ISOBELLE’S

by Isobelle Cruz [June 02, 2025]

Ilang bakla ang kilala mo? Ako marami. Ang best friend ko, iilang mga kaibigan at kamag-anak, yung mga nag gugupit ng aking buhok na maski nakapikit ay kabisado na ang gupit kong wolfcut, o kaya yung barista malapit sa amin na tugtugan palagi ay Sabrina Carpenter. O 'yung mga kabataan sa Cubao Expo na nakasuot ng maxi skirts terno ng inukay na lace tops at bangs na sobrang iksi, lagpas na ng kilay. Siguro pati na rin yung isa kong titser na hanggang ngayon ay hindi ako makapaniwalang may asawa raw. Kahit saan ka man lumingon, naroon sila. Yung iba, baka nagtatago pa rin o kaya’y hindi pa hustong kilala ang sarili.

Mommy, may ipagtatapat ako. Sabi ni Joshua sa ina. Ano, na gusto mong maging writer? Oho. Pero hindi ‘yun. I think I’m gay. O e ano naman ngayon? Gay ang Lolo Jim at Lolo Dale mo, trans ang Auntie Erich mo, queer ako, at ngayon ay gay ka, nagunaw ba ang mundo?

Ang nobelang “Kalahating Bahaghari” ni Ricky Lee ay isang multi-generational na istorya na sinusundan ang pamilyang Mareclino na binubuo ng iba’t ibang kasarian mula noong 70s hanggang ngayon. Sinasakop nito ang mga komplikasyon, kilig, lungkot, at galit na bitbit ng buhay. Maging sino ka man ay tiyak na mahahanap mo ang iyong sarili sa mga karakter na dahan-dahang hinulma ng manunulat.

Ang pagmamahal na ipinagdamot sa kanya noon ng mga magulang ay buong-layang ipinamudmod niya ngayon sa lahat. She never defined who she was, basta she was. Tubig siyang sumusunod sa hubog at hugis ng kung sinuman o anuman na maka-sex niya.

Bagamat masasabing progresibo at mapagtanggap ang bagong henerasyon sa LGBTQIA+ community, hindi pa rin gaanong nagkakalayo ang pagitan ng ngayon at noong natural ang diskriminasyon sa mga bakla, na maski ipahiya at saktan sa harap ng madla ay walang magdadalawang tingin dahil “tama lang, tama lang na ganun ang trato sa kanila.” Mula kay Jim na lumayas dahil sa diskriminasyon ng kanyang pamilya hanggang sa kanyang apo na si Joshua na buong-pusong tanggap ng kanyang ina, ang dalawang karakter ay parehong humaharap sa mga hamon ng mundo; bagamat magkaiba, walang mas hindi mahalaga.

Maging noon hanggang ngayon ay nagaganap pa rin ang mga karumal-dumal na karahasan at pagpapa tahimik sa komunidad. Sa pagsapit ng 2026, masasabing dalawang dekada na ang nakalipas mula noong unang nasumite ni Miriam Defensor Santiago ang SOGIE Bill sa senado, na hanggang ngayon ay hindi pa rin naaaprubahan (Rappler, 2019). Hindi nangangahulugan na dahil tayo’y nakamit ng kaunting pag-unlad ay hihinto na tayo sa paghingi ng higit pa. Hindi pa nagwawakas ang paglalakbay, bagkus ay nagsisimula pa lamang.

Ang umibig ay isang desisyon upang manatiling umiibig.

Ngayon na darating na naman ang taun-taong pagdiriwang ng bahaghari, pinapaalala ni Ricky Lee ang iba’t ibang buhay na nairaos ng mga mamamayan na piniling umibig at manatiling umiibig maging sa kapinsalaan ng kanilang buhay.

by Isobelle Cruz [March 17, 2025]

What does it take for me to be a woman? What things do I have to know? What do I have to experience? Who do I have to like? How am I supposed to dress? To look? To think? To act?

Over the years, I have asked myself these questions numerous times. And at some point, I thought I had the answers—until it started to seem impossible to be so many things at once. Hence, in celebration of this year’s National Women’s Month, here are four books written by Asian authors that have helped me realize that being a woman cannot be defined by a single answer:

Breasts and Eggs by Mieko Kawakami

A woman can be imperfect. 

Mieko Kawakami, a Japanese author known for her other works such as Heaven and All the Lovers in the Night, may just be my favorite author as of today. Breasts and Eggs visualizes the contemporary womanhood found in Japan and follows the story of three women navigating their uncertainties as they confront their relationships with each other and their own bodies.

“They were really something.” Makiko let out a reverent sigh. “It’s a miracle for Asians to be born with nipples that pink.”

Page 53 of Breasts and Eggs

My breasts were in the middle of the mirror. Little, just like Makiko’s. Brown and bumpy nipples. My hips had barely any shape, but there was flesh around my belly button, stretch marks curving around my sides. 

Page 147 of Breasts and Eggs

It was my first time seeing such a vivid and realistic description of a female body that felt dangerously close to home. It validated the insecurities I thought I was crazy to have at such a young age and comforted me more than anyone else could. Breasts and Eggs perfectly captures the slow but feverish pain that comes with feeling alienated from one’s own body and sexuality. Reading this at an age when I was so scared to explore my potential both physically and emotionally became an essential part of my growth as a woman.

Pachinko by Min Jin Lee

A woman can be stubborn.

Pachinko is written in a way that makes you feel as if you are living the character’s lives first hand—all the pain, disappointment, and longing for change suddenly feels so real and quick. Although it focuses more on the discrimination and divide between Korea and Japan in history, we see the process of how Sunja, an innocent and adored teenager falls into the arms of a wealthy stranger who leaves her pregnant, unmarried, and betrayed.

“I am carrying your child.”

He opened his eyes and paused.

”Are you certain?”

”Yes, I think so.”

”Well.” He smiled.

”Oppa?” She studied his serious face.

“I have a wife and three children. In Osaka.”

Page 47 of Pachinko

Pachinko leads us through the lengthy, painful life of Sunja as she tries her best to provide her sons with the best life she could afford. Min Jin Lee shows us the sacrifices of women, especially mothers, in a male-dominated society. Sunja is a representation of how women can be both strong and stubborn at the same time.

Crying in H Mart by Michelle Zauner

A woman can be difficult.

Crying in H Mart is a memoir by Michelle Zauner of Japanese Breakfast, in which, instead of highlighting her career as a musician, she paints a portrait of grief and the complexity that comes with mother-daughter relationships.

There was no one in the world that was ever as critical or could make me feel as hideous as my mother did, but there was no one, not even Peter, who ever made me feel as beautiful.

Zauner perfectly encapsulates the frustrations of the push-and-pull relationships of Asian mothers and daughters—that no matter how many times they make us doubt and turn away, it is still a mother’s embrace we fall back into in difficult times, no matter how hard we try to resist.

What she meant was that no matter how much you thought you loved someone, or thought they loved you, you never gave all of yourself. Save 10 percent always, so there was something to fall back on.

And sometimes, when that 10 percent feels a little too big to occupy, our mothers come to save the day.

by Isobelle Cruz [January 28, 2025]

Around P2,000 later (thank you, ma) and here I am, still only halfway through the 2024 Metro Manila Film Festival. Although I’ve only watched half of the entries, it is already enough to say that the festival featured some great improvements and more enjoyable pictures compared to previous years. The people working in the industry seem to have finally gathered the courage to step away from the standard cheating, long-lost siblings, or rich & poor tropes, which resulted in a fairly exciting roster.

1. Isang Himala (dir. by Pepe Diokno)

I already knew the moment I walked out of the cinema that this would be the first on my list. But before writing anything else, I made it a mission to watch the original version in case the experience changes my opinion. Turns out, if anything, watching the 1982 release only strengthened my love for the movie. The key difference between the original and retelling, aside from the obvious musical factor that greatly intensified the film’s atmosphere, was the pacing of the story. The 2024 release managed to compact the story in a way that doesn’t leave out any major scenes, and makes it easy to follow.

“Nararamdaman ko na ‘pag sinundan ko sya nang sinundan, dadalhin niya ako sa mga lugar na ‘di ko pa nararating.”

Orly

“Isang Himala” tackles several underlying issues with its story, one of them most obviously being how Filipinos sensationalize and capitalize off of serious issues. Recently, real-life examples of these could be the Denise Julia x BJ Pascual or Maris Racal x Anthony Jennings issues, with how Filipinos are so quick to claim an opinion simply because the rest of society do, too.

Another issue present is the Filipinos’ dependence on religion as a result of poverty and misfortune—wherein instead of helping ourselves rise to our feet, we would much rather kneel for an external force because “what is there to lose”? This result of helplessness can be related to how Filipinos treat politicians, most specifically figures such as Quibuloy and Alice Guo, if referring to recent times. This fast dependence on religion is most vividly seen in the scene wherein everyone kneels for Elsa at the beginning of the film, when only moments ago, they were doubting her. It shows how immediate people gamble their faith the moment they discover it could possibly benefit them.

“Kapag may masamang nangyayari, sinisisi natin ang sumpa. Kapag may mabuti naman na nangyayari, ito ay gawa ng langit. Gawa ng Birhen. Gawa ng himala. // Ang himala ay nasa puso ng tao! Tayo ang gumagawa ng mga himala. Tayo ang gumagawa ng mga sumpa at Diyos!”

Elsa

Although the story had originally been written over 40 years ago, its message remains relevant at present, which just goes to show how little progress our country has had. “Isang Himala” is definitely a must-watch, especially for its message, unique music, and set design.

2. Green Bones (directed by Zig Dulay)

I’m still unsure about my ranking on “Green Bones” because I wonder—was it really good or did it just make me feel extremely sad? It is not what I expected it to be in both a positive and negative way. Walking into the cinema, I expected a violent, action film about crime and the gritty scenes of Metro Manila, but instead, I was met by an extremely moving story of family. The story was set up in a way that made me think Dom was the killer of Gonzaga’s sister, which later left me confused why Gonzaga was so overly worked up about Dom. It left me hoping there had been a more direct connection between the two characters prior to the scenes in prison.

But nonetheless, I cannot deny that the film was definitely successful in moving its audience’s hearts and leaving them shocked at certain parts. A factor that may greatly influence how personal and moving the story felt is how it is inspired by the director's father.

“It made me wonder: if my father had been cremated, would his remains have revealed green bones? That question inspired the concept of the movie.”

Direk Zig Dulay in an article by JC Rubio [GMA News Online]

“Green Bones” felt like a love letter not only to the director’s father, but everyone else who have felt wronged, grieved, and loved. I can’t help but wonder if someone else has the same story in real life? And if so, how many?

3. Uninvited (directed by Dan Vilegas)

“Uninvited” was my most-anticipated watch for this year’s MMFF and did not leave me disappointed. First things first, Aga Muhlacg deserved a nomination. Although I have yet to watch all of the nominee’s performances, the sick and creepy atmosphere his character, Guilly Vega, brought whenever he appeared on screen is enough to say he deserved a mention.

Although I would say that this was a solid entry, it lies only third on my ranking. Everything from the acting, cinematography, and richness of production could battle with my top two, but one thing it cannot is its story. There had already been several films following the same theme as “Uninvited” and it was only different or interesting to see it be done by Filipinos. The film left room for unanswered questions and felt as if we were going nowhere for a long time at some point.

It wasn’t bad but it was nothing extraordinary.

4. The Kingdom (directed by Mike Tuviera)

Despite being fourth on my ranking, I actually have so much praise for this film for trying something extremely different. Although it is far from being great, “The Kingdom” is a good start to more experimental films.

The story building was interesting and new but felt lazy at some times and failed to reach its greater potential. Some scenes may have felt misplaced or unnecessary, and some stunts just plain goofy, but it was overall watchable and entertaining.

I may not have enjoyed this film as much, but I understand why so many Filipinos favor it and give it so much recognition—it features a unique side of Vic Sotto’s acting, a heartwarming story of family, … and a shirtless Piolo Pascual.

5. Espantaho (directed by Chito S. Roño)

The Philippines is known for its comedy, romance, and notably for its horror. But “Espantaho”, directed by the acclaimed Chito S. Roño (director of Dekada ‘70, Feng Shui, The Healing, and others) was extremely underwhelming. Though the visual effects and animation is undeniably improved in comparison to other Philippine horror films, the story itself was just not scary. Nakakadiri, hindi nakakatakot.

By Cassandra Isobelle [Sep 8, 2024]

Something to love about live theater is that the art cannot only be found on the stage but also with the audience—how the image of so many people gathered in one room to sit in unified appreciation of the show is an artwork in itself.

Annie (2016)

Sometime in September of 2016, I was gifted with the full dream experience of a theater kid with front row seats near the orchestra and a picture with the cast. And, if that wasn’t enough, little me also ran into Michael de Mesa as Daddy Warbucks.

I didn’t know then how that night would be the start of a long-time fascination towards performing arts—that only a few months later, I would find myself in an audition room for the 2019 run of “Matilda”. At the time, all I knew was that the music made me happy and that a dog acting on stage was extremely cool.

Chitty Chitty Bang Bang (2017)

To be frank, I don’t remember much about ‘Chitty Chitty Bang Bang’, so if given the task to rank all of these shows, you might find it a bit low. But, nonetheless, just like all the others yet to be mentioned, the unified effort put into the whole production impressed me. With each step into a show, I found myself more eager to experience the theater life myself—whether backstage or not, I wasn’t sure yet.

Matilda (2019)

‘Matilda’ was my first and last attempt at an onstage role. As an extremely shy kid, I’m not sure how I was able to get through singing in front of so many important people, and explains why I never did again. Its story was inspiring as a kid, because after that, I started to think of the possibility of directing and writing, or anything where my shyness wouldn’t hinder much.

Watching a group of actors my age able to carry out such a lengthy and impressive performance, with amazing choreography and clever use of props, made me believe that I could do something great, as well. ‘Matilda’ would forever be one of my favorites—whether it came down to the original film, live performance, book, or album. I, a quiet kid who buried herself in books and had a hard time speaking up, saw a lot of myself in Matilda. So despite not getting to play her character on stage, I at least lived a part of her in the real world.

Ang Huling El Bimbo (2023)

Ang Huling El Bimbo, my all-time favorite and first watch after the drawn-out pandemic. Watching this through a screen was beautiful enough, but seeing it with my own two eyes and hearing the music live was a different kind of captivating.

For some reason, their [Eraserheads] songs seemed to perfectly fit events in our lives—providing a sort of soundtrack that we fondly remember many years later.

Merwin Tee, Music Publisher [AHEB Playbill - pg. 6]

AHEB was simple yet heart-wrenching. The simplicity of the script that came off so naturally the actors’ tongues is what made the story feel so raw and humane. It portrayed the many truths of life, specifically in contemporary Manila, which included all of the good and bad. AHEB’s story is not only of the characters’ but also of many Filipinos out there.

Seeing my own culture on stage and hearing the language I speak everyday play a massive role in the delivery of a beautiful story was moving and even inspired me in my own project (see pictures below).

Bawat Bonggang Bagay (2023)

Bawat Bonggang Bagay is a one-man show starring Jon Santos that talks about mental health and the small things that make life worth living for. For example, “amoy ng bagong lutong ulam”, or it could also be “mga lollipop na iba yung flavor sa gitna”, or even something as simple as “ice candy”. This instills the idea that happiness is everywhere.

BBB was an intimate and interactive gem, held in Zobel De Ayala Recital Hall where it held only a limited number of heads, making it all the more meaningful. The show was successful in making you feel a part of its world, having you sit only a hand-stretch away from the actor and giving you lines to deliver and scenes to participate in.

This is the most unique theater experience I have had, and if ever doors open for a re-run, I highly recommend that you secure your tickets!

Miss Saigon (2024)

This was my first watch of an international cast, and immediately, the richness of the production proved why Miss Saigon is considered a world-class act. My seat may have been a bit far in the steep theater of Solaire, but even from such a distance, I was able to clearly capture the performance with its large-scale designs and magnified acting.

”One piece of advice I think I can impart is just to enjoy every moment of the process of creating the character, but create something that you can call that is absolutely yours.

Lea Salonga’s advice for Abigail Adriano [GMA News]

Miss Saigon, a show that has brought so much pride to the country through the success of Lea Salonga, coming home to the Philippines with several shows was quite a big deal. And seeing both Abigail Adriano (Kim) and Seann Miley Moore (The Engineer) be Filipinos made my heart happy, knowing that the pride Lea Salonga and Jon Jon Briones once brought was carried on.

Miss Saigon was truly beautiful, never letting my eyes drift from the stage.

Buruguduy-stun-stugudun-stuy (2024)

As much as I try to avoid it, it is inevitable to compare this show with Ang Huling El Bimbo, both deriving its soundtracks from popular Filipino bands. Both were touching to the heart but definitely opposites when it came to concept and production.

The title ‘Buruguduy-stun-stugudun-stuy’ was not the only hard thing to comprehend, but so was its story. The show surely matched the chaos of Parokya Ni Edgar songs through its absurd and overwhelmingly packed script. If AHEB was simple and slice-of-life, well…Buruguduy surely is everything but that.

From dancing penises to a lesbian cop x alien couple and so much more, Buruguy had it all. There was not a moment when the stage was empty, so if chaos and color is your thing, then Buruguduy-stun-stugudun-stuy is for you.

Mula Sa Buwan (2024)

Everything about Mula Sa Buwan is still fresh in my mind—the jokes, the kilig, the pain. Although it started off a bit slow with the dialogue feeling too lengthy and dragged on, it definitely picked up once the Cyrano x Christian dynamic was introduced. From then on, the first part of the show was heavily carried by its humor and filled the theater with laughter.

The second part, on the other hand, tugs at your heart. It is the part of the show where war breaks loose, people die, secrets are uncovered, and some of the most painfully poetic lines are delivered. MSB’s use of the Philippine language shows off its beauty and depth.

“It’s a responsibility. In a nation full of fools, misfits, and dreamers…what Mula sa Buwan has always promised is to offer its magic — to believe, to change lives and to bring the Filipino audience together.”

By Cassandra Isobelle [June 18, 2024]

Gabrielle Faye, singer of “Bawat Lahat”

It was a random night during summer of last year when I decided that there was no way I could reach my dreams if I didn’t start somewhere. I had always been creating things, always making sure to keep my hands and mind busy at work—whether it be through an art piece, a writing material, or graphic designs. But this particular thing holds a special place in my heart that all else can’t access. That “somewhere” happened to be in my hometown in Rizal, where I found nine other hearts beating towards their own dreams.

The song is entitled “Bawat Lahat” directly translating to “Every Everything”, carrying the message of appreciating every small detail in life and not wanting to grow up from it. Bawat poot na aming dinadaanan. Bawat sakit na aming nararamdaman. Bawat kwentuhan, chismisan, at aminan. These are all the small yet important things that make up our lives.

[June 24, 2023]

Gab was a natural when it came to music, the same way that I was when it came to filming. And so, our dreams collide as we attempt to capture the core memories of teenagehood and friends.

The music video, filled with candid shots of our everyday lives from birthday parties to tennis practices, and even slow days where we do nothing but sit in each other’s company, ends with a question. “Bakit hindi mo kami sinamahan tumanda?” At the time that I was editing that video, I did not expect that it would come to life all too soon. That only weeks or months later would be the start of our living separate lives.

What used to be noisy streets full of laughter and nonsense turned into quiet paths walked in pairs instead of a group. The pain that used to be dealt together was now faced alone. And the occasional stories that we would tell each other now remained untold.

It was my first attempt at getting out of my comfort zone and doing something with the skills that I had spent my childhood honing. It became the mark of a new beginning in my career and a halt in a few friendships. I value this piece of creation most because, despite its imperfections, shaky angles, and off-tune editing, it is something I can never recreate or relive—irreplaceable, in other words. No amount of good acting, script, or editing can replace the innocence and bliss of this creation.

Watch the MV below:

By Cassandra Isobelle [June 14, 2024]

Once again, we are celebrating the representation of the LGBTQ+ community in cinema. 2023 was full of comedic and light-hearted storylines that finally have happy endings. For so long, it seems that queer-revolving films often end sorrowfully because of some conflict relating to homophobia. And as important as that is, it is also valuable to capture the fun side of queer relationships.

Hence, here are 3 films released in the previous year that were worth all of my time and will not give you a sad ending.

Dir. by Emma Seligman

Bottoms (2023)

If you’ve been waiting for an out-of-pocket comedy, then here is “Bottoms” for you. An all-over-the-place crazy and satirical film on feminism through the lives of PJ and Josie, loser lesbian besties that start a self-defense club in order to meet girls and lose their virginity.

Sounds ridiculous? Well, that’s what makes it great.

Dir. by Matthew López

Red, White & Royal Blue (2023)

Adapted from the well-praised novel by Casey McQuiston of the same title, Red, White & Royal Blue is your typical rom com with hyper-unrealistic tropes that are nonetheless enjoyable. This is the love story between Alex, the first son of the United States, and Henry, the Prince of England. If you don’t mind films being unrealistic and cheesy, then you should give this one a chance.

Dir. by Samantha Lee

Rookie (2023)

From considerably one of my favorite Filipino directors, Samantha Lee returned once again with another coming-of-age sapphic romance. This has definitely become my favorite out of all her works so far. There is just something about a rough start blooming into friendship and romance that hits me in the right spot.

This is the story of volleyball team captain, Jana, and Ace, the 6-foot rookie that was forced to join the team. The atmosphere is cool and reminiscent of High School years. And despite its simplicity, Rookie was a sweet experience.

For more recommendations, check out my previous entry for pride month:

By Cassandra Isobelle [June 11, 2024]

Firefly (2023) dir. by Zig Dulay

What else would the image of a young boy picking up his mother’s remains bring you other than tears?

It was a random Sunday when I decided to put this movie on as I was tidying up my room. I wasn’t expecting much of it—didn’t expect I would even finish it, but then just thirty minutes into it I found myself in tears. I couldn’t imagine my mother dead, and when I tried that night, I instantly became a waterfall of tears. And, take note, I am not much of a crier when it comes to films.

Firefly revived the inner dreamer in me that I had not felt in a long time. Its story is very simple, reminiscent of the daydreams I would have on long road trips to the countryside. The cinematography was beautiful, capturing the Philippines with the same light and color I used to see the world in.

Miguel Tanfelix, Ysabel Ortega, and Euwenn Aleta starring in Firefly (2023)

This film may not have been perfect in the way of its structure, but unnecessary interview-narrative aside, it would have been a five-out-of-five stars for me. If only they had focused on the past and given more time to broaden each storyline instead of panning back and forth in the interview, the story would have glided much smoother.

By Cassandra Isobelle [June 5, 2024]

[Cover of “Some People Need Killing” by Patricia Evangelista

I was only 9-years-old when Rodrigo Duterte was declared winner of the presidential election back in 2016. I was privileged enough to not witness the War on Drugs up-close and not have to worry about whether my father would be alive the next day or not.

But even so, my recollection of his Presidency was never good. During car rides with my family, I would hear my grandparents swear at the former President and talk about the latest news—the words “bastos” and “manyak” thrown about and engraved in my impression of him. All I knew was that my family did not like him. I saw how opinions would tear friendships and relatives apart, and it wasn’t until the pandemic hit that I began formulating my own thoughts and understanding what had led up to such ruthless comments on the internet.

[Sonya Gregorio, fifty-two, and Frank Anthony, twenty-five, moments before being shot by police officer Jonel Nuezca - December 20, 2020]

It was around the time this video went viral that I was awakened to what was happening in our country. I was told not to watch it because of its violence, and so I never did until recently when it was mentioned in this book. It made me realize how easy it is to scroll past an article or video on Facebook and continue your life wholly unaffected and unknowing of the story behind them, simply because it was not your life taken.

For the majority, life during Duterte’s term was normal. For reporters and journalists, on the other hand, it was a different case.

”I was furious instead at everyone who announced their indignation after ignoring a four-year parade of coffins.

Page 293 of “Some People Need Killing”

The numbers presented on the news of the Extrajudicial Killings were large, but not enough for the people to take action. It wasn’t enough that these cases were published through news articles day after day by people that stayed up just to tell the victims’ stories. It wasn’t enough until there were videos.

[Former President Rodrigo Duterte in Malabon, Metro Manila - April 27, 2016]

At some point in reading this book I started noticing how repetitive it can be. Case after case of killings; the same excuses, the same uniforms, the same stories but different characters. — This book is a reflection of Duterte’s leadership; an unending cycle.

”Kill, for example. It’s a word my president uses often. He said it at least 1,254 times in the first six months of his presidency, in a variety of contexts against his enemies.”

Page 6 of “Some People Need Killing”

Kill the drug addicts. Kill the activists. Kill the journalists. Kill them, period.

DM if interested. Price starts from as low as PHP 50! 🤍 Read Terms & Conditions carefully. Feel free to ask questions!

by Cassandra Isobelle [July 20, 2023]

The Secret History by Donna Tartt

There is so much to say about this book, but really, I do not know where to start or how to make my thoughts blend seamlessly from one to the other. I was entranced, right off the bat, by Donna Tartt’s incredible use of words, and found myself attaching tabs more than I usually do. Placing marks on words that have struck me, whether it be intellectual statements, wtf moments (I had a lot of these), or funny jabs at the characters.

The first line I’d highlighted in the book is this:

I believe that it is better to know one book intimately than a hundred superficially.

Page 31 of The Secret History [Vintage Contemporaries print]

It is so conforming with something a friend of mine had once told me. He explained having to truly immerse yourself to the point of becoming the same person as in a tribe or culture of the language you are learning—how more authentic that act is than simply having the capability to speak multiple languages, whose cultures you know not one thing about.

Grilled Cheese Sandwhich.

I caught on, pretty soon, that although the book revolved around murder and other serious topics, that it was meant to be humorous. None of these guys were men at all, except maybe Francis, who, correct me if I’m wrong—the book is still fresh in my mind and I may have overlooked some flaws—seemed the closest to being sane and likable. Henry, for one, was so hard to take seriously. His character was laughable—an example of an ideal man in the dark academia aesthetic—the way he liked to speak of the smallest things with profound and articulate metaphors, which, when observed from a detached point of view, seemed almost like nonsense.

By the second day I was having my doubts, and then, on the afternoon of the night itself, Charles saw him in Commons eating a grilled cheese sandwich and a milk shake. That did it.

Page 167 of The Secret History [Vintage Contemporaries print]

I don’t know where Henry was. Probably looking at the moon and reciting some poem from the T’ang Dynasty.

Page 458 of The Secret History [Vintage Contemporaries print]

Henry wasn’t the only unlikeable character in the book, of course. Even our dear, Richard Papen, the narrator of this story, frustrated me on multiple occasions. He sort of mocks the group for coming from rich families with their trust funds and monthly allowances, when he himself is no better for continually wanting to impress them and doing nothing of their egotistical traits. Tolerating. Participating.

Being the only female in what was basically a boys’ club must have been difficult for her. Miraculously, she didn’t compensate by being hard or quarrelsome. She was still a girl, a slight lovely girl who lay in bed and ate chocolate, a girl whose hair smelled like hyacinth and whose scarves fluttered jauntily in the breeze.

Page 224 of The Secret History [Vintage Contemporaries print]

Camilla, I believe, was so much more than what Richard made her out to be. We know so little about her character except for Richard’s romanticized description of her ever-so-breathtaking beauty, which makes me think we do not have the full story. I like to imagine that if this had been told from her perspective, we would be much closer to the truth behind these murders.

Julian being completely blind to these occurrences until the last chapters? Skeptical, considering how close he had been with Henry in comparison to his other pupils.

I do not know what to believe and assume about the story, but all I know is that Richard had certainly missed a few details. The Secret History was pure comedy, a satire that made me completely love Donna Tartt and her mind. I stood in the middle of my room after reading this book and laughed, wondering how someone could be as skilled as she is to have written this modern classic. It was hard to grasp my mind on how beautiful the storytelling and imagery were.

I read something that Alfred Hitchcock said. He said suspense doesn’t come from having a bomb thrown from nowhere at the hero. Suspense comes from having two people sitting, talking at a table. There’s a bomb ticking underneath the table, and the audience sees it but the characters don’t. And that’ what suspense is.

Donna Tartt in an interview with Charlie Rose (1992)

by Isobelle Cruz [May 21, 2023]

I’ve been hesitant to open up my laptop lately, afraid that I had lost it in me to write a really good article, not in terms of how many likes I receive, but on how much I enjoy the process of making it. My recent works, I admit, have felt passionless and forced for the sake of keeping my blog alive. But this is different. I devoured “Human Acts” by Han Kang over the course of one weekend—my eyes rarely drifting from its pages.

I’d never encountered an interest in the author’s works before, but once I stepped foot in the bookstore, I was suddenly drawn to its cover; simple and clean, silencing the world that surrounded me into muffled echoes.

“Gwangju Uprising” scene in Saedeuldo Sesangeul Teuneunguna at the Yeongwoo Theatre, 1988 [Image Source: Yeongwoo Mudae]

Her lips move, but no sound comes out. Yet Eun-sook knows exactly what she is saying. She recognizes the lines from the manuscript, where Mr. Seo had written them in with a pen. The manuscripts she’s typed up herself, and proofread three times. 

Page 101 of Human Acts

The book features the perspectives of seven characters, one of them being an editor in 1985. Eun-sook’s chapter shows her struggle against censorship and how the company overcomes this, still able to deliver the crossed-out lines of the censors through chilling imagery. Han Kang’s writing is delivered almost in the same feels as the play tackled in her book; quiet, slow, but enough to tell the story.

Gym turned mortuary in May 1980. [Image Source: Robin Moyer, Korea JoongAng Daily]

Another perspective that drew my attention closer than the others was of The Boy’s Friend, Jeong-dae. The words of the dead were briefly featured in the book; faceless spirits hovering over their bodies and watching as others live on, unable to do anything but watch.

If I could escape the sight of our bodies, that festering flesh now fused into a single mass, like rotting carcass of some many-legged monster. If I could sleep, truly sleep, not this flickering haze of wakefulness. If I could plunge headlong down to the floor of my pitch-dark consciousness.

Page 56 of “Human Acts”

It was depressing, and made me conscious of the body I still have control over—a blessing that I often take for granted.

Students on the streets of Gwangju, 1980 [Image Source: Lee Chang-seong, May 18 Memorial Foundation]

Is it possible to bear witness to the fact that of a foot-long wooden ruler being repeatedly thrust into my vagina, all the way to the back wall of my uterus? To a rifle butt bludgeoning my cervix? To the fact that, when the bleeding wouldn’t stop and I had gone into shock, they had to take me to the hospital for a blood transfusion?

Page 164 of Human Acts

Human Acts is flinchingly explicit and gory. It tells the stories of victims from different angles, some of which I would forget to consider if I had not opened this book.

It disturbs me to display these photos on here, but I believe that if words are not enough to deliver chills to the blinded eyes of people, photographs will.

The kids in the photo aren’t lying side by side because their corpses were lined up like that after they were killed. It’s because they were walking in a line.

Page 133 of Human Acts

Whether you read this in the rain, or at the beach where life is supposed to be happy, a strike of pain will stay in the back of your chest, the images of agony haunting you even in bed. 

by Isobelle Cruz [April 13, 2023]

March has passed and I figure it’s too late to follow through with a post on the female directors I love, so instead, here’s a short list of the shows and films I’ve been watching this year in no specific order.

Beef (2023)

Directed by Lee Sung Jin

My most recent and favorite watch…lo and behold, Beef. A show about two extremely vulnerable and flawed people masking themselves through pride and borderline pettiness. Beef has it all from road rage, heist, and arson, to child abduction.

The Netflix Original starring Ali Wong and Steven Yeung features some of the most lonely characters I’ve seen on film. Danny Cho is a struggling self-proclaimed contractor that works every opportunity he’s given to keep him and his brother afloat while also standing by his promise to buy their parents a house in Los Angeles. With all of that weight at hand, Danny resorts to attempts at suicide and at the perfect time, meets Amy Lau—a woman just as lonely, struggling, and desperate at life as Danny.

But I promise you, it is not as touching as I made it out to be.

Danny and Amy take turns attacking each other after a road rage incident—pissing in Amy’s bathroom floor, vandalizing Danny’s truck, breaking into her house, fucking his brother, kidnapping her daughter—it never seems to end. … Until it does, in the middle of nowhere. The final episode of Danny and Amy in the Deserts reminded me of animals in the wild, a representation of what humans are in the grand scheme of it all. Beef is a must-watch for the hot-tempered, prideful Asians out there who are looking to see themselves on screen

Aftersun (2022)

Directed by Charlotte Wells

Aftersun was an experience. It was uneventful yet somehow spoke so much to me about the joys I’ve been holding myself back from and continue to do. I’d say that Aftersun is so well-loved because of how much it’s able to connect with its audience, despite their varying experiences in life.

It reminded me so much of a trip I had gone on with my father when I was about the same age as Sophie. It’s happened, it’s passed, and I can’t say it really made a drastic impact on my life. But it was there. It is now a memory—which is exactly what the film was. Instead of showing a major turning point in the protagonist’s life, it showed a memory, and it was enough for me to love.

Daisy Jones & the Six (2023)

Directed by James Ponsoldt, Nzingha Stewart, and Will Graham

Let me start off by saying how rich the production for Daisy Jones & the Six was, firstly through their music. I still remember when I first got my hands on the book and searched the band on Spotify, knowing very well that no results would come up, but now there they are—-with 3 million monthly listeners and 24 songs released.

Although the production and marketing went beyond my expectations, the writing seemed to lack, unable to show depth and establish the characters’ relationships with each other. The show went straight to the point, as though the writers had been scared of losing the audience’s attention by putting more focus on the little things, which I would doubt. It lacked the craziness that was found in the book. It lacked the drugs, women, fans, and the skyrocketing feel of their career that were always present in Reed’s works.

Nonetheless, these things never dragged down my rating of the show. It was interesting to finally see what Daisy and Billy’s chemistry looked like on screen and hear their lyrics come to life, which were, oh, so difficult to read on paper. Amazon Prime did its job to reach DJATS fans’ expectations and to entertain newcomers to the fictional band. — Let’s just hope Netflix does the same for Evelyn Hugo.

Suzume (2023)

Directed by Makoto Shinkai

My first anime experience in the cinema. Suzume’s soundtrack blasting from the speakers and Makoto Shinkai’s breathtaking art displayed before me brought this urge to jump through the screen. The atmosphere his art carried through the room was something I wish I could do with my own works.

Throughout the whole watch, it didn’t come to me that this was a love story between two people. There was that obvious crush Suzume had on Sōta, but it surprises me to hear a few people refer to this film as romance. It was moreover an emotional adventure, shining light on the lost souls that have made inches of the world alive.

My favorite scene, before Sōta is turned into a keystone, wherein Tokyo is shown in slow-motion with people going through their everyday lives—eating, shopping, and commuting–-while not knowing their world was on the brink of end, made me ponder of the unseen things that make life the way it is. Everything that has brought everyone to where they are.

There had been times when Suzume and Sōta would prepare to lock up a door once again and I’d think to myself, when will this end? It was as though listening to a song that would repeat the same line over and over again, but besides that, the pacing was captivating---had my eyes stuck to the screen the whole time.

Suzume is exactly what you would expect from Makoto Shinkai. Beautiful art, music, and an okay story.

Babylon (2023)

Directed by Damien Chazelle

Ask me if I’m tired of watching films set in Hollywood and I would likely say yes. But that doesn’t stop me from doing just so over and over again. It surprised me to see how negative the reviews on Babylon have been and almost allowed myself to be swayed by them, but thankfully, had chosen otherwise.

Although I do see where some of the negativity comes from.

The film has been branded as “ Chazelle’s attempt to pander to the Academy for another best pic nomination” by audiences, and as yet another film showing off the lavish and wild lives of Hollywood. Inequality, drugs, women, abuse, and everything. What’s new?

by Isobelle Cruz [February 1, 2022]

The Menu (2022) dir. by Mark Mylod

The phrase in the title comes from political philosopher Jean-Jacques Rousseau’s quote, “When people have nothing to eat, they will eat the rich.” The last film I watched that had me surprised they did not literally eat the rich was The Menu by Mark Mylod.

This film never took itself too seriously despite its center around the wealthy and the lengths they go to just to experience the finer things in life. It is fully aware of its bizarreness and adds bits of humor here and there, making it enjoyable despite mostly taking place in one setting.

As the first film I had seen this year, The Menu truly sets up expectations and a fresh path to more of what the industry has in store for the rest of the year. Moving on, here are four more films to see if you enjoyed The Menu:

Triangle of Sadness (2022) dir. by Ruben Östlund

Starting off strong with one of my final watches of 2022 that had me saying “what the fuck?” under my breath every few minutes is Triangle of Sadness directed by Ruben Östlund. What initially caught my interest in watching this film was a clip in the opening part wherein we see a bit of the modeling industry and its quirks, or so, ridiculousness. What I didn’t know, and certainly wasn’t prepared for,  was what I would witness next.

I went into this film after refraining myself from spoilers or even a hint of what it could be about, preparing myself to be either disappointed or pleased with what I was about to be met with. And that is exactly what I suggest to you as well. Ditch the synopsis and logline and head straight into this experience. Just know that you’ll be met with great dialogue, delicate cinematography, and a whole lot of shit—both figuratively and literally.

Parasite (2019) dir. by Bong Joon-ho

Behind my little song to the clouds to tuck its raindrops away, a certain thought would always lie at the back of my head while growing up. As we celebrate a class suspension and give thanks for the chilly weather in the desert-like heat of the Philippines, I wonder what life is like for those living by the rivers, whose roofs are made with cheap iron or yero and whose walls are made of thin wood.

It hasn’t occurred to me before how important these thoughts were until I encountered this film a few years back. Parasite presents its audience with the rich’s ignorance of their surroundings and several contrasts between the everyday life scenes of a wealthy and poor family. 

Parasite is precise, well-written, and surely deserving of its multiple awards.

Knives Out (2019) dir. by Rian Johnson

Whodunnit—-they say that when you see them once, you’ve seen them all. And that may be true, but Knives Out’s fast pacing and quick cuts from past to present still kept my eyes glued to the screen. It’s a classic murder mystery, encouraging the audience to say things like “It’s too early on for such an obvious clue.”

This will keep you thinking throughout its length, asking questions again and again in your head, eager to beat the ending before the killer’s reveal. Though predictable for some, Knives Out nonetheless offers a fun view into the world of a money-starved family and their deceased father, along with a bunch of odd and entertaining characters.

The Handmaiden (2016) dir. by Park Chan-wook

Of course I found a way to sneak The Handmaiden into this list. 

The film follows Kim Tae-ri’s character who falls in deep romance with Lady Hideko, the woman she works for. Just when you think it is about to finally end, a sharp turn comes and it’s as if the story had only begun then—this happens thrice, by the way.

As we go further along the story we encounter money’s play in the wickedness of men and are left with our mouths agape after another unexpected revelation or scene. 

by Isobelle Cruz [December 13, 2022]

Cover of Taylor Jenkins Reid's "Carrie Soto is Back"

Yet again, Taylor Jenkins Reid has published another book, now revolving around the fictional tennis legend, Carrie Soto, who has been introduced as an antagonist in the author’s last novel titled Malibu Rising. In this publication, we get to explore the perspective of Carrie Soto and follow her through her childhood and later anticipate the success in retrieving her broken record taken by a player named Nicki Chan.

Even as someone that has a passion for the sport, I could not say that this was anywhere near being one of Reid’s most striking stories. It started off slow despite the first page landing directly on the catalyst, followed by the dull narration of Soto’s backstory, though which, by the end, I recognized were all necessary for a build-up.

Nicki Chan [Source: @tjenkinsreid on Instragram]

Firstly mentioned as the mistress of Nina Riva’s husband in Malibu Rising, I got the impression that she was a psychotic bitch just as newscasters and headlines referred to her in this latest book. It was expected that Carrie Soto would be seen in a much better light in this novel, portrayed as misunderstood and humane, but never did I expect when checking out this purchase that my heart would be gripped so tightly at Soto’s growth.

I wait for the skies to open up and shame to rain down on me. I wait for my belly to split in half. For the grief to overtake me. But…it doesn’t come.

Page 362 of Carrie Soto is Back

The story, though had a few ups and downs, felt overall flat to me but not in so much of a bad way. The progress of Soto’s career didn’t feel as dramatic as previous TJR characters’ stardoms were and instead focuses on the gradual growth of her gameplay.

“I want your form to be like breathing. Right now, hijita, you are still doing it with your mind,” he told me. “We will not stop until you have done it so many times, your body does it without thinking. Because then, you’ll be free to think of anything else.”

Page 256 of Carrie Soto is Back

Taylor Jenkins Reid shared through her Instagram story the books she had used as a reference in writing this novel. And with just that, she had managed to write lines that would make my heart thump from excitement or wince at the gruesome injuries mentioned, as though my own feet were already on the court.

There was a chill in imagining the feeling of playing as great as Soto’s games were described that left me willing to learn more and take risks to harness my skills; to hear that clear thump of a ball, explore different courts, predict the ball landing, and put intention into my serves.

And now here we are—coach and player—at the 1996 US Open, me sitting here in the stands, helpless to do anything but hope she can harness all the new skills we’ve worked on.

Page 364 of Carrie Soto is Back

Despite the not-so-memorable impression the story had left, of all the Taylor Jenkins Reid novels I’ve encountered so far, this left me most satisfied and not wanting more or feeling that it wasn’t enough.

by Isobelle Cruz [November 5, 2022]

ABOVE: Author Mieko Kawakami of 'Breasts and Eggs'

I am so glad to start off the month with a review of, by far, my favorite read this year. Although it took me a while to get myself to finish this book, Mieko Kawakami’s words stuck with me between those long days of setting the piece aside and always found their way back into my hands, where I would stick my nose in and devour her unique insights on the female body and the society that revolves around them.

Even with a quarter more left to be read, I had already decided earlier on that this would be my most cherished read of the year. It’s left me thinking several times about the world and pondering on situations that I had never thought of before. ‘Breasts and Eggs’ was able to educate me so much in its own entertaining and subtle way through its incredible storytelling.

“Hey, did you see that woman’s nipples?” Makiko asked. “No, why?” “They were really something.” Makiko let out a reverent sigh. “It’s a miracle for Asians to be born with nipples that pink.”

Page 53 of ‘Breats and Eggs’

I adore Kawakami so much for writing a book with such a great understanding of the female body without glossing over its hard and uneasy truths. Reading her words and shedding tears so easily made me realize how important it is for there to be a raw representation of femininity in media, especially for young people such as myself, who are cautious on exploring their bodies. Reading this book made me feel touched and understood in a way that I had not expected written words to make me feel before.

It was easy to imagine people turning away from this book, refusing to read it, or putting it down halfway through due to its lack of sugarcoating over serious topics that are often only dwelled on merely from its surface.

My breasts were in the middle of the mirror. Little just like Makiko’s. Brown and bumpy nipples. My hips had barely any shape, but there was flesh around my belly button, stretch marks curved around my sides. 

Page 147 of ‘Breasts and Eggs’

Mieko Kawakami, as always, has such descriptive writing that sets the tone of her worlds so well and was able to execute the travel through Natsuko’s mind and the transitions from external and internal storytelling with grace—which is what I found so uniquely interesting about the narration.

Despite feeling like it’s two unrelated stories put together and forced to be connected—as if the first half of the book were some idea that was too afraid to be let go of—there was something and everything about the writing that still had my heart glued to the story and kept myself reading until the end.

Then she let go of my hand, opened the tiny door, and slipped inside. Lying down among the sleeping children, she closed her eyes as well. No more hurting. No more pain. 

Page 357 of ‘Breasts and Eggs’

There were several times wherein reading made me feel as though I were drifting into a feverish dream, just as I had felt while reading ‘Heaven’ written by the same author. While having only read two of her books, Mieko Kawakami had already managed to set a distinctive feel to her writing, which makes it easy to identify her words amongst the millions of others out there. ‘Breasts and Eggs’ is a book that I feel would stick with me for a very long time, and will keep reminding me that my body is okay.

by Isobelle Cruz [October 30, 2022]

After spending two months' worth of days and nights with the Gilmore Girls—Emily, Lorelai, and Rory—I could finally write my review and thoughts about the rollercoaster and hold these fictional characters had on me for quite some time. Other than motivating me to take my education more seriously and providing me with something to look forward to at the end of a long day, the show unexpectedly made me reflect on some of the life decisions I would inevitably have to take some time into the future.

The original plan was to write up a post discussing which Gilmore boyfriend was the best and deserved to stay until the end, until I reached the final episode and realized how much more the show is than just a mother and daughter featuring the men in their lives. I see myself a lot in Rory Gilmore—with not only her same bursting passion for writing but with her pride that leads to her flaws and mistakes.

RORY: See? I hate that. / Everyone thinking I’m doing an amazing job all the time, like it’s a given. It’s not a given. What if I’m a terrible reporter?

Gilmore Girls S7:E22 “Bon Voyage”

Rory Gilmore, painted as an intelligent girl ahead of her peers in the education and literary field, grows up with people constantly sharing their praise which leads the girl with high standards and pride for herself. Although I don’t necessarily live in a community as open and supportive as Rory’s world, I find myself deep with pride at times and struggle to shake it away for my own good.

Rory had a sort of victim mentality, refusing to associate herself with the luxury that her grandparent’s wealth gives her or refusing to embrace her privilege, which, no matter what she does, she will always have and benefit from.

LOGAN: Whether you like it or not, you’re one of us. You went to prep school. You go to Yale. Your grandparents are building a whole damn astronomy building in your name. 

Gilmore Girl S7:E8 “Introducing Lorelai Planetarium”

Although Logan wasn’t exactly the best guy out there, like all of Rory’s other beaus, I admired him at least for acknowledging his privilege and wealth and using it to uplift himself in terms of business and career. Despite not being on the best terms with his father, Logan didn’t deny the easy head start he got into the working industry due to his connections, unlike Rory who would constantly deny her privilege while continually benefiting from it.

Rory’s greatest villain was herself.

No matter how frustrating the situations may have been at times, especially in the later seasons, I was kin to the idea of throwing away some fantasy fairytale-ending in exchange for the truth of life’s hardships.

I hated Rory the same way I would have hated myself when stuck in a situation wherein the wrong would obviously be pointed at me, with a mix of bittersweet understanding and guilt. You’ve witnessed this person grow up from being a perfect daughter and student, experience their first kisses and days at school and college, and only makes it awfully harder to turn against them completely when they’ve become a flaw-filled wreck just like everyone else.

The Gilmore Girls are more than just two women with mouths that speak in nothing but references, but is an accurate representation of flawed female characters, with topics such as teenage pregnancy, family trauma, and privilege amongst others which bring depth to the story.

by Isobelle Cruz [October 26, 2022]

ABOVE: "Sunflowers" (1888) by Vincent van Gogh

A close friend of mine recently brought up the latest issue regarding the two activists that had thrown soup at Van Gogh’s “Sunflowers” painting at London’s National Art Gallery and had sparked an interest in me to look further into it, and how this is not the first instance wherein art had been used as a gateway to spreading social awareness.

Was it right? Was it wrong? Let’s start with what the news articles say.

As usual, news articles and journalists have refrained from stating opinions and instead laid out facts on the event. One thing I had noticed, though, while on this little research of mine, was the prominent use of the word “Gen-Z” in news headlines. Young people are getting more and more aware of society’s troubles and unjust treatment of the privileged towards minorities as time passes by. With that, activists have grown to find more uniquely absurd ways to catch mass attention and awareness.

Earlier this year in May, at the Louvre Museum, a 36-year-old man had smeared cake on Da Vinci’s “Mona Lisa” with the intent of drawing attention to the environmental damage that is caused by artists and their craft. His words spoken in French specifically were as stated below:

"There are people who are destroying the Earth. All artists, think about the earth. That’s why I did this. Think of the planet.”

Just like the Mona Lisa cake-smearing situation, the recent event that took place on October 14th garnered a lot of attention online and several opinions were broadcasted through social media outlets; one of them popularly being Twitter. Though to thoroughly examine the situation, I’ve decided to go beyond the surface of social media posts and online articles and had some people closely related in my life—most of them fellow artists connected through a mutual friend—state their thoughts and opinions.

ABOVE: "Minotaur Caressing a Sleeping Woman" (1933) by Pablo Picasso

WHAT DO THE PEOPLE THINK?

It was in my favor, that, just like opinions are split in half and spread across social media, the personal statements I’ve come to gather are diverse in their takes on the situation as well, hence broadening the areas of my discussion.

One of them stated that they weren’t sure what to think but were relieved that the painting wasn’t damaged, while others think the same though feel that it wasn’t the right approach to take on behalf of the activists. 

Another states quite boldly that the attempt to destroy such an important piece of art and cultural history won’t fix the climate crisis and also compares it to destroying the great pyramids in an attempt to fix racism.

Personally, I think that is a completely irrelevant comparison. Although there are several conflicting and morally bad artists out there whose paintings could have been harmed instead, such as Pablo Picasso, who used his art as a form to showcase his misogyny towards “machines for suffering”, “doormats”, or women, it still does not take away the fact that this not-so newly adapted form activism was successful in garnering attention towards artists and enjoyers of art—no matter how small or large it may seem.

ABOVE: "Ophelia" (1851–1852) by John Everett Millais

WHAT CAN I DO?

As someone who participates in the problem of our crisis through the use of oil paints and other harmful materials, I began wondering what I may change or prevent in order to help in the situation. It would be ignorant to find this occasion as something interesting enough to be worth writing about yet continually participating in everyday actions that slowly destroy our environment.

For a detailed discussion of what artists may do to become more environmentally friendly, I went over a helpful article written by Agora Experts titled Going Green: Environmentally Friendly Practices for Artists.

“What is worth more, art or life? Is it worth more than food? Worth more than justice? Are you more concerned about the protection of a painting or the protection of our planet and people?”

Statement from one of the activists on the Van Gogh occurrence