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1548 Green is the color of envy, money, as some say, revenge. If the grass is greener on the other side you know it’s fertilized with bullshit.

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· by | Lan | Via Flickr: AZOURY: Noblesse earrings @DUBAI Diversion: Loren top @DUBAI Ana pose by studiOneiro @DUBAI Instagram

El agua, Elena López Riera (2022)

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El agua - Elena López Riera (2022)

1522 Women should never be afraid to be intelligent, gorgeous, and confident also to wear stunning heels!

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The history of how the Jews were treated as second-class citizens (dhimmi) in Arab countries is important to know in order to understand the Arab anti-Semitism, which later created a culture of anti-Jewish discrimination laws and Nazi propaganda in Iraq.

Dhimmi status did not give you any protection, but was a racist label that oppressed and discriminated you as a member of another ethnic group.

The Alliance Israélite Universelle was an organization that was created to protect the Jews and their rights, the organization had a goal that the Jews should escape these terrible living conditions.

Several Alliance schools were founded in the Middle East such as in Iraq.

It was not until 1921 that the Jews of Iraq were given rights, when Britain introduced a Hashemite monarchy.

The picture is of my uncles from Iraq as children.

Ayelet Azoury @azoury_ayelet

I found this beautiful photo and is new for me!

Here is the article in french language:

 https://www.cinematheque.fr/article/1976.html

🌟Thank you very much for these great findings Andrea, you are great!!🌟😍💜

A new Home Movie by Frédéric Pardo has been found and it will be shown the 9th March 2023 at 19:30h at Cinema Reflet Medicis

                        Home Movie : New York

Frédéric Pardo

France 1968  / 20 min  

With Tina Aumont, Nico, Jackie Raynal.

Jackie Raynal and Tina Aumont in Central Park. Views from an apartment, from a car, Nico at the window above Tina Aumont. Jackie Raynal, pregnant, gets dressed in an apartment, Tina is lying down in bed. Walks in the streets of NYC at dusk.

2K digitization at the CNC laboratory by the Cinémathèque française, from the 8 and 16 mm copies kept in the collections.

Three Home Movies, from a collection deposited at the Cinémathèque. Three previously unseen films, which show, in their simplicity of family films, an artist in love: Tina Aumont is permanently at the center of Paris Home Movie With Tina, a candid poem shot mostly in the alleys of Luxembourg and Pardo New York, where the couple joins Viva and Michel Auder in Central Park, and where we also see Nico at the window of a room in the Chelsea Hotel. Here again, Tina magnetizes the painter’s gaze. What he does with her and the light has no other aim than to translate into images an intimacy that obsesses and delights him. Different, because devoted to the group – in this case the Zanzibar band, Philippe Garrel, Serge Bard, Patrick Deval, Jackie Raynal, Michel Auder, Daniel Pommereulle and Sylvina Boissonnas – Home Movie Marrakech begins in Venice. Tina contemplates the Grand Canal from her room before continuing in a boat, then it’s Morocco, crossed in a large American car. We recognize Sylvina Boissonnas, producer and patron of the group, Caroline de Bendern, Auder, and others (it could be, it is to be confirmed, Jean Mascolo, Babethe Lamy and Pierre-Richard Bré). It is a prolegomena to the Home Movie that Pardo will do in the wake of the filming of Garrel’s Le Lit de la Vierge. It is notable that these films were not listed in the catalog of Zanzibar productions. Pardo obviously had no intention of showing them. Discovering them today, however, leads us to place them (all things considered) alongside certain films by Pierre Clémenti, Warhol, Mekas or Garrel: a whole crest line of a cinema that fuels the intimate, the couple, to the band, and to the meeting. In the psychedelic paintings that Pardo was doing at the same time (from his initiation, by Klarwein, to the ancestral tempera method), the princes, the sponsors were replaced by friends, loves. It was an idea he held dear. When we know the influence (aesthetic in all) that Pardo had on the Zanzibar group, we understand better in what perspective Garrel, at the time of Le Berceau de Cristal (where he films Pardo at work) needed in turn to gather his “ family” in his films. To repopulate an imaginary in exile, caught in a perpetual flight.

Philippe Azoury

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