Yet behind the eye-catching homage to Technicolor cinematography, the retro-glamorous hair and makeup, and the stylized performances of the pitch-perfect cast [Anna Biller’s ‘The Love Witch’] is a sharp-eyed satire of how society views female sexuality as simultaneously desirable and dangerous. …It is a remarkable look at the way our modern world views and values women — a serious statement about sexual politics wrapped up in a cocoon of cats-eye liner and cake, making it all the more dangerously potent.
Enter The Girl, a mostly silent observer to the rotting underbelly of Bad City. She shares a kinship with the likes of Shane and The Man with No Name — a hero with mysterious origins and questionable morality who ultimately defends those who cannot help themselves. … Once The Girl arrives, it’s essentially Amirpour’s playground as she honors and subverts Westerns and horror films.
One message reinforced in panels throughout the day — including the “Gender Identity: Understanding Through Art” panel earlier that morning — was best articulated by filmmaker Kellee Terrell: the need for diversity in film. The revelation of ‘Get Out’ sparked a conversation on representation, universal experiences, and relating to what’s on-screen.
The point of the story is that, like so many vampires, he’s been transformed against his will into a creature he can’t quite make peace with. It’s an insight into vampires – backed by what seems to be an encyclopedic knowledge of how they have been portrayed in film – but just as interestingly, and perhaps more importantly, it’s an insight into how our experiences shape us; how early the die can be cast on the type of people we grow up to be.
Jackie’s deeply emotional outbursts may stand in stark contrast to the alien’s lack of empathy, but both women share a troubling alienation from the people around them. Mica Levi’s scores make this alienation audible, the grim discomfort of her music allowing the audience to feel, even for 90 minutes, the terror of such a solitude.
We do not see the warrior that we have come to know and love, for her ability to not just fight battles, but to align others to fight against their darkest selves and moments for a better world. … Her death becomes a part of their story and creates an allegory of her character; she is not a woman anymore, but a figure to them, something they now own.
How did these male filmmakers make a movie marketed to men full of female characters who actually get the majority of the dialogue? I’m about to crack the code and share the secret — are you ready to become enlightened? Here’s how they did it: They included female characters and gave them lines. WHAT. Yes, it’s that simple.
In the endless web of conundrums that Native peoples face, marginalization is a result of societal erasure, whether that be through stereotypes or the lack of representations all together. … With that in consideration, I seek to influence popular consciousness by analysis of horror through a Native woman’s lens. One endeavor of asserting Native presence is through my analysis of the Native thriller film, ‘Imprint.’
Small screen torture porn, at least in the cases of ‘American Horror Story’ and ‘Penny Dreadful,’ seems to be serving rather to take our fear of sex and women out of the dark and into the light, giving us an opportunity to vicariously take women apart and show them as disgusting as a substantial portion of our society fears we might be.
Recognizing the witch hunts dotted throughout the U.S.’s early history as a feminist issue, Robert Eggers smartly constructs his film to be a power struggle between the two main female characters, each representing a different conception of femininity. … By rejecting motherhood, the witches reject their feminine role in the patriarchal Puritan society.
Are spine-chilling films always in demand because they help us dialogue with and about death? … In the past year, I’ve been focused on seeing films directed by women because I participated in the “52 Films by Women” initiative.
I won’t spend too much time trying to convince you that one of the main characters, Dean Winchester (Jensen Ackles), is bisexual — or would be, if the writers and producers would allow him to be — and that the show is queerbaiting. … What I am arguing is that queer people do not need a character’s sexuality to be canonized in order to identify with that character and recognize literary tropes that are generally used to align characters with queerness.