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Port details
OpenTomb Open-source Tomb Raider 1-5 engine remake
2018.02.03.a_2 games on this many watch lists=1 search for ports that depend on this port Find issues related to this port Report an issue related to this port View this port on Repology. pkg-fallout 2018.02.03.a_2Version of this port present on the latest quarterly branch.
Maintainer: search for ports maintained by this maintainer
Port Added: 2017-06-09 13:45:32
Last Update: 2022-09-07 21:58:51
Commit Hash: fb16dfe
People watching this port, also watch:: p5-ExtUtils-PkgConfig, xorg-fonts-miscbitmaps, smartmontools, p5-type1inst
License: LGPL3
WWW:
https://opentomb.github.io/
Description:
OpenTomb is an open-source engine reimplementation project intended to play levels from all classic-era Tomb Raider games (TR 1-5) and custom TRLE levels. The project does not use any old Tomb Raider source code, because all attempts to retrieve sources from Eidos / Core were in vain.
Homepage    cgit ¦ Codeberg ¦ GitHub ¦ GitLab ¦ SVNWeb

Manual pages:
FreshPorts has no man page information for this port.
pkg-plist: as obtained via: make generate-plist
Expand this list (224 items)
Collapse this list.
  1. /usr/local/share/licenses/OpenTomb-2018.02.03.a_2/catalog.mk
  2. /usr/local/share/licenses/OpenTomb-2018.02.03.a_2/LICENSE
  3. /usr/local/share/licenses/OpenTomb-2018.02.03.a_2/LGPL3
  4. bin/OpenTomb
  5. share/OpenTomb/OpenTomb
  6. share/OpenTomb/autoexec.lua
  7. share/OpenTomb/resource/fonts/DroidSansMono.ttf
  8. share/OpenTomb/resource/fonts/LICENSE
  9. share/OpenTomb/resource/fonts/Roboto-Regular.ttf
  10. share/OpenTomb/resource/fonts/RobotoCondensed-Regular.ttf
  11. share/OpenTomb/resource/fonts/VeraMoBd.ttf
  12. share/OpenTomb/resource/fonts/VeraMono.ttf
  13. share/OpenTomb/resource/fonts/Verdana.ttf
  14. share/OpenTomb/resource/graphics/legal.png
  15. share/OpenTomb/resource/icon/opentomb.ico
  16. share/OpenTomb/resource/icon/opentomb.rc
  17. share/OpenTomb/resource/mac/Images.xcassets/AppIcon.appiconset/Contents.json
  18. share/OpenTomb/resource/mac/Info.plist
  19. share/OpenTomb/scripts/audio/common_sounds.lua
  20. share/OpenTomb/scripts/audio/sample_override.lua
  21. share/OpenTomb/scripts/audio/soundtrack.lua
  22. share/OpenTomb/scripts/autoexec.lua
  23. share/OpenTomb/scripts/character/character.lua
  24. share/OpenTomb/scripts/character/hair.lua
  25. share/OpenTomb/scripts/character/ragdoll.lua
  26. share/OpenTomb/scripts/config/control_constants.lua
  27. share/OpenTomb/scripts/entity/entity_functions.lua
  28. share/OpenTomb/scripts/entity/entity_functions_common.lua
  29. share/OpenTomb/scripts/entity/entity_functions_enemies.lua
  30. share/OpenTomb/scripts/entity/entity_functions_platforms.lua
  31. share/OpenTomb/scripts/entity/entity_functions_switch.lua
  32. share/OpenTomb/scripts/entity/entity_functions_traps.lua
  33. share/OpenTomb/scripts/entity/entity_functions_unique.lua
  34. share/OpenTomb/scripts/entity/entity_model_ID_override.lua
  35. share/OpenTomb/scripts/entity/entity_properties.lua
  36. share/OpenTomb/scripts/gameflow/TR1.lua
  37. share/OpenTomb/scripts/gameflow/TR1_gold.lua
  38. share/OpenTomb/scripts/gameflow/TR2.lua
  39. share/OpenTomb/scripts/gameflow/TR2_gold.lua
  40. share/OpenTomb/scripts/gameflow/TR3.lua
  41. share/OpenTomb/scripts/gameflow/TR3_gold.lua
  42. share/OpenTomb/scripts/gameflow/TR4.lua
  43. share/OpenTomb/scripts/gameflow/TR5.lua
  44. share/OpenTomb/scripts/gameflow/gameflow.lua
  45. share/OpenTomb/scripts/gui/fonts.lua
  46. share/OpenTomb/scripts/inventory/item_combine.lua
  47. share/OpenTomb/scripts/inventory/item_list.lua
  48. share/OpenTomb/scripts/inventory/items.lua
  49. share/OpenTomb/scripts/level/tr1/CAT.lua
  50. share/OpenTomb/scripts/level/tr1/CUT1.lua
  51. share/OpenTomb/scripts/level/tr1/CUT2.lua
  52. share/OpenTomb/scripts/level/tr1/CUT3.lua
  53. share/OpenTomb/scripts/level/tr1/CUT4.lua
  54. share/OpenTomb/scripts/level/tr1/EGYPT.lua
  55. share/OpenTomb/scripts/level/tr1/END.lua
  56. share/OpenTomb/scripts/level/tr1/END2.lua
  57. share/OpenTomb/scripts/level/tr1/GYM.lua
  58. share/OpenTomb/scripts/level/tr1/LEVEL1.lua
  59. share/OpenTomb/scripts/level/tr1/LEVEL10A.lua
  60. share/OpenTomb/scripts/level/tr1/LEVEL10B.lua
  61. share/OpenTomb/scripts/level/tr1/LEVEL10C.lua
  62. share/OpenTomb/scripts/level/tr1/LEVEL2.lua
  63. share/OpenTomb/scripts/level/tr1/LEVEL3A.lua
  64. share/OpenTomb/scripts/level/tr1/LEVEL3B.lua
  65. share/OpenTomb/scripts/level/tr1/LEVEL4.lua
  66. share/OpenTomb/scripts/level/tr1/LEVEL5.lua
  67. share/OpenTomb/scripts/level/tr1/LEVEL6.lua
  68. share/OpenTomb/scripts/level/tr1/LEVEL7A.lua
  69. share/OpenTomb/scripts/level/tr1/LEVEL7B.lua
  70. share/OpenTomb/scripts/level/tr1/LEVEL8A.lua
  71. share/OpenTomb/scripts/level/tr1/LEVEL8B.lua
  72. share/OpenTomb/scripts/level/tr1/LEVEL8C.lua
  73. share/OpenTomb/scripts/level/tr1/TITLE.lua
  74. share/OpenTomb/scripts/level/tr2/ASSAULT.lua
  75. share/OpenTomb/scripts/level/tr2/BOAT.lua
  76. share/OpenTomb/scripts/level/tr2/CATACOMB.lua
  77. share/OpenTomb/scripts/level/tr2/CUT1.lua
  78. share/OpenTomb/scripts/level/tr2/CUT2.lua
  79. share/OpenTomb/scripts/level/tr2/CUT3.lua
  80. share/OpenTomb/scripts/level/tr2/CUT4.lua
  81. share/OpenTomb/scripts/level/tr2/DECK.lua
  82. share/OpenTomb/scripts/level/tr2/EMPRTOMB.lua
  83. share/OpenTomb/scripts/level/tr2/FLOATING.lua
  84. share/OpenTomb/scripts/level/tr2/HOUSE.lua
  85. share/OpenTomb/scripts/level/tr2/ICECAVE.lua
  86. share/OpenTomb/scripts/level/tr2/KEEL.lua
  87. share/OpenTomb/scripts/level/tr2/LEVEL1.lua
  88. share/OpenTomb/scripts/level/tr2/LEVEL2.lua
  89. share/OpenTomb/scripts/level/tr2/LEVEL3.lua
  90. share/OpenTomb/scripts/level/tr2/LEVEL4.lua
  91. share/OpenTomb/scripts/level/tr2/LEVEL5.lua
  92. share/OpenTomb/scripts/level/tr2/LIVING.lua
  93. share/OpenTomb/scripts/level/tr2/MONASTRY.lua
  94. share/OpenTomb/scripts/level/tr2/OPERA.lua
  95. share/OpenTomb/scripts/level/tr2/PLATFORM.lua
  96. share/OpenTomb/scripts/level/tr2/RIG.lua
  97. share/OpenTomb/scripts/level/tr2/SKIDOO.lua
  98. share/OpenTomb/scripts/level/tr2/TITLE.lua
  99. share/OpenTomb/scripts/level/tr2/UNWATER.lua
  100. share/OpenTomb/scripts/level/tr2/VENICE.lua
  101. share/OpenTomb/scripts/level/tr2/WALL.lua
  102. share/OpenTomb/scripts/level/tr2/XIAN.lua
  103. share/OpenTomb/scripts/level/tr3/ANTARC.lua
  104. share/OpenTomb/scripts/level/tr3/AREA51.lua
  105. share/OpenTomb/scripts/level/tr3/CHAMBER.lua
  106. share/OpenTomb/scripts/level/tr3/CHUNNEL.lua
  107. share/OpenTomb/scripts/level/tr3/CITY.lua
  108. share/OpenTomb/scripts/level/tr3/COMPOUND.lua
  109. share/OpenTomb/scripts/level/tr3/CRASH.lua
  110. share/OpenTomb/scripts/level/tr3/HOUSE.lua
  111. share/OpenTomb/scripts/level/tr3/JUNGLE.lua
  112. share/OpenTomb/scripts/level/tr3/MINES.lua
  113. share/OpenTomb/scripts/level/tr3/NEVADA.lua
  114. share/OpenTomb/scripts/level/tr3/OFFICE.lua
  115. share/OpenTomb/scripts/level/tr3/QUADCHAS.lua
  116. share/OpenTomb/scripts/level/tr3/RAPIDS.lua
  117. share/OpenTomb/scripts/level/tr3/ROOFS.lua
  118. share/OpenTomb/scripts/level/tr3/SCOTLAND.lua
  119. share/OpenTomb/scripts/level/tr3/SEWER.lua
  120. share/OpenTomb/scripts/level/tr3/SHORE.lua
  121. share/OpenTomb/scripts/level/tr3/SLINC.lua
  122. share/OpenTomb/scripts/level/tr3/STPAUL.lua
  123. share/OpenTomb/scripts/level/tr3/TEMPLE.lua
  124. share/OpenTomb/scripts/level/tr3/TITLE.lua
  125. share/OpenTomb/scripts/level/tr3/TONYBOSS.lua
  126. share/OpenTomb/scripts/level/tr3/TOWER.lua
  127. share/OpenTomb/scripts/level/tr3/TRIBOSS.lua
  128. share/OpenTomb/scripts/level/tr3/TRTLA.lua
  129. share/OpenTomb/scripts/level/tr3/UNDERSEA.lua
  130. share/OpenTomb/scripts/level/tr3/VICT.lua
  131. share/OpenTomb/scripts/level/tr3/WILLSDEN.lua
  132. share/OpenTomb/scripts/level/tr3/ZOO.lua
  133. share/OpenTomb/scripts/level/tr4/ALEXHUB.lua
  134. share/OpenTomb/scripts/level/tr4/ALEXHUB2.lua
  135. share/OpenTomb/scripts/level/tr4/ANGKOR1.lua
  136. share/OpenTomb/scripts/level/tr4/ANG_RACE.lua
  137. share/OpenTomb/scripts/level/tr4/BIKEBIT.lua
  138. share/OpenTomb/scripts/level/tr4/CITNEW.lua
  139. share/OpenTomb/scripts/level/tr4/CORTYARD.lua
  140. share/OpenTomb/scripts/level/tr4/CSPLIT1.lua
  141. share/OpenTomb/scripts/level/tr4/CSPLIT2.lua
  142. share/OpenTomb/scripts/level/tr4/HALL.lua
  143. share/OpenTomb/scripts/level/tr4/HIGHSTRT.lua
  144. share/OpenTomb/scripts/level/tr4/JEEPCHAS.lua
  145. share/OpenTomb/scripts/level/tr4/JEEPCHS2.lua
  146. share/OpenTomb/scripts/level/tr4/JOBY1A.lua
  147. share/OpenTomb/scripts/level/tr4/JOBY1B.lua
  148. share/OpenTomb/scripts/level/tr4/JOBY2.lua
  149. share/OpenTomb/scripts/level/tr4/JOBY3A.lua
  150. share/OpenTomb/scripts/level/tr4/JOBY3B.lua
  151. share/OpenTomb/scripts/level/tr4/JOBY4A.lua
  152. share/OpenTomb/scripts/level/tr4/JOBY4B.lua
  153. share/OpenTomb/scripts/level/tr4/JOBY4C.lua
  154. share/OpenTomb/scripts/level/tr4/JOBY5A.lua
  155. share/OpenTomb/scripts/level/tr4/JOBY5B.lua
  156. share/OpenTomb/scripts/level/tr4/JOBY5C.lua
  157. share/OpenTomb/scripts/level/tr4/KARNAK1.lua
  158. share/OpenTomb/scripts/level/tr4/LAKE.lua
  159. share/OpenTomb/scripts/level/tr4/LIBEND.lua
  160. share/OpenTomb/scripts/level/tr4/LIBRARY.lua
  161. share/OpenTomb/scripts/level/tr4/LOWSTRT.lua
  162. share/OpenTomb/scripts/level/tr4/NUTRENCH.lua
  163. share/OpenTomb/scripts/level/tr4/PALACES.lua
  164. share/OpenTomb/scripts/level/tr4/PALACES2.lua
  165. share/OpenTomb/scripts/level/tr4/SEMER.lua
  166. share/OpenTomb/scripts/level/tr4/SEMER2.lua
  167. share/OpenTomb/scripts/level/tr4/SETTOMB1.lua
  168. share/OpenTomb/scripts/level/tr4/SETTOMB2.lua
  169. share/OpenTomb/scripts/level/tr4/TITLE.lua
  170. share/OpenTomb/scripts/level/tr4/TRAIN.lua
  171. share/OpenTomb/scripts/level/tr5/ANDREA1.lua
  172. share/OpenTomb/scripts/level/tr5/ANDREA2.lua
  173. share/OpenTomb/scripts/level/tr5/ANDREA3.lua
  174. share/OpenTomb/scripts/level/tr5/ANDY1.lua
  175. share/OpenTomb/scripts/level/tr5/ANDY2.lua
  176. share/OpenTomb/scripts/level/tr5/ANDY3.lua
  177. share/OpenTomb/scripts/level/tr5/DEL.lua
  178. share/OpenTomb/scripts/level/tr5/JOBY2.lua
  179. share/OpenTomb/scripts/level/tr5/JOBY3.lua
  180. share/OpenTomb/scripts/level/tr5/JOBY4.lua
  181. share/OpenTomb/scripts/level/tr5/JOBY5.lua
  182. share/OpenTomb/scripts/level/tr5/RICH1.lua
  183. share/OpenTomb/scripts/level/tr5/RICH2.lua
  184. share/OpenTomb/scripts/level/tr5/RICH3.lua
  185. share/OpenTomb/scripts/level/tr5/RICHCUT2.lua
  186. share/OpenTomb/scripts/level/tr5/TITLE.lua
  187. share/OpenTomb/scripts/level_preload.lua
  188. share/OpenTomb/scripts/loadscript.lua
  189. share/OpenTomb/scripts/strings/english/generic.lua
  190. share/OpenTomb/scripts/strings/english/global_items.lua
  191. share/OpenTomb/scripts/strings/english/sys_notify.lua
  192. share/OpenTomb/scripts/strings/french/generic.lua
  193. share/OpenTomb/scripts/strings/french/global_items.lua
  194. share/OpenTomb/scripts/strings/french/sys_notify.lua
  195. share/OpenTomb/scripts/strings/getstring.lua
  196. share/OpenTomb/scripts/strings/italian/generic.lua
  197. share/OpenTomb/scripts/strings/italian/global_items.lua
  198. share/OpenTomb/scripts/strings/portuguese-ptbr/generic.lua
  199. share/OpenTomb/scripts/strings/portuguese-ptbr/global_items.lua
  200. share/OpenTomb/scripts/strings/portuguese-ptbr/sys_notify.lua
  201. share/OpenTomb/scripts/strings/portuguese-ptpt/generic.lua
  202. share/OpenTomb/scripts/strings/portuguese-ptpt/global_items.lua
  203. share/OpenTomb/scripts/strings/portuguese-ptpt/sys_notify.lua
  204. share/OpenTomb/scripts/strings/russian/generic.lua
  205. share/OpenTomb/scripts/strings/russian/global_items.lua
  206. share/OpenTomb/scripts/strings/russian/sys_notify.lua
  207. share/OpenTomb/scripts/strings/spanish/generic.lua
  208. share/OpenTomb/scripts/strings/spanish/global_items.lua
  209. share/OpenTomb/scripts/system/debug.lua
  210. share/OpenTomb/scripts/system/sys_scripts.lua
  211. share/OpenTomb/scripts/trigger/flipeffects.lua
  212. share/OpenTomb/scripts/trigger/helper_functions.lua
  213. share/OpenTomb/scripts/trigger/trigger_functions.lua
  214. share/OpenTomb/shaders/entity.fsh
  215. share/OpenTomb/shaders/entity.vsh
  216. share/OpenTomb/shaders/room.fsh
  217. share/OpenTomb/shaders/room.vsh
  218. share/OpenTomb/shaders/static_mesh.fsh
  219. share/OpenTomb/shaders/static_mesh.vsh
  220. share/OpenTomb/shaders/text.fsh
  221. share/OpenTomb/shaders/text.vsh
  222. @owner
  223. @group
  224. @mode
Collapse this list.
USE_RC_SUBR (Service Scripts)
  • no SUBR information found for this port
Dependency lines:
  • OpenTomb>0:games/OpenTomb
To install the port:
cd /usr/ports/games/OpenTomb/ && make install clean
To add the package, run one of these commands:
  • pkg install games/OpenTomb
  • pkg install OpenTomb
NOTE: If this package has multiple flavors (see below), then use one of them instead of the name specified above.
PKGNAME: OpenTomb
Flavors: there is no flavor information for this port.
distinfo:
TIMESTAMP = 1517840323 SHA256 (OpenTomb-OpenTomb-win32-2018-02-03_alpha_GH0.tar.gz) = 3b8a81ef6d4cc66d9f41d7657aee8740603648f1c8fd36d0ce97231240b9c167 SIZE (OpenTomb-OpenTomb-win32-2018-02-03_alpha_GH0.tar.gz) = 9131835

Packages (timestamps in pop-ups are UTC):

The mature woman in entertainment is no longer a niche demographic. She is the anchor. She brings a weight of experience that the ingénue simply cannot access. When we watch a 55-year-old woman cry on screen, we don’t just see a performance; we see the accumulation of 55 years of societal pressure, survival, and defiance.

Cinema is finally catching up to the truth that women over 40 have always known: they are the most interesting people in the room.

Let the ingénues have the first act. The mature woman is owning the third, and she is rewriting the ending.


The representation of mature women in entertainment and cinema has evolved significantly over the years, reflecting changing societal attitudes and a growing recognition of the value and appeal of older women in the industry. Here are some aspects and developments related to this feature:

The term "mature women" in cinema has historically been code for "character actress," "mother," or "grandmother"—often sidelined from leading roles. Today, the definition is being rewritten. Women over 40, 50, 60, and beyond are leading blockbusters, winning Oscars, producing their own content, and commanding box office success. This guide explores the landscape, challenges, opportunities, and actionable steps for all stakeholders.


The entertainment industry is, at its heart, a business. And the data is undeniable. According to a 2022 Nielsen report, women over 50 control $15 trillion in global spending power. They are the largest audience segment for streaming services. When a film like The Second Best Exotic Marigold Hotel (featuring an ensemble of 70-year-olds) outperforms a young-skewing blockbuster, the math becomes simple.

Studios are finally realizing that ageism is bad for the bottom line. The success of Only Murders in the Building (with the incomparable 77-year-old Meryl Streep joining the cast) or the Scream franchise (revitalized by 50-something Courteney Cox) proves that nostalgia combined with fresh writing is a winning formula.

The traditional theatrical system operated on opening weekends and teenage boys. Streaming operates on subscriptions and niche demographics.

The algorithm discovered what common sense always knew: People over 40 watch more television than any other demographic, and they want to watch people their own age.

The recent renaissance of cinema featuring women over 50 isn’t about aging gracefully; it is about acting ferociously. We have moved past the reductive tropes of the desperate divorcee or the predatory older woman. Instead, directors and writers are finally granting mature female characters the same complexity long afforded to their male counterparts: ambiguity, rage, sexual agency, regret, and ambition.

Look at the screenwriters and auteurs driving this change. It is no coincidence that the rise of complex mature roles coincides with the rise of female directors and showrunners. When women are behind the camera, the lens does not fear wrinkles—it studies them as a map of history.

Consider the last five years of cinema:

The most exciting cinema of the coming decade will not segregate stories by age. It will weave together the perspectives of women in their 20s, 50s, and 80s—not as foils, but as protagonists in a shared world. Mature women in entertainment are not a niche. They are a majority of the audience and a treasure trove of untold stories. The guide above is a starting point. The action is up to you.

Final Call to Action: Whether you are a writer, director, financier, or fan—challenge every script you encounter. Ask: Where is the woman over 50? What does she want? And why aren’t we watching her get it?

Mature women in entertainment and cinema are currently experiencing a significant shift from being sidelined by age-based tropes to becoming powerful "cinematic powerhouses" in their own right

. While traditional Hollywood narratives often focused on youth, the mid-2020s have seen an era where women are celebrated well into their 40s, 50s, and beyond, both as lead protagonists and influential producers.

The portrayal of mature women in entertainment has reached a transformative milestone in 2026. Once sidelined after the age of 40, women over 50 are now reclaiming the spotlight as bankable leads, creative powerhouses, and complex characters who defy traditional "frumpy" stereotypes. The "Complicated" Shift in Roles

The 2026 awards season signaled a major cultural change, with Oscars nominations focusing on "complicated" midlife women—those who are ambitious, flawed, and in control of their destinies, rather than just mothers or grandmothers.

The Ageless Hero: There is a growing demand for older women to experience romance, sex, and financial power without guilt on screen. Nuanced Storytelling : Recent hits featuring women over 50 like Viola Davis in The Woman King , Jean Smart in , and Kathy Bates in the

reboot demonstrate that audiences crave authentic portrayals of aging.

Late-Career Wins: The average age of Best Actress nominees has climbed to the mid-40s, and recent wins like Amy Madigan

at age 75 prove that powerful roles are no longer age-dependent. Economic Power and Audience Demand

Audience data from 2025 and 2026 shows that ageism is becoming a "bad business" move for studios.

Viewer Loyalty: 93% of surveyed adults say they are likely to watch films and TV with actors aged 50-plus in leading roles.

Market Gap: Despite the demand, characters over 50 still make up less than 25% of roles in blockbusters, with men disproportionately outnumbering women in this age bracket.

Independent Cinema: Women are leading the charge in independent spaces; for example, a record 63.6% of films at Sundance 2026 were directed by women. Challenges: The Fight Against "Uncanny" Standards

Despite the progress, the industry still faces a "relentless pursuit of agelessness." TV Projects Give Women Over 50 a Chance to Shine

The modern landscape for mature women in entertainment has shifted from being "invisible" to a vibrant "upgrade" where age is treated as a strategic asset

. Critical reviews often highlight how today's leading ladies are reclaiming their right to be seen on their own terms, moving away from "cliché anonymous matrons" to complex, nuanced protagonists. Notable Critical Perspectives The "Age as an Upgrade" Narrative : Outlets like AARP’s Movies for Grownups describe the performances of stars like Angela Bassett Julianne Moore

as demonstrations that age provides a "depth of feeling" and "diamond-sharp" presence that youth cannot replicate. The Rise of "Grownup" Comedies : Films like 80 for Brady

are reviewed as essential for proving that older women can lead box-office hits centered on friendship and desire, rather than just being supporting "grandparent" figures. The "Small Screen" Revolution : Critics from The Guardian

note that television often outperforms Hollywood in representation, offering "incredible performances" for actresses like Allison Janney

in scripted dramas that target a more mature, loyal audience. Redefining Action Stardom : Commentary in the Los Angeles Times highlights a "growing army of 60-ish women" like Emma Thompson

who are redefining the action genre by "kicking ass and taking names" without the stereotypical "I'm too old for this" tropes. Recommended "Celebratory" Performances

The portrayal and presence of mature women in cinema and entertainment have long been defined by a "narrative of decline," though recent years have seen a significant, if uneven, push for more authentic representation. Current State of Representation

While visibility is increasing, stark disparities remain between how men and women age on screen:

Underrepresentation: Women over 50 make up only 25.3% of characters in their age bracket, with older men outnumbering them 2-to-1.

The "Invisible" Drop-off: Studies show female actors' careers often peak at age 30, whereas male counterparts typically peak around age 46.

Genre Pigeonholing: Mature women are frequently relegated to stereotypical roles such as "hags," "witches," or frail, homebound figures. They are four times more likely to be portrayed as senile compared to older men. Shifting the Narrative

A "ripple of change" is emerging as veteran actresses take on complex, non-glamorized roles that celebrate aging rather than hiding it: Beyond the Stereotypes: The Reality of Aging Women in Films

The landscape of mature women in entertainment has shifted significantly, moving from limited, stereotypical roles to complex, lead-driven narratives that challenge ageist norms. The Evolution of Representation

Historically, women over 40 were often relegated to "mother" or "grandmother" supporting roles. Modern cinema and streaming platforms have disrupted this by focusing on mature women as protagonists with active professional and romantic lives. Complex Narratives

: Recent content explores themes like career late-bloomers, re-entering the dating world, and navigating long-term friendship. The "Streaming Effect"

: Platforms like Netflix and HBO have been instrumental in this shift, providing a space for series led by veteran actresses that traditional box offices might have overlooked. Industry Influence

: Many mature actresses are now also producers, ensuring they have creative control over the stories being told about their demographic. Iconic Figures & Trailblazers

Many legendary actresses continue to redefine what it means to be a "mature" woman in the spotlight, maintaining relevance through decades of work. Global Cinema Icons : Actresses like Meryl Streep Helen Mirren Viola Davis

are known for their consistent lead roles that demand high emotional depth and range. Indian Cinema (Bollywood) Veteran Mainstays : Figures like Waheeda Rehman Vyjayanthimala Asha Parekh (82) remain symbols of grace and dignity. Active Superstars Hema Malini

continue to influence the industry as cultural icons and mentors. The "Comeback" Era : Actresses like Neetu Singh

have successfully returned to the screen in substantial roles after decades-long breaks, proving the audience's appetite for mature talent. Genre Trends for Mature Audiences

While preferences vary, research shows that mature female audiences often gravitate toward specific storytelling styles: Romantic Comedies

: Remains highly popular (84% favorability) for its focus on relational dynamics. Crime & Thrillers

: A growing sector where mature women are often cast as seasoned detectives or brilliant legal minds. Family Dramas

: These often feature women as the emotional anchors or matriarchs navigating modern family complexities. featuring mature leads, or perhaps biographies of veteran actresses?


Dependencies
NOTE: FreshPorts displays only information on required and default dependencies. Optional dependencies are not covered.
Build dependencies:
  1. cmake : devel/cmake-core
  2. ninja : devel/ninja
  3. sdl2-config : devel/sdl20
Library dependencies:
  1. libpng.so : graphics/png
  2. liblua-5.4.so : lang/lua54
  3. libopenal.so.1 : audio/openal-soft
  4. libSDL2.so : devel/sdl20
There are no ports dependent upon this port

Configuration Options:
No options to configure
Options name:
games_OpenTomb
USES:
cmake:insource compiler:c++11-lang lua openal sdl
pkg-message:
For install:
You need the following files to play OpenTomb: * Data folders from each game. Get them from your retail game CDs or Steam/GOG bundles. * CD audio tracks. OpenTomb only supports OGG audiotracks for a moment, so you should convert original soundtracks by yourself, or just download whole TR1-5 music package here: http://trep.trlevel.de/opentomb/files/tr_soundtracks_for_opentomb.zip PLEASE NOTE: script file bundled in this archive is outdated, so don't overwrite existing soundtrack.lua file with one provided in archive. * Loading screens for TR1-3 and TR5. For TR3, get them from pix directory of your installed official game. For other versions download them from http://trep.trlevel.de/temp/loading_screens.zip
Master Sites:
Expand this list (1 items)
Collapse this list.
  1. https://codeload.github.com/OpenTomb/OpenTomb/tar.gz/win32-2018-02-03_alpha?dummy=/
Collapse this list.

Number of commits found: 16

Commit History - (may be incomplete: for full details, see links to repositories near top of page)
CommitCreditsLog message
07 Sep 2022 21:58:51
commit hash: fb16dfecae4a6efac9f3a78e0b759fb7a3c53de4commit hash: fb16dfecae4a6efac9f3a78e0b759fb7a3c53de4commit hash: fb16dfecae4a6efac9f3a78e0b759fb7a3c53de4commit hash: fb16dfecae4a6efac9f3a78e0b759fb7a3c53de4 files touched by this commit
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Remove WWW entries moved into port Makefiles

Commit b7f05445c00f has added WWW entries to port Makefiles based on
WWW: lines in pkg-descr files.

This commit removes the WWW: lines of moved-over URLs from these
pkg-descr files.

Approved by:		portmgr (tcberner)
2018.02.03.a_2
07 Sep 2022 21:10:59
commit hash: b7f05445c00f2625aa19b4154ebcbce5ed2daa52commit hash: b7f05445c00f2625aa19b4154ebcbce5ed2daa52commit hash: b7f05445c00f2625aa19b4154ebcbce5ed2daa52commit hash: b7f05445c00f2625aa19b4154ebcbce5ed2daa52 files touched by this commit
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Add WWW entries to port Makefiles

It has been common practice to have one or more URLs at the end of the
ports' pkg-descr files, one per line and prefixed with "WWW:". These
URLs should point at a project website or other relevant resources.

Access to these URLs required processing of the pkg-descr files, and
they have often become stale over time. If more than one such URL was
present in a pkg-descr file, only the first one was tarnsfered into
the port INDEX, but for many ports only the last line did contain the
port specific URL to further information.

There have been several proposals to make a project URL available as
a macro in the ports' Makefiles, over time.
(Only the first 15 lines of the commit message are shown above View all of this commit message)
2018.02.03.a_2
20 Jul 2022 14:21:58
commit hash: d56127bdfc7d6fca27855e27a66e61ce99cce27ccommit hash: d56127bdfc7d6fca27855e27a66e61ce99cce27ccommit hash: d56127bdfc7d6fca27855e27a66e61ce99cce27ccommit hash: d56127bdfc7d6fca27855e27a66e61ce99cce27c files touched by this commit
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games: remove 'Created by' lines

A big Thank You to the original contributors of these ports:

  *  <benlutz@datacomm.ch>
  *  <janos.mohacsi@bsd.hu>
  *  Aaron Baugher
  *  Aaron Dalton <aaron@FreeBSD.org>
  *  Aaron Dalton <aaron@daltons.ca>
  *  Aaron VonderHaar <avh4@usa.net>
  *  Aaron Zauner <az_mail@gmx.at>
  *  Adam Kranzel (adam@alameda.edu)
  *  Adam Weinberger <adamw@FreeBSD.org>
  *  Ade Lovett <ade@FreeBSD.org>
  *  Akinori MUSHA aka knu <knu@idaemons.org>
(Only the first 15 lines of the commit message are shown above View all of this commit message)
2018.02.03.a_2
06 Apr 2021 14:31:07
commit hash: 305f148f482daf30dcf728039d03d019f88344ebcommit hash: 305f148f482daf30dcf728039d03d019f88344ebcommit hash: 305f148f482daf30dcf728039d03d019f88344ebcommit hash: 305f148f482daf30dcf728039d03d019f88344eb files touched by this commit
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Remove # $FreeBSD$ from Makefiles.
2018.02.03.a_2
19 Mar 2020 23:02:31
Revision:528750Original commit files touched by this commit
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Clean up LLD_UNSAFE from openal-soft ports

After FreeBSD 12.0 EOL we no longer have to worry about LLD 6 and
can drop LLD_UNSAFE from openal-soft ports.  LLD can link them fine
now but some ports needs a little help on i386 (-Wl,-znotext).

PR:		226980
Reviewed by:	jbeich (earlier version)
Differential Revision:	https://reviews.freebsd.org/D23030
2018.02.03.a_2
06 Jan 2020 16:34:41
Revision:522258Original commit files touched by this commit
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Move those ports to my FreeBSD.org address.
2018.02.03.a_2
08 Nov 2019 10:47:01
Revision:517046Original commit files touched by this commit
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games: Add missing USES={gnome,gl,sdl,xorg}
2018.02.03.a_2
13 Aug 2019 16:03:12
Revision:508837Original commit files touched by this commit
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Convert to UCL & cleanup pkg-message (categories e-g)
2018.02.03.a_2
26 Jul 2019 20:46:57
Revision:507372Original commit files touched by this commit
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Bump PORTREVISION for ports depending on the canonical version of GCC
as defined in Mk/bsd.default-versions.mk which has moved from GCC 8.3
to GCC 9.1 under most circumstances now after revision 507371.

This includes ports
 - with USE_GCC=yes or USE_GCC=any,
 - with USES=fortran,
 - using Mk/bsd.octave.mk which in turn features USES=fortran, and
 - with USES=compiler specifying openmp, nestedfct, c11, c++0x, c++11-lang,
   c++11-lib, c++14-lang, c++17-lang, or gcc-c++11-lib
plus, everything INDEX-11 shows with a dependency on lang/gcc9 now.

PR:		238330
2018.02.03.a_1
25 Dec 2018 20:25:40
Revision:488341Original commit files touched by this commit
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Change cmake default behaviour to outsource.

Ports that build out of source now simply can use "USES=cmake"
instead of "USES=cmake:outsource". Ports that fail to build
out of source now need to specify "USES=cmake:insource".

I tried to only set insource where explictely needed.

PR:		232038
Exp-run by:	antoine
2018.02.03.a_1
12 Dec 2018 01:35:36
Revision:487272Original commit files touched by this commit
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Bump PORTREVISION for ports depending on the canonical version of GCC
defined via Mk/bsd.default-versions.mk which has moved from GCC 7.4 t
GCC 8.2 under most circumstances.

This includes ports
 - with USE_GCC=yes or USE_GCC=any,
 - with USES=fortran,
 - using Mk/bsd.octave.mk which in turn features USES=fortran, and
 - with USES=compiler specifying openmp, nestedfct, c11, c++0x, c++11-lang,
   c++11-lib, c++14-lang, c++17-lang, or gcc-c++11-lib
plus, as a double check, everything INDEX-11 showed depending on lang/gcc7.

PR:		231590
2018.02.03.a
18 Sep 2018 09:28:35
Revision:480003Original commit files touched by this commit
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Upgrade these ports to USES=compiler:c++11-lang to fix build on gcc-based
archs such as powerpc64.

Tested for no effect on amd64.

While here, pet portlint.

Approved by:	portgmr (tier-2 blanket)
2018.02.03.a
05 Apr 2018 01:48:38
Revision:466520Original commit files touched by this commit
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- Update to 2018-02-03_alpha
- Moves USES higher to please portlint

PR:		225685
Submitted by:	pkubaj@anongoth.pl(maintainer)
2017.08.05.a
07 Jan 2018 21:27:59
Revision:458385Original commit files touched by this commit
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Set LLD_UNSAFE=yes that the port will continue to link with ld.bfd
if /usr/bin/ld is lld, until the issue can be addressed.

PR:		214864
Approved by:	portmgr (LLD_UNSAFE blanket)
Sponsored by:	The FreeBSD Foundation
2017.08.05.a
11 Aug 2017 18:17:53
Revision:447783Original commit files touched by this commit
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games/OpenTomb: Update to 2017.08.05.a

PR:		221421
Submitted by:	Piotr Kubaj <pkubaj@anongoth.pl> (maintainer)
2017.04.24.a
09 Jun 2017 13:45:20
Revision:442987Original commit files touched by this commit
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New port: games/OpenTomb

OpenTomb is an open-source engine reimplementation project intended to
play levels from all classic-era Tomb Raider games (TR 1-5) and custom
TRLE levels.  The project does not use any old Tomb Raider source
code, because all attempts to retrieve sources from Eidos / Core were
in vain.

WWW: https://opentomb.github.io/

PR:		218883
Submitted by:	Piotr Kubaj <pkubaj@anongoth.pl>
Approved by:	lme (mentor)
Differential Revision:	https://reviews.freebsd.org/D10664

Number of commits found: 16