyRodionov #AndrewSpeller #drama #biography #LGBT #gender #BookAdaptation #UK #Russia #Italy #France #Netherlands #1990s

]]> https://write.underworld.fr/settima/section-class-boxinfo-markdown-1-zl7x Fri, 24 Jan 2025 12:00:00 +0100 Colloque de chiens (1977) https://write.underworld.fr/settima/colloque-de-chiens-1977 <![CDATA[Colloque de chiens (1977) Monique (Silke Humel, R) spending Christmas Eve in a bar, looking for a way out. She's speaking to an elderly man in an expensive tuxedo. Is this it? DP: Denis Lenoir; still photographer Patrice Morere. Colloque de chiens (1977) December 24: the night before Christmas (Christmas Eve) Colloque de chiens (Raúl Ruiz, 1977) “Nobody knows why Monique, the cold and dry voiced whore, bears in her eyes the sadness and tiredness of her past.” Filmed during an actors' strike, Raúl Ruiz's Colloque de chiens consists for the most part of still photographs with mixed in stolen moving footage of unsuspecting bystanders and stray dogs. Told in fotonovela format, we follow the pitiful account of Monique, who as a young girl, learns that her mother is not who she thinks she is. Rejected, she throws herself into a life of vice until she meets Henri, a handsome young television repairman. Together they buy a small café, and are happy for once. But the cyclical nature of life determines her faith. Raúl Ruiz's work is, like Henri's modus operandi, determined by maps and patterns. Even in the short comically melodramatic breathe of Colloque de chiens, the map has been laid out for Ruiz's later, much more complex narrative. Colloque opens in a barren landscape. There are the skeletal towers of a nearby city, and the endless barks of abandoned dogs. Obscured by tall reeds, a blown-up photograph of a young man. The face, soft and familiar, a distant memory. “He wanted to be returned to the world of his childhood and to this woman who was perhaps waiting for him” ​ –Chris Marker, dialogue from La Jetée (1962) Amongst bare winter bushes a large photo of a friendly, young, familiar looking man. In the background against a grey sky multiple white apartment buildings. Colloque de chiens (1977) #Bales2023FilmChallenge #RaúlRuiz #SilkeHumel #EvaSimonet #RobertDarmel #JorgeArriagada #DenisLenoir #PatriceMorere #drama #crime #melodrama #ShortFilm #photography #animals #gender #prostitution #France #1970s ★★★★☆ todo]]> Colloque de chiens (1977)
Monique (Silke Humel, R) spending Christmas Eve in a bar, looking for a way out. She's speaking to an elderly man in an expensive tuxedo. Is this it? DP: Denis Lenoir; still photographer Patrice Morere.

Colloque de chiens (1977)

December 24: the night before Christmas (Christmas Eve)

Colloque de chiens (Raúl Ruiz, 1977)

“Nobody knows why Monique, the cold and dry voiced whore, bears in her eyes the sadness and tiredness of her past.”

Filmed during an actors' strike, Raúl Ruiz's Colloque de chiens consists for the most part of still photographs with mixed in stolen moving footage of unsuspecting bystanders and stray dogs. Told in fotonovela format, we follow the pitiful account of Monique, who as a young girl, learns that her mother is not who she thinks she is. Rejected, she throws herself into a life of vice until she meets Henri, a handsome young television repairman. Together they buy a small café, and are happy for once. But the cyclical nature of life determines her faith.

Raúl Ruiz's work is, like Henri's modus operandi, determined by maps and patterns. Even in the short comically melodramatic breathe of Colloque de chiens, the map has been laid out for Ruiz's later, much more complex narrative.

Colloque opens in a barren landscape. There are the skeletal towers of a nearby city, and the endless barks of abandoned dogs. Obscured by tall reeds, a blown-up photograph of a young man. The face, soft and familiar, a distant memory.

“He wanted to be returned to the world of his childhood and to this woman who was perhaps waiting for him” ​ –Chris Marker, dialogue from La Jetée (1962)
Amongst bare winter bushes a large photo of a friendly, young, familiar looking man. In the background against a grey sky multiple white apartment buildings.

Colloque de chiens (1977)

#Bales2023FilmChallenge #RaúlRuiz #SilkeHumel #EvaSimonet #RobertDarmel #JorgeArriagada #DenisLenoir #PatriceMorere #drama #crime #melodrama #ShortFilm #photography #animals #gender #prostitution #France #1970s ★★★★☆

#todo

]]> https://write.underworld.fr/settima/colloque-de-chiens-1977 Sun, 24 Dec 2023 13:43:31 +0100 隠し砦の三悪人 [Kakushi-toride no san-akunin / The Hidden Fortress] (Akira Kurosawa,... https://write.underworld.fr/settima/yin-shizhai-nosan-e-ren-1958 <![CDATA[section class="boxinfo" markdown="1" div class="title" 隠し砦の三悪人 [Kakushi-toride no san-akunin / The Hidden Fortress] (Akira Kurosawa, 1958)/div div class="month" Nov/div div class="dont-fill" /div div class="daynr" 25/div div class="occasion" White Ribbon Day/div div class="img" 隠し砦の三悪人 (1958)/div div class="caption" General Makabe (Toshirō Mifune) facing us with Princess Yuki (Misa Uehara) seemingly standing high above him on the fortress' wall, facing away. DP: Kazuo Yamazaki./div div class="txt" Someone protects a woman on White Ribbon Day\ &nbsp; ##### Leave it to popular media to create a fashion for helplessness. In the 110 years that have passed since William Randolph Hearst's titular heroine fought her way to #emancipation in The Perils of Pauline (1914), “the damsel in distress” is still very much the go-to trope for movie writers. Sadly, instead of debunking the belief that women need to be protected by men from men, it's now embraced by third wave feminism. Just yesterday – November 25, 2023 – I saw a call to arms from a leftwing feminist group to “protect girls” from the primal evil that is manhood. Oh how we did better once. "I don't know what to do with her Highness. Say right and she'll go left, say left and she'll go right. And though she is a girl, she has never shown me a tear." ### – old lady-in-waiting\ In Kurosawa's 隠し砦の三悪人, a couple of greedy peasants escort a man and woman across enemy lines after the man has promised them a share of the gold they're carrying. Unknowingly, the fools not only protect their bounty, but a general and princess trying to escape an enemy clan so they can rebuild their kingdom. And also unbeknownst to the tricksters, Makabe and Yuki are not as helpless as they may seem./div div class="tags" ##### #Bales2023FilmChallenge #WhiteRibbonDay #AkiraKurosawa #ToshirōMifune #MisaUehara #MasaruSatō #KazuoYamazaki #gender #drama #adventure #feminism #Japan #1950s/div /section ]]>

隠し砦の三悪人 [Kakushi-toride no san-akunin / The Hidden Fortress] (Akira Kurosawa, 1958)

Nov

25

White Ribbon Day

隠し砦の三悪人 (1958)

General Makabe (Toshirō Mifune) facing us with Princess Yuki (Misa Uehara) seemingly standing high above him on the fortress' wall, facing away. DP: Kazuo Yamazaki.

Someone protects a woman on White Ribbon Day

 

“I don't know what to do with her Highness. Say right and she'll go left, say left and she'll go right. And though she is a girl, she has never shown me a tear.”

– old lady-in-waiting

In Kurosawa's 隠し砦の三悪人, a couple of greedy peasants escort a man and woman across enemy lines after the man has promised them a share of the gold they're carrying. Unknowingly, the fools not only protect their bounty, but a general and princess trying to escape an enemy clan so they can rebuild their kingdom. And also unbeknownst to the tricksters, Makabe and Yuki are not as helpless as they may seem.

#Bales2023FilmChallenge #WhiteRibbonDay #AkiraKurosawa #ToshirōMifune #MisaUehara #MasaruSatō #KazuoYamazaki #gender #drama #adventure #feminism #Japan #1950s

]]> https://write.underworld.fr/settima/yin-shizhai-nosan-e-ren-1958 Sat, 25 Nov 2023 09:00:00 +0100 El lugar sin límites [The Place Without Limits] (Arturo Ripstein, 1978) https://write.underworld.fr/settima/el-lugar-sin-limites-1978 <![CDATA[section class="boxinfo" markdown="1" div class="title" El lugar sin límites [The Place Without Limits] (Arturo Ripstein, 1978)/div div class="month" Aug/div div class="dont-fill" /div div class="daynr" 13/div div class="occasion" Gay Uncles Day/div div class="img" El lugar sin límites (1978)/div div class="caption" Pancho (Gonzalo Vega) watches La Manuela (Roberto Cobo) dance flamenco for him. DP: Miguel Garzón./div div class="txt" Cabaretera, a sub-genre from the Epoca de Oro (the golden epoch of Mexican filmmaking, 1930s—1950s), combines film noir with melodrama and musical numbers. Often set in cabarets (brothels), these films talk about the plight of the prostitute who – not without their pride and dignity – are forced to being the breadwinner in a poverty-stricken community. &nbsp; El lugar sin límites harks back to those days. We follow the plight of La Manuela, a transvestite who together with daughter La Japonesita works as a fichera (a dancehall performer) in the brothel run by Madame La Japonesa, La Japonesita's mother. &nbsp; ##### The return of Pancho, a hyper-macho trucker, disrupts the family regime. The trucker's attraction to the #flamenco dancing fichera is at odds with his machismo. Him being outed as a maricón (a Mexican slur for homosexual) would be the end of his world. &nbsp; ##### El lugar remains a groundbreaking film, not only in how it handles taboos like #gender roles and trans- and homosexuality, but also because it highlights how (self) destructive #machismo is in Mexican society. &nbsp; Sergio de la Mora's excellently researched EL LUGAR SIN LÍMITES: Ripstein in Review delves much deeper than this little writeup here. Do read it (spoilers ahead). &nbsp; Roberto Cobo's La Manuela is transsexual. The term "transvestite" is what's used in the film and typical for its time./div div class="tags" ##### #Bales2023FilmChallenge #GayUnclesDay #ArturoRipstein #JoséDonoso #RobertoCobo #GonzaloVega #JoaquínGutiérrezHeras #JoséPadilla #MiguelGarzón #BookAdaptation #LGBT #drama #Mexico #1970s/div /section ]]>

El lugar sin límites [The Place Without Limits] (Arturo Ripstein, 1978)

Aug

13

Gay Uncles Day

El lugar sin límites (1978)

Pancho (Gonzalo Vega) watches La Manuela (Roberto Cobo) dance flamenco for him. DP: Miguel Garzón.

Cabaretera, a sub-genre from the Epoca de Oro (the golden epoch of Mexican filmmaking, 1930s—1950s), combines film noir with melodrama and musical numbers. Often set in cabarets (brothels), these films talk about the plight of the prostitute who – not without their pride and dignity – are forced to being the breadwinner in a poverty-stricken community.

 

El lugar sin límites harks back to those days. We follow the plight of La Manuela, a transvestite* who together with daughter La Japonesita works as a fichera (a dancehall performer) in the brothel run by Madame La Japonesa, La Japonesita's mother.

 

The return of Pancho, a hyper-macho trucker, disrupts the family regime. The trucker's attraction to the #flamenco dancing fichera is at odds with his machismo. Him being outed as a maricón (a Mexican slur for homosexual) would be the end of his world.

 

El lugar remains a groundbreaking film, not only in how it handles taboos like #gender roles and trans- and homosexuality, but also because it highlights how (self) destructive #machismo is in Mexican society.

 

Sergio de la Mora's excellently researched EL LUGAR SIN LÍMITES: Ripstein in Review delves much deeper than this little writeup here. Do read it (spoilers ahead).

 

*Roberto Cobo's La Manuela is transsexual. The term “transvestite” is what's used in the film and typical for its time.

#Bales2023FilmChallenge #GayUnclesDay #ArturoRipstein #JoséDonoso #RobertoCobo #GonzaloVega #JoaquínGutiérrezHeras #JoséPadilla #MiguelGarzón #BookAdaptation #LGBT #drama #Mexico #1970s

]]> https://write.underworld.fr/settima/el-lugar-sin-limites-1978 Sun, 13 Aug 2023 13:27:47 +0200