Sentences with phrase «women in prison film»

Grier's song «Long Time Woman» from 1971 women in prison film The Big Doll House is briefly heard.

This exploitation series falls under multiple subgenres including women in prison films, revenge films, and Japanese pinky violence.

Not exact matches

Or consider the report by Caryn James in the New York Times on the recent Sundance Film Festival, in which she describes the film Care of the Spitfire Grill as «a manipulatively heartwarming story about a young woman just out of prison who finds spiritual redemption.»

When you hear «pre-code women's prison film» you may have an impression based other films, such as «Ladies They Talk About» (1933), but this one is refreshing in its portrayal of the inmates.

We're now meant to think that, throughout the film, she's been punishing the women in her prison as an epic act of denial: She will not be violated again.

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.

Billy Crudup, who recently starred in The Stanford Prison Project, is set to play the male lead in 20th Century Women, an Annapurna film written and directed by Mike Mills and co-starring 21st century women Annette Bening, Elle Fanning, and Greta GeWomen, an Annapurna film written and directed by Mike Mills and co-starring 21st century women Annette Bening, Elle Fanning, and Greta Gewomen Annette Bening, Elle Fanning, and Greta Gerwig.

It even takes a bizarre, unjustified detour into women - in - prison films.

From an exploitation film set in 1969 to one released in 1969, Jess Franco's 99 Women (more accurately, «Woman 99») is probably the best example of the Women In Prison exploitation genre — which, frankly, never quite caught my attention in the same way that the «Ilsa, She - Devil of the SS» series or the Naughty Nuns diin 1969 to one released in 1969, Jess Franco's 99 Women (more accurately, «Woman 99») is probably the best example of the Women In Prison exploitation genre — which, frankly, never quite caught my attention in the same way that the «Ilsa, She - Devil of the SS» series or the Naughty Nuns diin 1969, Jess Franco's 99 Women (more accurately, «Woman 99») is probably the best example of the Women In Prison exploitation genre — which, frankly, never quite caught my attention in the same way that the «Ilsa, She - Devil of the SS» series or the Naughty Nuns diIn Prison exploitation genre — which, frankly, never quite caught my attention in the same way that the «Ilsa, She - Devil of the SS» series or the Naughty Nuns diin the same way that the «Ilsa, She - Devil of the SS» series or the Naughty Nuns did.

Never a major box - office presence with his microbudgeted, sex - drenched horror, women - in - prison, and porn films, Franco also spent the majority of his hyper - prolific career toiling in critical derision, often even among genre fans.

One of the few awards outfits that awards the year's best in both film and TV, GALECA picked Netflix's freshman women - in - prison dramedy Orange is the New Black in a tie along with HBO's Liberace biopic Behind the Candelabra as TV Drama of the Year.

I saw films with stories about finding happiness even with cancer (Me and Earl and the Dying Girl), the struggles of addiction (I Smile Back), transgender women in Los Angeles (Tangerine), post-apocalyptic love triangles (Z for Zachariah), a teenage girl's sexual awakening (The Diary of a Teenage Girl), relationships between interviewer and interviewee (End of the Tour, True Story), washed up Olympians (The Bronze), two kids who go for a joy ride (Cop Car), psychological studies (The Stanford Prison Experiment), lesbian lovers coming - of - age (The Summer of Sangaile), being a single parent (People, Places, Things), and geeky kids learning how to grow up (Dope).

When most people think of Johnny Cash, they think of a gruff man dressed in black that sang about prison life and hard knocks, but after seeing the film, he s transformed into a man of great passion, both for music and for his woman.

However, he was a tireless collaborator, working with a wide range of musicians and artists over the decades, including Mike Kelley and Tony Oursler, both of whom appear as women in prison in a film that Conrad began in the 1980s and eventually showed as WiP at Greene Naftali in 2013.