KINKY QUENTIN TARANTINO FETISH or (I Spy Forum Threads Again)

QUENTIN TARANTINO AND HIS KINKY SEXUAL FETISHES

Incidentally, I wonder what this still from “Go Go Tales” by Abel Ferrara says about his psyche…

So when Michael Haneke makes a film about incest, sadomasochism, pornography and has his lead actress draw a used tissue from the bin in a porno booth, he’s an artist.

When Q.T. expresses sexual fetishes in films that obviously aren’t intended to be sophisticated arthouse, and he is bold enough to ADMIT they are HIS fetishes, not just those of characters he directs and plays, he’s a nasty person and a pervert.

What friggin’ bullshit some people talk.

The biggest joke? This thread should be about someone like Catherine Breillat, not Quentin Tarantino.

If there is anymore evidence required “cultured European” filmmakers get a free pass and Q.T. cops the abuse on this forum, this is it.

Are people so vanilla, they can’t even accept WOMEN’S FEET as attractive?

Women WANT you to find their feet attractive…why do you think they wear those high heels and open toed shoes with the forty dollar pedicure and glitter polish? To impress their elderly Aunt Zelda? Am I lying?

Maybe this is why so many men fail to impress women: they’re all about tits and arse. I guarantee you if you kiss a woman’s soles it’ll excite the hell out of her…unless she’s a boring stale prude who has no feeling in her body from her toenail to her scalp.

And take a quick look at your hands and feet: fingernails get dirtier more quickly and easier than your toenails!
Also, think about the millions of germs inside a woman’s mouth…hmmm?

Ever see “Belle Du Jour”? Oh, sorry, LUIS BUNUEL gets a free pass, because he’s artsy, you know…he has Catherine Deneuve tied up, flogged and soiled with mud. He even has an inexplicably high number of shots depicting WOMEN’S FEET walking around shown in the film (a fact noted even by the biggest fans of this film and his work in general).

And I’ve got enough steel in my balls to defend something nobody else has defended in particular: golden showers. You folks probably don’t know, maybe don’t WANT to know, but a woman ejaculates (and can do so forcefully, if she’s talented enough) vaginal fluid from her urethra, the same small orifice through which she urinates. So when you’re going down on a lass, all that fluid is coming from you-know-where. And if she happens to relieve her bladder while you’re down there, don’t fret, that means she REALLY likes you.

I think you all need to stop dating uptight girls, really.

DEN:

If this thread doesn’t get “moderated” for your welcome visual contribution, you must walk on water.

The full clip is available online; I saw this at the cinema, and it just struck me as one-upping the scene with the woman and the canine in “The Real Blonde”. No big deal in my opinion. After all, it’s not like Asia Argento ate a DOG TURD, right?

Why, thank you for your endorsement, Kyle!

Now all I have to do is overthrow the Queen and make Australia a republic, and…

Actually, I have enough trouble getting elected for local council. My city is so vanilla.

“So when Michael Haneke makes a film about incest, sadomasochism, pornography and has his lead actress draw a used tissue from the bin in a porno booth, he’s an artist.”

Ummmm… yeah!

Haha, Fandorin…

Fandorin, cutting a clip of a real pornographic film into your movie and having a catatonic middle aged women inhale a tissue she’s pulled from the bin doesn’t make you an artist, it makes you “desperate” for a “shocking” moment. That doesn’t exite me, it doesn’t shock me, it just makes me wanna twirl my finger in the air all hom-hum like.

Things like this are pornography for repressed wankers who don’t have the guts to walk into a real porno cinema or share these kinks with another real human being, so they head for the arthouse instead and “project” onto a character with all these kinky fetishes in a “respectable” arthouse film.

Film Buff #1: What did you see?

Film Buff #2: “The Piano Teacher”. What about yourself?

Film Buff #1: I saw Q.T.’s latest film.

Film Buff #2: Oh, I can’t stand him, he’s SUCH a pervert! He is ALWAYS projecting his dirty kinks into his films!

…Irony?

Jarrod, don’t laugh at his non-humour. I find it funnier you are grossed out by something as benign as women’s feet.

And the point stands, Jarrod: this thread should be about Catherine Breillat and others moreso that Q.T.

No, no irony, because you just made that up ; )

So by that rationale Taxi Driver is for people who don’t have the guts to shoot some pimps?

The Piano Teacher is a character study. There is nothing pretentious or wannabe-shocking about it, it just shows you a person. You can judge this person however you like. Haneke has clearly made more shocking films and if you are that upset about himI shudder to think what character traits you might “discover” in Noé…

And unlike some other esteemed members of this site, Mark, I was not trying to be funny ; )

Marl your misunderstand the entire point of this thread…i don’t in anyway find women’s feet to be gross, i just find the fact that Tarantino displays what he finds to be arousing for no other reason than the fact that he is aroused by it. Example, Jackie Brown, he had bridget Fonda in a bathing suit but focused entirely on her feet.

I find feet pretty gross, but that’s just me. I’m also afraid of roller coasters.

Fandorin: it’s a hypothetical Q and A argument based upon the attitudes expressed by yourself and others like you.

There really are people out there, F.S., who will defend Haneke and bash Tarantino for the same reasons they like Haneke. And vice versa. It takes diff’rent strokes to move the world. F.S.

But if you want to pretend a similar conversation could never or hasn’t taken place, knock yourself out.

F.S. said:

“So by that rationale Taxi Driver is for people who don’t have the guts to shoot some pimps?”

F.S., now you’re talking B.S. and being totally ignorant.

The world is FULL of people who use movies as a catharsis. I’m not saying films MAKE people go out and shoot folks, ‘cause if they wanna do that, they’ll do it, movie or no movie. However, a film CAN be a catharsis for some people.

I have a friend (who shall remain nameless) who gets VERY worked up at these sorts of films (and yes I do worry about him a little). he even yelled out, at the end of “Dirty Harry”, and I quote:

“DIE, YOU RAPIST BASTARD!”

In a crowded cinema full of about 400 people, F.S. After some films the guy will be shaking and almost weeping. And he knows martial arts too, so if someone upset him, he wouldn’t screw around.

Beside that though, he’s a lovely guy.

F.S., I’ve met plenty of seemingly normal people who see these sorts of films and say “I wish I had the guts to kill those scumbags”.

You think people who watch violent movies for catharsis don’t exists? Guess again. Not every person, but a lot do…even ones who would never go around shooting pimps, it’s still possibly cathartic for them.

And believe me, for SOME people, if they could, they would. That’s the thin line that separates people from thinking and doing, F.S. Obviously you have no idea how a disturbed mind works, which is why you buy into the “reality” of Michael Haneke (insert wink here).

But I guess you never heard of Wade Frankum or others of his type, F.S., so you are welcome to live in your fantasy world.

Something else to ponder:

What’s the bigger difference?

a) Watching a porno film or watching “The Piano Teacher”?

b) committing murder or watching “Taxi Driver”?

Less difference between the two in example A. People get much closer to living out their fantasies with “The Piano Teacher”. People don’t even come close with “Taxi Driver”, but it can be cathartic. You’d be surprised.

EVERYBODY defends “Piano” as a character study. That’s a pretentious wank right there.

Never said I was shocked by him, F.S. Learn how to read. I find Haneke’s “Piano” superficial and ho-hum. He’s a try-hard shock artist and that’s boring and laughable. What I am saying though, is if people find Q.T. shocking, so too, should they find Haneke disturbing.

And I’m not the one who finds women’s feet disgusting, F.S. I thought that was the topic. So if you’re going to have a laugh, maybe aim it at people who are too insecure to accept a normal human body.

I don’t have that problem.

I thought you guys would get a kick out of this. It’s Tarantino on the Tyra Banks show touching women’s feet and “rating” them.

Jarrod said:

“yeah but being into girls butts is ok…but a foot, choking, and pee fetish? I love Tarantinos flicks but the dude just seems like one nasty mofo…”

Okay, so you said it yourself…

Gut, jah? (Welcome to the thread, Katja Kassin…Fandorin-San, if you were any kind of patriot, you would’ve beaten me to it)

 

(video) Asia Argento Does the Dog

 Asia

  

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Argento

DOES

 

the DOG!

Ms. Argento explained that she and Ms. Leigh had a little run-in on the set. But, “I couldn’t care less about this friction,” she said. On screen for just a few minutes in “Go Go Tales”

 

 

 

WITHIN the hothouse atmosphere of last month’s Cannes Film Festival, the Italian actress Asia Argento was a weather system unto herself, creating pockets of turbulence wherever she went. Ms. Argento, whose first name is pronounced “AH-zee-ah,” is one of those rare actors whose mere presence instantly makes a movie less predictable. She had three films in the festival, and in each one, handily conquered scenes that would reduce most performers to nervous wrecks or laughingstocks.

  Asia Argento torna sul grande schermo, dopo circa due anni dalla nascita del suo secondo figlio (Nicola avuto dal regista Michele Civetta). «Baciato dalla fortuna» di Paolo Costella, prodotto da Medusa con Rita Rusic, su un soggetto di Vincenzo Salemme (anche protagonista), sarà nelle sale tra febbraio e marzo prossimo per raccontare un'Italia attuale, tra crisi economica, Supernalotto e problemi sentimentali. Una vincita di 120 milioni, che in realtà nessuno ha realizzato, è l'equivoco che stravolgerà la vita dei personaggi. Gaetano (Salemme) tre volte alla settimana punta sempre sugli stessi numeri al Superenalotto, ma proprio la volta in cui escono arriva tardi alla ricevitoria per seguire in diretta l'estrazione della sua sestina. La sua bella e sensuale compagna, Betty (Asia Argento), che lo costringeva a un tenore di vita al di sopra delle sue possibilità e stava per scappare con il bello del posto (Alessandro Gassman), torna su suoi passi, così come i suoi amici e le banche, pronte ora a fargli credito, credendo nella sua vincita.

 

The World of Asia

In Catherine Breillat’s “Old Mistress,” playing a Spanish courtesan entangled with a pretty-boy aristocrat in 1830s Paris, she consummates the affair by hungrily lapping the blood off her wounded lover’s chest. They later have tearful sex next to their dead baby’s funeral pyre.

As an ex-prostitute in “Boarding Gate,” a transcontinental thriller by Olivier Assayas, she ensnares a former lover (Michael Madsen) in S-and-M mind games that turn increasingly physical. The highlight is a complicated maneuver involving handcuffs, a belt and a whole lot of nerve.

The real showstopper, though, is in Abel Ferrara’s “Go Go Tales.” As an exotic dancer — introduced as the “scariest, sexiest, most dangerous girl in the world” — she storms a strip-club stage, pet Rottweiler in tow, and proceeds to entwine tongues with the slobbering dog.

With her feral magnetism, Ms. Argento, 31, is indeed sexy and, for some, undoubtedly scary. But her taste for the outré, easy to dismiss as provocation, hints at a deeper fearlessness, apparent in her headlong performances as well as in her willful career choices. In a series of conversations during Cannes (and after the festival, by telephone from Rome) she openly discussed the pleasures and risks of self-exposure and the tension between person and persona.

“In Italy people think I’m a cliché,” she said. “The dark lady, the bitch from hell. All they can see is that I’m naked.”

If there is a theme in Ms. Argento’s career, it’s that there’s more than one way to be naked. The daughter of the Italian horror maestro Dario Argento, she is also a filmmaker and has created for herself a pair of flamboyantly lurid star vehicles: “Scarlet Diva” (2000), a Eurotrashy psychodrama about an actress who wants to be a filmmaker, and the full-throttle J T LeRoy adaptation “The Heart Is Deceitful Above All Things” (2004), in which she plays the mother of all monstrous mothers.

For Ms. Argento directing is partly a way to control her own image and by extension the course of her career. “It could have gone one way or another,” she said. “I was doing these mainstream comedies in Italy when I was a teenager and winning awards. I was a golden kid. And then I did ‘Scarlet Diva,’ and everyone was like, ‘Whoa, who is this?’ ”

Her English-language film career began in the late 1990s, in the under-the-radar indies “B Monkey” and “New Rose Hotel.” In 2002 she appeared opposite Vin Diesel in the blockbuster “XXX” and landed on the cover of Rolling Stone. (“She Puts the Sex in XXX.”) But instead of building on her new action-babe status, she moved toward smaller, quirkier roles.

She skulked through Versailles as Louis XV’s louche mistress in Sofia Coppola’s “Marie Antoinette,” blended into the hangers-on entourage in Gus Van Sant’s doomed-rocker elegy “Last Days” and — working with George Romero, an old colleague of her father’s — battled zombies in “Land of the Dead.”

Ms. Argento’s latest films, which prompted festivalgoers to crown her the “queen of Cannes,” are the most generous showcases yet of her charms. “An Old Mistress” and “Boarding Gate” feature the trademarks that have made her an all-purpose mystery lady — her salacious scowl, her damaged-goods vulnerability, her unplaceable exoticism, her many tattoos — while also throwing fresh challenges in her path.

In her decidedly uncorseted costume drama, Ms. Breillat positions Ms. Argento as a destabilizing force of nature, peeling away clothes and hypocrisies in a single swoop. Mr. Assayas creates a fanboy valentine, testing his star’s talent for erotic bravado and athletic action, even in lingerie and spike heels. (“Boarding Gate” will be released here this winter by Magnolia Pictures and is so far the only one of Ms. Argento’s three Cannes films with an American distributor.)

Mr. Assayas, who wrote “Boarding Gate” especially for Ms. Argento, said he had been impressed with her unpretentious openness. “She doesn’t distinguish between high and low art,” he said. “When she acts, it’s an amazing combination of pure instinct and virtuoso technique.”

Both of those qualities are on full display in the talky sequences that she and Mr. Madsen partly improvised. These long bouts of kinky one-upmanship got so extreme that she sometimes left the set in tears. In one particularly intense scene, “he bit me,” she said, providing unprintable specifics about where and how.

“He’s a brilliant actor, but he’s a manly man,” she said. “It was difficult for him not to be in charge.” To get the desired response she would try surprising her co-star, whom she called, with a laugh, “Mad-sen.” “There was a scene where he just couldn’t say the word ‘slave,’ so I started masturbating,” she said. “He was so taken off guard. It felt like the only thing I could do to make it work.”

Ms. Argento’s usual sense of control was demolished when she worked with Ms. Breillat, who has a reputation for putting her actors through the wringer. “I thought, I’m such a soldier, she’s not going to hurt me,” Ms. Argento said. “But she did. She knew how to push my buttons.” Ms. Argento referred to Ms. Breillat variously as “a tough cookie,” “a great intellectual,” “a control freak,” “like my mother” and “a crazy bitch.” Ms. Breillat, sitting a few tables away at a Cannes restaurant, offered her own cool appraisal. “I chose Asia for her explosive subconscious, so I worked with her subconscious,” she said. “We had a few horrible blowups. She can terrorize people. She doesn’t like to be dominated. She would burst into tears and go, ‘Catherine doesn’t like me.’ And I would say, ‘Look, your tears are costing us time.’ ”

When the conversation turned to acting, Ms. Breillat spoke glowingly: “Put her in front of the camera, and she gives entirely of herself, body and soul, without any ego.”

Ms. Argento has been acting since she was 9, and she joined the family business partly as a way of joining the family. “I was shy and weird,” she said. “Making movies was the only time I belonged to something.” A defining moment came at the age of 5, when her mother, the actress Daria Nicolodi, showed her Tod Browning’s “Freaks.” She felt a strong kinship with the sideshow performers.

As a child she reached for the high shelf where videos of her father’s movies were stored and covertly screened them for her friends. As a teenager she started working with him, playing an anorexic orphan in “Trauma” (1993) and a rape victim in “The Stendhal Syndrome” (1996). Mr. Argento, speaking by telephone from Rome, said he was used to questions about subjecting his daughter to on screen torments. “I tell people it’s a movie,” he said.

Judging from the two features she has directed, Ms. Argento’s take on the intersection of life and art is more complicated. Her interest in confessional fiction backfired when J T LeRoy, author of the purportedly autobiographical tale of abuse, “The Heart Is Deceitful Above All Things,” was revealed to be the creation of a writer named Laura Albert. “On a human level I’m glad the story didn’t happen to somebody,” Ms. Argento said. “But I feel incapable of writing a movie now, and it’s a result of that deceit.”

After stints in Paris and Los Angeles, she now lives in Rome with her 6-year-old daughter (whose father is the Italian musician Marco Castoldi), but her relationship with the news media and the film world there remains contentious. “Italy to me is like the mean mother,” Ms. Argento said. “Whatever I do, it’s never good enough. People say I’m the queen of Cannes, but in Italy I get turned down for work.”

Her first Italian production in nearly a decade is a kind of family reunion. She stars alongside her mother in her father’s latest feature, “The Mother of Tears,” the final chapter of a trilogy that began with his 1977 classic, “Suspiria.”

Ms. Argento is very much her father’s daughter. “If I ever get too mainstream,” she said, “I feel like I’m neglecting his legacy.” Still, she has stepped out of his shadow, to the extent that “I think he’s kind of scared of me now,” she said. “He’s like, ‘Who is this monster I’ve created?’ He said to me once that ‘The Heart Is Deceitful’ is so extreme. And I’m like, ‘Look at your movies, Dad.’ I’ve realized that I also make horror films, but I deal with real life and not the fantastic.”

In that sense Ms. Argento’s true mentor has been Mr. Ferrara, who cast her in “New Rose Hotel” and whose raw, mordant brand of low-life poetry is a clear influence on her. (She has made documentaries about both her father and Mr. Ferrara.) Parked on a bar stool at his hotel in Cannes, Mr. Ferrara declined to discuss Ms. Argento — he would only say, “She’s awesome all the way” — because he was with his girlfriend, Shanyn Leigh, an actress who also appears in “Go Go Tales.”

Asia Argento in bikini piace ai blogger americani

via gossipblog.it

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Minnie Ripperton Mauled by Lion

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Minnie Ripperton Mauled by Lion

Close Up: Susana Zabaleta por Adelaido Martínez

¿Qué se puede decir de Susana Zabaleta que no se haya sabido ya? De todos es conocido su talento en teatro, cine, televisión, música, pero sobre todo, la sensualidad que desborda. Asimismo, también es conocida su franqueza, al grado de decir lo que piensa, sin importar las consecuencias de lo dicho por ella. Pero bueno, demos un repaso por la vasta trayectoria de esta polifacética y sensualísima mujer.

Nacida en Monclova, Coahuila, el 30 de septiembre de 1964, incursionó desde muy joven en el mundo artístico, participando en espectáculos como “La Travista”, “Elixir de Amor” y “Dido y Aeneas” con la Orquesta de Cámara del Centro Cultural Ollin Yoliztli. Además, también ha hecho espectáculos de canto, actuación, pantomima y ópera, demostrando su preparación en México, particularmente en la Escuela Superior de Música, así como en Florencia, Italia.

En 1986 conoce al fallecido Manolo Fábregas, quien la invita a participar en fastuosas puestas en escena que en aquel momento fueron muy bien recibidas por el público conocedor, como “Barnum”, “El Violinista en el Tejado”, “Magnolias de Acero” y varias más. El reconocimiento llegó particularmente por tres: “Sorpresas” (1989), “¡Qué Plantón!” (1989) y sobre todo "Cats" (1991), por la cual recibió varios reconocimientos debido a la alta calidad del clásico de Andrew Lloyd Webber.

Su carrera teatral se complementa con otras obras como “Funesta” (1996), “La gran magia” (1997), “El hombre de la mancha” (2000) y una participación especial en el éxito teatral “Los monólogos de la vagina” en el 2003. Destaca, además, una serie de espectáculos presentados en El Hábito (en Coyoacán) como “Pocahontas con La Malinche” (1995), “Una sirena con patas” y “Matar o no Matar”, ambas en 1996.

Sus estudios de canto con técnica operística también son su marca registrada. Lanzó su primer disco en 1995, llamado “¿O... fue un sueño?”, producido por Luis Carlos Esteban, famoso por el disco “Love” (1992) de Thalía. Gracias al éxito de este material, es invitada por Walt Disney Pictures para darle voz a Pocahontas en la película del mismo nombre. Participa en el soundtrack de esa cinta, con canciones como “¿Qué será? Quiero saber” y “Colores en el viento”, particularmente esta última es reconocida como una de las mejores canciones de películas producidas por la casa creadora de Mickey Mouse.

“Desde el baño” (1997) es su segunda producción discográfica. Para este material, Susana cuenta con colaboraciones de artistas como Sabo Romo, el cubano David Torrens y los hermanos Fernando y Eugenio Toussaint. Un año después, participa en un recopilado llamado “Mexican Divas”, al lado de gente como Betsy Pecanins, Eugenia León, Astrid Hadad, Liliana Felipe (una de sus autoras favoritas), Lila Downs y Margie Bermejo.

En 2002, sacó “El pasado nos vuelve a pasar”, una producción en la que hace mancuerna con el tenor Mauro Calderón para interpretar temas clásicos del cine mexicano, como “Tú me acostumbraste”, “Piel canela”, “Santa” y “La mujer del puerto”. En ese mismo año, sale a la luz un disco de villancicos titulado simplemente Navidad donde hace gala de su voz cantando temas clásicos como “Noche de paz”, “Campaña sobre campaña”, “Blanca navidad”, “El niño del tambor” y otras tantas.

Para 2004, graba “Quiero sentir bonito”, un disco con un título muy sugerente que es una recopilación en vivo de sus más grandes éxitos. Un año después, daba a conocer “Para darle cuerda al mundo”, disco compuesto por temas de Liliana Felipe y que alcanzó disco de oro por sus ventas.

En 2006, apareció “De la A a la Z”, un DVD en concierto al lado de Armando Manzanero, donde interpretan, a dúo y por separado, algunos de los clásicos del compositor yucateco como “Voy a apagar la luz”, “No se tú”, “Contigo aprendí”, “Por debajo de la mesa” y otros más. La mancuerna sería tan exitosa, que a partir de entonces se convierte en una de sus intérpretes principales, tanto en el disco “Las Mujeres de Manzanero” (2007) como en “Amarrados” (2009), que podría ser el disco más exitoso de la misma, pues ha alcanzado ventas de platino.

Complementa su discografía “Te busqué”, disco que salió en el 2007 con nuevas versiones de temas de gente como Alejandro Sanz, Fito Páez, Elton John, Nacho Cano, Reyli Barba, Miguel Bosé, pero el track que destacó fue el cóver a “Lovin’ You”, original de Minnie Ripperton, con el que demostró los infinitos alcances de su voz, sorprendiendo a propios y extraños.

Con todo, es gracias a su carrera cinematográfica que ha conseguido algunos de sus mayores triunfos. Su primera intervención en cine ocurrió a través de un cortometraje llamado “Soma”, mientras que su primera película en forma fue “Sobrenatural” (1996), al lado de Alejandro Tomassi y Delia Casanova, bajo la dirección de Daniel Gruener. La cinta llama la atención del público debido a la alta calidad de la producción.

Gruener, por su parte, queda prendado con Susana, al grado de casarse. Tienen dos hijos, Elizabetha y Matías, un niño adoptado por esta pareja, situación que la sumergió en una gran polémica que afortunadamente fue resuelta a su favor.

Su siguiente trabajo fue en “Elisa antes del fin del mundo” (1997), de Juan Antonio de la Riva, así como en el proyecto “Cossi Fan Tute (o la Escuela de los Amantes)” (1996), al lado de Regina Orozco.

Es en 1999 cuando logra su mejor papel hacia la fecha, en la multipremiada “Sexo, pudor y lágrimas” de Antonio Serrano, junto a Cecilia Suárez, Mónica Dionne, Jorge Salinas, Demián Bichir y Víctor Huggo Martín. La película logra establecer todo un récord de taquilla, rebasando cifras impuestas incluso por “Titanic” y “La guerra de las galaxias”. Además, esta película le significó a Susana un Ariel como Mejor Actriz en el 2000.

En 2001, participa en la comedia “Vivir Mata,” de Nicolás Echevarría, al lado de Daniel Giménez Cacho, Luis Felipe Tovar, Emilio Echevarría y Alejandra Gollás. La película obtiene éxito, pero nunca como el de “Sexo...”. Además, ha hecho doblaje para las cintas “Silbad” (2003), “Colorín Colorado” (2007) y recientemente en “Boogie el Aceitoso” (2010).

En la pantalla chica, ha participado en telenovelas como “Milagro y magia” (1990), “Al filo de la muerte” (1990), “La sombra del otro” (1995) y “Pueblo chico, infierno grande” (1996). Sin embargo, es en 1998 cuando consigue excelentes críticas gracias a su papel de villana (el primero en su carrera) en la telenovela infantil “Una luz en el camino”, aunque hay que admitir que a la novela no le fue muy bien que digamos.

En el 2000, repitió su papel de antagónica haciéndole la vida imposible a Lucero y Jorge Salinas en “Mi destino eres tú”, aunque la novela no obtuvo el éxito esperado; en “Bajo la misma piel” (2003), martirizó a más no poder a Kate del Castillo y Juan Soler, y curiosamente, la historia tampoco tuvo mucha repercusión entre el público. Fue “Fuego en la sangre” su más reciente participación en un culebrón, con una villana sensual que siempre dio que decir.

Ha incursionado también en la conducción, en el programa producido por Canal 22, “Cultura en línea”. En 2006, es invitada a formar parte del jurado del reality show “Cantando por un sueño”, donde su carácter fue parte importante del show, poniendo en aprietos al conductor de dicha emisión, Adal Ramones, y protagonizando un singular duelo de aplausos con Lupita D’Alessio. Una de sus últimas apariciones fue precisamente en el reality show “Me quiero enamorar” (2009), donde si bien resulta ser un fracaso en cuanto a rating, su carácter protagónico logra captar la atención.

Sus últimos trabajos en TV han sido en “S.O.S: Sexo y Otros Secretos” (2007), bajo la dirección de uno de sus maestros de actuación, el cineasta Benjamín Cann, y donde alternó con Marina de Tavira, Claudia Ramírez, y Luz María Zetina. Por desacuerdos con el mismo, declina participar en la segunda temporada de la serie; también participó en “Los simuladores” (2009).

Este año ha sido noticia por dos sucesos: su participación en el proyecto musical “Las Corregidoras”, desde 2009, al lado de Ely Guerra, Natalia Lafourcade, Aurora Cano, Cecilia Toussaint, Amandititita y Regina Orozco, como parte de los festejos por el Bicentenario del Inicio de la lucha por la Independencia de México, así como el accidente que padeció su sobrino José Germán Villeda Ramos cuando un camión de basura le cayó encima en pleno Periférico de la ciudad de México.

No se vislumbra un proyecto cercano por el cual esté presente de nuevo en un corto tiempo, pero sabemos que cuando Susana Zabaleta decida regresar, causará furor en unos, escozor en otros, pero siempre su talento hablará por ella.
Fotografía: Jerry Bereta.

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