Sentences with phrase «complex women in films»

She made her mark playing difficult, disturbed and complex women in films such as «A Woman Under the Influence,» «Faces» and «Gloria,» all made with her husband, the groundbreaking writer / director / actor John Cassavetes.

Not exact matches

While 2017 has been an awful year for women in film in most respects, it has thrown up a riot — or whatever the collective noun for mums ought to be — of complex on - screen mothers.

It was especially poignant to see Robinson, a lesbian filmmaker who's been working in the industry for years on various projects including The L Word, present such a radical film to both older audiences who were familiar to the character and young audiences who are growing up with the chance to see a complex women - centric narrative propelled by her.

Unemployed art school graduates Mingming and Yue take turns filming each other with a small camera, exploring a range of issues rarely shown in any national cinema with such deadpan accuracy — from the complex waters of female friendship to «pussy» as a commodity, from the desire to use filmmaking as a weapon to the decision to make a baby — an up - in - your face, playful, sassy deconstruction of what it means to be a young woman now.

There is much here to be considered, but for Shiel in Kate Plays Christine, it is far from complex: as she says in the film, «the guy who wrote Network took this depressed woman and turned her into this macho man».

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.

«This film tells a fascinating story from one of those thousands of women who try to be happy in their 50s, where an apparently boring life can be fascinating, erotic, fun and complex.

For over two decades, Olivier Assayas has provided complex, multi-dimensional roles for women, from Clotilde de Bayser in Winter's Child (1989) and Maggie Cheung in Irma Vep (1996) to Connie Nielsen in Demonlover (2002) and Juliette Binoche in Summer Hours (2008); the female lead in an Assayas film requires an actress of international standing at the top of her game.

Slow, not terribly interested in lore or internal logic, and fatally hamstrung by the choice of actors like Billy Crystal and a zombified Emily Mortimer to voice its American dub, it's a regression for Miyazaki from his last two films (Princess Mononoke and Spirited Away) in almost every sense, starting with his decision to have a lonely young woman as the central character in place of the prepubescent little girls front and centre in most of his masterpieces (the last two films, Kiki's Delivery Service, Nausicaä of the Valley of the Wind, and My Neighbor Totoro) and ending with a gross simplification of his usually complex themes of confidence and actualization into a colourless, flavourless drone about the hard - to - dispute badness of war.

All the men in the film, including Jamie, and Billy Crudup's William, are lost boys, while the women get to be complex, dynamic, unique and confident.

Gestures of cultural understanding are performed by a number of artists whose images reveal complex narratives: Kent Monkman's alter ego Miss Chief Eagle Testickle reclaims a controversial headdress; Aida Muluneh speaks to the struggles and achievements of the African diaspora across history; and Caroline Monnet's scene of women in the film industry highlights an emerging sense of power and self - determination.

In the process of this extraordinary film, Thomas reveals the complex role of the mother - daughter bond for each woman's sense of self.

In her short film Night Cries: A Rural Tragedy (1989), which was selected for official competition at the 1990 Cannes Film Festival, she engages with both national and personal history through the complex relationship between an aboriginal woman and her dying white foster mother.

Between the Bullet and the Hole is a newly commissioned film focused on the elusive and complex effects of war on women's role in ballistic research and early computing.

Between the Bullet and the Hole is a film, co-commissioned by the Dallas Contemporary and the Sydney Biennale, focused on the elusive and complex effects of war on women's role in ballistics research and early computing.

In doing so, she creates a complex and multilayered synthesis of various art forms — film, dance, and sculpture — while simultaneously meditating on the process through which art is made, and the shifting sexual dynamics between men and women as embodied in both the sculpture and Halprin's performative re-imagination of iIn doing so, she creates a complex and multilayered synthesis of various art forms — film, dance, and sculpture — while simultaneously meditating on the process through which art is made, and the shifting sexual dynamics between men and women as embodied in both the sculpture and Halprin's performative re-imagination of iin both the sculpture and Halprin's performative re-imagination of it.