
At the Berlinale, two Latin American filmmakers arrive with different tools and the same nerve. Brazil’s Grace Passô premieres her first feature about grief and family repair. Chile’s Maite Alberdi brings a documentary about motherhood pressure and punishment. Together they map what society asks of women.
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Fourteen Latin American women are not just participating in Milano Cortina. They are logging official times, surviving the alphabet of DNF and DSQ, and finishing real Olympic races right now. For girls watching from warmer latitudes, this is proof that winter belongs to us, too.
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In Iquitos, artist Kay Zevallos steps into the Itaya River while menstruating, confronting a childhood warning about the pink river dolphin. Her performances argue the bufeo myth has been twisted to mask sexual violence, from rubber boom days to now.
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In a Meatpacking District room, the surprise was not a hemline but who wore it. Carolina Herrera’s new fall-winter collection put women artists on the runway, turning fashion into a debate about patronage, visibility, and cultural power in uncertain times.
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Estrella Navarro Holm built a life where breath becomes measurement, and the sea becomes a workplace. From Baja California Sur to international depth stages, her freediving records and Big Blue competition raise a policy question about sport, conservation, and who gets backed.
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Before a Valentine bouquet lands in a vase abroad, it begins in cold, humid rows where Colombian women cut roses one by one in the dark. Their labor feeds families and fuels a signature export, even as February pressure tests bodies, logistics, and pride.
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