New Documentary Examines a Tibetan Beauty Pageant Contestant's Quest for Personal Identity and Heritage

In Norah Shapiro’s documentary, Miss Tibet: Beauty in Exile, a Tibetan-American teenageer leaves home in Wisconsin, dons a bikini and high heels, and heads to Dharamsala, India to vie for the crown of Miss Tibet. The film follows Tenzin Khecheo on an unusual search for her “Tibetan-ness” by way of a western-style beauty pageant staged by an eccentric impresario in the Indian region home to the exiled Tibetan government.

Personally, I have a certain reaction to beauty pageants that is totally cliched feminist.


Miss Tibet surprises by delivering the unsavory aspects of pageantry with beauty and grace. One woman’s objectification is another woman’s celebration. Maybe. Instead of condemning the pretty parade, Shapiro uses the competition to illuminate the constant conflicts Khecheo must navigate as she tries to incorporate her Tibetan heritage into her American life. Is it awful to judge a woman based on her bikini, or is it awful to judge a woman for wearing a bikini? Is it neither, or both?

The flashy pageant visionary, Lobsang Wangyal, mentors the contestants on Tibetan traditions and morals, as well as catwalks. In add the usual swimsuit competition, the pageant includes workshops for the contestants where they learn traditional Tibetan crafts like cooking momos, dancing, and calligraphy. Part photoshoot and part pilgrimage, Khecheo is forced to confront the many contradictions of her identity as she becomes more and more invested in the crown: a sparkling diadem cum political platform -- a tiara to protest the occupation of Tibet. There are Tibetan traditions that touch Khecheo, but there are also “Tibetan stereotypes of goodness” that seem far removed from both fierce Tibetan activists and fashionable Tibetan-American teenagers:

Sometimes I’m just questioning whether or not I’m really Tibetan or not because there are all these other people who have done so much more for their country -- I haven’t and I just don’t feel like I’m doing enough.

Like the film, rather than shy away from the conflicts that arise between west and east, spirituality and materiality, traditionalism and modernism, Khecheo tries to find how these contradictions can fit together. Miss Tibet offers a unique roots-finding story that offers insight into the translation of tradition and cultural identity, a beautiful, but precarious balance.




Images and video via Miss Tibet: Beauty in Exile, giphy


Time to Reboot Your Coffee Addiction, 'Cuz A Gilmore Girls Reunion is Happening Soon!


Everybody’s favorite fast-talking duo are back, and they’re coming to Austin, Texas!

That’s right, Lorelai and Rory Gilmore (played by actors Lauren Graham and Alexis Bledel) will be reuniting, along with show creator Amy Sherman-Palladino, to honor the 15th anniversary of the show’s debut.

The reunion is set to take place in Austin as part of the ATX Television Festival, founded by Caitlin McFarland and Emily Gipson, that allows for attendees to interact with actors, writers, directors, creators, producers, showrunners, music supervisors and casting directors of their favorite small screen stories. 

Sherman-Palladino spoke of her excitement for the upcoming panel with Graham and Bledel, stating: “So, after years of peace and quiet, these lunatics have chosen to get the chattiest chicks in the world back under one roof? Really? Okay. You asked for it,” before adding, “Gilmore was the highlight of my ridiculous life. I can’t wait to sit with these unbelievable broads and relive a time where sleep did not exist, where stress and coffee were mama’s little helpers, and where we all dove into the deep end together to make something weird and very very cool.”

We can’t wait either!


Images via FanPop & MissYoan, giphy

Film Review: Ida — Black, White and Intense All Over

The silence used in Pawel Pawlikowski’s award-winning, thoughtful and intense new film “Ida” is deafening. Set in post-Stalinist Poland in the early 1960s, the audience is introduced to a bleak, black and white setting where the noise of footsteps on fallen snow or the sound of a spoon hitting the side of a bowl during breakfast feels like a violent interruption against the backdrop of a still, calm quiet.

Almost immediately the audience is introduced to Anna (Agata Trzebuchowska), a teenage girl just a few weeks shy of taking her final vows and becoming a nun. Before she can promise herself to God, she is told by her Mother Superior that she should visit her only living relative, an aunt whom she has never met. Anna does what she is told, something that you feel is routine for the wide-eyed girl. When Anna’s aunt Wanda (Agata Kulesza) opens the door upon their meeting, their differences become starkly apparent. Anna is dressed in light, solid colors with her hair neatly tucked away, while Wanda enters the scene with a cigarette in hand, a decorative silk robe hanging off her frame, a man in the back bedroom, and music loudly puncturing the tension between these two familial strangers.

As soon as she can get the words out, Wanda, a single judge and former prosecutor associated with the Stalinist regime, disrupts Anna’s seemingly serene existence with the a sly smile and a single sentence: “You’re Jewish.”

From there, the film begins as Anna and Wanda launch a journey searching for the horrific truth of what happened to Anna’s parents, both Jewish and living in Poland after World War II. Upon their quest, the two women discover new characters, including a young saxophonist named Lis (Dawid Ogrodnik), as well as their own specific identities. 

I left the film feeling as though these characters had been through the battle of discovering their past, only to realize that the real fight begins when you have to negotiate your yesterdays with your todays and tomorrows.

Both actresses brought distinctly different performances to the screen. Trzebuchowska, a feminist and newcomer to acting, is almost expressionless throughout the entire film. Upon hearing that she is about to become a Jewish nun, she has no reaction — she doesn’t even blink. While this could prove frustrating to some, her quiet performance seemed to match that of the film’s soundscape and I was able to infer my own interpretations of her inner dialogue.

Kulesza plays Wanda in a slightly louder, but incredibly thoughtful way. Though mostly a mystery, you feel that Wanda has had life experiences that are always carried with her, allowing Wanda to live as the most layered character in the movie.

Pawlikowski (“My Summer of Love” and “The Woman in the Fifth”) wrote the screenplay with Rebecca Lenkiewicz and together they are able to give the audience a tale that feels historically specific, yet timeless as it leaves us thinking about loss, love, survival, and identity. After witnessing the intense journey of these two women, I couldn’t help but notice that nobody in the audience moved. Instead, they just gazed at the rolling screen credits with a stare as powerfully vacant as Anna’s and a silence just as deafening as the film itself.

Watch the trailer for “Ida” below. 


Images via Roger Ebert , YouTube & The Szczecinian

An Interview With Josephine Decker: Feminist Filmmaking and Farm Tool Fantasies

Josephine Decker is an actor, writer, performance artist and filmmaker. Her most recent creations are two fearless feature-length films, Butter on the Latch and Thou Wast Mild and LovelyThese evocative movies defy expectations of narrative and rely on alternative styles of storytelling to illuminate the lives of young women. I got a chance to ask Decker some questions about her filmmaking process, feminism and fantasy. She is currently taking a physical theatre course in Philadelphia, gathering inspiration and research for her next film.

A: What is a physical theatre company? How is it making you a better director?

J: I’m at Pig Iron Theatre Company. They do really magical performances influenced by clowns, dance, and Jacques Lecoq-type theatre. One of the reasons I wanted to go was, well, I don’t want to say that I’m done with writing a script and making a movie, but I’m curious about what happens when the movie is generated through the voices of many people and the film grows out of that collaboration instead of out of one person’s mind. That’s how they work at Pig Iron: actors improvise and work with the writer and director to find the story. It’s a very deeply collaborative process and I want to do more of that in my own films.

A: Yeah? That was one of my questions! I know both movies were made with very different processes. Butter on the Latch had no script, but Mild and Lovely did. I was going to ask which one you liked better, or how you were going to approach the next film, but it seems like...

J: Yeah, a combination. There are beautiful things about both. It’s so nice to work with actors and let them discover interesting dialogue and find unique moments and play with those. It’s also important, in terms of just being able to shoot a movie to have a guidepost like a script. Writing the script from improvisation gives us a lot of liberty. All of the actors know their characters really well. What’s hard about acting in low-budget improvised movies is that you can feel lost as an actor trying to play a “character” who isn’t you, but who you haven’t ever gotten to rehearse or develop. Finding that character on set is high stakes. It isn’t the safest place as an actor to take risks.

A: Plus it’s all coming from someone else’s project. It’s all coming from someone else’s vision that you’re trying to grasp instead of a collaboration.

J: Exactly. Right.

A: I was thinking about the position of the director in a film. It can be very authoritative and almost dictatorial, and so I wonder how you can make a director -- or, you know, any leadership position -- “feminist.” This kind of collaborative work answers that question a little because you don’t just hand people scripts, but really work with everyone.

J: Yeah. You know who you would love? Someone that I’m just learning about is Ariane Mnouchkine. She runs the Théâtre du Soleil in France. She’s the visionary head of it, but it’s wildly, revolutionarily collaborative. It pays equal for everyone. Everyone shares roles and helps clean the theater space. I don’t want to say it’s communist, but it’s certainly about equality. Always, the way you make work is going to influence what work is made, but with film we ignore the process all the time. We say, “we’ll get on set, we’ll do it on set.” It’s very rare for low-budget films to have the resources to hold rehearsals, so everyone comes in a little unprepared. But that process is going to define what people see on the screen. How did you treat people? How did you discover the things that you discovered? I’m huge on letting collaborators have their way. I love to hear a collaborator’s idea and then see it all the way to its fulfillment instead of imposing my own ideas halfway through and then going “nonononono that’s not going to work -- let’s do it my way.” For people to do their best work, you have to give them space and time to create. I try to give that. Sometimes it backfires, but most of the time it turns out awesome.

A: Do you relate that to the word feminist at all? Do you think what you described is a feminist process?

J: Sure, it could be seen that way. It just feels like a collaborative process. I definitely consider myself a feminist. I grew up with a feminist mom in Texas; we would hand out fliers to get Ann Richards elected. I think about women and women’s issues a lot. It’s funny -- what is the official definition of feminism? I think it’s probably different for everybody.

A: Agreed. The dictionary definition of feminism has been making the rounds lately, but it’s totally different for everyone. Speaking of which, how about the female characters in your films! They are all such sexual deviants! They actively reject accepted norms about sexuality and seek their own truths: sex with strangers in massage parlors in Butter or masturbating while fantasizing about farm tools in Mild and Lovely. Are those alternative sexualities important for you to show in film?

J: [Laughing] Shooting that masturbation/sky/tools scene was one of my favorite days on set because all of us were lying on the ground sticking our hands into the frame…

J: I think that female directors have female experiences so we’re bringing that to the film without realizing it. A lot of people have commented that the women in Butter are real women, they’re sexual women, and they’re sharing these stories that are very specific to them. [When Isolde talks about her tryst in Butter] we weren’t intending to shoot that long. It was just going to be the two friends catching up, but it was feeling a little vague so we re-crafted a true story that we’d heard to make that massage parlor story. I think it’s just about portraying women and having women in your movies and then working with them to build what you’re making because the stories that arrive are going to be unique and special to them as people.

A: I love to see that on film: people talking about or approaching sex in different ways than we’re used to seeing.

J: Me too.

A: I read an interview about Mild and Lovely that you hadn’t been getting many questions about the consent in Sarah and Akin’s sex scene. Maybe because the flashback clarifies Sarah’s intention to be alone with Akin, but she is clearly a sheltered and naive character. It seems reasonable that she didn’t know what would happen when she was in that situation, and she says “no.” So, it’s interesting to me that people don’t react to it as a rape scene. Or has that changed?

J: It really varies. When I talk to audiences it comes up. Obviously, the feminist in me realizes that this scene is complicated, but sexuality is so complicated. [Aggressive behavior during sex] is something that some women are interested in. How do violence and sex intermingle? How is that a real turn on? How is it not dangerous? We’re so used to making women victims when there’s violence around and I think there’s something a little more powerful going on a lot of the time. For Sarah, it’s a huge power move not only if she sleeps with Akin, but also if he leaves thinking he raped her. She has so much power in that situation. She can destroy his life so easily. I like leaving it unclear, I guess. Did it get more violent than she wanted it to? I don’t know, but I think also, in my mind, it was satisfying. I like not answering all of the questions around that scene. I don’t know that I know all of the answers. Every sexuality is so different; every woman is so different. I think that was a scene where Sarah was exploring her sexuality.

A: At the end of Butter, there’s a long shot of Isolde standing next to a woman with wild white hair who is making a wild face at the camera. How did you get her to make that face? Who was she?

J: [At the Balkan camp where we filmed] we asked if anyone was interested in being in our dream sequences and she signed up. I remember after putting her in this white outfit learning she was an experienced dancer. It was fun to get to use that in her performance. Meanwhile, that face that she makes is a face I made all the time when I was a kid to scare my little sister. There’s something about when your eyes are popping out of your head that is really weird.

A: Pretty unnatural.

J: As part of the dream sequence, that felt appropriate. I asked both of them to do it, but Isolde was not very good at it. The dancer’s eyes really look like they’re going to pop out of her head.

A: Awesome. Are there any tips that you would give to female filmmakers on a tight budget?

J: I would say that it took me all of my twenties to feel like I deserved to be making movies. I think that is something very particular to women versus men. Men come out of the womb ready to make movies. I just feel like it’s so hard to give yourself permission to raise that much money, to spend that much on your own art, to feel like you have a voice that’s worth hearing. My other advice would be to make a movie for as little as possible. When you make a film that doesn't cost as much as a vehicle would cost to drive, then you have so much freedom to pursue your vision, rather than having to be beholden to a bunch of investors. Women are great enablers. We’re nurturing, we take care of each other, we’re very emotionally in touch, but when we’re looking out for people in a deep way, sometimes we’re not looking out for ourselves in that same way. It can be helpful to just, just -- what do they say? Lean in.

Screening dates and times are listed here and here. If Decker's films aren't playing at a theater near you, they are both available to stream online:

Butter on the Latch on vimeo, fandor

Thou Wast Mild and Lovely on vimeo, fandor


Images via Josephine Decker, Thou Wast Mild and Lovely, Butter on the Latch

Mean Girls 10th Anniversary Reunion Cast Spills Secrets

c/o: Ruven Afanador for EW

It’s been an entire decade since Mean Girls was released! The anniversary called for a reunion of the Plastics and their “drug dealing” teacher, Ms. Norbury in Entertainment Weekly. The cast revealed some interesting secrets about the movie.

 1.    Cady Wanted to Play Regina and Regina Wanted to Play Cady

Lindsay Lohan had just finished filming Freaky Friday and was in the midst of filming Confessions of a Teenage Drama Queen. In those movies, Lohan had not played the cool girl and wanted a change. Rachel McAdams originally auditioned for Cady but got the role of Regina. Director Mark Waters told her, “I see Cady a little bit younger, but I think it makes sense if Regina kind of grew up a little too fast."

2.    How the Chihuahua Ate Amy Poehler’s Boob

One of my favorite scenes in Mean Girls is when Regina’s mom (Poehler) remains composed talking to the girls while her dog is gnawing at her chest. McAdams says, “They pinned a piece of a cocktail wiener into her bra...This dog is chomping on her fake boob. I’ll never forget that.

3.    The Real Glenn Cocco

Tina Fey had used her older brother’s good friend’s name Glenn Cocco when writing. She said, “Someone said to me you could buy a shirt at Target that says, ‘You go, Glenn Cocco!” That was unexpected.”

4.    The Future of The Plastics

When asked about where their characters would be today the actress’ predicted:

Karen: Manage or own a store that sells really cool dog attire, like Swarovski dog collars and Halloween costumes for animals.

Cady: In Africa with Oprah working at children’s schools with family, teaching girls to be nice.

Gretchen: Running the Toaster Strudel Empire. She has curly hair and worked everything out with Jason.

Regina: She’s a Real Housewife and has found all her other Reginas.

But what happened to Janis? Or Damien? Did Kevin G continue his rap career while dominating the mathletes? I would like to think that maybe these characters didn’t get any coverage because of a possible sequel but Tina Fey is quick to shut that down. Fey regretted not doing a sequel at the time saying, “Now I look back and I’m like, ‘Why?’ But now, no – it’s too late now.”



image c/o: Entertainment Weekly,



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