Cuban-Spanish actress Ana de Armas, who played Cuban secret agent Paloma in 2021’s “No Time to Die”. (Photo by Sportsphoto Ltd./Allstar)

A house that was slammed off its foundation by Hurricane Isabel sits precariously on the beach one month after it hit Rodanthe, North Carolina October 18, 2003. (Photo by Rick Wilking/Reuters)

Laborers lay down upon a field to cut off the tulips that remained uncut by the tractor in Den Helder, Netherlands April 22, 2017. (Photo by Cris Toala Olivares/Reuters)

Two 70 thousand RMB (about 11,310 USD) robots carry dishes and offer service for customers at a robot themed restaurant at Chunxi Road in Chengdu, China, December 11, 2014. The restaurant has 10 robots to serve as waiters. Each robot can carry simple dishes and offer simple greetings. (Photo by ChinaFotoPress/ChinaFotoPress via Getty Images)

A U.S. Army soldier with the 10th Special Forces Group and his military working dog jump off the ramp of a CH-47 Chinook helicopter from the 160th Special Operations Aviation Regiment during water training over the Gulf of Mexico as part of exercise Emerald Warrior 2011 on March 1, 2011. (Photo by Tech. Sgt. Manuel J. Martinez/U.S. Air Force)

A man looks at a car hit by a post after a tornado ripped through a neighbourhood in Havana, Cuba on January 28, 2019. (Photo by Fernando Medina/Reuters)

Inmates are seen at the transgender gallery in La Joya prison on the outskirts of Panama City, Panama February 3, 2016. Inmates of La Joya prison on the outskirts of Panama City are housed in makeshift cells amid heavy overcrowding, living in grimy conditions and with limited medical attention. Many prisoners in the Central American nation languish for years without being sentenced. (Photo by Carlos Jasso/Reuters)

Born with a rare condition, the artist has chronicled her life in portraits – capturing everything from her tattooed prosthetics to the tentacled creature she stitched together on the shores of Naoshima. Here: Ophelia (2013). From a series of photos of imagined women exhibited at the 2013 Aichi Triennale. Here, Katayama invokes Hamlet’s tragic heroine, after the painting by British pre-Raphaelite John Everett Millais. (Photo by Mari Katayama/The Guardian)