In Theaters Now
The newly released Marvel “superhero” movie ‘Deadpool’ is more of a self-aware, raunchy antihero flick that solidly earns its R rating with graphic violence, lots of dick jokes, and a sex scene montage. Basically, it’s a good time. While ‘Deadpool’ is entertaining, self-referential, self-effacing, and full of pop culture references, how does it measure up with its depiction of its female characters?
From the thousands of immigrant stories that could have been told, that Hollywood chose a heterosexual love story between two white Westerners in the 1950s is telling — that critics and audiences have lauded and lavished it with praise is even more so.
‘The Danish Girl’ and ‘Tangerine’ collide in their allusion to the notions of gender identity, gender expression and beauty in conversations about trans women. But ‘Tangerine’ takes that necessary next step by centering and humanizing the lives of trans women, which ‘The Danish Girl’ pointedly fails to do.
The potency of ‘Carol’ struck me. I found myself hopelessly enraptured by the film’s meticulously flawless and at times excruciatingly realistic depiction of the ineffability that typifies so much of the queer experience. … The film pinpoints and satiates that pulsating, unspeakable longing that I (and I know countless others) have felt too many times.
If only ‘Carol’ the much lauded movie from director Todd Haynes (adapted by Phyllis Nagy from Patricia Highsmith’s novel ‘The Price of Salt’) were as good as its trailer, a one minute ten second masterpiece of close-ups, pitch-perfect period detail and barely contained emotion.
Let’s All Calm Down for a Minute About ‘The Hateful Eight’: Analyzing the Leading Lady of a Modern Western
In an action movie, violence is due to befall all characters. Is violence against any female character inherently woman-hating, inherently misogynist? … It’s possible that subconscious sexism makes people quick to see her as a victim, and then criticism of the trope of women as victims may be getting in the way of seeing the agency and complexity of a character like Daisy Domergue.
I was surprised at how enjoyable and skillfully made ‘Brooklyn’ is: I cried when everyone else did and gasped when the rest of the audience did too, but in spite of its excellent art direction and affecting performances the film is mostly hokum. New York in the 1950s is a place where no one the main character hangs out with smokes (when all of the men and the majority of women were smokers). Most of the characters barely drink (just one glass at Christmas) and, except for a child’s brief outburst at a family dinner table, (“I should say that we don’t like Irish people”) none of its white, working-class, ethnic characters have any problem with any other ethnic group.
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.
Another way for a male actor to win an award is to put on a dress and play a trans woman (see Jared Leto and ‘Transparent’) which explains why we now have ‘The Danish Girl’ in theaters, directed by Hooper and starring Redmayne as trans pioneer Lili Elbe. At least one trans woman has already pointed out how this film, like ‘Blue Is the Warmest Color’ before it, has scenes that could have been lifted from porn (not the best place to find versimilitude) but also how the script forces Elbe into the “tragic degenerate” trope, just like queer characters invariably were in the bad old days.
Because ‘The Assassin’ packs nearly every kind of arty, intersectional-feminist fan’s fantasy into one movie. It centers around a woman of color (it takes place in China in the middle ages and its director is Taiwanese, so most of the actors are Taiwanese too) whose main scenes are with other women of color (this film has relatively little dialogue but passes the Bechdel test with no problem).
“Redemption is always something that comes up, and I never understand that — why we need to find redemption or have redemption in books or movies.”
Anderson was working on her film, ‘Heart of a Dog’ (in theaters now; it will be shown on HBO at a later date) when Reed died and she then took a year off before finishing the documentary. The film contains a loosely connected series of stories and images but is mostly a meditation on grief and death with a focus on her dog, a rat terrier named Lolabelle. What it isn’t about, at least not directly, is Reed, though he has a cameo in the film.