#womenfilmmakers — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #womenfilmmakers, aggregated by home.social.
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After seeing The Bride! for the second time, with the two days in between spent on reading and watching all the praise, criticism and vitriol I could find in an attempt to understand the possible reasons for its box office failure, I am happy to say that it's my new favourite movie. And no, I don't feel a need to moderate my opinion by adding that the movie is flawed. Except the iconic splatter at the side of the main character's mouth, I fail to see any substantial blemish on the movie that would justify anything beyond nitpicking. Not that we couldn't have conversations on what could have been done differently.
This movie never takes itself seriously, yet it is very self-aware. It is the self-proclaimed "disobedient geometry." It throws such rich metaphors and apparently reckless symbolism at the observer. This "post-genre" monsterpunk flick is like few others, a meticulous fever dream.
Like the recent "Wuthering Heights" and the much older Jacob's Ladder, The Bride! is what we make of it. But while the first is tragic and beautiful, the second frightening and beautiful, The Bride! is all of that but above all romantic, wholeheartedly funny and, most importantly, emancipating. Not in the feminist sense per se, rather in the human sense. It explores what it means to be free, how ravishing and how disastrous that can be, and how genuineness of spirit is incompatible with our own continuity and that of others.
The director had said that when she was younger, she walked out from the movies permanently changed after seeing Trainspotting. Now, her movie did this to me. I keep crying even after watching it, but not because of melancholy, but because I've acquired something of myself that was legitimately stolen from me many years ago by the zeitgeist.
And yet the buzzers who talk so much about female directors (namely Maggie Gyllenhaal and Emerald Fennell) finally getting huge budgets reveal themselves as sardonic when they complain that the tours de force those directors made aren't just more cliché-ridden done-things.
There's so much else to say, so much I want to keep on raving about, from the emotionally piquant dialogues, and the layers upon layers of hurt and reciprocal empowerment, to the tangled characters, the villainous ghost possessor wrought by injustice, the mesmerising soundtrack, and the absolutely extravagant intellectual sexiness of it all... And I'm happy to go on if anyone wants to.
But The Bride! doesn't deliver a complex story so much as it detonates one inside you. Which made me think about games where the same thing happens, or could happen. Specifically TTRPGs.
#TheBride #FilmMastodon #WomenFilmmakers
1/?
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After seeing The Bride! for the second time, with the two days in between spent on reading and watching all the praise, criticism and vitriol I could find in an attempt to understand the possible reasons for its box office failure, I am happy to say that it's my new favourite movie. And no, I don't feel a need to moderate my opinion by adding that the movie is flawed. Except the iconic splatter at the side of the main character's mouth, I fail to see any substantial blemish on the movie that would justify anything beyond nitpicking. Not that we couldn't have conversations on what could have been done differently.
This movie never takes itself seriously, yet it is very self-aware. It is the self-proclaimed "disobedient geometry." It throws such rich metaphors and apparently reckless symbolism at the observer. This "post-genre" monsterpunk flick is like few others, a meticulous fever dream.
Like the recent "Wuthering Heights" and the much older Jacob's Ladder, The Bride! is what we make of it. But while the first is tragic and beautiful, the second frightening and beautiful, The Bride! is all of that but above all romantic, wholeheartedly funny and, most importantly, emancipating. Not in the feminist sense per se, rather in the human sense. It explores what it means to be free, how ravishing and how disastrous that can be, and how genuineness of spirit is incompatible with our own continuity and that of others.
The director had said that when she was younger, she walked out from the movies permanently changed after seeing Trainspotting. Now, her movie did this to me. I keep crying even after watching it, but not because of melancholy, but because I've acquired something of myself that was legitimately stolen from me many years ago by the zeitgeist.
And yet the buzzers who talk so much about female directors (namely Maggie Gyllenhaal and Emerald Fennell) finally getting huge budgets reveal themselves as sardonic when they complain that the tours de force those directors made aren't just more cliché-ridden done-things.
There's so much else to say, so much I want to keep on raving about, from the emotionally piquant dialogues, and the layers upon layers of hurt and reciprocal empowerment, to the tangled characters, the villainous ghost possessor wrought by injustice, the mesmerising soundtrack, and the absolutely extravagant intellectual sexiness of it all... And I'm happy to go on if anyone wants to.
But The Bride! doesn't deliver a complex story so much as it detonates one inside you. Which made me think about games where the same thing happens, or could happen. Specifically TTRPGs.
#TheBride #FilmMastodon #WomenFilmmakers
1/?
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After seeing The Bride! for the second time, with the two days in between spent on reading and watching all the praise, criticism and vitriol I could find in an attempt to understand the possible reasons for its box office failure, I am happy to say that it's my new favourite movie. And no, I don't feel a need to moderate my opinion by adding that the movie is flawed. Except the iconic splatter at the side of the main character's mouth, I fail to see any substantial blemish on the movie that would justify anything beyond nitpicking. Not that we couldn't have conversations on what could have been done differently.
This movie never takes itself seriously, yet it is very self-aware. It is the self-proclaimed "disobedient geometry." It throws such rich metaphors and apparently reckless symbolism at the observer. This "post-genre" monsterpunk flick is like few others, a meticulous fever dream.
Like the recent "Wuthering Heights" and the much older Jacob's Ladder, The Bride! is what we make of it. But while the first is tragic and beautiful, the second frightening and beautiful, The Bride! is all of that but above all romantic, wholeheartedly funny and, most importantly, emancipating. Not in the feminist sense per se, rather in the human sense. It explores what it means to be free, how ravishing and how disastrous that can be, and how genuineness of spirit is incompatible with our own continuity and that of others.
The director had said that when she was younger, she walked out from the movies permanently changed after seeing Trainspotting. Now, her movie did this to me. I keep crying even after watching it, but not because of melancholy, but because I've acquired something of myself that was legitimately stolen from me many years ago by the zeitgeist.
And yet the buzzers who talk so much about female directors (namely Maggie Gyllenhaal and Emerald Fennell) finally getting huge budgets reveal themselves as sardonic when they complain that the tours de force those directors made aren't just more cliché-ridden done-things.
There's so much else to say, so much I want to keep on raving about, from the emotionally piquant dialogues, and the layers upon layers of hurt and reciprocal empowerment, to the tangled characters, the villainous ghost possessor wrought by injustice, the mesmerising soundtrack, and the absolutely extravagant intellectual sexiness of it all... And I'm happy to go on if anyone wants to.
But The Bride! doesn't deliver a complex story so much as it detonates one inside you. Which made me think about games where the same thing happens, or could happen. Specifically TTRPGs.
#TheBride #FilmMastodon #WomenFilmmakers
1/?
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After seeing The Bride! for the second time, with the two days in between spent on reading and watching all the praise, criticism and vitriol I could find in an attempt to understand the possible reasons for its box office failure, I am happy to say that it's my new favourite movie. And no, I don't feel a need to moderate my opinion by adding that the movie is flawed. Except the iconic splatter at the side of the main character's mouth, I fail to see any substantial blemish on the movie that would justify anything beyond nitpicking. Not that we couldn't have conversations on what could have been done differently.
This movie never takes itself seriously, yet it is very self-aware. It is the self-proclaimed "disobedient geometry." It throws such rich metaphors and apparently reckless symbolism at the observer. This "post-genre" monsterpunk flick is like few others, a meticulous fever dream.
Like the recent "Wuthering Heights" and the much older Jacob's Ladder, The Bride! is what we make of it. But while the first is tragic and beautiful, the second frightening and beautiful, The Bride! is all of that but above all romantic, wholeheartedly funny and, most importantly, emancipating. Not in the feminist sense per se, rather in the human sense. It explores what it means to be free, how ravishing and how disastrous that can be, and how genuineness of spirit is incompatible with our own continuity and that of others.
The director had said that when she was younger, she walked out from the movies permanently changed after seeing Trainspotting. Now, her movie did this to me. I keep crying even after watching it, but not because of melancholy, but because I've acquired something of myself that was legitimately stolen from me many years ago by the zeitgeist.
And yet the buzzers who talk so much about female directors (namely Maggie Gyllenhaal and Emerald Fennell) finally getting huge budgets reveal themselves as sardonic when they complain that the tours de force those directors made aren't just more cliché-ridden done-things.
There's so much else to say, so much I want to keep on raving about, from the emotionally piquant dialogues, and the layers upon layers of hurt and reciprocal empowerment, to the tangled characters, the villainous ghost possessor wrought by injustice, the mesmerising soundtrack, and the absolutely extravagant intellectual sexiness of it all... And I'm happy to go on if anyone wants to.
But The Bride! doesn't deliver a complex story so much as it detonates one inside you. Which made me think about games where the same thing happens, or could happen. Specifically TTRPGs.
#TheBride #FilmMastodon #WomenFilmmakers
1/?
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After seeing The Bride! for the second time, with the two days in between spent on reading and watching all the praise, criticism and vitriol I could find in an attempt to understand the possible reasons for its box office failure, I am happy to say that it's my new favourite movie. And no, I don't feel a need to moderate my opinion by adding that the movie is flawed. Except the iconic splatter at the side of the main character's mouth, I fail to see any substantial blemish on the movie that would justify anything beyond nitpicking. Not that we couldn't have conversations on what could have been done differently.
This movie never takes itself seriously, yet it is very self-aware. It is the self-proclaimed "disobedient geometry." It throws such rich metaphors and apparently reckless symbolism at the observer. This "post-genre" monsterpunk flick is like few others, a meticulous fever dream.
Like the recent "Wuthering Heights" and the much older Jacob's Ladder, The Bride! is what we make of it. But while the first is tragic and beautiful, the second frightening and beautiful, The Bride! is all of that but above all romantic, wholeheartedly funny and, most importantly, emancipating. Not in the feminist sense per se, rather in the human sense. It explores what it means to be free, how ravishing and how disastrous that can be, and how genuineness of spirit is incompatible with our own continuity and that of others.
The director had said that when she was younger, she walked out from the movies permanently changed after seeing Trainspotting. Now, her movie did this to me. I keep crying even after watching it, but not because of melancholy, but because I've acquired something of myself that was legitimately stolen from me many years ago by the zeitgeist.
And yet the buzzers who talk so much about female directors (namely Maggie Gyllenhaal and Emerald Fennell) finally getting huge budgets reveal themselves as sardonic when they complain that the tours de force those directors made aren't just more cliché-ridden done-things.
There's so much else to say, so much I want to keep on raving about, from the emotionally piquant dialogues, and the layers upon layers of hurt and reciprocal empowerment, to the tangled characters, the villainous ghost possessor wrought by injustice, the mesmerising soundtrack, and the absolutely extravagant intellectual sexiness of it all... And I'm happy to go on if anyone wants to.
But The Bride! doesn't deliver a complex story so much as it detonates one inside you. Which made me think about games where the same thing happens, or could happen. Specifically TTRPGs.
#TheBride #FilmMastodon #WomenFilmmakers
1/?
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Women Filmmakers Speak Out on Challenges and Triumphs at Kering Seminar https://www.byteseu.com/1112195/ #Entertainment #HollywoodReporter #KiranRao #LiangJing #LuizaMariani #WomenFilmmakers
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Women claim spotlight in India’s macho movie industry https://www.byteseu.com/1026875/ #2024CannesFilmFestival #ArthouseFilms #CannesFilmFestival #DivyaPrabha #Entertainment #FilmIndustry #GiantMovieIndustry #india #PayalKapadia #ReemaKagti #SocietalPressure #WomenCharacters #WomenFilmmakers
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“The maker of the remarkable prizewinning docu-essay hybrid, DAHOMEY, on the film’s urgent anti-colonial message….” 📽️ 🇫🇷 🇧🇯 🎞️ #movies #film #cinema #CineMastodon #documentaries #EssayFilms #FrenchCinema #Benin #interviews #MatiDiop #WomenFilmmakers
https://lwlies.com/interviews/mati-diop-were-witnessing-an-awakening-of-consciousness/
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“Baker’s breakthrough was the 2014 Pulitzer Prize-winning drama THE FLICK, about three ushers working in a dilapidated cinema. With JANET PLANET, she reprises some of her preoccupations with fidelity, labor, and mental welfare, all with a vigilance for the physical and emotional architecture of her scenes….” 📽️ 🇺🇸 🎞️ #CineMastodon #WomenFilmmakers #Movies #Film
Memory Work: Annie Baker on JANET PLANET | Screen Slate https://www.screenslate.com/articles/memory-work-annie-baker-janet-planet
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In this list we aim to write women back into film history by championing 100 female-directed hidden gems that have been forgotten or unfairly overlooked.
https://www.bfi.org.uk/sight-and-sound/female-gaze-100-overlooked-films-directed-by-women
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FREE at Austin’s AFS Cinema: the seventh annual Femme Frontera Filmmaker Showcase on Wednesday, September 27. Featuring short films by women and non-binary filmmakers from the US-Mexico border regions of El Paso, TX; Las Cruces, NM; and Cd. Juárez, Chihuahua, México.
https://www.austinfilm.org/screening/femme-frontera-filmmaker-showcase/
#FemmeFrontera #FFFS #TXfilm #MXfilm #NMfilm #WomenInFilm #WomenFilmmakers #filmmaker #WIFT #film #ShortFilm #storytelling
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Mary MacLaren delivers a heartbreaking performance in Shoes (Lois Weber, 1916)
#ClassicFilm #SilentFilm #WomenFilmmakers #Cinema #Cinemastodon #Film #Vintage
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"The study reports that from 1910-1930, 10.9% of feature film credits were attributed to women writers, directors and producers. During that same period, over 27.5% of women were credited as writers or co-writers; 19.6% of feature films were based on source material written by women; and films directed by women during this time period were 31% more likely to have female writers".
#EarlyFilm #SilentFilm #SilentEra #Women #WomenInFilm #WomenFilmmakers #Cinemastodon