During Kahlo's final years when she was plagued by illness, Álvarez and her camera provided respite from Kahlo's pain and the two women collaborated on both still images and a Surrealistic film. The film was not completed because of Kahlo's death, but a series of photographs evoke the dual and dueling aspects of Kahlo's exterior façade and interior turmoil. "Frida looking at herself in the mirror in the patio of Casa Azul" and "Frida leaning against a tree", both taken in 1942, encapsulate Kahlo's tentative hold on tranquillity. In Álvarez's 1944 image "The Two Fridas", Kahlo approached a mirror and Álvarez captured the beautiful, elegantly-clad artist, and her reflection, riddled with interior pain from her accident as well as unhappiness from her troubled marriage. Álvarez stated (about her pieces of Kahlo) "I wanted to show something of her internal life." "Frida Kahlo Following Amputation of Her Right Leg", taken in 1953, and the interaction Kahlo and Álvarez had before taking it displays the relationship the two female artists had with each other. Kahlo would called Álvarez "manita", meaning little sister. The last photograph taken of Kahlo, "Frida Kahlo on her deathbed", was taken by Álvarez in 1954. According to Kahlo's wishes, she was dressed in an outfit she had selected, her nails were painted and hair braided and her favorite jewelry adorned her neck and fingers.