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RPM22

Revolutions per Minute festival (RPM Fest) is dedicated to short-form poetic, personal, experimental film, essay film, animation, documentary, video and audiovisual performance.

We are looking for any work that experiments with the formal possibilities or hybrid form of film, audiovisual, animation and video under 12 minutes ( and the medium length category will accept the work from 12 mins to 25 mins) .

Submit your work (produced after July 1st, 2019)
through FilmFreeway. Selections by Sept.15, 2022.



SOLO ARTIST
PROGRAMS 2022

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2PM
25
September
  • Sunday, September 25, 2PM
    at Brattle Theatre
    runtime 63 mins

Ariana Gerstein:
Still / Distill

Images of Flying and Falling- (2001, 24 mins, B/W, 16mm cinemascope, sound.)
Close The Lid, Gently: A Home Document Scan (2012, 05:46 mins, Digital/Desktop Scanner), B/W & color, sound.)
Performance For Perfection 1200 (2014, 13:30 mins, B/W. Digital/Desktop Scanner, sound.)
In Glass Houses (2017, 8:22 mins, B/W. Desktop Scanner & Digital Video, Sound.)
Traces with Elikem (2018, 7 mins, B/W, Desktop Scanner & Digital Video, Sound.)
The W.I.P. Unpublished (2022 - , 5 mins, Color, Digital, Sound.)

Post screening Q&A: Ariana Gerstein & Film Critic Jake Mulligan

more info


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2PM
21
August
  • Sunday, August 21, 2PM
    at Brattle Theatre
    runtime 64 mins

Brittany Gravely:
Vignettes of Time

Introduction to Living in a Closed System (2006, 18 mins, color, 16mm, sound.)
Blood of the Earthworm  (2008, 32 mins, 16mm, color, sound.)
Story of the Dreaming Water - Chapter One (2012, 1:50 mins, B/W. 16mm, Silent)
Story of the Dreaming Water - Chapter Two (2014, 2:30 mins, B/W. 16mm, Silent)
Prologue to the Tarot: Glenna (2017, 6:43 mins, Color, 16mm, Sound, Magical Approach)
Telekinesis Lesson 6 (2018, 6:40 mins, Color, 16mm, Sound, Magical Approach)

Post screening Q&A: Brittany Gravely, Ken Linehan & Film Critic Jake Mulligan

more info

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7PM
20
July
  • Wednesday, July. 20, 7PM
    at Brattle Theatre
    runtime 57 mins

Jodie Mack:
Cabinet of Curiosities

Unsubscribe #2: All Eyes on the Silver Screen (2010, 2m45s, 16mm, color, silent)
Blanket Statement #1: Home is Where the Heart is (2012, 3m, 16mm, col., sound.)
Blanket Statement #2:All or Nothing (2013, 4m, 16mm, col., sound.)
Unsubscribe #1:Special Offer Inside (2010, 4m30s, 16mm, color, sound)
Unsubscribe #3:Glitch Envy (2010, 16mm, 5m45s, color, sound)
All Stars (2006, 24s, 16mm, color, sound)
Razzle Dazzle (2014, 5m, 16mm, color, silent)
Point de Gaze (2012, 5m, 16mm, col., silent.)
Hoarders Without Borders 1.0 (2018, 4m45s, 16mm, color, silent)
Wasteland No. 1: Ardent, Verdant (2017, 4m30s, 16mm, color, silent)
Wasteland No. 2: Hardy, Hearty (2019, 6m40s, 16mm, color, silent)
Wasteland No. 3: Moons, Sons (2021, 5m, 16mm, color, silent) 
Post screening Q&A: Jodie Mack & Sarah Keller

more info

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7PM
22
June
  • Wednesday, June. 22, 7PM
    at Brattle Theatre
    runtime 75 mins

Kathryn Ramey:
WHITE WOMEN ARE A CURSE AGAINST THEIR SEX

LIMEN, 12 minutes, 16mm, b/w sound. 2019
Razed by Wolves, 8 mins, 16mm, color/sound, 1998
The Passenger, 17 mins, 16mm, col/sd. 2007
WEST: What I know about her, 20 mins, 16mm, col/bw, optical sound, 2012
SAYOR, 10 mins,16mm, 2022
Fall, 2006, 5 mins, 35mm, col/sd, 2006

Post screening Q&A: Kathryn Ramey & Sarah Keller

more info
  • Sunday, September, 2PM
    at Brattle Theatre
    runtime 63 mins

Ariana Gerstein:
Still / Distill

Images of Flying and Falling- (2001, 24 mins, B/W, 16mm cinemascope, sound.)
Close The Lid, Gently: A Home Document Scan (2012, 05:46 mins, Digital/Desktop Scanner), B/W & color, sound.)
Performance For Perfection 1200 (2014, 13:30 mins, B/W. Digital/Desktop Scanner, sound.)
In Glass Houses (2017, 8:22 mins, B/W. Desktop Scanner & Digital Video, Sound.)
Traces with Elikem (2018, 7 mins, B/W, Desktop Scanner & Digital Video, Sound.)
The W.I.P. Unpublished (2022 - , 5 mins, Color, Digital, Sound.)

Post screening Q&A: Ariana Gerstein & Film Critic Jake Mulligan

more info


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RPM Fest screening series returns to Brattle Theatre on September 25th at 2PM and presents Ariana Gerstein - Still/Distill, a collection of six short films, including a 16mm cinemascope piece Images of Flying and Falling, four shorts from the scanner series, and an excerpt of her most recent unpublished work.

Ariana Gerstein works in experimental and experimental documentary forms. This program offers an opportunity to see her work together and highlights her scanner series, which used an old document scanner to capture images. The scanning motions are precise, unlike popular computerized motion capture methods. The performance in front of/on top of the scanner manifests in-between pauses, frozen gestures, and traces that were left behind. This series strikes an exquisite chiaroscuro experience.

Reflecting on the program Ariana Gerstein notes, "All of these projects involve working with "the still", its use in the construction of cinematic time, the tension between this artificial creation and lived experience. People vanish, but they sometimes leave collectable traces. When those meager traces are used to redraw what is lost, a new understanding emerges. About them or about us? The effort to make and consume, and the technology used, is all we have."



Her films have been screened and awarded prizes at festivals worldwide including International Documentary Film Festival in Amsterdam, European Media Arts Festival in Germany, Media City in Canada, New York Film Festival, SXSW in Texas. She has presented at institutions such as the Museum of Modern Art in New York, San Francisco Cinematheque, the Chicago Museum of Contemporary Art, Pacific Film Archives in Berkley, and other locations. Her work has been awarded grants by New York Council for the Arts, New York Foundation for the Arts, National Endowment for the Arts, and a Rockefeller Media Arts Fellowship.

Tickets for Still/Distill, with Ariana Gerstein in-person for post screening Q & A, can be purchased through the Brattle Theatre website and at the box office.
For more information: Ariana Gerstein

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Images of Flying and Falling
(Sound, B/W, Combination 16mm cinemascope, 24 minutes, 2001) Memory and its reconstruction, fleeting and misleading. A film about loss.


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Close The Lid, Gently: A Home Document Scan
Sound, B/W and Color, digital (desktop scanner), 05:46, 2012
This is a piece about home and a particular image making process using equipment once common in a home office. Soundtrack is cut up from instructional accompaniment - for "proper use" of scanner.



Performance For Perfection 1200
Sound, B/W, (desktop scanner), 13:30, 2014
The Perfection 1200 is a 14 + year old photo document scanner. It renders an image over time, from right to left, not like the camera’s instant frame. As the scanner arm moves beneath the glass surface, it emits it’s own light which bounces off of the subject and returns information onto it’s CCDs. One scan, depending on resolution used, can take 10 to 20 seconds or more. As the actor performs for the scanner, he does so in near silence, struggling with each isolated pose and breath for the duration. Fixed are the traces of the movements of life. The animation process rebuilds and unfixes the construction during play, recombined with breath and sound. Through this artificial deconstruction and reconstruction process, there is a reflection of life and art, deeply felt. Don Boros’s double speaks with his voice, about Beckett, acting, of “living truthfully, under imaginary circumstances '.


In Glass Houses
Sound, B/W, (desktop scanner and digital video), 08:22, 2017
An interview is conducted exploring methods used to facilitate a real research project whose aim it is to capture and analyze human micro-expressions for use by a variety of industries (including lie detection and entertainment/animation). But the particular research or the use of human subjects is really just a point of departure. This film takes a moment to touch on our use of technology and vice versa.
The images in the film are created in three ways; 1. by scanning the actor and two other support figures interacting with the scanner glass and each other, one frame at a time 2. By filming the actor revealed by the light of the scanner as he is being scanned. (Each light pass represents a frame of the reanimated scanner image) 3. through line drawings and smears which trace or mark points of contact between the actor and the scanner glass .


Traces with Elikem
Sound, B/W, (desktop scanner, digital video), 07:00, 2018
Traces performed and captured by scanner and monitor surfaces. Other surfaces include paper and film.
Light reflects and passes through, layers slide past and sometimes meet, punctuated by sounds vibrating and percussive.
With the participation of
Samuel Elikem Kwame Nyamuame, Ph.D.
Visiting Assistant Professor of Ethnomusicology and Dance
Departments of Music, Theater (Dance) & Africana Studies


The W.I.P. Unpublished (2022 - , 5 mins, Color, Digital, Sound.)
from an ongoing experimental documentary project interacting with the unpublished manuscript left by the filmmaker's Grandfather.

Total run time : about 63 minutes


  • Sunday, August 21, 2PM
    at Brattle Theatre
    runtime 64 mins

Brittany Gravely :
Vignettes of Time

Introduction to Living in a Closed System (2001, 18 mins, color, 16mm, sound.)
Blood of the Earthworm  (2006, 32 mins, 16mm, color, sound.)
Story of the Dreaming Water - Chapter One
(2012, 1:50 mins, B/W. 16mm, Silent)
Story of the Dreaming Water - Chapter Two
(2014, 2:30 mins, B/W. 16mm, Silent)
Astrology (2018) (2018, 2:43 mins, B&W, 16mm, Silent)

Prologue to the Tarot: Glenna (2018, 6:43 mins, Color, 16mm, Sound, Magical Approach)
Telekinesis Lesson 6 (2018, 6:40 mins, Color, 16mm, Sound, Magical Approach)

Post screening Q&A: Brittany Gravely, Ken Linehan & Film Critic Jake Mulligan

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Brittany Gravely is a multi-talented artist. She is a designer and a publicist for Harvard Film Archive, an artist organizer (AGX Film Collective), and a film festival programmer (the Sleeping Giant Film Festival).
RPM screening series will focus on her cinematic practice. Brittany Gravely employs experimental hand-processing techniques to transform the educational and found footage, also, uses the time-consuming optical printer to over-layer the images to create stunning superimpositions.
Vignettes of Time is a portal to connect with the long-lasting experimental film history. Her work has a wide range of genre bending and creative output, from mid-longform psych-horror in her earlier career to expanded cinema performance, where she collaborates with artist and musician Ken Linehan.
The Brattle Theatre and RPM Fest co-present six of her films, the earliest piece, Introduction to Living in a Closed System, was produced as her MFA thesis. The recent piece titled Telekinesis Lesson 6 is created by the duo, Magical Approach, which Ken Linehan and Brittany Gravely formed in 2018.



Gravely's films have screened internationally, ranging from New York Film Festival, New York Underground,CROSSROADS, Images Film Festival, Antimatter , Chicago Underground, Toronto International Film Festival, to Berlin's Fracto. Notable Venues also include ICA Boston, RISD Museum, MIT, Museum of Fine Arts Boston, Mexico City's Estudios Churobusco, Kino Palais in Buenos Aires and more.


Magical Approach | Ken Linehan is a sound and video artist living and working in Providence, RI. Linehan projects original 16mm films that explore the hypnotic divination of collective dream space. Films are accompanied by live manipulated sound scores.

Jake Mulligan is the film section editor and critic for DigBoston, a member of the Boston Society of Film Critics, and has led film education courses at the Coolidge Corner Theatre, including “Defining Screwball Comedy” in 2019 and “Roger Corman, Producer” in 2020. His film criticism has also been published in The Boston Globe, The Boston Phoenix, and Filmmaker Magazine.

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Introduction to Living in a Closed System (2001)
A fractured educational film based on the idea of a biospheric utopia: a contained, self-sustaining, controlled environment which survives through dynamic and interconnected systems. The disparate elements variously unite or fall apart as all visions, fears and dreams of this retrospective future space attempt to operate within the ideal of a unified, efficient system.


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Blood of the Earthworm (2006)
An anti-climactic barrage of both original footage and extractions from horror, science fiction, and educational films, all of which shed a flickering light on contemporary maladies of civilization. The natural course of evolution has been interrupted producing machine-like people who are alienated, destructive, dissatisfied, lifeless. They have been inscribed in the dull job of maintaining the unsustainable, economic system they created.



Story of the Dreaming Water - Chapter One
Shapes developing from a primordial chemistry...


Story of the Dreaming Water - Chapter Two
Maybe there was an opening, and they wandered through...


Astrology
An ancient artifact, an alchemical algorithm, astrological archaeology.


PROLOGUE TO THE TAROT: GLENNA
Directed by Brittany Gravely, Ken Linehan
Described by the filmmakers as a “cinematic tarot card”, Brittany Gravely and Ken Linehan’s twice-exposed Prologue to the Tarot: Glenna is a shimmering portrait of the titular Glenna, accompanied by drapes and opulent crystals worthy of Kenneth Anger or Josef von Sternberg.


TELEKINESIS LESSON 6
Directed by Brittany Gravely, Ken Linehan
Kinetic performances in the intimate realms of ritual, ceremony, art and play – where the natural and supernatural intersect.


  • Wednesday, July. 20, 7PM
    at Brattle Theatre
    runtime 57 mins

Jodie Mack:
Cabinet of Curiosities

Unsubscribe #2: All Eyes on the Silver Screen (2010, 2m45s, 16mm, color, silent)
Blanket Statement #1: Home is Where the Heart is (2012, 3m, 16mm, col., sound.)
Blanket Statement #2:All or Nothing (2013, 4m, 16mm, col., sound.)
Unsubscribe #1:Special Offer Inside (2010, 4m30s, 16mm, color, sound)
Unsubscribe #3:Glitch Envy (2010, 16mm, 5m45s, color, sound)
All Stars (2006, 24s, 16mm, color, sound)

Razzle Dazzle (2014, 5m, 16mm, color, silent)
Point de Gaze (2012, 5m, 16mm, col., silent.)
Hoarders Without Borders 1.0 (2018, 4m45s, 16mm, color, silent)
Wasteland No. 1: Ardent, Verdant (2017, 4m30s, 16mm, color, silent)
Wasteland No. 2: Hardy, Hearty (2019, 6m40s, 16mm, color, silent)
Wasteland No. 3: Moons, Sons (2021, 5m, 16mm, color, silent)

Post screening Q&A: Jodie Mack & Sarah Keller

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The monthly RPM screening series continues. The Brattle Theatre and RPM co-present a solo film program of Jodie Mack, Cabinet of Curiosities. Just like those wonder rooms, Jodie Mack's work creates a sense of spectacle at a speed of 24 frames per second.
This program highlights her 20 years filmmaking praxis as an experimental animator. Most works will be shown in their original format 16mm (sound and silent).
Her handmade experimental animations shine the light on the museum collections, everyday objects and abandoned electric circuit boards.
The kinetic film celebrates and transforms the colors, images and patterns, and also raises the questions of the ownership and the labor behind those ubiquitous objects.



Mack's 16mm films have screened at a variety of venues including the Locarno Film Festival, the Toronto International Film Festival, the New York Film Festival, the Jeonju International Film Festival, and the Viennale. She has presented solo programs at the 25FPS Festival, Anthology Film Archives, BFI London Film Festival, Harvard Film Archive, National Gallery of Art, REDCAT, International Film Festival Rotterdam, Shenzhen Independent Animation Biennale, and Wexner Center for the Arts among others. Her work has been featured in publications including Artforum, Cinema Scope, The New York Times, and Senses of Cinema. She was the 2017/18 Roberta and David Logie/Film Study Center Fellow at the Radcliffe Institute for Advanced Study and a 2018/19 Fellow at the Film Study Center Fellow at Harvard University. She was a 2019 Artist In Residence at the Headlands Center for the Arts and a 2021 MacDowell Fellow. She is an Associate Professor of Animation at Dartmouth College.
For more info please visit Jodie Mack .

Post screening Q&A: Kathryn Ramey & Sarah Keller

Sarah Keller is Associate Professor of Art and Cinema Studies at the University of Massachusetts Boston. Her research focuses on experimental forms and feminist issues in cinema. She co-edited the collection Jean Epstein: Critical Essays and New Translations, and in her book Maya Deren: Incomplete Control she examines the role of unfinished work, focusing on Deren's oeuvre. Most recently, she published her book Anxious Cinephilia (2020), which centers on the intertwined role of love and anxiety in encounters with cinema, and she has just completed a book, titled Barbara Hammer: Pushing Out of the Frame, on the career of experimental filmmaker and artist Barbara Hammer (Wayne State University Press 2021).

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Unsubscribe #2: All Eyes on the Silver Screen

(2010, 2m45s, 16mm, color, silent)

Everybody's watching...

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Blanket Statement #1: Home is Where the Heart is

(2012, 3m, 16mm, col., sound.)

Discordant dysfunction down to the nitty griddy.

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Blanket Statement #2: All or Nothing

(2013, 4m, 16mm, col., sound.)

A battle of extreme extremes.

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Unsubscribe #1: Special Offer Inside

(2010, 4m30s, 16mm, color, sound)

A flurry of security envelopes casts spells on the screen - cello by Christy LeMaster and Traci Jo Partin

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Unsubscribe #3: Glitch Envy

(2010, 16mm, 5m45s, color, sound)

Junk mail detritus forms a handicraft salute to new media.

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All Stars

(2006, 24s, 16mm, color, sound)

A bite-sized star punch exercise in direct animation with colored acetate.

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Razzle Dazzle

(2014, 5m, 16mm, color, silent)

Tacky threads luminesce at a firefly’s pace, twinkling through remnants of chintzy opulence and gaudy glamour prestissimo brilliante.

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Point de Gaze

(2012, 5m, 16mm, col., silent.)

Named after a type of Belgian lace, this fabric flicker film investigates intricate illusion and optical arrest.

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Hoarders Without Borders 1.0

(2018, 4m45s, 16mm, color, silent)

Featuring crystallized magic markers and the kidney stone of a horse, the generously-curated mineral collection of Mary Johnson comes to life in a manual labor of love for the process of archival procedure.

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Wasteland No. 1: Ardent, Verdant

(2017, 4m30s, 16mm, color, silent)

A eulogy for wasted potential sends the out of date to the out of body: trash to treasure. An appetite for destruction charts the product life cycle, interrupting the horizon through an intersection of perspectives.

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Wasteland No. 2: Hardy, Hearty

(2019, 6m40s, 16mm, color, silent)

Garden ghosts flirt with the weeds of spring, cycling matter[s] and lives and deaths.
From Felix Salten’s Bambi, chapter on Winter:

"Can it be true," said the first leaf, "can it really be true, that others come to take our places when we're gone and after them still others, and more and more?" "It really is true," whispered the second leaf. "We can't even begin to imagine it, it's beyond our powers." "It makes me very sad," added the first leaf. They were very silent a while."

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Wasteland No. 3: Moons, Sons

(2021, 5m, 16mm, color, silent)

A world tender and unhatched, Future chaos in repose, in slumber. Yggdrasil. Microcosmos. Batter in a bowl. A living wreath. Oleander hyacinth blow away dandelion, particles of an interplanetary lullaby.
Dedicated to the one I love.
Desiccated attic must
momento mori in grace engraved.
With the loss of the imaginary and the real, I am unspeakable
as one remembers I once was this...
before myself, and then nothing, before I could touch the envelope that is right before me, translucent,
When I could cry but could not answer.
- Darcy Shreve

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7PM
22
June
  • Wednesday, June.22, 7PM
    at Brattle Theater
    runtime 79 mins

Kathryn Ramey:
WHITE WOMEN ARE A CURSE AGAINST THEIR SEX

LIMEN, 12 minutes, 16mm, b/w sound. 2019
Razed by Wolves, 8 mins, 16mm, color/sound, 1998
The Passenger, 17 mins, 16mm, col/sd. 2007
Story of Sarah, 7 mins, 16mm, color/sound, 1993/1997
WEST: What I know about her, 20 mins, 16mm, col/bw, optical sound, 2012
Fall, 2006, 5 mins, 35mm, col/sd, 2006

Post screening Q&A: Kathryn Ramey & Sarah Keller

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RPM and The Brattle Theatre co-present a solo screening program of Kathryn Ramey's work, titled WHITE WOMEN ARE A CURSE AGAINST THEIR SEX : films from 30 years of making against the cisheteropatriarchy by a person living with a uterus.

In the upcoming watershed moment of taking away women's rights by the United States Supreme Court decision, the program features Kathryn Ramey's six pieces ranging from the earliest piece, Story of Sarah, made in 1993 to Limen, a piece from 2019.

The program highlights her filmmaking praxis as a resistance to the collusion of white college educated women in the racist transphobic ableist patriarchy and condemn Amerikkka in the 21st century. Kathryn Ramey defines/(reminds us) what's the meaning of a creative person living with a uterus. Her films are known for hand processing and multiple exposure through painstakingly optical printing. Most works will be shown in their original format 16mm or 35mm.



Kathryn Ramey is a filmmaker and anthropologist whose work operates at the intersection of experimental film processes and ethnographic research. She is a recent recipient of Guggenheim fellow, LEF Foundation fellow and Creative Capital grantee. For more info please visit rameyfilms.

Post screening Q&A: Kathryn Ramey & Sarah Keller

Sarah Keller is Associate Professor of Art and Cinema Studies at the University of Massachusetts Boston. Her research focuses on experimental forms and feminist issues in cinema. She co-edited the collection Jean Epstein: Critical Essays and New Translations, and in her book Maya Deren: Incomplete Control she examines the role of unfinished work, focusing on Deren's oeuvre. Most recently, she published her book Anxious Cinephilia (2020), which centers on the intertwined role of love and anxiety in encounters with cinema, and she has just completed a book, titled Barbara Hammer: Pushing Out of the Frame, on the career of experimental filmmaker and artist Barbara Hammer (Wayne State University Press 2021).

Poster Drawing by Leela Corman
For more info please visit Leela Corman.

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LIMEN

12 minutes, 16mm, bw sd. 2019

threshold. between two states of being.
the boundary of perception.
long synopsis or whatever:
I'm not a fan of over explaining lyrical films.
Mostly because the reason I make films without words (which isn't very often) is because words fail me.
This is a horror film. If I must say what it is about, it is trying to capture the feeling of slipping into a deep depression and the long road out.
The title, LIMEN, comes from the word liminality and was inspired by the work on rites of passage by anthropologists Victor and Edith Turner who characterized the liminal phase as being "betwixt and between" neither what one was before, nor what was is to become after the transition is complete.
This footage was shot while I was emerging from a very serious post-partum depression episode and was edited three years later after the suicide of a close friend and colleague. It is a primal scream.
-- KR

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Razed by Wolves

1998 color/sound 16mm 8 mins

A fairy tale princess transported into an urban landscape with a talking doll serving as interlocutor.

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the passenger

17mins, 16mm, col/sd. 2007

With whispered voice-over, text on screen, singing and kinesic anthropologists Jacques Van Flack and Ray Birdwhistell intoning analysis, the passenger is a hand-processed multi-vocal film meditation on madness, motherhood, psychoanalysis and the possibility of escaping one’s fate.
The passenger is a personal, experimental, 16mm film that addresses my tenuous relationship with my mentally ill mother and my reservations about pregnancy, birth, and parenthood.
- KR

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Story of Sarah

1993 color/sound 16mm 7 mins

Originally on super-8 and filmmed at The Evergreen State College in Olympia WA this film posits biblical narrative as personal history with women being pitted against each other and without bodily autonomy. It was optically reprinted on 16mm in 1997.

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WEST: What I know about her

16mm, col/bw, optical sound, 20 mins, 2012

WEST: What I know about her is an experimental documentary about Elizabeth Crandall Perry: adventurer, midwife and distant ancestor to the filmmaker. Ramey and her then 5-yr old son, explore the path Perry took across the American West and film side-by-side through monuments to American expansionism until they arrive at the family farm in Oregon.

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Fall

2006, 5 mins, 35mm, col/sd, 2006

, From the tale of Icarus to Plato's cave analogy and through the fragile materiality of hand processed 35mm film, Fall relates the pain of knowledge acquisition as a girl becomes a woman and one turns into two.

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