Sentences with phrase «only woman in the film»

SF: And I think you could also add Emily Blunt in Sicario, where she is literally the only woman in a film totally dominated by men, but it's all through her eyes.

You know, she's the only woman in the film and she's getting her butt kicked.

[POST-BROADCAST CORRECTION: We incorrectly say that Jennifer Jason Leigh's character is the only woman in this film.]

I just made a film about women, with women protagonists... I decided that I'd made enough films about violent men, and I wanted to do a film with only women in the film, and so I did this story because my wife would only go to L.A. if we had to travel out of Copenhagen.

Somewhere in Boston, in about 1978, some IRA hoodlums (Cillian Murphy, Michael Smiley) meet an American crime boss (a hairy Armie Hammer) to buy a vanload of automatic rifles from an idiotic South African arms dealer (Sharlto Copley), with the only woman in the film, cool Justine (Brie Larson) acting as intermediary.

Not exact matches

The film has not only put a long deserved spotlight on the team of African - American women who literally charted the course that would eventually put man on the moon, but it has also inspired many young women to pursue interests in STEM.

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.

Still, the findings are an unfortunate reality and according to the report the odds are even worse for women as, «only 22.3 percent of senior characters in these acclaimed films were female.»

The study shows that in film, women made up only 3 percent of film directors, and 10 percent of film writers.

So if we can increase the percentage of women working behind the scenes on films, not only will women's voices be heard more, but we'll see a result on - screen in an increase in the percentage of female characters.

In a statement, Cuomo's campaign signaled it would donate more than $ 111,000 to unnamed women's organizations, reversing its previous decision to give away only $ 50,000, the amount the disgraced film mogul gave to the governor's 2018 campaign.

Lawmakers want to create $ 5 million in new tax credits for TV and film directors and producers who work in New York — but only if they're minorities or women.

The film, which hits theaters February 16, is a modern twist on a romantic comedy (boy and girl meet, fall in love, but then break up, and are suddenly reunited, ending up in that awkward stage where they have to debate whether to wave hello while taking out the trash), but it's also a particularly female spin on the coming of age story, the likes of which we're only beginning to see onscreen as more women carve out a place for themselves in writer's rooms and director's chairs.

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.

Perhaps in the early 1930s when the film is set, things were not so radically different for women than they were in the early, pre-suffragette 1890s when Oscar Wilde wrote his play — but, without wishing to suggest that the battle of the sexes is now definitely over, things have certainly moved on, and the film's preoccupations with womanly virtue and womanly repute is of more historical interest than contemporary relevance, leaving the distinct impression that this «updating» of Wilde has been done only by half measures.

As with Wonder Woman last year, Black Panther is not only is a kick - ass superhero film, it uses the platform to address deeper issues, in this case racism, still - lingering colonial attitudes towards Africa, the role of science and technology in improving the lives of the disadvantaged, and what it means to be a leader.

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.

The film would only be very good were it not for Vega's performance, which ranks right up there with the five women nominated for best actress this year and, in some cases, surpasses them.

Though it didn't bother me in this film, it is an annoying result that revisionism is only capable of giving us anachronistic women in the hands of the wrong writers.

Your complaint not only casts your commanding officer in a bad light, but also may involve him; the film says «25 percent of women didn't report an incident — because their commander was their rapist.»

The film, based on the novel by Gayle Forman, is an almost deliberate confirmation of Alison Bechdel's claim that women in film are so often shown only in relation to men.

Nearly all of the women in the film turn out terrific performances, including Kelly Preston (From Dusk Till Dawn) as Cruise's sassy former fiancee Avery, and Bonnie Hunt (Jumanji, Only You) as Zellweger's well - meaning sister Laurel.

She was the only woman to appear in three Bond films: as Andrea in The Man With the Golden Gun (1974), as the title mystery woman in Octopussy (1983), and in an uncredited role in A View to a Kill (1985).

WFF, is a significant player within the Canadian film fest circuit, i known for its intimate, casual environment, set by Mishaw's loyal and tireless admin team, consisting mostly of women, most of whom have been with the festival for years, setting the stage for high - quality film - centric hospitality through which filmmakers and industry honchos mingle, and deals are made not only via scheduled one - on - one meetings, but also in the hot tub or on the ski slopes.

It's embarrassing that only one woman appears in the entire film.

The film that brought such classic lines as «There are only three ages for women in Hollywood: babe, district attorney, and «Driving Miss Daisy»» into moviegoers» top film quotes is getting the greenlight this pilot season.

Employment statistics for women in the director's chair are as grim as ever: only 9 percent of the top 250 domestic grossing films and 28 percent of supposedly diverse festival films had a female director in 2015; in TV, only 18 percent of first - time episodic directors were women over the five - year period from 2009 to 2014.

In both films, women chase the excitement of new love and sex, only to realize that passion can be fleeting or, more in the case of «The Deep Blue Sea,» not quite what you thought it would bIn both films, women chase the excitement of new love and sex, only to realize that passion can be fleeting or, more in the case of «The Deep Blue Sea,» not quite what you thought it would bin the case of «The Deep Blue Sea,» not quite what you thought it would be.

And while only a few saw it, those who did catch Andrei Zyvagintsev «s «Elena» fell head over heels in love with it; a powerful and gripping Russian film about an elderly woman trying to secure an inheritance for her son.

Another film that only focuses on privileged white people, and forgets that in 2015, more trans women of colour have been murdered than ever before.

Certain Women takes several short stories by Maile Meloy and uses them to create three only very loosely connected narratives, which are presented one by one through the bulk of the film, before revisiting them all briefly in the finale.

Director Daniel Barber's second film — after «OAP on the rampage» thriller Harry Brown — is a home - invasion tale, only it's set during the American Civil War when a trio of women on a farm in the Deep South are forced to fend off a pair of mercenary Union soldiers.

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.

Everything adds up perfectly well in Tom Hooper's dazzling film, which profiles not only Lili Elbe, the woman who emerges from Einar, but also his loving wife Gerda (Alicia Vikander), who is an impressive woman in her own right.

And if you think it's only the well to do who shell out upwards of $ 3,000 for hair weaves, you'd better prepare yourself because there are working women all over the US and Canada (as I'm sure there are in other places though the film focuses mainly on the US) walking around with hair that cost more than some cars.

It isn't an accident that Certain Women's closest brush with genre — when attorney Laura's (Laura Dern) enraged client, Fuller (Jared Harris), takes a night watchman hostage — is both the film's only portrait of male indignation, and the only vignette that's deflated in near - comic anticlimax as quickly as it reaches its apex.

Of the 21 films in Competition at Cannes this year, only three are directed by women.

Smart as hell and unapologetically surreal, its central motivating image is a tableaux vivant of Henry Fuseli's «The Nightmare,» tipping off not just the ethos of the film, but also that there may be running threads concerning mothers (Fuseli was Mary Wollstonecraft's lover), monsters (Mary being the mother of Mary «Frankenstein» Shelley), the empowerment of women (the mother again), nightmares, of course, and maybe Romanticism, if only in the picture's awareness and perversion of nature.

Claire Foy stars as a young woman who is involuntarily committed to a mental institution; other than that, the only thing we know about the film is that Jay Pharoah and Juno Temple are in the cast.

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-...]

If anything this is one of Director Hong's more plot - heavy films as a young woman starts a new job at a publishers only to find herself entangled in her new boss's old workplace affair.

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.

According to the Center for the Study of Women in Television and Film, over the past three years, only 1 to 2 percent of composers working on the top 250 films at the box office were wWomen in Television and Film, over the past three years, only 1 to 2 percent of composers working on the top 250 films at the box office were womenwomen.

The fact that the film is about a lesbian romance in which the protagonist fights against societal norms only added to the women's ire.

This film is all the more unfortunate in that this is probably the only franchise film we'll see this year, next year or the year after in which the star is a 74 - year - old woman.

Interesting, too, is the inescapable idea that the only genuinely convincing relationships in the film are homosexual, and that the picture could be read with profit as an escalating evolution of father relationships from low to positively Christian (mad steward Denethor and son Faramir, Frodo and Gollum, Gandalf and the hobbits, Aragorn and mankind)-- but part and parcel with the oft - fascinating subtext and beautiful images is a parade of useless cameos (please, enough Cate Blanchett), de rigueur expository flashbacks, and the squandering of opportunities to locate the genuine interest in unlikely epic heroes (women and, essentially, children), rather than just pay lip service to them.

How, for instance, do you have 6 nominees for most categories but only 4 for Best Actress in an Action picture and only nominate supporting actresses for that prize and leave out two leading women who really carried their films with aplomb: Mary Elizabeth Winstead in 10 Cloverfield Lane and Blake Lively in The Shallows.

Inspired by real events, the film takes us back to Chile in 1973 when a woman named Lena (Watson) sees her boyfriend (Brühl) taken to a stronghold called Colonia Dignidad, and the only way to get him back is to infiltrate the cult herself.

The film tells the story of a French woman (Scott Thomas) and her daughter - in - law (Michelle Williams) who are forced to host a Nazi officer (Matthias Schoenaerts) while the woman's son is away at war - only to find the daughter - in - law and Nazi officer fall in love.

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.