Sentences with phrase «facing women in film»

«With perspective from opening Sundance's records for four years of landmark research that examines the barriers facing women in film, the time is right to gather industry leadership and start to address these obstacles,» Sundance Institute Executive Director Keri Putnam said.

Not exact matches

In a panel discussion following a Saturday screening of the film in New York, Sarkeesian — a San Francisco entrepreneur who with her team of four creates the video series Feminist Frequency — addressed possible responses to the online abuse women face from gamers, ex-boyfriends and other venomous sourceIn a panel discussion following a Saturday screening of the film in New York, Sarkeesian — a San Francisco entrepreneur who with her team of four creates the video series Feminist Frequency — addressed possible responses to the online abuse women face from gamers, ex-boyfriends and other venomous sourcein New York, Sarkeesian — a San Francisco entrepreneur who with her team of four creates the video series Feminist Frequency — addressed possible responses to the online abuse women face from gamers, ex-boyfriends and other venomous sources.

Parker faces renewed criticism after details of his 2001 trial on charges of raping a college classmate resurfaced earlier this week, and it was disclosed that the 18 - year - old woman who accused Parker and the film's co-writer, Jean Celestin, of raping her had committed suicide in 2012.

A TV programme which films young women revealing themselves in public is facing a challenge from MPs.

GLAAD takes action against Ticked Off Trannies with Knives: «The film, its title and its marketing misrepresent the lives of transgender women and use grotesque, exploitative depictions of violence against transgender women in ways that make light of the horrific brutality they all too often face.»

The film's most memorable moments belong to Streep's sometimes awkwardly sympathetic character as she enters yet another boardroom populated by men or, later in the story, when she emerges from the Supreme Court to find a sea of upturned faces of young women there to cheer her on.

The young woman (Emma Bellomy) asking the question (as she did in the first film) has long stringy hair, but her face is hidden in the shadows.

Tom Hanks (left) plays Ben Bradlee and Meryl Streep is Katherine Graham in «The Post,» the Steven Spielberg — directed film of a woman facing a critical decision to stand up for a free press while risking jail and her company's future.

This devastating film is buoyed by Dequenne's bravura willingness to go all out; she's a baby - faced kid when the camera focuses full on and an exceptionally beautiful young woman in profile.

The 2018 Academy Award nominations also include another transgender entry in the Best Foreign Language Film category with the Chilean / German co-production, A Fantastic Woman, a film about a trans woman who faces transphobia while mourning her lover's dWoman, a film about a trans woman who faces transphobia while mourning her lover's dwoman who faces transphobia while mourning her lover's death.

Once again starring Pilou Asbæk, the film portrays a Danish Army major whose life begins to unravel after he causes the death of a dozen women and children during a high - risk mission in Afghanistan and now faces a war - crimes tribunal... Gaspar Noé is back!

Wonder Wheel Woody Allen's latest, good not great, features Kate Winslet as a woman facing her last chance at love, in a film set in Coney Island in the 1950s.

When Clarke died in 1992 at age 81 most classic film fans remembered her as the woman who gets a grapefruit smashed in her face by James Cagney during THE PUBLIC ENEMY (1931) or they might have recalled her daring leap from a window to protect the man she loves in THE FRONT PAGE (1931).

A remake of the 2010 French film Crime d'amour, the movie stars Rachel McAdams and Noomi Rapace — their faces so porcelain and blemish - free it looks like they dipped them in buttermilk before every scene — as women in a Berlin ad agency, engaging in twisted office warfare.

Determined to clear their names, the band of men runs from federal agent Charisa Sosa (Jessica Biel)-- the one woman in the film who provides a minor love interest for Face — while seeking help from CIA Agent Lynch (Patrick Wilson).

If you haven't seen this film about voiceover artists in Los Angeles, it expertly defines the multidimensional barriers to success that women face any time they wish to advance upward — and it's the movie where Tig Notaro met her wife.

You could call it a propaganda piece, an uplifting film about sacrifice and duty in the face of war that celebrates the service of Britain's men in war and the endurance of the women (including Celia Johnson as Coward's wife) left behind.

Though the data tells us that women are interested in genres favored by Hollywood, female filmmakers encounter significant obstacles as they attempt to move from independent to more commercial filmmaking, and face deep - rooted presumptions from the film industry about their creative qualifications, sensibilities, tendencies, and ambitions.

Even though Bigelow had to face some harsh criticism from women who saw Strange Days as an anti-women film because of the shocking violence on display, it could be argued Strange Days is a pure feminist picture, as Angela Bassett's Mace is a physically imposing, capable, intelligent yet distinctly feminine character who might be the supporting pillar of Ralph Fiennes» lost soul, but in some ways remains the emotional center of the whole film.

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.

Grahame was less otherworldly than the goddess Monroe (both women endured plastic surgery to perfect their faces) but she had a feline beauty, sharp - featured and streetwise, the ideal look for many a femme fatale in some of the finest film noir titles ever produced.

In an attempt to bring a more human face to the slaughter, Saroyan brings in a historian, an Armenian woman named Ani (Khanjian, Irma Vep), to serve as an advisor to the film, since she is an expert on the life of painter Arshile Gorky (Abkarian, When the Cat's Away), reported to have eye witnessed the events, and who is to be featured in a supporting rolIn an attempt to bring a more human face to the slaughter, Saroyan brings in a historian, an Armenian woman named Ani (Khanjian, Irma Vep), to serve as an advisor to the film, since she is an expert on the life of painter Arshile Gorky (Abkarian, When the Cat's Away), reported to have eye witnessed the events, and who is to be featured in a supporting rolin a historian, an Armenian woman named Ani (Khanjian, Irma Vep), to serve as an advisor to the film, since she is an expert on the life of painter Arshile Gorky (Abkarian, When the Cat's Away), reported to have eye witnessed the events, and who is to be featured in a supporting rolin a supporting role.

The film follows Marina Vidal, a trans woman who not only loses her partner but is also forced to confront the scrutiny and suspicion of his family in the face of his death.

«Baby Face,» one of the most outrageous pre-Code films, will be shown in its original uncut form, with Stanwyck as a woman from the wrong side of the tracks — her father was her pimp — who decides to sleep her way to the top in the New York business world.

While the slower pacing in the beginning of the film, as well as the focus on the strength and empowerment of all three young women may not interest fans of «more traditional» westerns, the film is a fantastic look at the willpower and resolve of three strong capable women in the face of some of the worst conditions that war can bring about.

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.

Her 1966 film «Daisies» might have been the most anarchic of all, a candy - colored surrealist fantasy of two young women who turn their boredom into in - your - face fun.

The Annenberg School study also interviewed many filmmakers and produced the following data on the challenges that women face in the film industry:

«In her latest film Still Alice, she faces one of her most demanding and challenging roles as Alice, a woman diagnosed with Early - Onset Alzheimer's Disease.

I know how ridiculous that sounds, but I was somewhat pleasantly surprised by the first film, which Sam Taylor - Johnson, Kelly Marcel, and Dakota Johnson (in a sly, genuinely funny performance) conspired to turn into a coming - of - sexual - age story in which a young woman took control over her body and her sexual desires in the face of men who would have be something other than what she is.

Other notable films that will screen at TIFF include Tom Ford «s «Nocturnal Animals,» with Jake Gyllenhaal and Amy Adams; «Whiplash» director Damien Chazelle «s musical «La La Land,» with Ryan Gosling and Emma Stone; Peter Berg «s «Deepwater Horizon,» a true - life drama about the oil spill, starring Mark Wahlberg and Kurt Russell; Werner Herzog «s «Salt and Fire,» a drama in which Michael Shannon and Gael Garcia Bernal face ecological disaster in South America; Ewan McGregor «s Philip Roth adaptation «American Pastoral,» the actor's directorial debut; Denis Villeneuve «s sci - fi drama «Arrival,» formerly titled «Story of Your Life,» with Amy Adams and Jeremy Renner; Juan Antonio Bayona «s «A Monster Calls»; «Denial,» Mick Jackson's drama starring Rachel Weisz as a historian sued by a Holocaust denier; Irish director Jim Sheridan «s «The Secret Scripture,» with Vanessa Redgrave and Rooney Mara playing two different ages of a woman who keeps a diary of her time in a mental hospital; and «Mascots,» Christopher Guest «s comedy about the world of sports mascots.

Since Director William Oldroyd's reputation is on the line with his first full - length movie, he is fortunate in starring Florence Pugh as title character, a woman whose prior film experience has been only in «The Falling,» wherein she played a charismatic pupil in a 1969 English girls» school faced with a mysterious fainting epidemic.

So many of our favorite films from 2017 feature brilliant women either in front of the lens or behind it ---- from Wonder Woman to Rumble to Lady Macbeth to Lady Bird to Faces Places to The Beguiled ---- what phenomenal females!

But it's the film's final scene, in which a camera trains on the ravaged, tear - stained face of Elio, a precocious 17 - year - old crushed over having just learned that his older former lover, Oliver, is getting married to a woman, that provides «Call Me by Your Name» with its most poignant and powerful moment.

Now, in this Berlin Silver Bear winner from Mia Hansen - Løve — writer - director of such intimate films as Father of My Children and Goodbye First Love — Huppert delivers a note - perfect warm and wry performance as a philosophy teacher whose life is defined by ideas rather than circumstance, a woman of substance — intellectual, emotional, financial — who faces unexpected constraints and freedoms when the assumed certainties of her domestic life unravel.

Oscar - nominated actress Larson, who will receive the Crystal Award for Excellence in Film, stars in Marvel's first female - led superhero film; while ABC Entertainment president Dungey, who gets the Lucy Award for TV, has overseen the network as it boasts five of the top - 10 most co-viewed series; Shipp, Max Mara's Face of the Future, plays young Storm in «X-Men: Apocalypse»; and Nova Wav, which will be presented with the Women in Film Artistic Excellence Award, is the Grammy - winning duo of Denisia «Blu June» Andrews and Brittany «Chi» Coney, and the lone female songwriting and production team in the music biz.

Intense eyes, wrinkles of age covering her face and wiry white hair that seems to get more and more uncontrollable as the film goes along, she reminded me of Gena Rowland's brilliantly unhinged performance in John Cassavetes» A Woman Under the Influence (1974).

First up is Light Source & Imagery's 22 - minute «The Making of Norbit», in which Eddie Murphy walks the knife's edge of self - awareness («When I put on these makeups, I get to go to some whole other place... that I couldn't go with [my real face] on»), Thandie Newton hails the movie as a palate cleanser to a string of demanding roles / films (to think Jonathan Demme remade Charade for her when all he had to do was put Eddie Murphy in a fat - suit), and we see nifty demonstrations of how the split - screens were accomplished; turns out that much of the time Murphy is only playing Rasputia from the neck up, a good - natured obese woman filling in for the body.

a.) It starred a fresh - faced, pre-Freddie Krueger Robert Englund; b.) the sets and alien landscapes were done by a certain James Cameron (you might have heard of him), who served as production designer and second unit director on the film; and c.) a scene in which a woman is raped to death by a giant maggot space alien monster.

The philosophy is important, naturally, but it's in the character moments — the smile of a woman's face through some glass, the synchronized disco dancing, the feeling of both opulence and austerity — that gives the film what I hope will be a lasting presence.

It's certainly interesting to see women tackle these subjects in such bare - faced detail on screen, but the film works best in its broader strokes, most notably as a scathing look at the woeful gender politics that still dominate the filmmaking scene.

The world and other people, of course, have other plans for the two women, and the film's third - act developments directly address the personal sacrifices the characters must make in the face of people who do not understand them.

Inspired by films such Roman Polanski's Repulsion and The Tenant with a little bit of David Lynch's Eraserhead thrown in, Darling tells the story of one woman's (Lauren Ashley Carter, Jug Face, Pod) descent into total insanity during the course of its brief 78 - minute runtime.

Gal Gadot's Wonder Woman faces Dr. Poison and Ares in the new international trailer for the Warner Bros. film.

The jury, which is composed of prominent names in the filmmaking industry, including Emirati writer and filmmaker Manal Bin Amro, UAE filmmaker Abdullah Hassan Ahmed, Dr Shahin Yazdani, Professor in the Applied Communications programme at Sharjah Women's College, and Pakistani Shoaib Iqbal, Founder and Director of the Lahore International Children's Film Festival, revealed the main challenges they faced during the judging process and shortlisting of the films nominated for the SICFF awards.

In Faces, Sarmento filmed a close - up of two women in an intimate embrace; their glowing red lips leave traces of lipstick on each other's skin, eliciting a powerful atmosphere of sensuality and voyeurisIn Faces, Sarmento filmed a close - up of two women in an intimate embrace; their glowing red lips leave traces of lipstick on each other's skin, eliciting a powerful atmosphere of sensuality and voyeurisin an intimate embrace; their glowing red lips leave traces of lipstick on each other's skin, eliciting a powerful atmosphere of sensuality and voyeurism.

Now the artist, who has established a career making portraits of women in lonely, haunting environments — and who has shot numerous fashion campaigns and editorials, including for Bottega Veneta and W Magazine — unveils Face in the Crowd at the Corcoran Gallery in Washington, D.C., alongside a short film starring Elizabeth Banks.

The frame gives the phrases an air of authority that contrasts with the farcicality in some statements and the depressing literality in others: «One of every two men is a man,» «Let the best continue winning,» and «In Cannes, women show their faces, men their films.&raquin some statements and the depressing literality in others: «One of every two men is a man,» «Let the best continue winning,» and «In Cannes, women show their faces, men their films.&raquin others: «One of every two men is a man,» «Let the best continue winning,» and «In Cannes, women show their faces, men their films.&raquIn Cannes, women show their faces, men their films.»