Anna Biller's 2016 film, "The Love Witch", is a magical, sensual exploration of female sexuality and empowerment. With stunning cinematography, set design and costume design, this film inspires praise for both it's undeniable style and thought-provoking messages. The film follows witch and burlesque dancer, Elaine on her quest to find true love. However, her outlook on men and their capability to love is concerning to her fellow witches, especially since many of Elaine's intense love potions do not result in a happy ending of any kind.
Have you ever seen a film and found something just a bit distasteful about the way female actor came across but you couldn’t quite point to exactly why it didn’t sit right? And, maybe others have pointed out that the main female character have been treated very well because they ended up saving the day, so what are you complaining about?
There’s more to a film than the simply action that takes place and who is on screen. It’s a visual art form and we’re all trained in the visual language of cinema from the moment we start watching films. By ‘visual language’ we mean the way people are photographed in order to convey meaning beyond what they say or do. Someone shown in the frame as towering above another person is often the one with the power for example.
Amidst the #MeToo and #TimesUp movements, it as become glaringly obvious how pervasive toxic masculinity, harassment, and abuse are in the film industry. With film and television as not just art forms, but avenues of escapism, how do we watch cinema more responsibly?
Following the scathing Weinstein report, MANY men in Hollywood – and some women – have been accused of sexual harassment and assault. This is not a new thing, but we are certainly not remaining as complacent as before. Louis C.K., Harvey Weinstein, Matt Lauer, Charlie Rose, Bryan Singer, R. Kelly and so on are facing exile from the entertainment industry.
One would think that vampires are a trope in horror that has been beaten to death with a clove of garlic. However, Ana Lily Amirpour's "A Girl Walks Home Alone at Night" not only breathes live into this overdone trope but also gives the classic monster a feminist twist that is both innovative and empowering. Style-wise, the film filled to the brim with moody, cinematography which contributes greatly to the dark, tense vibe that consumes the narrative in a "Sin-City" (2005) meets "Cat People" (1942) vibe.
Described as the 'first Iranian Vampire Western', the film (written and directed by Amirpour) follows a lonely vampire that roams Bad City, a crime-filled ghost town whose residences are unaware that a bloodthirsty beast lives among them. However, the vampire known only as 'The Girl' (Sheila Vand) is certainly not the only monster that lurks in the shadows.
By Michaela Barton Throughout history, the symbolic nature of witches in art has transfigured. Originally, witches represented old, ugly, cruel women who lived outside of normal social parameters. The real-life witch trials of the past were often used as opportunities to purge villages of women that threatened female ideals defined by men. These “witches” were... Continue Reading →
As it's Halloween this month, it only seems apporiate for this month's "Feminist Film Theory 101" to focus on Carol J.Clover's "Men, Women, and Chain Saws: Gender in the Modern Horror Film." and the "Final Girl". Who is the Final Girl, and is she a true feminist icon? #Womeninhorror #TheFinalGirl #31DaysofHorror
It's been over 40 years since the film critic Laura Mulvey first coined the term male gaze, in her essay, "Visual Pleasure and Narrative Cinema" (1975). The male gaze is referred to as a way of seeing women and the world through a masculine perspective and point of view.
"Mortal Engines" may have flopped at the Box Office but it's worth revisiting the film, especially for it's message of female empowerment.
“Alice” (2019) is a French-language film by director Joséphine Mackerras which won the SXSW Grand Jury Prize. It shines a light on the reality of women’s place in western society and the empowering nature of sisterhood.
Francois (Martin Swabey) brings his family to the brink of ruin by squandering all their money on sex workers. His wife Alice (Émilie Piponnier) is faced with having to play a rigged system in order to save her home and her son.