Sentences with phrase «women in film what»

Froehle has and continues to do for women in film what Redford has done for the independent filmmaker... provide opportunities for great storytellers.

Not exact matches

Two years previously, he arranged and paid for, with what I guess counts as bohemian chivalry, a woman he impregnated to get an abortion (then illegal) from a competent doctor, and in the film we see him do the same for Jean.

After determining that I was not just another moralist who wanted to influence film content, but someone who was genuinely interested in film, Shurlock relaxed and asked me a question that was very much on his mind: «We are trying to determine what to do about a picture in which director Sidney Lumet wants to include a shot of a woman's bare breasts.

What people don't realize is that the women in these films have a family... and I wonder if I was a father of one of these women how I would feel knowing my daughter is doing this... I'm sure I would feel just like any other father would... very an - «gry... and up - «set that this ind - «ustry still exist's.

Baroness Kidron's 2013 documentary film InRealLife, in which she interviews several teenage porn users, offers a chilling insight into the entrenched depth of their engagement with porn and what it's doing to their views of relationships, women and the world.

During the Q & A following the film, one woman in the Sundance crowd commented, «I'm against all the recent wars that America has been involved in; so I admit I had a preconceived opinion about what I was watching.

The L.A. Times has just posted a lengthy expose outlining what several women say was pattern of inappropriate behavior by Franco, who also helped operate a film school called Studio 4, and would offer students the opportunity to star in some of Franco's own projects.

Every time I said yes, amazing people who believed in me and who've had a bigger vision of what I could do in this world stepped forward — from my mom who went vegan with me after my fourth recurrence of bone cancer, to the yoga teachers who insisted I could become a yoga teacher too, to the talented woman who designed my website, to the director who brought together the crew for this film and made an idea a reality.

Taken in 1982, I love that this image is not the young Audrey Hepburn done up for her films, but the everyday woman walking street style with her lifelong friend - that is what I wanted to capture with the project.

With WOW women You have a site where you are able to discus current issues, what's currently happening within the media be it art or music, film, or diverse topic's, make new friends all in one Transparent safe place.

I can't wait to see what kind of positive feminist message awaits us in the upcoming Wonder Woman film...

But what made that film work is that his fellow cast members made you believe they were convinced he really was a woman in spite of his comically non-womanish appearance.

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.

Many films in which characters are pregnant look exactly like what has been done to achieve this effect: an extremely thin actress has been fitted with a fake baby belly, which does not offer an accurate depiction of what happens to a woman's body when she's pregnant.

Instead of asinine comments on how impossible it would be to have a woman in combat (nevermind that she arrived in the final battle independent of the other fighters and so could not have been prevented from joining by the other men), it might have crossed your mind to mention how pretentious it was for the heroin of the film (which is what she is) to be directly compared to such a major historical figure.

Later, when she pulls the same stunt in a swimming pool, we recognize the show for what it is — a male fantasy film in which the women are little more than rag dolls.

The synopsis of the film fits right in line with what the festival welcomes; a tale of a mid-thirties woman who is at rock bottom trying to find herself in life.

In a special conversation with The Mary Sue, he broke down what it means to shoot on film versus digital and also highlighted a number of women and POC filmmakers whose work excited him.

Although there have been many films about pregnancy and the fears involved in having a baby, there are angles here not often taken before in comedy, including what goes through a man's mind when having sex with a pregnant woman («I don't want that to be the first thing the baby sees», etc.) that is funny (because it probably actually does go through a man's mind).

The film runs for a taut 83 minutes, and part of what's impressive about it is how economically, in a wholly unobtrusive way, it sets up the conflict between the two leading characters, an executive and a woman roughly half her age.

It's basically a filmed play, and the drama itself is problematic (Tennessee Williams - lite), but oh what performances are given by Cher (in her first great screen role) as the no - nonsense waitress Sissy, Sandy Dennis as the delusional Mona and Karen Black as the mysterious Joanne who arrives halfway through the film and upends the lives of the women who used to know her as Joe.

His newest film sweeps the corners on the ages not covered by those two films, focusing on the unlikely friendship between a college freshman (Lola Kirke) and a woman hovering around 30 (Greta Gerwig)-- and in doing so, Baumbach and Gerwig cook up what may be his flat - out funniest movie of the past decade.

During our discussion, we talked about how long she has to sit in the make - up chair to apply Okoye's tattoos, how she got inducted into the Marvel Cinematic Universe, her relationship with the other women in the film, comic book research, and what Wakanda thinks about the Winter Soldier.

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.

We discuss the women's and equal rights films that make up a good deal of contenders in this category and what impact they'll have on the race.

«Toast» enjoys what is likely the best comic performance of veteran British actress Helena Bonham Carter in the role of Joan Potter, a cleaning woman who becomes the second wife of Nigel's dad, played by Ken Stott, and stepmother of nine - year old Slater who morphs suddenly about two - thirds into the film as the older Nigel Slater, played by Freddie Highmore.

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.

What a great year for women in film.

What provokes the action in the film, such as it is, is a woman named Mary (Amanda Seyfried) asking for Toller's help with her husband, Michael (Philip Ettinger), a militant environmentalist recently released from prison in Canada.

Can you expound on how the film either is or isn't related to feminism and what drew you to making a film so heavily rooted in the routines and experiences of women in wartime?

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.

The disc is packed with extras, including some deleted scenes that add very little, a blooper reel and a featurette detailing how Wonder Woman fits in with Batman and Superman as a DC flagship character that are all fairly throwaway, but there are a few neat production featurettes that detail how director Patty Jenkins approached making what could have been a potential disaster given the negativity towards the DCEU's previous movies, and also interesting effects details about the lighting, costumes and the chosen colour palette that may not sound like much but actually prove to be quite enlightening about the whole filming process.

Star Mel Gibson (Signs, What Women Want), who had picked Helgeland to direct the film based on his script to begin with, brought in a new, unnamed director (subsequently leaked as production designer John Myhre) and screenwriter (Terry Hayes) to make the changes the studio wanted.

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.

And what will the world of film be like when the vision of women informs it in a fuller way?

This is per The Hollywood Reporter, which notes that Coogler gets into what's up with Killmonger's mom — an American woman who fell in love with his father, Wakandan prince N'Jobu, and who's never seen in the film itself — in the movie's commentary track.

What roles do men and women play in this film?

Since, she's starred in films like «What Women Want» and «Anger Management.»

He gets to the heart of what the film is so excellent at portraying: that the discussion of identity in popular media can be thorough, articulate and perception shifting; that women's voices are an interesting and vital part of the narrative; and that young, or unsung talents can prove their worth on their own terms — approval not needed.

Pike is especially terrific, delivering what could well be her best performance, as a woman who suffers a crippling loss and still manages to feel so much (though her character retreats into the background in the film's final third).

Speaking of that other Valkyrie, obviously the version that Tessa Thompson plays in the film is different from the original Marvel version of the Valkyrie, as the Marvel version intentionally evoked the mythological version of the character, which is very much a Norse vision of what a woman would look like, complete with the name Brunhilde (Brunnhilde also was a major part of Richard Wagner's famous operatic «Ring» cycle).

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).

And Naomi Alderman, who wrote the book on which the film is based while she was a part of the community in 2006, was always there to explain the nuances of what being an Orthodox Jewish woman means.

Saturday 24th November 13.00 What's in a Name (Le Prénom) 15.40 Hidden (Caché) 18.10 Another Woman's Life (La Vie d'une autre) Juliette Binoche will introduce the film and take part in a Q+A 20.40 Love Crime (Crime d'amour)

That movie represents a much more explicit look at the concept of molding a woman in your image of what you want her to be, positioning itself as a rebellion against the manic pixie dream girl tendencies of films like (500) Days of Summer or Garden State, often the result of lazy writing that had a tendency to treat women simply as a formula to complete the man's desires.

At the same time, he must come to terms with the women in his life, and what they meant to him — the film's centerpiece is a dream sequence with all his women bathing and pampering him.

In the universe of this film, being a «bad mom» isn't just the musical montage where three grown women destroy a supermarket, it's standing up for yourself, taking a few minutes each day to do what she wants, and not spoiling the children.

Each of the film's eight sections focuses on the experiences of different Māori women at this particular moment in time, held together in a range of ways by Waru himself or what he represents to them, their community or New Zealand more broadly.

Directed by nine Māori women filmmakers, the opening moments of the New Zealand film Waru are as simple as they are devastating, perfectly capturing in mere seconds the tonal and thematic force of what is to come.

It's been nearly 20 years since Bette Midler, Goldie Hawn and Diane Keaton starred in the comedy about three women striking back at their ex-husbands and getting what they deserve, and now the trio of actresses will reunited for a new feature film project at Netflix called Divanation.