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๐๐๐๐๐: ๐๐ฒ ๐๐จ๐ญ๐ก๐๐ซ ๐๐ซ๐๐ข๐ง๐๐ ๐๐ ๐๐๐ฅ๐ฅ๐ข๐ง๐ ๐๐ค๐๐ซ๐, ๐๐๐ง๐๐ง๐๐ฌ, ๐๐ข๐ง๐ฎ๐๐ฎ'๐ฌ ๐๐ข๐๐ ๐๐๐๐ค๐ฌ ๐ ๐ข๐ซ๐ฌ๐ญ ๐๐๐๐ฒ'๐ฌ ๐๐๐ฆ๐๐ซ๐ค๐ฌ โLook at me. Wherever I am today, my mother sold akara," Dare revealed. "Wherever I am today, my mother sold bananas. I carried bananas in a tray on my head to markets in Jos, Plateau... show more
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โ24 years ago, when I got pregnant with my son, people treated me b@dly. They laughed, they judged, and they spoke over my life like they already knew how it would end. Today, I live in Europe and I was able to bring my son abroad. Whereโre the people that called me single mother ? Whereโre those people that said Iโll eventually get married to a palm wine tapper?โ - Lady praises God for changing her story๐ฅนโค๏ธ๐ง๐ฝโโ๏ธโโก๏ธ
Oyindamola๐
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!["For a lot of people, 'Jeanne Dielman' (1975) could represent the ideal woman, but when you look at the life of an ideal woman, it is unbearable." --- Chantal Akerman Full Excerpt: "I remembered, at first fleetingly but then very strongly, that I wanted to dedicate this film to my mother: that I wanted to say 'for my mother Natalia, called Nelly' and that I immediately repressed this idea out of modesty or censorship...and I also tell myself that if I had not known my mother, I would not have made this film, which is, however, absolutely not the portrait of my mother. I began with several very precise images from my childhood: watching my mother at the stove; my mother carrying packages...Why did I chose a beautiful woman? Because men always think that women inside their homes are ugly. My mother is beautiful. I think that Delphine [Seyrig] carried with her all the roles that she had played up to then, that is to say, the cinema...If I had used my mother, it would have only been my mother. At the beginning, I thought I was simply telling the story of three days in the life of a woman, but later I realised that it was a film about occupying time to avoid anguish, to keep moving so as not to think about the fundamental thing, which is being. There is also the contradictory aspect of these movements; when you see that woman, you tell yourself that it isn't possible; at the same time, I am talking about a woman I love who is my mother. All that is very ambiguous; for a lot of people, Jeanne Dielman could represent the ideal woman, but when you look at the life of an ideal woman, it is unbearable. The camera is not positioned to say that, but it is so obvious. For me this is very old; it goes back to images of my mother when I was a child." ("Identity and Memory: The Films of Chantal Akerman", Edited by Gwendolyn Audrey Foster, 2003) P.S: Remembering the great Belgian Filmmaker, Chantal Akerman, on her 76th birthday!](https://image.24vids.com/tw-2063271329592467634/amplify_video_thumb/2063271234314604544/img/0zWX2CjF-PdVbitf.jpg)
