women directors
The brave Rwandan women and the inspiring conclusion of The Uncondemned make it a heartbreaking, human, and empowering watch, and it reveals an important part of forgotten history.
A United Kingdom has plenty of flaws, but more than makes up for them with a heart and an affection that is utterly intoxicating.
Some films just break your heart. They wheedle their way in with a warm embrace, and find a way to really stay with you, leaving you with deep a sense of loss, and yet, gratitude. A Death in the Gunj is one such film.
Amy Adrion shared her insights on gender inequality in the film industry and how we can create change for women in Hollywood.
Over at our official Facebook page, we are currently posting daily film recommendations with each week being a different theme. This is a collection of those recommendations! This week’s theme is action films directed by women.
You would be hard-pressed not to find a panel discussion on the topic of ‘Women In Film’ at most leading global film festivals at present, given it’s an issue that has come into increasing focus in recent years. In the Hindi film industry particularly, matters of the portrayal of women and the disparate treatment of actresses have similarly become popular talking points. In its on-screen portrayal of women, Hindi cinema’s approach has historically been quite dire, with women traditionally being depicted as subservient and submissive, with their entire role predominantly being about the male lead.
Dinner with Dames Case File Who: Jessica Sharzer, writer of Nerve and American Horror Story, with Cinefemme board, fiscal sponsorees, and referrals – Ritza Bloom, Shenee Howard, Katy Kavanaugh, Jen Mostow, Katrina Parks, Jenna Payne, and myself, Rory Gory What: Dinner 1.
Andrea Arnold is without a doubt cinema’s leading creator of stories depicting the trials and tribulations of working class women, with an entirely non-judgemental eye. Translating her social realist style across the Atlantic, keeping the inherent themes relevant to the lower classes intact, would seem close to impossible, although due to an unfortunate stroke of luck, the Presidential election has made the general idea of class in an overwhelmingly middle class country relevant yet again. Many audiences have been so transfixed by the way Arnold and her long-term cinematographer Robbie Ryan have captured the sweeping vistas of America, a world completely alien to the council estates of earlier films Red Road and Fish Tank, that they have seemed to ignore the fact this is unmistakably a distinctive piece of work.
You won’t find out much about Louise Osmond if you look online. She is an Oxford history graduate who joined ITN as a news journalism trainee, and that’s all I or probably any other writer could know about her. But the personal details are irrelevant in the face of such a sturdy, and increasingly successful career as a documentary maker.
On Thursday, September 22, Blair Witch writer Simon Barrett is hosting the very first Dinner With Dames (DWD). Organised by Jenna Payne in collaboration with Cinefemme, it’s an opportunity for a group of up-and-coming women filmmakers to enter a dialogue about diversity issues and obstacles women face in the entertainment industry, while enjoying a meal. High level industry players are invited to every dinner, in an attempt to break down the barriers of access, help demolish the myths about female filmmakers and to promote more conscious hiring practices in Hollywood.
Leyla Bouzid’s French-Tunisian drama goes above and beyond the traditional coming of age story, using one girl’s journey to adulthood to explore politics, revolution and state sanctioned violence. As I Open My Eyes, gaining international attention for its portrayal of the Arab Spring, seeks to tackle such a prominent and life altering event through the eyes of its young protagonist: Farah.
Chevalier is the uncomplicated story of six men on a diving expedition in the Aegean sea, and how their competitiveness is almost the undoing of all of them. Named as Best Film at the London Film Festival in 2015, it is an extraordinary film and one that is unmissable for anyone who enjoys a deeply disturbing comedy. Despite having no female characters, Athina Rachel Tsangari’s Greek comedy speaks from an authoritative feminist voice, forcing hyper-masculinity under the microscope with hysterical consequences.
It seems strange that a body of work which has largely focused on the female experience without pontificating, should prove to be so contentious. And yet, Sofia Coppola’s viewers seem to fall largely within two extremes: the devoted and the apathetic.
A while ago, I had the pleasure to be introduced to Lulu Wang. Before I got to watch her first feature film Posthumous, I got to watch her short Touch (watch Touch here). While watching that, I knew I was in for something great with her first feature.
The past couple years have sparked seemingly, sudden changes in Hollywood. The #OscarsSoWhite trending this year launched a complete member overhaul in the Academy and the way voting was handled within the membership. The EEOC launched an investigation of the Hollywood’s studio system’s complete neglect of hiring women directors, which has sparked an online movement for women in film, both in front of and behind the scenes.