Anne Hathaway has made many rom-coms in her career, but none that take a turn like the one in Colossal. She plays an alcoholic writer who returns to her small hometown, where she reconnects with a childhood friend played by Jason Sudeikis and discovers that she’s somehow linked to a Godzilla-like monster terrorizing South Korea. David Edelstein says

“What I like about Colossal is that the Spanish writer-director, Nacho Vigalondo, has an elastic notion of genre. This is a film that starts off as a giddy comedy before plunging into a grim psychodrama about a woman’s loss and recovery of power, over herself and abusive males—that also happens to feature goofy-looking giant monsters throwing each other around Korea.”

films to watch

so i saw a post listing films in foreign languages and i thought i could expand on the list a little bit but my addition got so massive i decided to move it to a separate post. this list will focus on my target languages and feature a little bit of french as well just to spice it up. 

films are good for several reasons

  • usually quite fun
  • actually challenging if u watch w/o subtitles and the easiest way to achieve immersion in the privacy of your home
  • “productive procrastination”
  • might give u cultural insight as well
  • or encourage you to learn some history!!!!
  • i’m really tired of people watching almodóvar and being like uuuuuuhuuuu look the great spanish director and forgetting that not only are there spanish films not directed by almodóvar but also that spanish is spoken in other countries as well and GUESS WHAT they produce culture

ok here we go!!!!! im really lazy and my computer is agonizingly slow so i can provide no links. if something interests you search for it et voila

WARNING!!!!! long post 


  • magia salvaje - this is an uber cool colombian film showing largely unexplored areas of colombia which i think is the most beautiful country on earth. it was recommended to me independently by a friend from my spanish class and my colombian pen pal gal. from its website: “magia salvaje es la cinta del mundo natural más ambiciosa realizada en el país (…) [realizada en] 85 locaciones y 20 ecosistemas. (…) un tributo a la belleza de colombia“ tl;dr: cool shit u should watch, it’s available on yt
  • señor ávila - a p good series filmed by the mexican hbo starring tony dalton as an exemplary father and husband that starts working as a paid killer for the mafia, but it’s not all peachy because it affects his personal life and his son gets into some really deep shit. gets a bit grim at times but good nevertheless
  • retrato de un comportamiento animal - really cute indie film made in uruguay. an unlikely couple on a trip to brazil. expect nice landscapes and voseo
  • relatos salvajes - dark humour from argentina, a series of episodes in which people go absolutely bonkers over the most petty shit and also get p violent when you wouldn’t expect them to be. produced by pedro almodóvar if that serves as any recommendation.
  • la historia oficial - another one from argentina. drama. set during the dictatorship and based on true events, follows a family through a period when they would literally tear lil kids from their mothers and drown the parents if they were enemies of the state. watch it
  • juana la loca - spanish historical drama about their queen joan the mad
  • el laberinto del fauno - can we just, omg, ok, i love that film so much. fantasy, set during the civil war in spain. a little girl discovers this world with monsters and other creatures and it’s scary as shit but she goes through these adventures because she cares for her family. watch itttt
  • doce hombres sin piedad - this is the spanish version of the american classic 12 angry men, recorded in 1973. you can watch it on youtube.
  • gran hotel - spanish tv series, historical drama sort of downton abbey style. weird shit is happening in this lovely hotel, what do we do??? apparently available on netflix
  • como agua para chocolate - cute film “about how life used to be in mexico” (imdb) based on the p famous novel by laura esquivel. lovely colours, romantic love and a lot of nice food
  • los diarios de motocicleta - starring gael garcía bernal in an adaptation of che guevara’s memoir in which young che travels the world on his motorbike
  • no - ok this is some amazing shit (oscar nomination holaaaa). it’s a chilean film with gael garcía bernal set in the 1980s. in 1988 pinochet held a referendum in which basically if u said “yes” he stayed as te country’s official and lawful leader and if you said “no”, well, he went. the film is about the campaign that sought to get rid of him
  • talento de barrio - sorry but i couldn’t omit that one. it has daddy yankee in it, period.


  • la dolce vita - please do yourself a favour and watch it
  • la grande bellezza - as above. this is my favourite film of all time. look for the soundtrack on yt and you will know why
  • il bidone - early fellini follows petty thieves in rome
  • il prefetto di ferro - set in the 1920s. giuliano gemma as cesare mori aka the iron prefect who comes to palermo to deal with the gangs. good shit
  • ladri di biciclette - directed by vittorio de sica, set in post-ww2 rome, “a masterpiece of italian neorealism” (wiki). a desperate family needs their bicycle to survive
  • amarcord - comedy/drama, set in the 1930s. coming-of-age. “Fellini skewers Mussolini’s ludicrous posturings … that <<imprisoned Italians in a perpetual adolescence>> by mockig himself and his fellow villagers in comic scenes tha underline their incapacity to adopt genuine moral responsibility or outgrow foolish sexual fantasies” (wiki). won oscar for foreign language.
  • gomorra - tv series based on famed novel by roberto saviano. rival mob clans. good shit
  • il vangelo secondo matteo - “trattando in maniera antidogmatica un argomento di carattere religioso, l’opera fece sensazione e scatenò un aspro confronto intelettuale sulla stampa, proseguendo le non sopite polemiche per le accuse di vilipendio della religione” (wiki). three oscar nominations.
  • una vita violenta - poor kid in rome attempts to transform his life after leaving prison
  • la notte - marcello mastroianni in a study of a deteriorating relationship
  • la nostra terra - cute film which is literally my aesthetic aka people working the land. educated guy from bologna comes down south to start a community and sell organic veg he will grow himself. featuring creepy mafia guy freshly released from prison and sneaky southerners
  • la mafia uccide solo d’estate - drama but also a comedy fresh from palermo. lil boy observes how the mob influences people’s lives
  • il capitale umano - drama. a car accident ties together the lives of two families. people go crazy. great performance by valeria bruni tedeschi
  • il rosso e il blu - follows the lives of three school teachers as they get really involved in the fucked up lives of their students. confusing but oddly satisfying
  • latin lover - fun comedy of how a famed actor dies leaving behind a shitload of lovers, wives and children who all meet for his funeral.


  • trash - an AMAZING brazilian film about two favela boys trying to solve a criminal mystery and unearth corruption before an ill-willed police officer gets to them; all thanks to a wallet found in the dumpster they work in. really good cinema with appearances made by rooney mara and martin sheen
  • singularidades de uma rapariga loura - modern portuguese film based on a short stories by eça de queirós. a blooming romance meets an unexpected obstacle. spot on aesthetic and cleverly blended cultural references. directed by manoel de oliveira who is THE MAN, check out his ther shit such as the p recent o convento starring john malkovich and catherine deneuve
  • saneamento básico - p straightforward but fun brazilian comedy in which a small town community will do anything to raise money to fix their sewer system
  • this is embarrassingly short i will make a separate post to expand 


  • farinelli - an AMAZING film based very loosely on the life of the most famous castrato singer, farinelli. loooveeeee
  • la religieuse (2013) - a really stuningly made adaptation of denis diderot’s novel about a girl thrown into a convent against her will and desperate to get out who discovers some dark family secrets.
  • tom à la ferme - weird indie canadian film with xavier dolan, a gay man travelling to meet his dead boyfriend’s family and terrorised by said’s boyfriend’s horrible brother. more dark family shit for u
  • yves saint laurent - nice biographical film with pierre niney
  • dans la maison - terrifying and fascinating drama about how one seductive teenager ruins some families. 10/10 would recommend
  • les choristes - really good film about how a music teacher transforms the lives of a class of “difficult” boys. set in the 1940s to spice it up
  • les liaisons dangereuses (1959) - adaptation of laclos’ classic novel, set in the present day. directed by roger vadim.

that’s it - I hope at least one person finds it interesting/helpful!!!

i once promised a crash course in polish thing and i know i’m delaying it horribly but sometime next week i will prepare a similar post about polish films (if u folks are interested, ofc)


On this day in music history: November 3, 1992 - “Love Deluxe”, the fourth album by Sade is released (UK release date is on October 26, 1992). Produced by Sade and Mike Pela, it is recorded at Studio Condulmer in Venice, Italy, Ridge Farm Studios in Capel, Surrey, UK, The Hit Factory in London and Image Recording in Los Angeles, CA from May - August 1992. Returning from a more than three year long hiatus after the release of their previous album “Stronger Than Pride”, Sade begin work on their fourth release in the Spring of 1992. Working on a very tight timeline, the band write and record the album in a relatively brief and intense four months. Most of “Love Deluxe” is recorded in Venice during the Spring and Summer, moving to London and Surrey, with the final recording taking place in Los Angeles. During the sessions, Sade herself often writes her lyrics while listening to the already completed tracks, then recording vocals singing into a Shure SM 57 microphone in either a vocal booth in the studio control room. Lyrically many of the songs focus on themes of “unreciprocated love”, with the intensely private singer giving listeners a glimpse into her tumultuous marriage to Spanish film director Carlos Pliego. Along with meditations on relationships (or the lack thereof), one of the emotional centerpieces of “Love Deluxe” is the powerful ballad “Pearls”. The songs’ narrative follows the struggle of a Somalian woman foraging for food by the road side to feed her daughter, and rejoicing at the few meager grains she scrapes from the dirt. The song is later given a deep house remix, which is rejected by the band for commercial release. However, the remix slips out as a bootleg and becomes a big underground club hit. Led by the mesmerizing first single “No Ordinary Love” (#28 Pop, #9 R&B, #14 AC), it wins Sade their second Grammy Award in 1994 for Best R&B Performance By A Duo Or Group With Vocal, and is also prominently featured in the film “Indecent Proposal”. The elegant and understated cover art work features a striking sepia toned photo of Sade covered in bronze body paint, taken by famed fashion photographer Albert Watson. The album spins off three other singles including “Kiss Of Life” (#78 Pop, #10 R&B, #20 AC), “Cherish The Day” (#116 Pop, #45 R&B) and “Feel The Pain” (#59 R&B). The album is remastered and reissued on CD in 2000, and is reissued on vinyl by Music On Vinyl in 2010. “Love Deluxe” peaks at number three on the Billboard Top 200, number two on the R&B album chart, and is certified 4x Platinum in the US by the RIAA.

Stephen Sondheim, Theater’s Greatest Lyricist

By Lin-Manuel Miranda for T Magazine’s The Greats issue

Sondheim: I hope you don’t mind doing this upstairs, I’m feeling a bit under the weather.

It’s July 2017. We are on the second floor of Stephen Sondheim’s Midtown Manhattan townhouse, and he’s nestled on his writing couch. There’s a famous picture of him reclining in this very spot from 1960: young Sondheim staring intently at a pad of paper, Blackwing pencil at the ready, framed by two windows. His right hand on his face, deep in thought.

Sondheim: The writing’s not going well today.

Nearly 60 years later, Sondheim is on the same couch. He is 87 years old. He’s wearing his rumpled-writer T-shirt and sweatpants, he’s got a sour stomach. He is writing a new musical with David Ives for the Public Theater, an adaptation of two films by the late Spanish director Luis Buñuel, and he’s staring down a deadline. And here I am, interrupting his writing day for this interview.

It’s hard to overemphasize Sondheim’s influence on American musical theater. As a young man, he was mentored by Oscar Hammerstein II of Rodgers and Hammerstein, the songwriting duo who revolutionized musicals with “Oklahoma!” in 1943. Rodgers and Hammerstein wrote fully integrated songs that advanced the plot and revealed hidden depths in their characters; in their hands, musical theater matured into a storytelling art form. Sondheim built on Hammerstein’s innovations by experimenting relentlessly with subject matter and form: from his early lyrics for Leonard Bernstein’s music in the seminal “West Side Story” (1957) and for Jule Styne’s music in “Gypsy” (1959) to more than 50 years’ worth of scores that have pushed the boundaries and subject matter of musical theater in every conceivable direction. He is musical theater’s greatest lyricist, full stop. The days of competition with other musical theater songwriters are done: We now talk about his work the way we talk about Shakespeare or Dickens or Picasso — a master of his form, both invisible within his work and everywhere at once.

Go read. It’s awesome. And don’t miss Lin’s footnotes.

Sorry it’s long. TL;DR at the bottom.

I work the breakfast buffet at a hotel. My job is to refill the buffet, clean the tables when the clients are done, and put out new plates and stuff for the next clients. Normally it’s awesome. The hotel is 4 stars in a pretty sleepy french town, so we normally get businessmen who just want to eat their toast in silence before catching a flight. But this weekend I had the woman from hell.
Our dining room holds about 23 people. This weekend we had a group of about 50 Spanish people. Their director was an absolute nightmare. We open breakfast at 8am. She demanded it was open at 4 so they could get their day going. We compromised (because I straight up refused to be there at 4 in the morning) and opened at 6. So already we were changing our policy to cater to her.
Now normally we get lots of different nationalities. Which is great cuz I don’t have 23 people who all want the same thing. But since they’re all Spanish, all the same age (old), and all from the same town, they ALL wanted the same thing. So I was cutting fruit, refilling the juice, and refilling the bread like a madman. And I’m good at my job so I was doing just fine.
But the director wasn’t happy. The minute I would come out of the kitchen, she would walk up to me and say “meat.” To say there’s no more ham. I know this woman speaks french AND English. So she could have easily said “hey there’s no more ham, can you refill this?” In 2 different languages that she knows I speak. But no. She just says. “Meat.” So I grab the meat tray and head to the kitchen to refill it. Because it’s a nice hotel, I can’t just slap the meat on the tray. I gotta make it all pretty and shit, which takes about 5 minutes. I’m in the kitchen for not 30 seconds before she’s knocking on the door. So I open the door and she just says “meat. Now.” Like madame. Plz. I explained to her that it would take 5 minutes..and she didn’t say anything. Just stood there looking at me. So I slowly let the door just kind of..shut..and went back to the meat. She did this 6 times. So something that would have taken 5 minutes took like 10 because she couldn’t wait.
Then when I came out with the meat (and later the cheese and the juice and all the other stuff) so just said “dishes.” To say I needed to clean the dirty dishes off the tables to make room for the next wave of the group. So I went to clean the tables. The second I started, she would say “bread.” So I grabbed all the dirty dishes I could and went back to the kitchen, while she just kept screaming bread at my back. So when I came back out with more bread she just did this huge exasperated sigh and said “um hello? Tables?????” I ended up taking her into the kitchen with me and said “look. How many people do you see in here? Just me. I will get everything done, but you cannot expect me to do it all in the span of 30 seconds. Please just be patient.”
She ended up going to my boss and told some massive lie that I said she was a bitch and that I threw juice in her face and screamed “if you want juice so bad then here!” I mean I wanted to do that I didn’t! Luckily my boss knows I’m not that confrontational, so he said just try to “go faster.”
This lady spent the entire weekend at the hotel, and every single day was like that and I was ready to just spit in her food by the end of it.

TL;DR I’m in charge of breakfast at a hotel and some Spanish lady spent the past 3 mornings barking at me to do something, then when I would do it she would yell at me that I’m not doing something else.


On this day in music history: November 13, 2000 - “Lovers Rock”, the fifth album by Sade is released. Produced by Sade and Mike Pela, it is recorded at Deliverance Studios, Sarm Hook End Studios in London and El Cortijo Studios in San Pedro de Alcántara, Spain from September 1999 - August 2000. Despite scoring yet another multi-Platinum selling album with “Love Deluxe” in 1992, it is one of only two times that Sade are heard from during the 90’s. After releasing their first greatest hits package in 1994, the band begin their longest hiatus from the public eye yet. After a turbulent marriage to Spanish director Carlos Pliego which ends in divorce in 1995, Sade Adu begins another relationship with music producer Bob Morgan, giving birth to a daughter named Mickailia (aka “IIa”) in 1996. Taking time off to raise her child, the band do not begin work on a new album until the Fall of 1999. Refreshed from their extended time apart, band members Stuart Matthewman, Paul Spencer Denman and Andrew Hale have been active in the interim, recording an album under the moniker Sweetback, and Matthewman co-producing R&B singer Maxwell’s first two albums. Once back together in the studio, the band decide to try a different creative approach from their signature sound. Sade move away from the full band arrangements of their previous albums, toward more spare and acoustic guitar driven tracks. Having spent much of the 90’s living in Jamaica to escape the European tabloid press, Adu is inspired and influenced by the sounds of the Caribbean. The title “Lovers Rock” comes from the sub genre of reggae music that is notable for its romantic and sensual vibe, that Sade listened to growing up. Her ups and downs relationship wise also figure significantly in the overall mood and feeling of the album, most notably on the first single “By Your Side” (#75 Pop, #18 AC), the follow up “King Of Sorrow” (#101 R&B) and “Somebody Already Broke My Heart”.  Like their previous work, “Lovers Rock” receives a rapturous reception from fans when it is released in the Fall of the new millennium. In the US, the album is also issued with a bonus CD through big box chain store Target, featuring four previously unreleased live versions of “The Sweetest Taboo”, “Smooth Operator”, “Nothing Can Come Between Us” and “No Ordinary Love”, recorded during the Love Deluxe Tour. Sade also follow it with a world tour in 2001, which is then followed by a live concert video and album both titled “Lovers Live” released in 2002. “Lover’s Live” peaks at number three on the Billboard Top 200 and R&B album chart, and is certified 3x Platinum in the US by the RIAA.

Un vestido y un amor (Te ví)

A Dress and a Love (I Saw You) is a song written by Argentinian songwriter Fito Páez. He wrote this song about, and to, Argentinian actress Cecilia Roth, better known as the muse of the acclaimed Spanish film director Pedro Almodóvar.

At the time the song was written, Cecilia was already married. Fito never thought she would actually pay attention to him due to their seven-year age difference and her being a movie star.

The two of them later got married and even adopted a son.

So don’t you dare tell me this isn’t the BIGGEST flozmin easter egg.


Colonia (2015) - Florian Gallenberger

5 bullets on this film:

  • I almost died while watching it. I mean it. I had to count to 10 and breathe to calm down during some scenes because they really made me so so so anxious. 
  • It’s based on a true story, and it makes sick to think that things that were shown in this movie really existed, not so long ago. A religious cult in Chile run by a nazi sounds crazy, but it actually existed!!!!  It’s not really fun to watch because it makes you think about the horrors of this world, but, you know, we have to remember those horrors to avoid them happening again.
  • I don’t even have words for Emma Watson’s beauty and talent. You could see that she really got into the character, and she managed to transmit her desperation to the viewer, I think that’s why this film stressed me out so much. The bad guy (Michael Nyqvist) was also great.  Oh, and by the way, if you ever see Daniel Bruhl, please tell him that  I have a huge (platonic) crush on him. Thanks.
  • It’s set in Chile, but we don’t see much of the country, and the characters don’t even speak spanish. I think the director managed to show the revolution and dictatorship atmosphere really well.
  • The only thing that bothered me was that the characters weren’t developed very well and their actions didn’t always make sense so I was left a little confused. Also, the romantic part was really unnecessary, and it turned the film into the usual blah blah blah love love love kiss kiss kiss.

María Cristina Estela Marcela Jurado García, better known as Katy Jurado (January 16, 1924 – July 5, 2002), was a Mexican film, stage and television actress.

Jurado began her acting career in Mexico in 1943. During the 1940s and early 1950s, the era called the Golden Age of Mexican cinema, Jurado played villainous “femme fatale” characters in Mexican films. In 1951 she was discovered in Mexico by the filmmaker Budd Boetticher and began her Hollywood career in the film The Bullfighter & the Lady. She acted in Western films of the 1950s and 1960s, including High Noon (1952), Arrowhead (1953), Broken Lance (1954), One-Eyed Jacks (1960), and Pat Garrett and Billy the Kid (1973). She was the first Latin American actress nominated for an Academy Award, as Best Supporting Actress for her work in Broken Lance, and was the first to win a Golden Globe Award for her performance in High Noon.

Jurado made seventy-one films during her career.

Katy Jurado was born María Cristina Jurado García in Guadalajara, Jalisco, Mexico. Her parents were Luis Jurado Ochoa and Vicenta Estela García de la Garza. Her brothers were Luis Raúl and Óscar Sergio. One of her great-grandfathers was of Andalusian origin. Her father was a lawyer, and her mother was a singer who worked for XEW. Her mother was sister of Mexican musician Belisario de Jesús García, author of popular Mexican songs like “Las Cuatro Milpas”. Jurado’s cousin Emilio Portes Gil was president of Mexico (1928–1930).

Jurado studied at a school run by nuns in the Guadalupe Inn neighborhood in Mexico City, and later studied to be a bilingual secretary. As a teenager, she was invited by producers and filmmakers to work as an actress, among them Mexican filmmaker Emilio Fernández, who offered her a role in his first movie The Isle of Passion (1941). Although her godfather was Mexican actor Pedro Armendáriz, her parents never gave their consent.

Another filmmaker interested in her was Mauricio de la Serna, who offered Jurado a role in the film No matarás (1943). She signed the contract without authorization from her parents, and when they found out, they threatened to send her to a boarding school in Monterrey. Around this time she met the aspiring actor Victor Velázquez and married him shortly after. Velázquez and Jurado were married until 1946. Velázquez was the father of her children, Victor Hugo and Sandra.

In No matarás, Jurado played her first villain and femme fatale. Jurado specialized in playing wicked and seductive women. She said, “I knew that my body was provocative. I admit, my physical was different and very sensual.”[this quote needs a citation] She appeared in sixteen more films over the next seven years in what film historians have named the Golden Age of Mexican cinema. In 1943 she had her first success with her third film, La vida inútil de Pito Pérez.

In addition to acting, Jurado worked as a movie columnist, radio reporter and bullfight critic to support her family.[4] She was on assignment when filmmaker Budd Boetticher and actor John Wayne spotted her at a bullfight. Neither knew she was an actress. However, Boetticher, who was also a professional bullfighter, cast Jurado in his 1951 film Bullfighter and the Lady, opposite Gilbert Roland as the wife of an aging matador. She had rudimentary English language skills, and memorized and delivered her lines phonetically. Despite this handicap, her strong performance brought her to the attention of Hollywood producer Stanley Kramer, who cast her in the classic Western High Noon, starring Gary Cooper and Grace Kelly. Jurado learned to speak English for the role, studying and taking classes two hours a day for two months. She played saloon owner Helen Ramírez, former love of reluctant hero Cooper’s Will Kane. She earned a Golden Globe Award for Best Supporting Actress and gained notice in the American movie industry.

Despite her Hollywood success in the early 1950s, Jurado continued to act in Mexican productions. In 1953 she starred in Luis Buñuel’s box-office success El Bruto, with Pedro Armendáriz, for which she received an Silver Ariel Award (The Mexican Academy Award) as Best Supporting Actress. She also acted in English-language films produced in Mexico, such as El Corazón y La Espada (1953, opposite Cesar Romero) and Mujeres del Paraíso (1954, opposite Dan O'Herlihy). The same year she had a role in Arrowhead with Charlton Heston and Jack Palance, playing an evil Comanche woman, the love-interest of Heston’s character.

In 1954, the also Mexican actress Dolores del Río was chosen to play Spencer Tracy’s Comanche wife and the mother of Robert Wagner’s character in the film Broken Lance, directed by Edward Dmytryk. However del Río was accused of being a communist during the McCarthy era. Then Jurado was chosen for the role despite the resistance of the studio because of her youth. But after viewing footage of her scenes, studio executives were impressed.[6] Her performance garnered an Academy Award nomination (a distinction shared by only two other Mexican actresses since then: Salma Hayek as Best Actress in 2002 for Frida, and Adriana Barraza as Best Supporting Actress in 2006 for Babel).

In 1954 Jurado appeared with Kirk Douglas and Cesar Romero in the Henry Hathaway’s film The Racers, filmed in France, Italy and Spain. In 1955 Jurado filmed Trial, directed by Mark Robson, with Glenn Ford and Arthur Kennedy. It was a drama about a Mexican boy accused of raping a white girl, with Jurado playing the mother of the accused. For this role she was again nominated for the Golden Globe Award for Best Supporting Actress. In the same year she traveled to Italy for the filming of Trapeze, directed by Carol Reed, with Burt Lancaster and Tony Curtis.

In 1956 Jurado debuted on Broadway, playing Filomena Marturano with Raf Vallone. Eventually she participated in a series of westerns like Man from Del Rio, opposite the also Mexican actor Anthony Quinn, and Dragoon Wells Massacre with Barry Sullivan. She made guest television appearances in a 1957 episode of Playhouse Drama and in a 1959 episode of The Rifleman as gambler Julia Massini (Andueza) in “The Boarding House”, written and directed by Sam Peckinpah.

In 1959 she filmed The Badlanders, with Ernest Borgnine and Alan Ladd, and worked with Marlon Brando in the film One-Eyed Jacks. In the film, Jurado played the role of Karl Malden’s wife, and mother of the young Mexican actress Pina Pellicer.

In 1961 she starred in Dino de Laurentiis Italian productions like Barabbas with Borgnine, Anthony Quinn, Jack Palance and the Italian actors Silvana Mangano and Vittorio Gassman, and I braganti Italiani, directed by Mario Camerini, again with Borgnine and Gassman. In 1961, Jurado returned to Mexico. She filmed Y dios la llamó Tierra (1961) and La Bandida (1962), with the Mexican cinema stars María Félix, Pedro Armendáriz and Emilio Fernández.

Jurado returned to Hollywood in 1965, with the film Smoky, directed by George Sherman, with Fess Parker. In 1966, she played the mother of George Maharis in A Covenant with Death. That same year she reprised her “High Noon” role in a TV pilot called “The Clock Strikes Noon Again”. As her career in the U.S. began to wind down, she was reduced to appearing in the movie Stay Away, Joe (1968), playing the half-Apache stepmother of Elvis Presley.

In 1968, she moved back to Mexico permanently. She took up residence in the city of Cuernavaca.

In the next years Jurado alternated her work between Hollywood and Mexico. In 1970 she filmed the Hollywood film production The Bridge in the Jungle, opposite John Huston. In 1972 she starred in Pat Garrett and Billy the Kid, directed by Sam Peckinpah, playing the role of the wife of the actor Slim Pickens.

Jurado received one of her best dramatic roles in the last episode of the Mexican film Fé, Esperanza y Caridad (1973). Directed by Jorge Fons, Jurado was cast as Eulogia (“La Camota”), a lower-class woman who suffers a series of bureaucratic abuse to claim the remains of her dead husband. For this role she won her second Silver Ariel Award of the Mexican Cinema. Jurado recognized this character as her best performance.[8] In 1973 Jurado starred on Broadway again in the Tennessee Williams stage play The Red Devil Battery Sign, with Anthony Quinn and Claire Bloom.

In 1974 Jurado filmed the American film Once Upon a Scoundrel (1974), opposite the American comedian Zero Mostel. In 1975 Jurado participates in the social criticism film Los albañiles, again directed by Jorge Fons. The film was awarded with the Golden Bear of the Berlinale 1975. In 1976 appears in the role of Chuchupe in the film Pantaleón y Las Visitadoras (1976) adaptation of the novel of Mario Vargas Llosa (who also directed the film). In 1978 she played a small role in the film The Children of Sanchez (1978), opposite Anthony Quinn and Dolores del Rio. Jurado also reappeared on television

frequently in the 1970s. She made guest appearances on such shows as Playhouse Theatre and The Rifleman.

In 1980 Jurado filmed La Seducción (1980), directed by Arturo Ripstein. In 1984, she acted in the film Under the Volcano, directed by John Huston. In the same year she co-starred in the short-lived television series a.k.a. Pablo, a situation comedy series for ABC, with Paul Rodriguez.

In the 1990s Jurado appeared in two Mexican Telenovelas. In 1992, she was honored with the Golden Boot Award for her notable contribution to the Western genre. In 1998, she completed a timely Spanish-language film for director Arturo Ripstein called El Evangelio de las Maravillas, about a millennium sect. She won the best supporting Actress Silver Ariel for this role.[5] Jurado had a cameo in the film The Hi-Lo Country by the filmmaker Stephen Frears, who called her his “lucky charm” for his first Western.

In 2002 she made her final film appearance in Un secreto de Esperanza. The film was released posthumously after Jurado’s death.


The Sublo and Tangy Mustard Halloween special now has Spanish subtitles thanks to super-fan RGNewAge aka @NextOneIs3000 on twitter.

Once referred to as “the most dangerous filmmaker in the world” by the Vatican: Top 12 JESS FRANCO movies

A great philosopher once wrote “Jess Franco never made a bad movie.” Or was that “Jess Franco made lots of bad movies”? Either way, we all win. The legendary Spanish cult film director made nearly 200 films in his career and he demonstrated with films like Vampyros Lesbos and Devil Hunter that, well… he was a very strange man. I’m a huge Franco fan. I love his work! And below are my favorite Franco films.

anonymous asked:

Quentin Tarantino is apparently making a movie about the Manson family's murders in the 60s. Margot Robbie and Jennifer Lawrence were rumored to play Sharon. I think Lana would be great for Sharon Tate! If she could act .... maybe she should do a song for the soundtrack !?

WHAT 2 years ago in an interview  - 

“Well… I’m open to it all. James Franco asked me to be in three films that were going to be directed by a Spanish director, and I was hesitant. I think he heard my hesitance and got scared. Someone wanted me to be Sharon Tate. I thought, “That’s so right.” At that time, there were three Manson movies being talked about, but none were ever made. So maybe that was the answer.” - Lana

Movies are just as important

So, as I am sure you’re aware of the book club that is running on this page, I figured that I would make a movie list as well for people who wanted to watch things as well as we read or just one of them. It’ll be horror/ gothic and just things I think go along or are good examples of it, so:

-The Devils’ Backbone (2001)- the sister movie to crimson created by Del Toro. Santi is known as baby Sharpe on this blog as I am sure you are aware. It’s brilliant, soon as I watched it, it became an instant favourite and of course we all know how good Del Toro is at story telling. Like Crimson and its ghosts its not straight forward evil and there’s a lot of sorrow in it, high recommend it. 

-Fragile (2005)- Directed by a Spanish director,  Jaume Balagueró, this movie is seriously twisted…in a good way. It’s about a nurse who works in a children’s hospital that is haunted and one of the girls, who the nurse grows attached too, tells her about the “mechanical girl” called Charlotte. The haunting and bone breaking continues and the horrific truth is revealed at the end. The horror comes from the character of the ghost in this one, visually that is. 

-Half Light (2006)- Directed by Craig Rosenberg, it centres around a woman who lost her son and is haunted by the idea and memory of it. Retreating to Scotland to continue writing her book, she learns about the lighthouse and its owner and the tragedy that occurred. It’s not so much scary but the story behind it is a good one, there’s a twist that you may or may not see coming and I recommend it for those who aren’t into heavy ghosts/ horror

-The turn of the screw (2009)- You’ll know this book is also included in the book club but this particular BBC adaption with Michelle Dockery is brilliant. In fact, if you read or watch it I’m pretty sure you’ll be able to make cross overs with Crimson. About a nanny who tutors two children and is haunted by the previous occupants of the manor that she resides in. Doesn’t sound that scary but its more a psychological horror in this instance, the ending is pretty sad, I felt at least and definitely worth a watch. 

-The Woman in Black and The woman in Black 2: The Angel of Death (2012 & 2014)- Like Fragile this is terrifying in it’s own right. If you can see the play I really, really strongly recommend it. The movies are somewhat of a let down but they’ve been made to fit the expected horror I suppose. Again, you watch it and read it (its in the book club) you can definitely see cross overs with Crimson, one simply being the mourning attire. It’s a personal favourite but again, as with most of these, the reason behind the hauntings is actually a sad one. It’s scary though, don’t get me wrong, the actress is phenomenal it’s just..its just all the yes basically and will probably be my halloween costume this year. 

So that’s all I can think of for now, please take a watch if you really want to or take a read, I will be adding onto this at some point too and in the mean time please reblog and add your own recommendations, can’t wait to see what you think and put <3

What brought you to Berlin? I read you wanna bring the summer with you all year long, so, why Berlin? Why this cold city?
It’s very cold, it’s right, but I think that the reason is that there’s a lot of people in the music business, very dynamic people! All the songwriters, all the singers, all the people who are doing music all day, is something that we don’t have in Barcelona and it’s very creative all the time! You have the chance to meet some people and decide to do something together.

So, not just techno and electronic?
No, no, no! It seems like that, yeah… I’m not really a techno fan! I like house music, but not techno, I like things with more melody! Berlin is very unpredictable: you get to meet so many different people and you can be influenced by all these dynamic things that happen to you!

Are you planning to stay?
Yeah, I mean… I’m in an apartment and I think I’m gonna stay a little bit there! I recorded most of the songs there… it feels like home, yeah.

How do you create your songs, in which language do you write? Cause you’re half Spanish, half German…
I do a bit of everything, so I wrote songs in English, not only in Spanish, but this time I wanted to concentrate on Spanish and create a latino album for myself; this is the first time I do a solo album. Of course, it’s very different to write in English or to write in Spanish, I’ve never written in German, ‘cause I didn’t feel like writing my songs in German… So, for this time, Spanish has been easily chosen.

How could you describe your album?
I would describe it as a story: is a dynamic album, I didn’t want to work on an album where all the songs seemed the same. Hopefully, everyone will be able to feel that when they will listen to it: there are ballads, there are uptime songs and some more emotional too… The sound is very organic: you can feel the energy and the positiveness in all the songs of album!
Is this album a concept album?
It’s a concept album in the way where every track has a personal story and it is based on personal experiences, and I think that it could be described as very personal.

What are your musical influences, what kind of music do you like to listen to in your free time?
I like to listen to a lot of different styles! Right now I am listening to an American singer, she’s called Bex, but she’s more dark, that’s something different, that’s really cool. I try to get different influences from everywhere and I don’t like to listen to just one kind of music. It also depends on my state of mind, for sure, the influences for me are different too. I listen to a lot of Juanes, Shakira, also Maroon 5, Coldplay, The Fray, John Mayer, Owl City… I don’t have just one influence, it’s pretty complicated.

Have you ever thought of doing something else, not the artist?
Yeah, I studied engineering and industrial design: I wanted to become a car designer, that’s what I wanted to do before I started this career. I like everything connected to the idea of speed, when you feel the wind in your face…

You told us about your musical influences, but what about artistic influences in general? I watched the “El Mismo Sol” videoclip and it reminds me a little bit of “Into The Wild”…
My biggest influence is the multiculturalism, because I experienced it a lot in my life (he was born in Barcelona, her mother was half Spanish and half Belgian, his father was German and he grew up in Tokyo; now he lives in Berlin). My best friends are half Japanese, half German, a different combination of different people, it helped me a lot in a society like ours where everyone is international, you can meet new people all the time and Berlin is very international as well.
In the video we wanted to show this road trip that explains a little bit my story in a metaphorical way; I left Barcelona to do a road trip and the journey in the video is like the trip I did to go to Berlin: enjoying every moment, meeting new people. When we were writing the story together with Daniel, a Spanish director, we connected very fast because we had the same idea and we felt like it was a very cool story and it was taken by my personal experience too, so I felt it in a particular way.

What do you think is the secret of your success here in Italy?
I don’t know! I wish I knew! Someone told me that in the 90’s there has been like a Spanish wave of music and has gone down, maybe now it’s going up again with a niche of the market! I don’t know, but I think, in general, Italian and Spanish music have always wandered around: in Spain we listen to a lot of Italian music, here you listen to a lot of Spanish music as well. I don’t know, but I’m happy that it happened!

Your first band was with your brother, now how is the relationship between you two?
It’s perfect: we’re very united, he’s very happy for me! I told him that I wanted to do this solo project while I was still in his band, he was the lead singer of the band and I wrote the songs. At the beginning of this journey on my own it was a bit strange, because we always played together, but he is very happy, he is really supporting me and it’s very cool!

You’re a globetrotter: you lived in Japan, you lived in Barcelona, now you live in Berlin… How do you cope with long distance?
I was very lucky when I left Japan, I was 17 and when I was that age Facebook just started, so for many people Facebook is a bad thing, but for me it was perfect, 'cause I could see my friends going to parties, going on whit their lives and even if I wasn’t there anymore I could feel somehow that I was still near to them! It was not an email, it was not something very distant: I was part of their lives and they were part of mine, even if we were miles apart. Nowadays, I think we’re very luck living in a “social-media society”, where all distances are cut short by all these networks! I try to stay in contact with the friends that I left around the world!

How did you choose the songs for “Eterno Agosto” and how did it was the work in the studio?
I worked on 15 songs and the album has 13 of them: I hope that the two songs left out will come out sometime in the future! I like them, I hope that they will be listened to: it was very hard to make a decision, we have to choose between the songs and it is always like choosing between your kids, it’s not very easy! The time I spent in studio was really amazing, I have never worked with the two producers I worked with for “Eterno Agosto” and they’re very talented! When I started working on this album it was August, 2014, so I spent one week in Berlin, then three weeks in Barcelona, and then back again… they were preparing some stuff for when I came back and so it has been a dynamic creative process. We had a lot of fun making the album, we danced a lot and I hope that people will have a lot of fun listening to it, as we had making it.

Do you think that your music reflect the German or Spanish way of living?
I think it reflects more the Spanish way! The style of the music is very latin, is very summer style and it’s quite not like German style! Everyone expects something darker, more techno, in this case! I think I’m half German and half Spanish; more German than Spanish because my mother is half Belgian, half Spanish, it’s complicated… But I feel more Spanish, because I’ve always spent most of the time in Barcelona. The album is more Spanish, is an extroverted album, for sure.

Three words to describe “Eterno Agosto”?
Fresh, positive and fun.

Ladies and Gentlemen, my personal summer hit, since the 21st of April.