She painted Marilyn Monroe with greater compassion and empathy than Andy Warhol, made a cameo in Alfie, with Michael Caine, and challenged the acceptable idea of ??a woman artist in the sixties with her politicized, sexual and feminist messages. The artist Pauline Boty, a member of British pop art, died tragically early at the age of 28, in 1966, when she refused treatment for cancer that she was diagnosed with while pregnant. Her name had remained in obscurity but this year she will be the subject of a multilateral rescue that makes perfect sense, since her work is very much in tune with contemporary artists such as Elizabeth Peyton and those who use celebrities in their work, such as Kehinde Wiley. The Gazelli Art House gallery in London already has a retrospective of the artist underway (there was so much desire to buy her pieces, which are not for sale, that many collectors have signed up for a waiting list), a book has been published about her life and work, Pauline Boty: British Pop Art’s Sole Sister, by journalist Marc Kristal, and there will also be a documentary titled Pauline Boty: A Portrait.
THE ‘COPYRIGHT’ OF PETER PAN
Upon reaching one hundred years, literary titles enter the public domain and become material not protected by copyright laws, and with which versions, sequels and remixes can be made. That is why in 2021 there was a very irrelevant continuation of The Great Gatsby, which was published in 1921, and in 2022 the horror film Winnie the Pooh: Blood and Honey was released, because the bear cub AA Milne was born in 1922. Interesting (or terrible) things could happen in 2024 with several works turning one hundred years old, from Bertold Brecht’s The Threepenny Opera, Everlyn Waugh’s Tarzan, The Decline and Fall, and Virginia Woolf’s Orlando. . Perhaps the most curious case is that of Peter Pan, the boy who didn’t want to grow up, the original script by James Barrie. In the United States and other countries, versions of Peter Pan can be made, but not in the United Kingdom, where the rights to the work and the character are protected for life by a special law. Barrie gave it to the Great Osmond Children’s Hospital in London, which is supported in this way, and the legislation was corrected so that the clinic never lost this form of funding.
THEATER, TUBERCULOSIS AND LOVE LETTERS
It’s not easy to turn decades of love letters between two people into a play, but it’s not impossible either. A couple of years ago, the playwright Carol Rocamora created Your Hand in Mine, based on the ardent epistolary relationship between Anton Chekhov and the actress Olga Knipper, who wrote more than 400 letters to each other in their many years of long-distance relationship. marked by the tuberculosis that he suffered and that kept him away from Moscow. Until January 24, the play Camus-Casares can also be seen at the Teatre Lliure. A love story, adapted by Rosa Renom, who also plays María Casares. The legendary actress and the writer had a romance plagued by obstacles from 1944, when they fell in love in Nazi-occupied Paris, until 1960, when he died in a traffic accident. He also had to spend time in warm areas due to tuberculosis. That, his marriage to the teacher Francine Faure and the absorbing passion that both put into his work marked a relationship that ended with this brief note, written by him: “Well. Last letter. Just to tell you that I arrived on Tuesday by road; I go up with the Gallimards on Monday (they stop by on Friday).”
BALENCIAGA, THE SERIES
There’s less to go (January 19) until one of the most anticipated series of recent years, Cristóbal Balenciaga, the six-episode biopic that recreates the couturier’s life, premieres on Disney. The production, with a very high budget, surprised from the beginning because of the team behind it, the trio of filmmakers formed by Aitor Arregi, Jon Garaño and Joxe Mari Goenaga, responsible for films such as Handía and La trinhera infinite and also because of the choice of Alberto Sanjuan in the difficult role of Balenciaga, someone allergic to the media of whom hardly any recordings are preserved and who only granted one written interview in his entire life. Although very little progress has been made on the script, the cast gives some clues about the episodes in Balenciaga’s life that will be covered in the series: when the influential journalist Carmel Snow (played by Gabrielle Lazure) elevated Dior as the creator of the New Look, to the pain of Cristóbal Balenciaga, the creation of Fabiola of Belgium’s wedding dress (given life to Belén Cuesta) and her interactions with Christian Dior (Patrice Thibaud), Jeanne Lanvin (Isabelle Bress) and Elsa Schiapparelli (Eva Bley). Anna-Victoire Olivier also appears in the role of Audrey Hepburn, who once attended a Balenciaga show, she was dazzled, and asked journalist Diana Vreeland how she was not foaming at the mouth watching that. .
LILY GLASTONE HAS ALREADY WON AN OSCAR
There is nothing more popular on social networks than a fulfilled prophecy. In 2004, the classmates of Lily Gladstone, who was finishing high school at the time, voted her, along with another student, “the most likely to win an Oscar,” and there is a photo of that moment, with her as a teenager and the other boy holding a drawing mannequin as an Oscar, which is constantly being circulated by those who argue that it should be Gladstone who wins the statuette and not the other favorites, Emma Stone for Poor Things and Margot Robbie for Barbie. The protagonist of The Moon Killers has already placed herself in an advantageous position by winning the Golden Globe. When she picked it up, she said a few words in the language of her community, the Blackfeet, and acknowledged that the award was “historic,” since that a Native American has never been close to a prize there.
