- they will wiggle their eye stalks in excitement - they have favorite places to sleep and favorite friends to sleep with - they’re good for your skin so let them run around on ur face!!! - they can feel their shells, which means they can feel u pet them (pet gently!!) - u can help a snail with a broken shell by giving it eggshells or cuttlebones to scrape (the calcium helps them patch up!) - they like a change of scenery and will explore all day if u change something - absolute cuddle bugs. love to snuggle with u, with friends, with dirt - u can hear them chew!! listen closely when u feed them….. asmr - as distinct as snowflakes, every single one is different!! i can tell all of my snails apart easily - babies. absolute baby children - speaking of babies, baby garden snails are no bigger than raindrops and translucent… delicate!! keep in a separate enclosure until they’re bigger!! baby jail!!! - some snails are shy……… kiss them. they are important
This is so sweet and I absolutely didn’t know I needed this till now
Dreadlocks are a kind of lock pattern for hair that is very curly. A lock pattern is where the hair twists around and “locks” together.
Black people pretty much exclusively have the tightness of curl needed for a dreadlock pattern, but that doesn’t mean there aren’t other lock pattern hairstyles (such as a peyot, the sidelocks worn by various Jewish groups).
So like “Goldilocks” was named after how her hair took a “lock pattern”, but those locks would be comparatively loose.
This is hair with a looser curl in a lock pattern
Hair with a tighter curl in a lock pattern (Dreadlocks)
Straight hair that has been matted
What’s the difference between the last two?
► Dreadlocks are twisted together neatly, mats are tangled in knots.
► Dreadlocks are healthy hair that can be washed, mats are damaged and often non washable without risking mold.
► Dreads take effort and skill to apply, mats are the product of active destruction and neglect of hair.
► Dreads can be removed. Mats require cutting and shaving.
Now from a cultural standpoint, it’s also shit. Dreadlocks are a symbol on many different levels of Black culture, unity, and resistance to white assimilation. To take them is an act of furthering white assimilation and an act of casual racism.
Especially given that tropes about white hippies with “dreadlocks” have affected how people react to black people with dreadlocks.
So from a practical standpoint we can’t and from an ethical standpoint we shouldn’t.
The ten films with festival releases or releases in their home countries in 2018 I can’t wait to see in 2019.
Birds of Passage dir. Cristina Gallego & Ciro Guerra
I am as tired as anyone of films about Latin Americans focusing on the drug trade, but Birds of Passage promises to bring a new and careful eye to what could have been a stereotypical tale. Already shortlisted for the Oscar’s Best Foreign Language Film category representing Colombia the film, which debuted at Cannes, focuses on a Wayuu family whose fortunes rise along with the illegal trade of drugs trafficked out of Colombia.
Fast Color dir. Julia Hart
Starring one of my favourite actresses, the always stellar and frequently underused Gugu Mbatha-Raw, the film debuted at the 2018 SXSW film festival where it garnered praise for being a low key indie about a woman with supernatural abilities who can create rather than destroy. Despite stellar reviews this sort of shockingly disappeared from the festival circuit. Nevertheless it was able to get distribution meaning that I’ll finally get a chance to see it in 2019.
High Life dir. Claire Denis
This was pitched as Denis’s most commercially accessible film to date, but when the film finally premiered at the 2018 TIFF it sounded like one of her strangest. Set in outer space the film stars Robert Pattinson as a convict put through strange reproductive experiments. Reviews seem to indicate it’s a polarizing film, but no matter how strange the material it sounds like something I can’t wait to watch.
Little Woods dir. Nia DaCosta
This was one of my top 18 most anticipated films of 2018 when it debuted simply because I like Tessa Thompson and Lily James who play sisters who are forced into one last drug run funnelling prescription medication from Canada into the U.S. Since the film premiered at Tribeca it was quickly picked up for distribution, but perhaps an even more important indicator of the film’s quality is that DaCosta was plucked from obscurity to direct the reboot of Candyman for Universal, a still staggeringly rare occurance for women directors.
Mouthpiece dir. Patricia Rozema
Based on the award-winning hit play written and performed by Amy Nostbakken and Norah Sadava, the film adaptation has them resuming their (one) role as Cassandra, a woman struggling over writing the eulogy of her mother who gave up her career to raise children. Rozema is one of those low-key directors who has steadily put out masterful work over the years and the film was named one of the top 10 Canadian features of 2018 by TIFF.
The Nightingale dir. Jennifer Kent
After her debut film The Babadook turned into a surprise hit Kent had plenty of offers to go to Hollywood and make mainstream films. Instead she returned to Australia and made a revenge thriller about a young Irish convict looking to avenge her family. The film premiered at the 2018 Venice Film Festival, the only film directed by a woman to appear in official competition, and went on to win the Special Jury Prize.
Rafiki dir. Wanuri Kahiu
Kahiu’s film has made waves since its Cannes premiere. It first made headlines as the first Kenyan film to be screened at Cannes only to have this positive news quickly eclipsed by the news that the film, about two teenage girls who fall in love with each other, had been banned in Kenya where homosexuality is illegal. Kahiu successfully sued the Kenyan film board to allow a limited screening for Oscar eligibility, and is currently in the middle of a second lawsuit to have the ban permanently overturned. Those are some heavy milestones the film has hit, but by all accounts the movie is actually quite light-hearted and charming, a love story about two teenage girls who struggle when they realize that they want to be much more than friends.
Tell It To the Bees dir. Annabel Jankel
Based on the book of the same name, Jankel’s film follows two women, a small town doctor (Anna Paquin) and a beekeeper (Holliday Grainger) who fall in love in rural 1950s Scotland. The stills from the movie are giving me Desert Heart type vibes which is more than enough to make me want to check this one out.
Vita & Virginia dir. Chanya Button
I first heard about this film sometime in 2014 back when Romola Garai was set to play Vita Sackville West and Sacha Polak directing. Let 2019 be the year I finally get to see it! A historical biopic about the romance between writers Vita Sackville-West (Gemma Arterton) and Virginia Woolf (Elizabeth Debicki in pitch perfect casting!) the stills from the movie are already more than enough to pique my interest.
The Weekend dir. Stella Meghie
Canadian director Meghie has had a meteoric rise putting out three films in the last three years. The Weekend is her latest effort, a light-heart romcom starring SNL breakout Sasheer Zamata as a woman who gets into a romantic entanglement with her ex after she decides to spend the weekend with him and his new girlfriend. I’ve enjoyed Meghie’s previous two films and as a lover of romcoms there sounds like no reason I won’t enjoy this one as well.
