Sentences with phrase «between women in the film»

There is barely any dialogue between women in the film that is about a man.

Not exact matches

The item got passed around from site to site, and a consensus began to form: The desperate not - quite - It Girl was Gretchen Mol, whose movie roles were starting to dry up; the new target was Blake Lively, beginning to transition from TV to film; and in the center of it all, between two beautiful young women whose careers he held in the palm of his hands, was Harvey Weinstein.

The film premiered in 2008 just before California voters were to vote on Proposition 8, the California ballot proposition stating that only marriage between a man and a woman is valid.

Many of the women who appear in the film discuss issues that, while not gone entirely, were more widespread 30 years ago — the denial of assisted reproduction to lesbians or single women; the lack of legal recognition for non-biological parents; creating then - untested contracts between a known donor and a female couple; a mother being denied entrance to the hospital where her partner has just given birth to their severely premature child.

Sadly, much of the film goes in circles as Jack floats between woman, his apartment, and the increasingly shallow conversations with Benedetto that don't even have the decency to pretend to be layered.

Set in a rural village in the Limousin countryside of France during World War I, between 1915 and 1920, the film follows the women of the Sandrail family as they tend to the family farm while the men of the family fight.

While the film touches upon its various political and cultural issues (In addition to the give - and - take relationships between reporters and politicians, there's a lot about the overt and subtle sexism that Kat receives as the first and, at the time, only woman serving a newspaper publisher), the film plays mostly and best as a race - against - the - clock thriller of sorts, in which the obstacles are as imposing as the might of the U.S. government and as low - key as deadlines or being beaten to a story by a rival papeIn addition to the give - and - take relationships between reporters and politicians, there's a lot about the overt and subtle sexism that Kat receives as the first and, at the time, only woman serving a newspaper publisher), the film plays mostly and best as a race - against - the - clock thriller of sorts, in which the obstacles are as imposing as the might of the U.S. government and as low - key as deadlines or being beaten to a story by a rival papein which the obstacles are as imposing as the might of the U.S. government and as low - key as deadlines or being beaten to a story by a rival paper.

Jolie's last film, In the Land of Blood and Honey, had more evident passion (it centered on a sadomasochistic relationship between a Serbian officer and Bosnian woman); this one often feels like rewarmed Spielberg.

In some ways, the film's chasm between Williams's star wattage and the mundane material surrounding the actress could be seen as reflective of Jessica herself: a woman whose outward displays of sassy assertiveness masks a host of insecurities.

Among many others, the scene with The Dude morphed onto a bowling ball and rolling down the lane - between the legs of a horde of beautiful women - and to some groovin» music - may be the funniest and most surreal thing I've ever seen in film.

The film runs for a taut 83 minutes, and part of what's impressive about it is how economically, in a wholly unobtrusive way, it sets up the conflict between the two leading characters, an executive and a woman roughly half her age.

The running theme of the film is the relationship between the legacy of Persian / Iranian culture — which, as seen in the quoted passages of these poets, was rife with the celebration of wine, women, and the life of the senses — with Iran in 1999.

His newest film sweeps the corners on the ages not covered by those two films, focusing on the unlikely friendship between a college freshman (Lola Kirke) and a woman hovering around 30 (Greta Gerwig)-- and in doing so, Baumbach and Gerwig cook up what may be his flat - out funniest movie of the past decade.

Rich: The «films directed by women» part of your prompt is sadly irrelevant this year — unless Phyllida Lloyd developed serious directing chops between Mamma Mia and The Iron Lady, or the Academy suddenly takes a shine to the amazing Kelly Reichardt, no films directed by women will really be in the conversation.

The film, a fairy tale love story between a mute woman and an otherworldly beast, won best picture, and its producer defended the studio in the wake of the merger.

With «Before Midnight,» writer - director Richard Linklater and actors Ethan Hawke and Julie Delpy continue one of the most interesting projects in film history: a movie franchise based almost entirely on simple conversations between a woman and man.

The chemistry in this film was not about Reese Witherspoon and who she felt stronger feelings for; it was really about the strong bond between these two men and the woman who could possibly come between them.

In directing «The Space Between Us,» Peter Chelsom, who takes an acting part in the film as the voice of a robot, is on a similar wavelength by dealing with the space between one young man from Mars and one young woman from EartIn directing «The Space Between Us,» Peter Chelsom, who takes an acting part in the film as the voice of a robot, is on a similar wavelength by dealing with the space between one young man from Mars and one young woman fromBetween Us,» Peter Chelsom, who takes an acting part in the film as the voice of a robot, is on a similar wavelength by dealing with the space between one young man from Mars and one young woman from Eartin the film as the voice of a robot, is on a similar wavelength by dealing with the space between one young man from Mars and one young woman frombetween one young man from Mars and one young woman from Earth.

The Outstanding Achievement by A Woman in The Film Industry honored «Rose McGowan, Ashley Judd and all who spoke out against sexual harassment,» while the AWFJ Hall of Shame Award went to «sexual tormentors Harvey Weinstein, Kevin Spacey, Brett Ratner, et al.» Louis CK earned a mention for his shelved film, «I Love You, Daddy,» which won the Most Egregious Age Difference Between The Lead and The Love Interest Award for its pairing of 64 - year - old John Malkovich and 20 - year - old Chloe Grace Moretz.

Comparisons will immediately be drawn between Divergent and The Hunger Games, as both are dystopian sci - fi film series based on a trilogy of young adult novels written by women, featuring teenage female protagonists in an action - thriller scenario leading a rebellion against a corrupt and manipulative government force, while also engaging in a bit of romance on the side.

The film appears as interested in developing the strange relationship between Korben and the two young women as it is in exploring the possibility that Kate can really speak with spirits (for a far superior TIFF film that explores this idea, see Olivier Assayas» «Personal Shopper» starring Kristen Stewart).

The most resonant roles for women centered on the sometimes loving, frequently fraught relationships between mother and daughter as displayed in such films as «The Florida Project» (where the roles were played by Bria Vinaite and Brooklynn Kimberly Prince); «Marjorie Prime» (Lois Smith and Geena Davis); «The Big Sick» (Holly Hunter and Zoe Kazan); and «Lady Bird» (Laurie Metcalf and Saoirse Ronan).

Similarly premised on a tipping point between synthesis and disarray was the Kiwi anthology Waru, an unprecedented collaboration among eight Maori women filmmakers, each contributing a 10 - minute short film linked in more and less obvious ways to the funeral of the title character, a young boy who died amid dubious circumstances.

For Western audiences, the film also documents — without overtly critiquing — the role of religion, and the power dynamics between men and women, in contemporary Iranian society.

Chang would continue to establish herself as a writer / director throughout the 1990s, making six films in - between small film roles and an occasional bigger role like the one in Ang Lee's Eat Drink Man Woman.

But this year's slate also featured several films centered on relationships between older women and younger men: Hannah Fidel's A Teacher, which concerns an affair between a high school teacher and a student; Liz W. Garcia's The Lifeguard, in which Kristen Bell takes up with a teenage boy; and Two Mothers, in which Robin Wright and Naomi Watts are friends who each get with the other's teenage son.

Although they do love each other, tensions between the two set in regarding the casting of the film adaptation of Joe's latest bestselling book, as Sally think she would be the natural woman for the role, since she believes it is based on her.

There is more chemistry and tenderness between Penn and James Franco than in hundreds of movies about men and women, which is a radical notion for an American film.

In any case, the biggest taboo in this film turns out not to be the loving relationship between an old woman and a young man, but the violently hateful relationship between a mother and her daughteIn any case, the biggest taboo in this film turns out not to be the loving relationship between an old woman and a young man, but the violently hateful relationship between a mother and her daughtein this film turns out not to be the loving relationship between an old woman and a young man, but the violently hateful relationship between a mother and her daughter.

Deraspe opens her film in a very unique manner for a documentary, recreating the imaginary affair between Amina and Sandra in hypersexualized images of women undressing under explicit texts between the pair.

The heart of the film is in the number of scenes just between the two women, with Tully nudging out bits of truth about Marlo's relationship with her kids and husband that the older woman seems wary to admit lest it suggest that her suburban lifestyle is built upon a lie, or is something to be ashamed of.

Going back and forth between Bloom's rise, as she arranged secretive multi-million dollar poker games for the rich and famous at luxurious hotels, and her eventual fall that we witness in the opening sequence when FBI agents storm Bloom's apartment arresting her for fraud, the film is an ambitious attempt by Sorkin to fully flesh out a fascinatingly complex woman.

In Between begins as an enjoyably light drama about three Palestinian women living in Tel Aviv, and then transitions into a more serious film to explore issues of religion, gender and sexualitIn Between begins as an enjoyably light drama about three Palestinian women living in Tel Aviv, and then transitions into a more serious film to explore issues of religion, gender and sexualitin Tel Aviv, and then transitions into a more serious film to explore issues of religion, gender and sexuality.

The Happening has a strong premise, and with Shyamalan's neo-1970's filmic approach the film comes across as a mix between Panic in the Year Zero, Roger Corman efforts such as The Last Woman on Earth, and a J.G. Ballard short story.

Set in London in the 1950s, Anderson's film concerns the relationship between a celebrated fashion designer, Reynolds Woodcock (Daniel Day - Lewis), and a young woman, Alma (Vicky Krieps).

Between this and the balanced approach Tsui gives to the woman's point of view in many of his romantic films (Working Class, The Lovers, Love in the Time of Twilight, Green Snake, etc) as well as the brilliant job he and Carina Lau do in re-envisioning the notorious Empress Wu in the Detective Dee films, I wonder if Tsui should be getting more credit for progressiveness in his depictions of women, especially relative to such macho directors as Woo, Sammo Hung, Jackie Chan, Ringo Lam, Wong Kar - wai and others of that generation.

It focuses on bridging the leadership gap between women and men in film, and encourages followers to share what they think makes a great leader.

The film follows the relationship between two very different women in 1950s New York.

Over a night of gamesmanship, the title of the film is examined in shifting power dynamics between a woman who has spent her professional life subsuming her femininity for power in a traditionally masculine arena and the girl who has spent her life exploiting femininity to the same ends.

Though the film has a lesbian theme, it is more of a coming - of - age depiction of a rudderless young woman seeking her identity who finds herself, like Stephen Gordon in Radclyffe Hall's 1928 novel, «The Well of Loneliness,» «like a soul that wakes up to find itself wandering, unwanted, between the spheres.»

At the film's recent press day, Mirren revealed her approach to the role, what it was like having the opportunity to improvise on set, acting opposite the renowned Puri and what the two share in common, what she looks for in a project, why the director is an important consideration, why she likes to alternate between big movies and smaller low budget films, her lifelong attraction to French culture, her latest film that she's currently shooting with director Simon Curtis entitled «Woman in Gold,» and her upcoming biopic, «Trumbo,» with Bryan Cranston about blacklisted screenwriter Dalton Trumbo.

The film is content hanging out in the middle as a no - apologies mainstream comedy, and has no aspiration for comedic greatness, or social commentary on the differing ideas of friendship between men and women.

Ah, the critic who cried woman... Anytime there's discourse about female directors in film, there's the frustratingly inevitable bombardment of outcry about the gross discrepancy between the number of male - directed films and those of their female counterparts.

The film presents a fantastic contrast between the old and the new right from the very start when a statue of Christ is flown in by helicopter past ancient Roman aqueducts, over construction sites for new suburban tenement buildings, and over the rooftop of penthouse apartments decked out with bikini - clad women of the leisure class.

It's been three years since Nicole Holofcener's lovely previous feature «Please Give» (though she's directed episodes of «Parks & Recreation» and «Enlightened» in between), and her latest — hitting TIFF before a late September release date — reunites her with Catherine Keener (who has starred in all of her films) alongside Toni Collette, Julia Louis - Dreyfus and the late James Gandolfini in the story of divorced woman (Dreyfus) who learns her new love interest (Gandolfini) is her new friend's ex-husband.

The film follows the relationship between a bullied student, Shelly (Hasson), whose home life is in shambles, and a wealthy eccentric, Wes (Burke), with no friends and issues with women.

In one of the strongest turns for women overall, Stewart shines opposite Juliette Binoche in The Clouds of Sils Maria, one of the few films to examine the complicated relationships between womeIn one of the strongest turns for women overall, Stewart shines opposite Juliette Binoche in The Clouds of Sils Maria, one of the few films to examine the complicated relationships between womein The Clouds of Sils Maria, one of the few films to examine the complicated relationships between women.

Since this film is a blockbuster, we know that it will be boldly filmed and will include both sentimental phone calls between some climbers and their wives back home (the women, played by Robin Wright as Weathers» wife Peach, and Keira Knightley as Jan Arnold, Rob Hall's wife), the women holding their breath despite the normal air pressure in their home towns wondering whether they will ever see their men again.

The differences between that film and this reinvention are obvious from the very start; rather than the original's scene - setting opening where Yul Brinner and Steve McQueen stand up for the rights of a deceased and unknown native American, instead we have a pantomime villain doling out ugly violence and not only that, the only native American onscreen murders a fleeing innocent woman in cold blood.

Based on the Patricia Highsmith novel «The Price of Salt,» the film details the meeting, flirtation and romance between two very different women; Carol is a wealthy New York City suburbanite in a rocky...