Sentences with phrase «more films about women»

Perhaps some of these directors wanted to make more films about women, and were shut down by studios — but the industry power wielded by many of them suggests that if they had really tried to make more films about women, they would have succeeded.

Not exact matches

After more than three dozen women have come forward to accuse Hollywood film producer Harvey Weinstein of sexual assault and harassment, George Clooney and Matt Damon have spoken out about the powerful Miramax head who helped launch their careers.

The day after Lisa Belkin's initial NY Times post she followed up with About that orgasmic birth... and went into a little more detail about the responses she received, the film and one of the women featured in the About that orgasmic birth... and went into a little more detail about the responses she received, the film and one of the women featured in the about the responses she received, the film and one of the women featured in the film.

Four years later the organization was printing and selling books, films, manuals and other source material to pregnant women wanting more information about pregnancy and the birthing process.

The actress, who is serving as a jury panelist for the 2017 Cannes Film Festival, spoke publicly about her disappointment at the depiction of women in this year's films, saying, «I do hope that when we include more female storytellers, we will have more of the women that I recognize in my day - to - day life.

Director Ron Howard brings his usual light touch to the proceedings and manages to hold the viewer's interest even through the narrative's oddly action - packed final third (ie once the truth about Hannah's character is revealed, the film becomes more of a thriller than a cute little romantic comedy and there's even a chase sequence as the army attempts to capture the mermaid / woman).

Jolie's directorial debut was the little - seen «In the Land of Blood and Honey,» a film that traded epic sweep for a more intimate but no less brutal story, about a woman's sexual subjugation during the Bosnia - Serbia conflict.

Witherspoon noted, that now there's talk about «seeing a more dynamic woman on film» and explained «I think this is just the beginning, and we hope to continue that and even make it more diverse and make it more inclusive, make it more look like the world really looks.

For a film that explicitly tells you it's about the importance of women in the workplace (when Catrin's apartment building is destroyed by a German bomb, she more or less turns to the camera to say, «If I wasn't at work, I would have been killed!»)

Often as the film plays out I found myself just wanting to shove the ungrateful, delirious woman in a home and hear more about supporting characters like Frances de la Tour's nosey neighbor Ursula Vaughan Williams.

This is a pretty remarkable feat considering that most who plan on seeing this film are more than likely looking to see a thriller about a woman hoping to survive an encounter with a shark.

The film is about a woman who decides to light a rework up the ass of a man she feels has done her wrong, yet in truth, it's less about retribution and more about why we do it.

At a time when Hollywood couldn't be more sensitive about the sexual abuse meted out by powerful men, this is a film about the very worst sexual violence against women, with McDormand playing a grieving and furiously angry mother still mourning her pretty daughter, who was raped and murdered by an unknown attacker.

By the time we meet one of Miss Peregrine's colleagues in the form of a dowdy Judi Dench, the film creates more questions than it answers about these women, such as the disparity in their age, and why, exactly is their kind always female?

Women and men write equally positive and negative reviews and do not become significantly more positive when writing about films with same - sex protagonists or filmmakers.

Their film is zippy and funny but also layered with a let's - all - get - along message that feels more relevant and engaged than your average kids» movie (including feminist gags about not calling women animals «cute»).

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.

We believe that by learning more about how women are faring in the independent film world, and by opening our own data at Sundance Institute for this study, we gain powerful insights into ways to positively affect progress.

Alicia Vikander wishes there were more women involved in the production of Tomb Raider, as the film is meant to be about strong girls.

But with its flat presentation and dearth of any riveting moments, the film plays more like an after - school special about the pitfalls of teen decision - making than it does a documentary about young women struggling to make something more of their lives.

I don't pretend to understand everything about «Hidden Figures», about three brilliant women who worked for NASA in the early 1960's, but instead of being put off, I found myself intrigued, even wanting to know more about the work they did following the events of this film.

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.

The film makes solid points about the feminist case against firearms, then scrutinises these a little more closely, and backs its agenda up with its roles for women — Alison Pill's opposition turncoat is another case in point.

Lynch talked about his excitement to make a film starring a badass woman and «strong female character» which he said shouldn't even be a term any more as a female ought just to be allowed to be a «strong character.»

Much more than just a film about dancing, this dazzling doc about the American contemporary performer is a raw and intimate exploration of the creative process, female desire and the dilemmas encountered by a woman in her thirties.

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.

As India, the fatherless young woman who comes to suspect her «Uncle Charlie» is a murderer, Wasikowska deftly uses her delicate features as a counterbalance to her character's darker and more perverse proclivities — for the film is less a mystery about who Uncle Charlie is and more so who India really is.

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 sexuality.

Ryan Swen: It's extraordinarily tricky to talk about what films will enter the proverbial pantheon, and even more to predict what will still be talked about (heaven knows many more people will still fondly remember Captain America: Civil War in ten years time than will have seen Certain Women), both in cinephile circles and in the general public.

So I can't criticize the Cannes film fest for not having more films BY women when there are so many films ABOUT women.

The film runs more than two hours as it is, and it's more about the long game — King's determination to get equal rights for women players — than the fate of any one match.

Recently, when asked about the on - going debate surrounding opportunities for women in film, Meyers responded saying, «There was some research that just came out that showed there were more opportunities for women in 1998 than today.

Ralph Fiennes» The Invisible Woman — a much darker, glummer film than this one, about Dickens» relationship with his mistress, the actress Nelly Ternan — at least made the writer a more human character than Stevens» luxuriantly locked instrument of over-reaction.

But before you start praising the film for casting someone who's more classically beautiful, I just want to remind you: the Barbie movie is a subversive comedy about a woman who doesn't fit in, in the land of Barbies.

The Beguiled, like My Cousin Rachel, suffers from too much subtly, the less is more approach muzzles opportunities in both films about strong female women.

A film that says more about the chasm between men and women (or Alex Garland and women) than human and A.I. Though wonderfully acted and elegantly executed, this just adds to the pile of SF cliches by posers who only pretend to understand A.I. and neuroscience.

He also said that the women are «more important» than the men in Wakanda, and he would be into making a film just about the characters played by Lupita Nyong» o, Letitia Wright, Angela Bassett and Gurira.

And instead of the scandalous love triangle of historical record, the film plays out more as a drama about a young woman working out a complex escape from male - dominated society.

No one looks at photos anymore, since everything anyone would want or need to know about a person can be obtained from an oral swab (women and men visit a dating booth, where the recently amorous have samples of potential mates tested, and it's where a co-worker (Uma Thurman) tries to find out more about «Jerome,» in the film's clumsy and obligatory romantic subplot), which is helpful.

This film is about more than the story of JFK and Jackie O, the «beautiful people» as Bobbie Kennedy calls them; it's a film about grief and bereavement and a woman whose husband dies in her arms.

When I spoke with Victor Levin by phone on April 3, 2015, I was surprised to learn that one of the thing that I appreciated most about his feature film directorial debut, the practicality of the women of the piece about extra-marital affairs in contrast to the shock evidenced by the men, was not something... Read More»

When you realize the film spends more time in coconut opening than in Hanks relationship with Helen Hunt (Pay It Forward, Dr. T and the Women), you see how Cast Away needed a bit more shoring up in the thematic department if Zemeckis wanted to really drive his points home, especially when you consider those scenes have little to do with what the film is really supposed to be about.

What is most exciting about Truth and Carol is that they demonstrate how great films can be when women are given more to do than prop up, turn on, or bitch at the male characters.

Gerwig co-wrote that film and this one, but Brooke is at best a distant cousin of Frances, a seemingly more accomplished woman about town who lives in a commercial loft, teaches spinning classes, is photographed at fancy parties, and has dreams of opening a restaurant.

There's more sex in this film than just about any film we saw at Sundance, but it's told completely from the perspective of a woman and that makes such a difference.

Similarly, the film also grows from its beginning, a straightforward story about a young woman in the big city, moving to a more propulsive, if familiar, jungle adventure movie.

Gadot couldn't reveal any more details about Batman v Superman, but expressed excitement in the movie and the solo Wonder Woman film.

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.

McDonagh also used his stage time to frame the film within the current political climate: «Our film is a hopeful one in lots of ways, but it's also an angry one, and as we've seen this year, sometimes anger is the only way to get people to listen and to change,» He added, «What I'm most proud of, especially in this Time's Up year, is it is a film about a woman who refuses to take any more shit.»

It's 2016, women are over 50 % of the population, yet only ONE (6 %) of these films feature a solo female protagonist in a quest about more than love and / or mental health.