Irma (short film)
Irma Gonzalez is an old ‘luchadora’ (female wrestler) who bears the marks of a life spent battling in the ring, performing daredevil moves. Every day she goes to the gym to rehearse the moves that made her a star. Children watch her curiously. Somewhere in the distance, a song plays: Irma was once a singer, too. In her memory, grainy images of old television clips flicker. Shot in Mexico City, the film is a tender portrait of the multi-talented luchadora and an unusual meditation on athleticism and aging.
Interview with director of Irma, Charles Fairbanks.
There’s a relationship between colonialism and slavery which says, “well it’s the land that makes this possible.” But it doesn’t. Land only makes productive labor possible. But if you understand that slavery is not reducible to labor relations, that slavery is already a property relation – a lucrative one – before any work happens or whether any work happens, then you understand that land is not necessary for slavery. First and foremost because of the Middle Passage. Not a square foot of land in sight, but slavery happening on the high seas. So if we start from that understanding we can see, not that they’re unrelated, or that we can think one exclusively, but that we better situate their actual relations.”
why this will be my 1st tattoo
"Black girls don’t get told we are beautiful enough. Black girls aren’t always told we can be princesses. Cute, sweet, innocent, pure- these are not words black girls often hear associated with us. Fast, sassy, mouthy, too grown, angry, aggressive- those are the words that get shot at us like darts. Black girls are not girls- we are mini women who are forced to be strong. You must tell black girls they are beautiful, innocent, sweet, magical. You must treat black girls as girls. Then, you can talk about black girl characters whose looks and femininity doesn’t matter. Otherwise, you are just maintaining the status quo- denying black girls our beauty and femininity."
A “Sorcerers’ Passport,” offering safe passage to vodou initiates, obtained by Albert Métraux during his anthropological field work in Haiti during the 1940s.