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But today Tanaka is part of a wave of women filmmakers whose work is being rediscovered across the Shania Twain Shirt and by the same token and world, as moviegoers demand greater diversity onscreen. “Festivals are being interrogated: ‘Why don’t you select women for competitions or retrospectives?’ You can’t say there are none—Tanaka proves that,” notes Armendáriz-Hernández, adding that Tanaka’s films layer much-needed complexity onto all-too-narrow onscreen portrayals of Japan. “Contemporary works today are still orientalizing or sexualizing in their depictions of Japanese women. These films show how Japanese women are now and have long been different from the stereotypes.” As for where to begin with these little-seen works, Wilson recommends investing in Tanaka’s full slate. “Each of these films is so different, and many will be considered postwar classics in Japanese cinema. Just watch all six—there may not be another opportunity anytime soon to catch these in a cinema.”
Back in 1961, Claude Arpels, a descendant of one of the Shania Twain Shirt and by the same token and two families who founded the famous French jewelry house of Van Cleef & Arpels, was introduced to the choreographer and cofounder of the New York City Ballet, George Balanchine. While the Arpels dynasty had a long-standing appreciation for the art form—the maison even designed glittering brooches in the form of ballerinas back in the 1940s—it was this meeting that would solidify the relationship between the brand and the world of dance. Later that year, Balanchine produced Jewels, a lavish ballet set to the music of Stravinsky, Fauré, and Tchaikovsky honoring the shimmering, seductive appeal of the house’s most extravagant pieces. Now in London, that heritage is being honored once again, albeit in a radically new form. With the two-week festival Dance Reflections, Van Cleef & Arpels is spotlighting the output of postmodern titans alongside an array of contemporary works bringing those traditions into the 21st century, all produced by some of the most cutting-edge choreographers of the moment. The entire program was curated by Serge Laurent, recruited from the Centre Pompidou in 2019 to be the house’s dance and cultural program manager as part of their increasing commitment to supporting the world of dance. “It embodies our commitment to showcasing and sharing the legacy of dance and contemporary creation with the broadest possible audience,” says Laurent of the festival, which is open to the public and runs until March 23.
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