Foreign Film Week Roundup

Gender, Family and Globalization in ‘Eat Drink Man Woman’ by Emily Contois


Foreign Film Week: Red, Blue, and Giallo: Dario Argento’s ‘Suspiria’ by Max Thornton

Sexism in Three of Bollywood’s Most Popular Films by Katherine Filaseta

BFI London Lesbian and Gay Film Festival

Realistic Depictions of Women and Female Friendship in ‘Muriel’s Wedding’ by Libby White

‘War Witch’: Finally, a Movie About Africa Without the Cute White Movie Star by Atima Omara-Alwala

A Thorn Like a Rose: ‘War Witch’ (Rebelle) by Emily Campbell

‘The World is Ours,’ a Feminist Film by Eugenia Andino Lucas — a review in English y en Espanol

Remembering, Forgetting and Breaking Through in the Female Narrative of ‘Hiroshima Mon Amour’ by Leigh Kolb

Growing Up with ‘Les Demoiselles de Rochefort’ by Lou Flandrin

‘Lemon Tree’ Unites Two Women from Palestine and Israel by Megan Kearns

As a Collector Loves His Most Prized Item: ‘Gabrielle’ (2005) by Amanda Civitello

The Disturbing, Terrorizing Feminism of Dušan Makavejev’s ‘WR: Mysteries of the Organism’ and ‘Sweet Movie’ by Leigh Kolb

A Failed Attempt at Feminism Impedes ‘Rust and Bone’ by Candice Frederick

The Accidental Feminism of ‘4 Months, 3 Weeks and 2 Days’ by Nadia Barbu

Growing Up Queer: ‘Water Lilies’ (2007) and ‘Tomboy’ (2011) by Max Thornton

Magical Girlhoods in the Films of Studio Ghibli by Rosalind Kemp

‘Howl’s Moving Castle’ and Male Adaptations of Fantasy by Emily Belanger

Female Empowerment, a Critique of Patriarchy…Is ‘Crouching Tiger, Hidden Dragon’ the Most Feminist Action Film Ever? by Megan Kearns

Let the Right One In by Stephanie Rogers

Let This Feminist Vampire In by Natalie Wilson

‘Happy-Go-Lucky’ by Amber Leab

‘Los Ojos de Alicia’ by Amber Leab

‘Persepolis’ by Amber Leab

‘The King’s Speech’ by Roopa Singh

‘The Girl with the Dragon Tattoo’ by Megan Kearns

‘The Girl Who Played with Fire’ by Megan Kearns

‘The Girl Who Kicked the Hornet’s Nest’ by Megan Kearns

‘Incendies’ by Vicky Moufawad-Paul

‘Atonement’ by Marcia Herring

‘Slumdog Millionaire’ by Tatiana Christian

‘The Descent’ by Robin Hitchcock

Top 10 Best Female-Centered Horror Films by Eli Lewy

‘Where Do We Go Now?’ by Kyna Morgan

‘Fire’: Part One of Deepa Mehta’s ‘Elements Trilogy’ by Amber Leab

‘The Artist’: “Peppy Miller, Wonder Woman” by Candice Frederick

Best Documentary Oscar Nominee: ‘Pina’ by Ren Jender

Preview: ‘The Iron Lady’ by Amber Leab

Best Actress Nominees: Meryl Streep and Michelle Williams by Gabriella Apicella

‘The Lady’ vs. ‘The Iron Lady’: Who Gets the Vote? by Candice Frederick

Preview: ‘Albert Nobbs’ by Amber Leab

‘Albert Nobbs’ Review: Exploring Constrictions of Gender and Class by Megan Kearns

Indie Spirit Best International Film Nominee: ‘Shame’ by Clint Waters

Indie Spirit Best International Film Nominee: ‘Melancholia’ by Olivia Bernal

‘Melancholia’: Take 2 by Hannah Reck

‘Room in Rome’ by Djelloul Marbrook

“Love” Is “Actually” All Around Us (and Other Not-So-Deep Sentiments) by Lady T

‘The Lady’ Makes the Personal Political by Jarrah Hodge

‘The Lady’ vs. ‘The Iron Lady’: Who Gets the Vote? by Candice Frederick

Motherhood in Film and TV: ‘Mother’ by Tatiana Christian

‘Splice’: Womb Horror and the Mother Scientist by Mychael Blinde

The Four Mothers of ‘Hanna’ by Rachel Redfern

‘Cloud Atlas’ Loses Audience by Erin Fenner

Please, ‘Turn Me On, Dammit!’ by Rachel Redfern

‘Skyfall’: It’s M’s World, Bond Just Lives In It by Margaret Howie

The Sun (Never) Sets on the British Empire: The Neocolonialism of ‘Skyfall’ by Max Thornton

 10 Statements ‘Shakespeare in Love’ Makes about Women’s Rights by Myrna Waldron

The Depiction of Women in Films about Irish Politics by Alisande Fitzsimons 

‘Anna Karenina’ and the Tragedy of Being a Woman in the Wrong Era by Erin Fenner

Gender and Food Week: ‘Life is Sweet’ by Alisande Fitzsimons

It’s “Impossible” Not to See the White-Centric Point of View by Lady T

Extreme Weight Loss for Roles is Not “Required” and Not Praiseworthy by Robin Hitchcock

‘Les Miserables’: The Feminism Behind the Barricades by Leigh Kolb

‘Les Miserables,’ Sex Trafficking and Fantine a Symbol of Women’s Oppression by Megan Kearns

‘Les Miserables’: Some Musicals are More Feminist Than Others by Natalie Wilson

Feminism & the Oscars: Do This Year’s Films Pass the Bechdel Test? by Megan Kearns

Feminism in ‘Aiyyaa,’ and Why It Ain’t Such A Bad Movie by Rhea Daniel

Classic Literature Film Adaptations Week: ‘Ballet Shoes’ by Max Thornton

Classic Literature Film Adaptations Week: ‘Farewell, My Concubine’ by René Kluge

A New Jane in Cary Fukunaga’s ‘Jane Eyre’ (2011) by Rhea Daniel

Comparing Two Versions of ‘Pride and Prejudice’ by Lady T 

How BBC’s ‘Pride & Prejudice’ Illustrates Why The Regency Period Sucked For Women by Myrna Waldron 

‘Women Without Men’: Gender Roles in Iran, Women’s Bodies and Subverting the Male Gaze by Kaly Halkawt

2013 Oscar Week: ‘A Royal Affair: More Royal Than Affair by Atima Omara-Alwala 

2013 Oscar Week: ‘A Royal Affair’ by Rosalind Kemp

2013 Oscar Week: ‘Searching for Sugar Man’ Makes Race Invisible by Robin Hitchcock

2013 Oscar Week: Academy Documentaries: People’s Stories, Men’s Voices by Jo Custer

2013 Oscar Week: Academy Documentaries: People’s Stories, Men’s Voices by Jo Custer

2013 Oscar Week: Academy Documentaries: People’s Stories, Men’s Voices by Jo Custer

Penetrating History in ‘Hysteria’ by Rachel Redfern