“I believe you can speak your reality into existence,” Erika had smiled at me as we walked to my apartment, sunlight beaming over the flowers in her hair. The California wildfires had upset her throat that morning, so she had worn a crown of sunflowers to make herself feel better — it also made her radiant.
As a Filipina woman of color who is passionate about mental wellness, body positivity, and support for survivors, Corales sees her feminism as a huge part of her life’s purpose and of practicing self-love.
“There’s such a whorephobia in the world. If you’re a prostitute, people don’t care what happens to you. Who’s going to cry for you?” she asks, plaintively. “It’s work, it’s real work.”
“On Monday of Last Week” (2018) is about a Nigerian woman’s experience as a nanny for an interracial couple’s child. As the description may suggest, the short-story-turned-film is a startling experience—fraught with racialized, sensualized banter amongst the characters.
¡Viva-la-vulva!, love-me-or-leave-me, Riot Dyke Jannat Alam is a second-year English student at UCLA — and she’s a proud radical feminist.
As the competition’s name suggests, there were five winning entries all in all: “Crush,” “Heavy Weight,” “Jamie,” “Still Burning,” and “Where We Are Now.” Each film tackled a different LGBT+ experience, their plots ranging in complexity—from the anxious innocence of a first crush to the arduous journey of transitioning as a parent. Each story invites audiences to empathize with the LGBT+ community, not just by appreciating the different challenges LGBT+ people face from their own challenges but more importantly the similar values which guide their choices.
Their success despite their dehumanization by diversity quotas, sexist bosses, and Asian-American stereotypes, have made them all the more secure in their self-worth and equally affirmative of others’ worth. They all got as far as they did understanding that no one is inherently better than anyone else—and not letting others get away with telling them that.