Roman Polanski created a manic adaptation of 'Venus in Fur' in translating David Ives' acclaimed stage play to French and casting wife Emmanuelle Seigner alongside Mathieu Amalric. It's a verbose production that does more than merely meditate on gender dynamics; it explicitly and gleefully deconstructs them, if you can keep up with tantalizingly swift banter between its two stars.
Audiences will flock to theaters this weekend to see 'Edge of Tomorrow,' the latest sci-fi action flick featuring Tom Cruise in his natural environment: running from things, shouting, touting some guns, and fighting off a serious alien threat. But what viewers will be wonderfully surprised to discover is that Cruise isn't the real action star of his own film. Instead, it's Emily Blunt, best known for previous supporting roles in 'The Devil Wears Prada' and 'Looper,' and someone you'd least suspect.
Mike Judge’s new HBO series ‘Silicon Valley’ is a clever, insightful, and at times satirical look at the tech industry in the heart of Silicon Valley, following a group of young upstarts as they endeavor to launch a new platform that will (hopefully) revolutionize data consumption. And while the show has one smart and assertive recurring female character, its dominantly male perspective became alarmingly clear following last week’s episode...
'Divergent' star Shailene Woodley has been doing the rounds to promote her latest role in 'The Fault in Our Stars,' another adaptation of a hit Young Adult novel, and as has become custom when interviewing young actresses, Woodley's been asked about her views on feminism. Woodley, who's basically the flower child version of Jennifer Lawrence, has elicited some harsh reactions with her refusal to embrace the F-word and her admittedly naive responses, which can read as an attempt to retain mass appeal. But whether you agree with her or not, railing against Woodley's responses and presuming to know what's best for her is counterintuitive to feminism.
The ‘Star Wars: Episode 7’ cast was announced this week, and the line-up contains exciting names like Adam Driver, John Boyega, Domhnall Gleeson, Oscar Isaac, and the legendary Max Von Sydow, further cementing (or in some cases, finally rousing) our interest in J.J. Abrams’ new installment. But, there was something curious among the list of newcomers -- there was only one female on the roster: Daisy Ridley. Out of the seven names announced, only one was female, which doesn’t bode well for gender equality in a galaxy that should be far, far away from such seemingly petty concepts.
Based on a short story by Alice Munro, ‘Hateship Loveship’ stars Kristen Wiig as the sheltered and homely caretaker Johanna who comes to work for a new family, only to have the teenage daughter fabricate a romance between her and the girl’s recovering addict father, played by Guy Pearce. Unfortunately, the film is woefully contrived and Wiig’s tame performance feels like just another underwhelming line on her post-’SNL’ resume.
Director Jonathan Glazer's 'Under the Skin' stars Scarlett Johansson as an apathetic alien named Laura, who uses her earthly female body to seduce men and lead them to their death. The film is an oft abstract and unnerving experience (especially in the wonderfully bizarre first hour), and when Laura makes a surprising decision, 'Under the Skin' shifts from examining ideas of subjective and intangible attraction to the tragedy of Johansson's femme fatale trying to claim her sexuality -- and her body -- as her own.
At the annual CinemaCon convention in Las Vegas this week, the MPAA released its annual report of box office statistics. Among its findings, most moviegoers are women. But if women are making up the majority of moviegoing audiences, then why are we still underrepresented in film? Perhaps the answer lies in other recent alarming statistics about women both behind and in front of the scenes. Something has to change, and we can start by putting more women in creative roles in Hollywood.
Eliza Hittman's debut feature, 'It Felt Like Love,' follows 14-year-old Lila, who watches longingly as her more developed and experienced best friend hooks up with boyfriends as she herself is painfully trapped in that teen purgatory of "not quite." After meeting a college boy named Sammy, Lila's seemingly harmless lies about her own experience take her into new, dangerous and exceedingly uncomfortable territory in this film that, like recent Israeli import 'S#x Acts' ('Six Acts'), challenges our perceptions of the propriety and responsibility of teen girls in the midst of coming of age, and the sad learned behaviors of gender dynamics.