The radical notion that women like good movies
Women directors face myriad obstacles: despite there being an abundance of talented female directors struggling to produce work, many companies refuse to give them projects — only 3.4% of all film directors are female, only 7% of the 250 top-grossing movies in 2016 were directed by women… Despite all these obstacles and hardships, women continue to make amazing work with a wide range of genres and topics.
Don’t believe the hype. You have been conned. ‘The Revenant’ is a terrible film. … The second galling part of the film is its abhorrent treatment of Native peoples. It is at best mediocre, at worst condescending, and at all times unremarkable lazy recycled fodder. Almost every time Hugh has an interaction with a Native American person, they meet with disaster. … Can we see this whole movie from the Arikara tribe’s perspective? From Powaqa’s perspective? That would be an actual game changer.
A particular focus in women-driven TV comedy is the importance of female friendship. … ‘Fleabag’ breaks from this pattern by exploring the effects of losing a best friend, and continuing to live in the world without her. Fleabag talks to us like we’re her new best friend because she can no longer talk to her real one. That the series is so funny while telling a tragic story about a very sad woman speaks to the power of comedy in addressing such difficult topics.
Looking at ‘Lilo & Stitch’ can provide a valuable lens in which to analyze the upcoming ‘Moana,’ as well as other mainstream films attempting to represent Indigenous cultures. … Regardless of its individual merits, ‘Lilo & Stitch’ is a moneymaking endeavor to benefit the Disney Company, which has not always had the best relationship (to say the least) with representing Indigenous cultures or respecting Indigenous peoples.
But the clearest example of the Buffyverse’s discomfort with bisexuality, in my opinion, appears in the character of Faith Lehane. … Despite what was at the time a groundbreaking portrayal of a loving lesbian relationship, ‘Buffy the Vampire Slayer’ still had many issues in its messaging surrounding queer sexualities, in particular bisexuality. In my opinion, a few material changes could have gone a long way in removing at least some of this negative messaging.
Against a backdrop of a television landscape lacking in queer representation (especially queer women of color) emerged Callie Torres’ anxious and exciting adventure of self-discovery. … Callie Torres is a fully fleshed out resilient, sensitive, complex, and unapologetic bisexual Latina woman. … Callie’s journey was an iconic one that helped to not only change television, but to cement the oft forgotten notion that bisexuality is very real.
The possibility existed to use season 3 to explore the sexual identity of three very central female characters in this show. Buffy could have been questioning; Faith could have been explicitly bisexual rather than simply implying as much through very sexually-charged dialogue with Buffy; Willow could have started exploring her sexuality earlier to arrive at a more self-aware place, whether that was as a bisexual woman or a lesbian.
Meredith and Cristina reach for each other consistently for 10 seasons, never allowing a male relationship to supersede their friendship. … Watching ‘Grey’s Anatomy’ depict such a powerful female friendship consistently inspires me to improve my own relationships with women, looking to Meredith and Cristina as a model for how sisterhood really should be.
But more and more it seems you can judge the quality of modern adaptations on how the filmmakers view Lizzie in relation to her sisters. Even though the representation of women has greatly expanded since Austen’s time, a story that revolves mostly around sisterly relationships remains rare, which makes it even more vital. And while it is true that Austen’s romance has a timeless quality that makes it popular, the narrative of sisterly love remains transcendent.
‘Glitter Tribe’ (directed by Jon Manning) lays out the argument that neo-burlesque should be considered a bona fide art form within itself and the ensuing 75 minutes certainly make a compelling case. The beating heart of the documentary is evident in the profiles of several Portland-based dancers, who each derive a different meaning and perspective from their performances.
Lois Lane represents a more achievable kind of strength for us mere mortals. Tenacity, self-reliance, and quick wits – these are the weapons of choice for the archetypal career woman bent on “having it all.” … Any writer that reduces Lois Lane down to little more than human Kryptonite thoroughly misrepresents her rich 75-year history as an important pop cultural icon to women.
In ‘Starless Dreams,’ we learn about the lives of teenage girls inside Iran’s juvenile detention centers, but we also learn how director Mehrdad Oskouei attempts to change hearts and minds in his own country. It’s an attempt that’s packaged for his fellow citizens rather than foreigners and, watching the film as an outsider is a complicated, multilayered experience.
