The radical notion that women like good movies
When the leading man isn’t laughing at remarks from serial killers about decapitating girls, he’s coming after sex workers with chainsaws (at least in his head). Yet ‘American Psycho’ espouses a feminist perspective that fillets the values held by capitalist men.
Director Jessica Edwards includes plenty of the Staples’ less familiar music (which still sounds fresh and striking: I predict most people who see this documentary will quickly add a Staples Singer channel to their Spotify and Pandora selections) as well as photos and TV clips from their appearances stretching back to the 1950s. Although Pops had a smooth, clear voice, Mavis usually had the lead vocal even at the beginning. Like Amy Winehouse her style and virtuosity were already an adult’s when she was still a young teen.
Whether or not it was the intent of director Jean-Pierre Jeunet, Amélie can be seen as the female representation of a Christ figure in a modern tragedy. … Amélie’s love, like that of Christ, is selfless and knows no boundaries. … Amélie is altruistic and doesn’t hesitate to help other people.
When we first meet her, Kate seems, like a lot of older women, serene in the unspoken knowledge that she’s at least a little too good for her unshaven, bumbling husband, Geoff (Tom Courtenay) who may or may not have the early symptoms of dementia.
Thematically, ‘Jennifer’s Body’ mirrors ‘Ginger Snaps’ in many respects: the disruption of suburban or small town life, the intersection between female sexuality and violence, the close relationship between two teen girls at the films’ centers, and—perhaps most strikingly—the contagious nature of violence in women.
The ideological battle between the FBI and KGB is thus a gendered one, as the national characters of Uncle Sam and Mother Russia are pitted against each other on a more even world stage.
Certainly, teenagers strain against authority and exert their independence. This doesn’t mean they’re immune to other big issues that plague society – issues such as sexism and racism. If the novels being written for this demographic want to call themselves true dystopias based on a futuristic society in which our current way of living led to some global disaster, then the writers of the novels and the film adaptations shouldn’t shy away from some of the biggest issues in current politics and society.
And the story imprinted is the story of colonization and domination, a story that has seduced Shayla in her role as an attorney. But another story is also imprinted in this woman, a story of tradition, memory, family, and the foundational principles of her Indigenous culture. As the film progress, Shayla starts putting the broken pieces of her experiences in Denver together with the visions and experiences of home in order to remember.
All the women in the show are fairly fleshed out characters who are allowed to be angry, manipulating, sweet, caring, and experience all the emotions that lie in between. So, basically they’re regular human beings.
The body is no longer a Lacanian reflected ideal, it is a biological mess that often exists beyond anyone’s control. The effect of this convention is two-fold–a bait and switch of expectations but also the creation of a sense of biological sameness: man or woman, everybody poops. By placing the body in a biological space instead of a symbolic one, physical comedy is questioning the visual tendencies of subconscious desire.
It is this point at which things significantly begin to shift in Frank and Claire’s relationship. This entire situation, which occurred in a succession of embarrassments for Frank, clearly served as a challenge to his dominance and an infringement on his masculinity, especially coming from his wife. For Claire, meanwhile, it is evident that while Frank is fighting desperately to enforce his masculinity and remain in power, she has lost all of hers.
To see a portrait of the inner workings of the FBI we have to look to films like the new documentary, ‘(T)ERROR’ co-directed by Lyric R. Cabral and David Felix Sutcliffe, showing this Sunday, June 14 as part of the Human Rights Watch Film Festival. In a highly unusual coup, an FBI informant Saeed aka “Shariff” (who used to be Cabral’s neighbor) agrees to be followed by the camera (though he complains to Cabral during closeups “You’re always getting the fucking headshots”) as he talks about his past cases and sets up a current one.
