It was worth commenting on, but Blunt implied — as did so many others over the last few days, as the shoegate outrage kept building — that
women in film put up with so much adversity, the shoes are the least of the problems.
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.
But this
film would have worked either way: It's a celebration of a tough
woman's rise from her role as a powerful man's spouse, and it's a case for why reporting should never be beholden to the whims of the White House (as the Supreme Court ruling
in favor of the Times
put it, the role of the press is to serve «the governed, not the governors»).
During this 1 - on - 1 phone interview with Collider, actress and filmmaker Heather Graham talked about wanting to make a movie celebrating
women and friendship, the biggest challenges
in getting this
film going, having her voice heard, as a female filmmaker, what she most enjoyed about playing Honey,
putting together this cast, funny moments on set, what she enjoyed about the experience of directing, her hope to do it again, juggling three different writing projects, and doing the British TV series Bliss, from David Cross.
THR is reporting that,
in addition to Patty Jenkins not being set to direct Wonder
Woman 2 just yet, the studio is currently focusing on
putting together the Justice League Dark and Batgirl
films, with the hopes of having them go into production next after Aquaman.
Allegedly inspired by the true story of a Mexican man named Gojo Cardinas who killed dozens of
women under the apparent influence of his mother before being incarcerated and rehabilitated, Santa Sangre is
in many ways a novel retelling of Hitchcock's Psycho (1960), with that
film's psychosexual subtext here
put on full display with overt symbolism (e.g. Concha, the castrating mother's name, is slang for «vagina») and mixed with elements of The Hands of Orlac (Robert Wiene, 1924), The Invisible Man and George Romero's zombie
films.
A Wrinkle
In Time director Ava DuVernay is the first woman of color to direct a film with a $ 100 million - plus budget, and alongside her «little brother,» Black Panther's Ryan Coogler, she crossed another milestone this past weekend, which marked the «first time films by black directors with $ 100 million plus budgets have ever placed in the first two box office spots,» as CNN puts i
In Time director Ava DuVernay is the first
woman of color to direct a
film with a $ 100 million - plus budget, and alongside her «little brother,» Black Panther's Ryan Coogler, she crossed another milestone this past weekend, which marked the «first time
films by black directors with $ 100 million plus budgets have ever placed
in the first two box office spots,» as CNN puts i
in the first two box office spots,» as CNN
puts it.
To wit: Sidney Lumet and Naomi Foner
put the Sixties on the lam
in Running on Empty, and tell Gavin Smith and Anne Thompson why Paul Kerr dopes out the Sixties effect on Brit - cinema Andreas Kilb sacks German
film Philippe J. Maarek routs the French Peter Wollen checks out
Film Theory country Marcia Pally roasts the American rewrite of the era but sees signs of life
in some quarters Marlaine Glicksman finds the perfect Sixties
Woman: Sylvia Miles -LRB-!)
Either way, we love his work and will be very curious to see what he brings to the table
in the
film that will chronicle Abe Lincoln's youth, and focus on the two
women who
put him on the path to becoming one of the nation's greatest presidents.
Some of Allen's strongest
films — such as 1978's «Interiors» and 1988's «Another
Woman» — have
put the gags on hold and found richness
in troubled
women.
Whereas Hitchcock's
films put his sympathetic blonde
women in peril and appeared to punish them for their apparent «transgressions» (particularly for asserting their independence), as
in late period Hitchcock
films like Psycho (1960), The Birds (1963) and Marnie (1964), Verhoeven seems to revel
in showing the Blonde
women in his
films command the screen, dictate the narrative and overcome their persecutors.
However, sexual content
in this
film provides yet another positive message with Eric deciding to
put his struggling marriage first when given opportunities to have sexual relations with other
women.
The black
film canon; Relevance of «Weiner»; Executive pay higher when
women are on boards; Fate of female - driven Wall Street movie; Nate Moore
puts Marvel
in the black.
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.
Simply
put, she is a trailblazer, having paved the way for
women in television,
film and stage.
While not only is a young
woman's perspective
in this time hardly considered on
film, but it
puts her
in command, independent of a man's world while they were drafted to war.
The
film educates its audience that sororities aren't allowed to throw parties
in the Greek system, and so
women are
put at a disadvantage for socializing because they have to party on fraternity terms.
Segueing to the nine possible contenders from
films I haven't yet seen, Hilary Swank keeps the theme going as a
woman putting herself through law school to help her wrongfully accused brother get out of jail
in «Conviction.»
portrayal of Adie as a bold
woman who was willing to
put herself
in danger to get her story feels just as heroic as anything done by the SAS
in the
film.
Despite the often inadvertently hilarious tone of her voice, Cornish's portrayal of Adie as a bold
woman who was willing to
put herself
in danger to get her story feels just as heroic as anything done by the SAS
in the
film.
More impressive, though, is the trio of supporting performances from the
women in Raymond's life: Anna Friel as the citric - sharp Jean, who
puts up with too much for too long; Tamsin Egerton as leggily stunning and intelligent model - cum - columnist Fiona Richmond, who
puts up with even more for not so long; and Imogen Poots, hiding
in the shadow of her own fringe as Debbie, who, the
film asserts, was spoiled by her father
in the truest way possible — thus finding, amid all the daft interior design and humorous erotica, the story's tragic heart.
«The Fault
in Our Stars» will
put him over the top to
women and men everywhere as it'll be his breakout role as the
film's male romantic lead.
As AWFJ member Nell Minow
puts it, «What's important about our EDA Awards is that we bring a unique perspective
in honoring the wonderful work that's done by
women in film and that we weigh
in on sexism that arises from ongoing male dominance
in the
film industry, especially as it pertains to
women's images on
film.»
On the physical side, before we started shooting the
film, they
put me
in the gym with Jason Momoa [Aquaman], Ezra Miller [Flash], the whole crew and an army of Amazon
women who would be
in our
film.
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.
Why this should be seen as more reactionary than the Screwball genre, with its
women as either flighty agents of chaos (Bringing Up Baby, My Man Godfrey) or professionals to be
put in their place (the Tracy - Hepburn
films) is beyond me.
This list, or so I've tried, was
put together following many different but intimate echoes
in between
films; some correspond just
in reflections of a single shot, others to the general feeling experienced, many to a communal and identified way of being (for example,
woman), of living, cinematically.
After criticism of last year's male - dominated shortlist, the Cannes
film festival
puts British director alongside three other
women in running
But the fact that the discussion looped around to «IO hates
women,» when the scene is clearly aping imagery Quentin Tarantino has been
putting in his
films for decades was just bizarre.
«For
Woman's Womb, I actually used some of my own blood,
put hydrogen peroxide
in it, bubbled it up,
filmed it and then had a lovely Indian model
in something that looks womb - like work her way out of it,» she says.