Katharine Hepburn in a photo shoot from Sylvia Scarlett, by Ernest Bachrach.

RIPLEY (2024)

Episode II: Seven Mercies

They Do Not Exist (1974) by Mustafa Abu Ali (watch)

from PalestineCinema.com:

Salvaged from the ruins of Beirut after 1982, Abu Ali's early film has only recently been made available. Shooting under extraordinary conditions, the director, who worked with Godard on his Ici et Ailleurs (Here and Elsewhere), and founded the PLO's film division, covers conditions in Lebanon's refugee camps, the effects of Israeli bombardments, and the lives of guerrillas in training camps. They Do Not Exist is a stylistically unique work which demonstrates the intersection between the political and the aesthetic. Now recognised as a cornerstone in the development of Palestinian cinema, the film only received its Palestine premiere in 2003, when a group of Palestinian artists "smuggled" the director to a makeshift cinema in his hometown of Jerusalem (into which Israel bars his entry). Abu Ali, who saw his film for the first time in 20 years at this clandestine event noted: "We used to say 'Art for the Struggle', now it's 'Struggle for the Art'"

this is your reminder to stay hydrated!

no, I don't have any weird hyperfixations. anyways, who wants to hear everything about Lawrence of Arabia

Katharine Hepburn as Mary Matthews

State of the Union (1948)

i painted sherif ali from lawrence of arabia!

them

rip to Tafas but I'm different

Omg. Amazing work. Do you have a shop??

thank you so much!!!!🫶🏻💕 no, i don’t have one because i don’t really draw that often

he was too jolly and gay for you people to handle

i drew katharine hepburn again!

Katharine Hepburn by George Hoyningen-Huene, 1934

"The Baron met Hepburn on the boat, coming over from Europe. He was with Ernest Hemingway, whom she wanted to meet. So his artist’s eye had the opportunity to study her informally, at close range. “Katharine Hepburn,” he says, “‘is the contrast of tremendous, burning intensity, inside a placid face with tiny features and the skin drawn tight like a drum. She is like a fire at which you would wish to warm yourself, and you would surely be burned if she did not dart away too soon. There is a fanatical expression in her eyes and a dynamo inside her which makes her slightest word or gesture take on enormous importance. With her flaring nostrils and harsh mouth, she could never be called beautiful, but her face has a dynamic quality which is more important to an actress than beauty. She could make people believe anything; she is almost hypnotic. It is this which is back of her ability. It makes everything she does dramatic, and it makes you wait for her to do something else, if only to sit down. It is too bad she has had a quick career. She should have arrived later, after work and struggle, because she has the same touch of violence that Sarah Bernhardt had—only Bernhardt had it under perfect control. She must have muscular things to do rather than spiritual. Then there is the genuine Peter Pan quality about her, too. She is always young. Her casualness as to appearance, that, also, is genuine, not intentional....”

-photographer George Hoyningen-Huene, Photoplay, Aug. 1934

photos from the set of Sylvia Scarlett

LAWRENCE OF ARABIA (1962) + letterboxd reviews [insp]