women’s rights
Season three of The Handmaid’s Tale has started and Hulu released the first few episodes. As you might expect: things are as dire as ever.
Tribeca 2019’s documentaries were a roller coaster ride of emotions. Stephanie Archer reviews The Leftover Women, After Parkland and more.
Stolen Daughters: Kidnapped By Boko Haram, directed and co-produced by Gemma Atwal, explores the history if abducted girls and the continued presence of Boko Haram in Nigeria.
As a first-time feature for writer/director Stephan Littger, Her Composition is ambitious and full of earnest affectivity.
Afghan Cycles is a true and authentic journey, filled with moments of pure happiness and heartbreaking sadness.
We were able to talk with Niclas Gillis and Tanisha Lambright, the director and star of the short film drama Hold Me Down, which follows a day in the life of a 19-year-old single mother who works as a stripper at an illegal nightclub in the South Bronx to support her child.
Amy Adrion’s must-see documentary HALF THE PICTURE features many prominent women filmmakers who open up about their experiences with discrimination in Hollywood.
The female body has often been sexualized in mainstream film. It’s time we become aware of how it affects the way we think about women.
The documentary The Apology tells the story of three Asian women whose lives have been turned upside down by the trauma of sexual slavery.
Maria Giese updates us about the Federal EEOC investigation into discrimination against women directors in Hollywood.
As a production company, Disney and their famous princesses have changed significantly as a response to changing social norms.
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.
In part one of ‘Gender at War’, we looked at several films which have changed the perception of women in war. Traditionally, women have been pushed to the side – presented as Madonnas (wives, mothers or whores) with no space for them in the gritty action. The increased presence of women as soldiers in war films (instead of passive grieving objects) has forced other questions about the act of war to arise.
Because the Internet can take a person virtually anywhere in the world and provide potentially infinite vats of knowledge, raising children in a dictatorial environment nowadays seems more ridiculous than ever. The mechanics of detaining an adult with an existing awareness of the outside world is even more bewildering, because chances are they’ve read about the Josef Fritzl case and have at least some idea of how to escape. Alas, cinema, ever the portrayer of such cultural terrors, has provided startling means with which to explore such a phenomenon.
We have plenty of excellent and notable films about women in wartime, but their narratives are all too familiar. Often the female protagonist is waiting for the return of her husband or lover, or she is grieving at sending her sons off to war (The Marriage of Maria Braun, Private Peaceful). Sometimes, the war itself exploits and manipulates the nature of our protagonists leading them to betray their country (Rome Open City, to name but one).