Pussy Play entre filles

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Pussy Play entre filles
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Vollständig unterstützt English (United States) Teilweise unterstützt Français (Canada) Français (France) Deutsch (Deutschland) हिंदी (भारत) Italiano (Italia) Português (Brasil) Español (España) Español (México)
The most daunting task for the film was to obtain the rights to the Rihanna song Diamonds, written by Sia. The sequence featuring the song, where the girls lip sync to the lyrics, was shot first before Céline Sciamma obtained the rights. Rihanna and Sia gave them the authorization once they had seen the sequence dedicated to the song, for a minimal fee.
At the very beginning of the movie, the running girl of the red team wearing number 6 is someone else than our main actress Mariam who appears later wearing number 6 as well. We can see her face clearly once she takes of her helmet when the match is over.
Diamonds Performed by Rihanna Written by Sia (as Furler), Tor Erik Hermansen (as Hermansen), Mikkel Storleer Eriksen (as Eriksen), Benny Blanco (as Levin) © 2012 - EMI Music Publishing Ltd. Matza Ballzack Music, Where Da Kasz At? (BMI) administered by Kobalt Music Group Ltd. (p) 2012 The Island Def Jam Music Group Courtesy of EMI Music Publishing France, Matza Ballzack Music, Where Da Kasz At? & Univeral Music Vision All rights reserved Produced by Benny Blanco (uncredited), Kuk Harrell (uncredited), Mikkel Storleer Eriksen (uncredited) and Tor Erik Hermansen (uncredited)
Female-centric and empowerment-driven, this classic coming-of-age story hits high notes as newcomer Karidja Touré executes a powerful performance in self-discovery.
Girl power comes from French cinema in this classic coming-of-age story; female centric and empowerment driven, Girlhood is centered around 16 year old Marieme and her struggles with peer pressure and self discovery. While the tale may be repetitive, director Céline Sciamma gives fresh visuals and dramatic flare to the film, which is captivating from the very start. Set in the lower class suburbs of France, Girlhood is as much an emotional journey as it is a visual one, and a satisfying film from beginning to end. Girlhood, which, by the way, is not a female answer to Richard Linklater's Boyhood, is very performance driven and an actor's dream. Karidja Touré carries the film on her small shoulders, projecting various emotional moments with strength. One scene in particular is very special to the film; the four girls rent a hotel room and get all dressed up in formal wear to just hang out with each other and drink alcohol. Eventually, they play Rihanna's "Diamonds" and begin dancing away their problems from the outside world. This moment in the film is captured so beautifully, it could have (and should have) been Rihanna's official music video. The blueish tones of the room, the general feeling of sisterhood, and the miming of the lyrics while dancing around in beautiful dresses show the girls' dreams of a better life, but making the most of what they have in that moment. It's a very powerful scene, which ultimately gives Girlhood its authenticity as the perfect portrait of the undeniable complexity of adolescent life.
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Ein Mädchen ohne nennenswerte Zukunftsaussichten tritt einer Gang bei, erfindet sich selbst neu und gewinnt dabei neues Selbstvertrauen. Bald jedoch muss sie feststellen, dass ihr neues Lebe... Alles lesen Ein Mädchen ohne nennenswerte Zukunftsaussichten tritt einer Gang bei, erfindet sich selbst neu und gewinnt dabei neues Selbstvertrauen. Bald jedoch muss sie feststellen, dass ihr neues Leben sie nicht unbedingt glücklicher macht. Ein Mädchen ohne nennenswerte Zukunftsaussichten tritt einer Gang bei, erfindet sich selbst neu und gewinnt dabei neues Selbstvertrauen. Bald jedoch muss sie feststellen, dass ihr neues Leben sie nicht unbedingt glücklicher macht.

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We look back through film history at 10 of the greatest movies about lesbians.
It’s tricky to pinpoint the moment when the movie world could proclaim the first openly lesbian film. Identifying early cinematic representations of lesbianism was like collecting crumbs off the top table. Sapphic sisters were used to watching whole films just to see a character (usually portrayed as victim, killer, neurotic or prostitute) shoot a covert look that audiences could interpret as queer – for instance, the apparent lesbian subtext between Vienna (Joan Crawford) and Emma (Mercedes McCambridge) in Nicholas Ray’s Johnny Guitar (1954).
In the UK , 1967 was a milestone, the year that homosexuality was decriminalised (even if there was no mention of lesbianism in the new legislation). In the USA , the 1969 Stonewall riots were a turning point that led to the beginning of the modern gay and lesbian liberation movement. From those moments on, lesbians have been slowly coming out on celluloid, albeit often controlled by the gaze of male directors.
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In tracking the key films of lesbian cinema, we’ve restricted our list to films available on DVD or for streaming in the UK . This sadly means we’ve had to leave out many favourites: Mädchen in Uniform (1931), Club de femmes (1936), Personal Best (1982), Virgin Machine (1988), and great films by Ulrike Ottinger and Chantal Akerman. Which begs the question, why are there not more lesbian films available to watch on DVD /VoD? After all, Walter Benjamin did say that the lesbian is the heroine of modernism…
Childie: Not all women are raving bloody lesbians, you know.
George: That is a misfortune I am perfectly well aware of!
The Killing of Sister George is one of the greatest and most grotesque of all lesbian crossover films. Life B.G. (before George) held little hope for cinema-loving lesbians. Pre-decriminalisation dramas included 1967’s The Fox, which has the basic premise that all a lesbian needs is a man, and 1963’s The World Ten Times Over, which is possibly the first British lesbian film but was heavily censored before its release.
All hail Beryl Reid, magnetic in her portrayal of George, a loud, aggressive, cigar-chomping dyke who loses her job and her young lover. It has the mother of all lesbian love triangles: butch girl-chasing George; the predatory, sophisticated middle-class dyke (Coral Brown), and Childie, the coquettish neurotic femme (Susannah York). Rated X for its explicit sex scene, the film tanked at the box office but remains an era-defining cult classic. Significantly, some scenes were shot in an actual London lesbian bar, The Gateways Club, giving audiences a rare on-screen glimpse of London lesbian culture.
Born in Los Angeles but a New Yorker by choice, Barbara Hammer is a whole genre unto herself. Her pioneering 1974 short film Dyketactics, a 4-minute, hippie wonder consisting of frolicking naked women in the countryside, broke new ground for its exploration of lesbian identity, desire and aesthetic. Abdellatif Kechiche, director of last year’s sexually sensationalist Blue Is the Warmest Colour, might have done better if he had taken a leaf out of Hammer’s book. Hammer calls the film her ‘lesbian commercial’.
She went on to become one of the brightest and most significant lesbian avant-garde filmmaking voices of the past 40 years, whose work includes over 80 film and video works covering lesbian love and sex, women’s spirituality, radical feminist politics, the figure of the goddess, and lesbian/queer film history. Without Hammer, there would be no Born in Flames (1983), no Desert Hearts (1985), no Go Fish (1994).
At time of writing, Ukraine is going through a 21st-century revolution and if the geopolitical land grab ends in victory for Russia, with its anti-gay laws, then the future for Ukraine’s LGBT community will be uncertain.
Another Way is set in another eastern European country dealing with its own revolution: Hungary immediately after the failed 1956 uprising against communism. The film details a courageous and intelligent love story between 2 pro-democracy journalists. The topic was a double taboo because it was the first Hungarian film to deal with homosexuality as well as a controversial look back at the consequences of the revolution. Director Károly Makk sensitively juxtaposes this tender but doomed love affair with the high hopes and bitter suppression of the Budapest Spring. It’s clear that Makk was not especially interested in homosexual rights in 1950s Hungary; nevertheless his portrayal of lesbianism is neither exploitative nor melodramatic.
Oh la la! C’est Paris, c’est magnifique! Well it would have been magic if you happened to be a boho creative woman living on the city’s Left Bank in the early decades of the 20th century. Greta Schiller’s absorbing investigative documentary could have been called Paris Was a Lesbian for the amount of Sapphos living, working and loving together. Writers Collette, Djuna Barnes, Gertrude Stein, Alice B. Toklas, poets H.D. and Natalie Clifford Barney, booksellers Sylvia Beach and Adrienne Monnier… the list goes on and on.
Schiller (Before Stonewall, 1984), together with her long-term collaborator Andrea Weiss, rewrites (her)story with unseen home movies and new research to create a magical film about this most original of women’s artistic communities. Weiss’ British queer film history documentary A Bit of Scarlet (1997) is also worth a look and can be watched on the BFI Player.
Director: Lana and Lilly Wachowski
No lesbian film list is complete without the Wachowski siblings’ dazzling sexy noir/crime caper/slapstick comedy Bound. It was their pre-Matrix breakout film, a titillating Playboy hybrid thriller mashed up into a lesbian feminist love story. The Wachowskis don’t just play with the male gaze, they flip it sunny side up and get feminist writer Susie Bright in as their lesbian ‘sexpert’.
The story concerns a mobster’s girlfriend falling in love with the ex-con dyke next door. Jennifer Tilly and Gina Gershon positively sizzle as couple on the run, Violet and Corky, giving audiences plenty of girl-on-girl action. Taking inspiration from Billy Wilder and their love of comics, Bound completed a 90s trilogy of (in critic B. Ruby Rich’s phrase) ‘Lethal Lesbians’ films (beginning with Thelma & Louise, 1991, and Basic Instinct, 1992) – a cinematic expression of lesbian feminist desire.
US indie writer/director/educator Cheryl Dunye burst onto the New Queer Cinema scene in 1996 with The Watermelon Woman, an audacious, self-styled ‘Dunyementary’. However, it’s her rarely screened follow-up film, Stranger Inside, which really impresses. Made for HBO and produced by R.E. M.’s Michael Stipe, it’s set within the US women’s prison system and tells the story of an incarcerated young African-American woman who goes in search of her biological mother.
Based on 4 years of research into the lives of women inside, the drama is a powerful study of prison life in the 21st century. Far away from the piss and vinegar of Scrubbers (1982) and Prisoner Cell Block H (1979-86), Dunye’s film makes a potent case for how race and class have created a new caste system behind bars.
In 2002, when Lisa Gornick’s debut feature premiered at the BFI London Lesbian & Gay Film Festival (now BFI Flare), it was a significant moment because the film was the first British lesbian feature in 10 years. As such, the film and director attracted considerable attention both at home and abroad. Gornick wrote, directed and starred in this breezy, urbane comedy, which she described as “a thesis on love and its labels”.
The life and loves of 30-something Marina are explored as she searches for answers to the big questions in her life. Made 2 years before the internationally successful TV series The L Word (2004-09), Do I Love You? deftly captures the zeitgeist with its investigation of lesbian identity and sexual mores in the 21st century. It’s like a lesbian Annie Hall (1977) or Frances Ha (2012), with Gornick (who recently starred in The Owls) cornering the market as the thinking woman’s favourite dyke. 
Lesbian cinema finally hits the big ‘O’ time with Lisa Cholodenko’s (High Art, 1998) family-friendly comedy The Kids Are All Right ratcheting up four Oscar nominations in 2011, including best picture. Annette Bening and Julianne Moore tear up the straights-can’t-play-gay rulebook as long-term married couple Nic and Jules, who hit midlife parenting and partnership problems.
The mainstream press went nuts, joyful that they had a homosexual film they could write about without unsettling their more conservative readers – though Cholodenko suffered a backlash from some queer corners for her inclusion of hetero sex (with beefcake Mark Ruffalo), and for her film’s apparent advocacy of traditional family values.
The French term for tomboy is ‘garçon manqué’, which translates literally as ‘failed boy’. “I don’t need to comment, you can see how bad it is”, said writer/director Céline Sciamma (Water Lilies, 2007) on the phrase, preferring to give this honest little film about gender confusion an English title.
Laure/Mikael is 10 years old, her/his family has moved to a new town and we follow her/his adventures over one summer as s/he negotiates the early complexities of selfhood: playing a game of football, finding s/he is attracting the attention of local girls and facing the ultimate test of wearing a bathing suit. In France, the film was received as a family film and went on to be shown in primary and secondary schools as part of classes about cinema.
The second British lesbian film to be included on the list, Break My Fall is the story of the painful end of a one-time loving relationship. A previous BAFTA nominee for best short with 1999’s Travelling Light, writer/director Kanchi Wichmann made this feature debut shooting on 16mm on the streets of east London. (Campbell X’s East End-set Stud Life, made a few years later, is also worth a peek)
Influenced by the formalism of early Chantal Akerman films such Je tu il elle (1975), it boasts music from local bands (Wet Dog, Peggy Sue) and the kind of realistic characterisation of people and city that can be found in Bette Gordon’s cinema (eg Variety, 1983). Released in 2012, Break My Fall (together with Weekend and others) was identified as part of a new wave of queer cinema, charting queer experience in all its complexities.
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Originally published: 11 March 2014
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What Happens to Sperm Once They're Inside a Woman?
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A sperm’s journey from vagina to egg is only 15 centimeters long, but it’s a race with attrition.
There are approximately 200 million sperm in each human ejaculation, but only about 2 million sperm make it into the cervix. The rest are killed by the acidic fluids inside the vagina or lost in “ flowback ”—which is exactly what it sounds like.
Out of the approximately 2 million sperm entering the cervix, only about 1 million make it into the uterus. The rest are stopped by gooey mucus, or swim into dead-end channels inside the walls of the cervix.
Out of the approximately 1 million sperm that enter the uterus, only about 10,000 make it to the top of the organ. The rest are attacked and absorbed by white blood cells, which start to appear in force as soon as sperm enter their defensive perimeter.
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Out of the approximately 10,000 sperm cells that make it to the far end of the uterus, only about 5,000 turn in the right direction. The rest head toward the other oviduct, and unless both the woman’s ovaries have released eggs simultaneously (a rare event), those sperm are out of luck.
Out of the approximately 5,000 sperm that enter the uterotubal junction —a twisty space connecting the uterus and the oviduct—only about 1000 enter the Fallopian tube. The rest get caught in the mucus lining the junction.
Out of the approximately 1,000 sperm that enter the Fallopian tube, only about 200 reach the egg. The rest get attached to the lining of the oviduct, or just give out and die.
Out of the approximately 200 sperm that reach the egg, only 1 enters the egg to fertilize it. The rest are pushed away by the zona reaction , which makes the fertilized egg impermeable to additional sperm. Those last extra sperm? Yet more fodder for a woman’s immune system.
Top image adapted from LadyofHats via Wikimedia | CC0 1.0 ; Uterus from Johannes Sobotta, 1906; Fertilization from Blausen.com staff . Wikiversity Journal of Medicine | CC BY 3.0
Contact the author at diane@io9.com .

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