One of the most visually striking scenes of the film sees the two protagonists – Zola (Taylour Paige) and Stefani (Riley Keough) – getting ready to dance. The uncomfortable and pervasive way with which Stefani enters Zola’s life is all here – the images of the girls reflected on mirrors overlap, a symbol of how one (Stefani) presents herself as a double of the other (Zola). This will become clearer as the film unfolds: Stefani systematically appropriates black culture (the language, the aesthetics, even the grooming tools) for her own (professional) advantage.
Even the mascara they use is the same – Maybelline Great Lash in its waterproof version.
There are two interesting products on the mantelpiece in the room where the protagonist (Nastassja Kinski) is getting ready.
The first is a perfume box by Dana. The name of the perfume is impossible to read: I believe it’s Tabu, the legendary “parfum de puta” created by Jean Carles and launched in 1932. The film is set in 1946, though, so the box could contain other Dana perfumes – the chypre fruity 20 Carats (1933), the amber Emir (launched in 1935) and the floral Chantilly (1941).
The other product is a round cardboard box of Coty Airspun loose face powder.
There are several make-up and skincare items on a glass shelf in Anna’s bathroom.
The small bottle with black stopper is Shiseido liquid foundation.
There are two Clinique products, too: the jar with pink lid is a face moisturizing cream, while the tall bottle is a toning lotion.
I’ve tried to identify the products sitting on the left side of the shelf: they look like a cleansing milk (in the bottle with gold stopper) and a face moisturizer (in the tube), but no results. Any help would be much appreciated!