Ink marks on empty dreams

I am a footstep on the sands of time, I am an ink mark on an empty paper, without stanzas, without rhymes



Battle of the Sexes movie 2017- based on the true story tennis match between women’s No 1 – Billie Jean King and fifty something ex-champ and self-proclaimed “male chauvinist pig” Bobby Riggs

“The Battle of the Sexes” is a biographical sports comedy drama based on the true story tennis match of 1973 in a packed Houston Astrodome. It stars Emma Stone and Steve Carell, respectively women’s No 1 Billie Jean King and fiftysomething ex-champ and self-proclaimed “male chauvinist pig” Bobby Riggs – fighting to prove that men are better at tennis and better, full stop.

“He made a bet, she made history”

The film crucially faces the same challenge as the participants from real life: the challenge of tone. How unseriously should this match be taken? How strenuously should the attitude of casual joking be maintained? No one involved in this encounter could be certain of its outcome; neither side could be sure of avoiding humiliation, and thus everyone had a vested interest in keeping it light. Up to a point. But only one side was facing joking as a weapon, the same weapon of boorish condescension and toxic exchanges that they faced outside the sporting arena every day of their lives. The movie displays the same gracious good humor as its heroine.

billie jean king and marylin barnett2

In 1973, King was enraged by the fact that female players on the grand slam circuit were paid a tiny fraction of what the men got, despite pulling in the same number of paying customers. She formed the breakaway Women’s Tennis Association, and having duly punished King with excommunication from their club, the male tennis establishment was quietly scandalized to discover that, far from failing ignominiously, the women were finding support from the American public who rather liked them as rebels and pioneers. They got sponsorship and even some sympathetic press coverage.

She is instantly sympathetic and humanly vulnerable; her address to the camera has a cartoony clarity and vigour, a distinctive kind of wide-eyed openness, accentuated by the trademark glasses. (This is surely history’s only premier sports event in which both players have worn glasses.) And her Billie Jean is sensual and vulnerable when she discovers that, despite being married, she is falling in love with a woman: LA hairdresser Marilyn Barnett – another unassumingly excellent performance from Andrea Riseborough.

billie jean king and marylin barnett

As for Carell, he is the only possible casting for Riggs: the humourless, belligerent guy thinking that he is the life and soul of the party, dressing up in silly costumes. It’s a variation on his David Brent manager Michael Scott from the American TV version of The Office or his weatherman Brick Tamland from Anchorman. And he is that certain kind of middle-aged guy who by wearing shorts makes his buttocks look unsexily gigantic, like barrage balloons.

In real life, Riggs was supposed to have a skill in lobs and drop shots that would counter King’s hitting power. Yet in acting terms, it’s Stone who is subtly floating shots over the net, and comedy star Carell who is going for the double-fisted line readings and visual laughs.


And what remains of this argument now? Jimmy Connors won against Martina Navratilova in 1992, at a younger age than Riggs but with rule handicaps. John McEnroe grumbles away at the subject in the present day. But King’s point remains the same: meaningful equality is what she wanted. Nowadays, sport and sports careers are too disciplined and careful to allow for these wacky Barnumesque contests. But pay disparity remains, and not every workplace has access to the Houston Astrodome to put them to the test.

Watch the trailer :



Sources :



Gypsy 2017 – The great Naomi Watts shows many faces and a lesbian love

There are certain actresses that I expect to do what Naomi Watts has done in Gypsy, mainly to play a lesbian love affair or a lesbian character so realistic as she does, for she has “antecedents” – Mulholland Drive (2001)

mullholand drive Naomi Watts

“I asked her if she would diagnose Jean as having a disorder,” Rubin said. “But she said everybody falls on different spectrums of different disorders, and she didn’t think Jean was diagnosable, and I agree. This is not a story about a woman with a mental illness . . . we’re all capable of doing dark or bad things. Most people are not good or bad; they fall in the gray and do bad things. And showing women [on screen] who are always nurturing, good, or likable is not being honest.

“I used to believe that people determined their own lives. We were in control, commanding our futures,

choosing our spouses, picking professions,responsible for the decisions that shape the course of our lives. 

And yet, there is one force more powerful than free will. Our unconscious. Underneath the suits, behind closed doors, we’re all ruled by the same desires. And those desires can be raw and dark and deeply shameful.

The more you watch someone, the more you realize, we are never really who we say we are.

In fact, hidden underneath, there’s always a secret. We might actually be someone else.

The great Naomi Watts is  Jean Holloway, a therapist, mother, and loving wife to her husband, Michael (Billy Crudup) in Gypsy, the series follows as Jean creates the character of Diane, a single journalist whom she inhabits to unethically involve herself in the lives of her patients. Her transformation, the impetus of this unhinged act is a host of repressed sexual and professional yearnings that she indulges (along with much bourbon) as a distinctly troubling type of escapism creates an amazing piece of a character.

Naomi Watts Gypsy 2017

At first, her actions are explicitly tied to one patient: Sam (Karl Glusman), who is obsessed with Sidney (Sophie Cookson), his ex-girlfriend and a local bartender. In an early scene in one of their sessions, he describes being consumed by his desires for Sidney, being unable to think of anything but her and what she makes and made him feel. And what Jean seems to want in creating Diane is to feel that kind of passion for herself, as the day-to-day nuisances of play dates, other school mothers, her oft-rigid colleagues, and domestic duties have become the center of her existence. Her increasing dependence on alcohol is at once an enabling force and a reflection of what she seeks to feel when she begins to follow and flirt with Sidney.


Jean is working to solve the problems of her patients via extreme breaches in trust in an attempt to avoid confronting her own disquiet with the peaceful existence she’s built for herself. Watts, moving and nuanced as much in her silences as her speeches, is careful to not show Jean as completely indifferent to her marital life. She clearly cares about being a mother and a wife but she’s been feeling an impersonality toward her family, as well as her career, that has driven her toward more radical means of feeling noticed and desired. Watts makes the character a study in the neglected id returning to overtake the unending routines of professional and family life — the intimate impulse of wanting to destroy any semblance of personal stability. As such, one could even argue that Gypsy is a kind of horror series without the copious blood and outlandish violence.

The increasing lack of control that Jean feels and her impulsive seeking of satisfaction of any kind never comes through in Taylor-Johnson’s compositions or in Rubin’s dialogue. As such, we never quite get a handle on the pleasure, rush, and instability of what she’s doing, nor do we fully understand how that affects Michael or their daughter.


The danger in remaining professional is that one can also feel at a distance from the work and render one unable to find useful solutions to personal problems. For Jean, this leads to crippling frustration and an overwhelming feeling of uselessness, which pushes her toward the creation of Diane and the relationship she begins to build with Sidney. And by becoming personally involved in her patients’ lives, she denies them a crucial sense of control and freedom to speak without fear of being exploited, a situation that is primed for chaos that never quite came in the first four episodes but looks to be inevitably in the cards.


In essence, the series allows Rubin, Watts, and Taylor-Johnson to consider and criticize their own personal connections to their own work, employment that often requires them to be at a distance from their material to allow for producers and other interests to have their (mostly) appropriate say. And as all three chief creative forces behind Gypsy are women, there is an essential focus on how the simple fact of being a woman can drastically affect how you are criticized and managed by men. It’s an element that should have been pushed further throughout the run of Gypsy, which might have made for a great movie but settles as an engaging, wise series. Nevertheless, in a marketplace short on ambitious shows made by and for women, Gypsy finds fertile ground for an exploration of the chaotic impasse between roiling inner desires and the false yet requisite veneer of stability that society often calls for without knowing the real cost.

A must see Psychothriller with a glimpse of softness :

Sources :

Netflix  &


Awol – 2017 lesbian movie

The Australian drama „Awol” tells the story of a young woman named Johanna „Joey”, aged around 18 or 19 years old,   played by Lola Kirke. She is at the crossroads of life just after her teenage years, just finishing highschool and in search of direction in her small town just like her grandmother would wish.



A visit to an army recruiting office appears to provide a path, but when she meets and falls in love with  27 years old Rayna played by Breeda Wool, that path diverges in ways that neither woman anticipates. Rayna is married of convenience with a truckdriver and has children,yet her passion for Joey amazes her and makes her want a whole new life with her lover, yet still she doesn`t want to ruin her young lover`s future.

awol rayna-4


The love they live makes them forget parts of their commitments : Rayna`s for her children and Joey`s for the army and they leave the Appalachia small town for Canada.

Loved the rural theme and how souls are divided in between earth, poverty, love and guilt of social commitment.

joey and rayna awol

A new breath on the lesbian movie small and  big screens. How will it end? Just watch it !

Awool - Wool-and-Kirke


AWOL — which has been honored by the Kansas City LGBT Film Festival, qFLIX Philadelphia, and the North Carolina Gay & Lesbian Film Festival — got its start as a short film at Sundance in 2011. At a Q&A after the feature-length film’s world premiere at the Tribeca this spring, Deb Shoval noted that AWOL, which is an indulgent yet brief 80 minutes, took an arduous four years to make.

awol 2017

The movie was directed by Deb Shoval, making her feature directorial debut by adapting her own short film of the same name. The screenplay was written by  and Deb Shoval.

Trailer :

Sources :


The Investigator – lesbian movie-true story (1997)


Assigned to root out lesbians in the British military, a soldier turns from hunter to prey.
Helen Baxendale stars as Caroline Meagher,was an up-and-coming staff sergeant in the Royal Military Police from 1978-1990. Caroline eagerly accepts a plum assignment with the Special Investigative Branch. But her task—to root out and interrogate suspected lesbians—becomes a nightmare as she gradually awakens to the truth about her own heart’s desire.


Gossip and hunches lead to searches of letters, diaries, photos, underwear drawers and more. Humiliating interrogations follow from her male colleagues, destroying careers and invading the privacy of women they wish to remove from the force.

Caroline becomes more upset after her good friend Chrissie (Katrina Levon) comes out to her. When the two become lovers, Caroline is well aware of the secrecy that they must keep up if not to become victims themselves. The lesbian hunter is now a lesbian herself.


Our investigator is eventually given new duties and meets Louise (Laura Fraser, Iron Jawed Angels, Nina’s Heavenly Delights) in Edinburgh. The two are in love when Caroline is posted to Northern Ireland, and although she knows the risks, she can’t bring herself to destroy Louise’s letters.


Finally, Caroline becomes a target herself. After four days of interrogation and twelve years of service, Caroline is discharged from the army. The real Caroline Meagher appears at the end of the film to point how bizarre the army’s obsession with her sexuality seemed in the midst of the dangers of serving in Northern Ireland at the time.

This slideshow requires JavaScript.

Based on a true story, this stirring drama tells a shocking tale of intolerance, of private lives invaded and careers destroyed—all carried out in the name of justice when the only crime is love.

You can watch the movie here (it has 9 parts) :

Source : and

Brides to be (2016) lesbian thriller themed movie

Robin & Jenna are getting married. Robin is excited beyond words; Jenna is plagued by panic attacks and struggles to write her vows. But when they arrive at their secluded fairy-tale venue sinister forces besiege them, threatening to tear them apart.

Brides to Be is both a love story and a psychological thriller, a timeless romance and a haunted house. Skillfully mixing genres, it explores how doubt and fear can be imposed upon us and infect us from within, but only if we let it.


“I’ll say right up front that it’s good, perhaps even great… This is the kind of economical, smart, Hitchcockian film that M. Night Shyamalan wishes he could make… Every element belongs, is necessary, and delights even as it unsettles… Not that Brides To Be is strictly a ghost story. It refuses to tell us exactly what is the source of trouble; or, more accurately, it embraces several possibilities, allowing conflict to emerge from multiple sources… This one deserves your money and time.”    ~Seattle Gay Scene


“Above all, this is a love story, and the house and its secrets cloak that in an air of mystery. Brides To Be offers a horror story with an emotional center and characters that we instantly bond with. We are invested in their story as they make their way through the evening. We care about them, we want to see them come out of this unscathed – not just by the ghostly entity, but they their own internal demons… Carollani Sandberg and  are incredible.”   ~Ain’t it Cool News

“A lot of horror films have disposable characters… This is not one of [them]… It is a drama about overcoming fear in order to really connect with someone else… this film made me care.”    ~The MacGuffin




Below Her Mouth – New Lesbian Movie 2016

One of the boldest and sexiest dramas of the year, the new film by Canadian actor-director April Mullen (Dead Before Dawn) tells the story of an unexpected romance between two women whose passionate connection changes their lives forever.

One of the boldest and sexiest dramas of the year, April Mullen’s Below Her Mouthtells the story of an unexpected romance between two women whose passionate connection changes their lives forever.


Jasmine (Natalie Krill) is a successful fashion editor living with her fiancé, Rile (Sebastian Pigott). On a night out in the city with her best friend, she meets Dallas (Erika Linder), a roofer recently out of a relationship. Jasmine is taken by surprise when Dallas confidently hits on her; she turns Dallas down, but can’t get her out of her head.

Dallas continues her cool, self-assured advances. In a matter of days, Jasmine succumbs and the two women embark on a steamy affair. It feels like a fantasy world compared to Jasmine’s life and plans with Rile, but soon reality rears its head, and she will have to face the profound changes their sudden romance has wrought in her.


Stephanie Fabrizi’s screenplay powerfully and honestly explores what happens when two women fall hard for each other, and Mullen brings the story to the screen with uninhibited flair and assurance, showing us how love can arise from some of the messiest times in our lives.

Below Her Mouth is a rarity in more than one way: it’s a fiction film shot with an entirely female crew, and it’s an uncommonly frank look at the all-encompassing nature of attraction — the good, the bad, the ugly, and the transcendent.




Great Lesbian Songs

Joan Armatrading-“The Weakness In Me”

Tori Amos – “Cornflake Girl”

K.D Lang – „Constant Craving”


Melissa Ferrick-„Drive”


Sophie B. Hawkins – „Damn I Wish I Was Your Lover”


Melissa Etheridge – „I’m The Only One”


Joan Jett – „Crimson and Clover”

Janis Joplin “Piece of My Heart”

Traci Chpman – „Fast car”

Desislava – „Iskem Te Pak”

Sarah Mclachlan – „When she loved me”

Katie Perry – „I Kissed A Girl”

The Veronicas“Take Me On The Floor”

T.A.T.U –„ All The Things She Said”

Ani di Franco –„ If it isn’t her”

Tegan and Sara – „Closer”


Milana feat. Batisto Grisagone -„Our Love Is Alive”

Ally & Stevie –„Her Lover”


Robyn – Call Your Girlfriend

Ji Nilsson & Marlene – „Love You Anyway”

Mary Lambert – „She Keeps Me Warm”

Jen Foster – „I Didn’t Just Kiss Her”


Jill Sobule – „I kissed a girl”

The XX – „Shelter”

Bikkini Kill – „Rebel Girl”

Metro Girls – „She Likes  Girls”

Gia – „Only A Girl”

Shura – „Touch”

Martine Mccutcheon – „Tremble”


Vienna Teng- „Recessional”


Pink and Peaches –„ Oh My God!”

A tender thought to Celine

To Celine             

             For all the love in her songs, for all the sensitivity in her voice and the tenderness of the lyrics. For all she is and she will be for all the people who love her and  with compassion for all the loss she had suffered.

With much love and tender caring.

Intoxicated…by you

In fiecare zi o sa-mi fie dor de un cuvant, o privire, o atingere, de iubirea ta, de bunatatea ta aparte….intinsul parca isi pierde a lui durata, pe buze si pe trup inca port acea dulceata….a ta si de tot ceea ce insemni tu.

mi e dor de tineeee

I feel you all around me
Though you’re no more in this space
You’re nowhere to be found
There’s not a breath of you in here

Leaving us behind
I just can’t do it all the way
Nothing can describe
The feeling of dancing with this pain

I toss and turn and then
I roll on your side of the bed
I touch your absent face
No tear will ever bring your back

I’m broken inside out
I wish I could go where you went
I’ll fall asleep until I see you
At the other end.


Create a free website or blog at

Up ↑

%d bloggers like this: