Sentences with phrase «further women in film»

In addition to the female focus on Cattrall and Gadon, this year's WFF had several initiatives in place to help further women in film.

Not exact matches

«22 - A particularly graphic illustration of this point was the made - for - TV movie Playing for Time (1980), a film which raised a touchy question: How could Jewish women musicians play far Nazis in the concentration camps?

In the film, Schulman hits the road to meet his online love for the very first time, only to discover that she's a far cry from the woman he thought he'd been getting to know.

This calm and quiet film tells the story of a Bangladeshi woman that gets married to far away London, where we find her 16 years later with husband and daughters, struggling in her uneventful life and still hoping to return back home to her sister.

While at work on Fifteen Minute Hamlet, Louiso moved to L.A. to further pursue his screen career, and, after appearing in such films as Scent of a Woman (1992), Apollo 13 (1995), and Jerry Maguire (1996), he had his most high profile role to date in Stephen Frears» widely celebrated adaptation of Nick Hornby's High Fidelity (2000).

The WIDC's Women In the Director's Chair Industry Immersion practicum provided eight mid-career women screen directors with the opportunity to further their projects with input from leaders in all aspects of the film induWomen In the Director's Chair Industry Immersion practicum provided eight mid-career women screen directors with the opportunity to further their projects with input from leaders in all aspects of the film industrIn the Director's Chair Industry Immersion practicum provided eight mid-career women screen directors with the opportunity to further their projects with input from leaders in all aspects of the film induwomen screen directors with the opportunity to further their projects with input from leaders in all aspects of the film industrin all aspects of the film industry.

(As far as we can tell, there isn't a single woman in this film.)

The film opens on the island of Themyscira, a paradise island created by the god Zeus and hidden from the real world by a protective shield, and the film stays there for a while as we follow Diana from curious little girl to fully trained warrior princess but once Steve Trevor's fighter plane crashes there and Diana realises there is a war being fought in world she does not know of that is not too far away then we swiftly get brought into London in 1918 and this shift from fantasy into a «real world» scenario gives the film a greater sense of depth, and when combined with characters that you actually care about then Wonder Woman is head and shoulders above all of the other DCEU movies on the strength of that alone.

The film works best as an allegory of what men fear: loss of family, loss of profession, loss of respect, loss of sanity (resembling in this aspect the suburban unease of the director's Arlington Road), going so far as to cast a woman (Laura Linney) as the film's only representative of order.

In the film, a white American surgeon travels to a mythical temple in the Far East to learn the mystic secrets of an ancient order of sorcerers overseen by Tilda Swinton, a white woman of U.K. descenIn the film, a white American surgeon travels to a mythical temple in the Far East to learn the mystic secrets of an ancient order of sorcerers overseen by Tilda Swinton, a white woman of U.K. descenin the Far East to learn the mystic secrets of an ancient order of sorcerers overseen by Tilda Swinton, a white woman of U.K. descent.

Trained as an engineer and apprenticed to film noir great Maurice Tourneur for seven years, Brown learned his craft in the silent era and brought those visual skills to Universal and MGM, where he became known, along with the far more impressive George Cukor, as a woman's director.

To meet this challenge, Women In Film and Sundance Institute have come together with over 50 Hollywood leaders and influencers, including studio heads, agency partners, senior network executives, and talent and guild representatives, to further gender parity at every level in film, TV, and mediIn Film and Sundance Institute have come together with over 50 Hollywood leaders and influencers, including studio heads, agency partners, senior network executives, and talent and guild representatives, to further gender parity at every level in film, TV, and mediin film, TV, and media.

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).

We are interested in not just those directors who are long venerated — although there is no lack of passionate support for figures such as Robert Bresson, judging from the entries so far — but, equally, the major figures (criminally little - known as they may be) in any sector or mode or geographical region of cinema: animation (Chuck Jones), independent (Todd Haynes), film - essay (Chris Marker), «new Asian cinema» (Edward Yang), experimental, «third cinema», B - films, underground, women's cinema...

It's not until much later in the story, when another young woman named Éponine (Samantha Barks, by far the best singer in the cast) sings of her own vision of fulfilling what is in reality an unrequited love, that the film reaches the emotional peak of the scenes with Fantine (A montage of preparation at the midway point is rousing, though).

In fact, Pietrangeli furthers the concept by constructing the film around Adriana (Stefania Sandrelli), a teenage, small - town Italian woman, whose memories of past traumas continue to grip her psychology, as when a broken bottle at work yields her recollection of a previous altercation where a man tightly gripped her wrist, forcing her to drop a bottle of alcohol.

It is movingly fitting that one of the only superhuman - based films centered on women (in this case, generations of women with Gugu Mbatha - Raw and her growing star power, underrated television character actor Lorraine Toussaint, and youngster Saniyya Sidney bonding and making amends while also going even further back reading ancestral passages from a handed diary) focuses -LSB-...]

2016 was Gadot's year (so far)-- she starred in films like «Triple 9» and «Keeping Up With the Joneses,» and kicked off her portrayal of Wonder Woman with a kickass appearance in «Batman v Superman: Dawn of Justice.»

Without exploring Lebanon's own sectarian violence, choosing sides, or justifying behavior — in fact, without naming the country where the film takes place — she presents a fairy - tale metaphor for the conflict, in which the men of the village are quick to arms and to finger - pointing when anything goes wrong, and the women are willing to make any compromise and to try any far - fetched, crack - brained idea to defuse or distract.

But, narratively speaking, Armipour's film delves far deeper, more specifically challenging the place of women in Middle Eastern society, where a woman walking home alone is the very definition of immorality.

The Natalie Portman - starring western Jane Got a Gun (a by - now infamously troubled production), finally set to premier at the end of January, features Portman as one of two or three women in the entire film; contrast that with indie drama About Ray and the hotly contested remake of the Ivan Reitman classic Ghost Busters, a production attempting to further distinguish itself by pushing the words together to form Ghostbusters — how crafty.

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».

A mess of a film this one.Plot lines confused and blurred.It seems to have been made up as they filmed.All the American cliques are there.Ugly brutal men in a one horse town, yet the place is full of emotionally wounded gorgeous women.The men are macho and the women inconsequential.The acting is rather uneven, veering from impressive, going down to Benny Hill.This is Cages best role thus far, but his normal low standards means his acting is still below par.The plots descends into a quagmire of nuttiness and by the end is daft romantic nonsense.A tighter script was needed, the director needed to be replaced to stop the film's plot wandering off in all directions and finally someone with greater gravitas was needed to take on Nicholas Cage's part...

Not only is the Best Actress lineup ridiculously competitive — including the many (arguably) career - best performances from majority - film actors like Frances McDormand («Olive Kitteridge»), Maggie Gyllenhaal («The Honorable Woman») and Queen Latifah («Bessie»)-- but the contending productions themselves reach far and wide in terms of the communities being represented and the stories being told.

As recent events in Charlottesville, Va., have demonstrated, when a public figure starts to joke about such things, it allows those with far scarier convictions to relax their own filters, and suddenly, the national discourse has swung into ugly and entirely inappropriate territory — which Dayton and Faris don't shy away from depicting, and which should give the film added resonance this fall (though it almost certainly would've been a full - on zeitgeist phenomenon had the country elected its first woman president).

Continuing the year of the vet, earlier we saw strong performances that could attract voters» attention from a past winner, 70 - year - old Helen Mirren, in Woman In Gold (a film The Weinstein Company has already started campaigning for its star); and 72 - year - old Blythe Danner getting a full - bodied leading role in the hit adult indie I'll See You In My Dreams which has grossed over $ 7 million so far for new distributor Bleecker Street, which will probably be encouraged to launch an Oscar campaign on her behalin Woman In Gold (a film The Weinstein Company has already started campaigning for its star); and 72 - year - old Blythe Danner getting a full - bodied leading role in the hit adult indie I'll See You In My Dreams which has grossed over $ 7 million so far for new distributor Bleecker Street, which will probably be encouraged to launch an Oscar campaign on her behalIn Gold (a film The Weinstein Company has already started campaigning for its star); and 72 - year - old Blythe Danner getting a full - bodied leading role in the hit adult indie I'll See You In My Dreams which has grossed over $ 7 million so far for new distributor Bleecker Street, which will probably be encouraged to launch an Oscar campaign on her behalin the hit adult indie I'll See You In My Dreams which has grossed over $ 7 million so far for new distributor Bleecker Street, which will probably be encouraged to launch an Oscar campaign on her behalIn My Dreams which has grossed over $ 7 million so far for new distributor Bleecker Street, which will probably be encouraged to launch an Oscar campaign on her behalf.

Eddie Redmayne does make a very convincing woman and is well cast in the role but as the Time Out review says, the film is far too conservative.

You don't need to look any further than the paucity of good leading roles in studio films for women to see how sexism is woven into the fabric of the film industry.

These moments are rooted deeply within social realist cinema, and the everyday interactions of these men and the women in their lives reveal far more than any of the other, more grandiose statements the film attempts to make.

Only three thesps (all women) have been Oscar - nominated for their work in a Leigh film — a number far smaller than it should be — and all of them, oddly enough, were tapped for their first collaboration with the director.

The period part of the film concerns itself with the scandal that rocked Britain when Edward VIII (James D'Arcy), bookmarked to be the next King of England, becomes involved with the twice - divorced American Wallis Simpson (Andrea Riseborough); the modern portion finds Wally Winthrop (Abbie Cornish), an unhappily married woman in New York, finding solace among the aforementioned couple's possessions at an auction house, and receiving further comfort from a kindly security guard (Oscar Isaacs) who works there.

Instead, right down to the nearly synonymous title we get a lurid, silly «Prisoners» me - too (and that film itself was far from flawless) in which the only additions are a flashback - and - forward structure that never works, the kind of contrivance in which a laptop camera accidentally left transmitting records a crucial conversation (perfectly framed) and a crude, distastefully regressive subtheme which suggests that well, of course that this is what happens to girls and to women (even successful, intelligent, independent women) when they are left alone even for a moment by their menfolk.

More than half the films of my list share stories that focus on women or girls: Mad Max: Fury Road, Brooklyn, Inside Out, Room, Star Wars: The Force Awakens and Far From the Madding Crowd (Additionally, I would argue that Ava's narrative in Ex Machina also drives that film and that Domhnall Gleeson's character primarily functions as a stand - in for the audience).

Instead, right down to the nearly synonymous title we get a lurid, silly «Prisoners» me - too (and that film itself was far from flawless) in which the only additions are a flashback - and - forward structure that never works, the kind of contrivance in which a laptop camera accidentally left transmitting records a crucial conversation (perfectly framed) and a crude, distastefully regressive sub-theme which suggests that, well, of course this is what happens to girls and to women (even successful, intelligent, independent women) when they are left alone even for a moment by their menfolk.

Mind the Gap: Women Work Film Taking its longstanding commitment to female filmmakers one giant step further, MVFF38 launched a festival - wide initiative on inspiring women in Women Work Film Taking its longstanding commitment to female filmmakers one giant step further, MVFF38 launched a festival - wide initiative on inspiring women in women in film.

The best film so far this year is Woman In Gold.

By far, the highest concentration of women is to be found in the documentary film categories: Exceptional Merit in Documentary Filmmaking and Outstanding Documentary Or Nonfiction Special.

By far Reitman's most accomplished film to date, both in terms of craft and its stealth avoidance of typical Hollywood flight patterns, Up in the Air is not (early indicators to the contrary) a redemptive fable about a soulless corporate shill who gets his comeuppance by seeing how the other half lives, or by falling into the arms of a good woman.

While first - time director David Atkins gives the film a surrealistic feel in certain scenes, he actually could have made the film better by going further into the bizarro world, a la David Lynch — and why not since Lynch favorite Laura Dern (Jurassic Park III, Dr. T and the Women) is on board for the ride.

Take It Out In Trade plays like a cross between Russ Meyer and John Waters, full of digressions — at three separate points throughout the film, the main character takes himself on a «vacation» that consist of peeping at naked women through potted plants in front of posters for various far - flung locales — and extensive full - frontal nudity and simulated seIn Trade plays like a cross between Russ Meyer and John Waters, full of digressions — at three separate points throughout the film, the main character takes himself on a «vacation» that consist of peeping at naked women through potted plants in front of posters for various far - flung locales — and extensive full - frontal nudity and simulated sein front of posters for various far - flung locales — and extensive full - frontal nudity and simulated sex.

Two female - centric features took center stage for day 3 of MVFF, further bolstering the festival's women - in - film initiative with...

Two female - centric features took center stage for day 3 of MVFF, further bolstering the festival's women - in - film initiative with female talent both in front of and behind the camera.

Tempting and not entirely inaccurate, but in truth The Tuxedo is more than just cheerfully misogynistic (and most of Chan's films are, in one way or another, woman - hating), cartoonish, and even racist in a Green Hornet / Kato sort of way — The Tuxedo is a symptom of a far deeper concern involving the inability of the West to ever make proper use of hijacked foreign commodities or construct an action film anymore that doesn't resort to slapstick childishness and / or grotesque violence.

But the parallels are actually closer with Haynes» great homage to Sirkian melodrama, «Far From Heaven,» easily a complementary film to «Carol» in its portrayal of a woman stifled by 1950s mores, trapped in a marriage made a lie by homosexuality, who seeks out a potentially ruinous affair with a lover society can not sanction.

But there are also some important differences: Biff Grimes (Cagney) lacks Jim Corbett's gift for dominating the events of his own life; women have far greater importance here, with the title character (Rita Hayworth) and Amy (Olivia DeHavilland) being the central forces of the film; male friendship is complicated by betrayals and delusions (here the Jack Carson character is the traitor, while the unfortunate Grimes is rather like the Carson character in Gentleman Jim).

Wonder Woman (Patty Jenkins, 2017), because it's the most powerful popular feminist statement in mainstream cinema thus far, inspiring countless young women and girls to dare to succeed; because Patty Jenkins more than deserved it after languishing in the wilderness of episodic television after her masterful film Monster (2003), when any male director would have gone on to direct four of five features on the strength of that one film; because it's about damned time that a female comic book feature got made; because Jenkins still had to fight to get a fair payday to direct WW 2 — enduring months of fight - to - the - death negotiations to get a directorial fee comparable to that of Zack Snyder or J.J. Abrams for the sequel; and finally because she's better than either of those two directors, who are overrated hacks with little or no vision at all.

Meanwhile, two new studies are further fuel for the fire that scorches ambitions of women in the film industry.

Beyond seeing a woman eaten alive by mental illness, the film becomes even sadder in its realization that Christine's marginalization extended far beyond the workplace.

Redmayne's way of externalizing the struggle is to simply act like how a man would think a woman would act, so far as going to a strip club and mirroring the movements of the stripper in the most risible scene of the film.

Danish filmmaker Susanne Bier has already proven herself a force in films, becoming the first — and so far only — woman to direct two films nominated for the Oscar for Best Foreign Language Film (she wrote and directed 2006's After the Wedding and 2010's In a Better Worldin films, becoming the first — and so far only — woman to direct two films nominated for the Oscar for Best Foreign Language Film (she wrote and directed 2006's After the Wedding and 2010's In a Better WorldIn a Better World).