Age: 64
female
Mayes Castillero Rubeo (born 1962) is a Mexican costume designer. She is known for her work on the films Apocalypto (2006), Avatar (2009), John Carter (2012), World War Z (2013), Warcraft (2016), Thor: Ragnarok (2017), and Jojo Rabbit (2019), the lattermost of which earned her Academy Award and BAFTA Award nominations. Rubeo was born Mayes Castillero in Mexico City in 1962. She studied at Guadalajara High School José Guadalupe Zuno Hernández. She moved from Mexico City to Los Angeles in the 1980s and attended Los Angeles Trade Tech. After graduating, she moved to Italy to work with Italian costume designer Enrico Sabbatini. To this day, Rubeo maintains a workshop in Italy. She got her start in Hollywood working as a costume designer. In 2006, she was engaged as a costume designer for Mel Gibson's Apocalypto. Three years later she worked with James Cameron on Avatar, for which she was nominated for the Costume Designers Guild Award in the Excellence in Fantasy Film category. Rubeo received Academy Award and BAFTA Award nominations for best costume design in Jojo Rabbit. She received the Artistry in Filmmaking Award at the 2021 Coronado Island Film Festival. Mayes Rubeo was married to the Italian production designer Bruno Rubeo until he died in 2011. Their son is an art director. Description above from the Wikipedia article Mayes C. Rubeo, licensed under CC-BY-SA, full list of contributors on Wikipedia.
Mayes C. Rubeo
Costume Designer
for Costume Designer in Devil's Leveling (Live Action Film)
Suggested by nihilus
The cataclysm of Marvel Rivals leaves cracks across the multiverse. Daredevil is not himself. His body has been stolen by a mysterious thrill-seeking interloper who revels in violence and sadism. Through a supernatural AR HUD interface, he receives a list: heroes to kill, contracts to fulfill. With every kill the system levels him up, gifting new abilities, expanding his reach, reshaping him into something closer to myth than man. His chosen weapons: Escrima sticks and dual handguns. This isn’t a curse to him—it’s joy, an opportunity to become the Devil incarnate. Elektra sees the truth and bows to it, gathering The Hand as worshippers of the Devil made flesh. Together they march through Hell’s Kitchen and beyond, not just hunting enemies but building a cult of fear, their relationship forged in shared bloodlust. As the interloper climbs the kill-ladder, the city learns the Devil doesn’t protect anymore—he collects.
