To celebrate the last decade 2010-2019 we are counting down the best actresses and discussing some of their most notable and memorable performances of the last decade. With the help of Film Twitter, the ITOL team have selected 30 actresses. Entry No. 25 is Alicia Vikander, and writer Bee Garner discusses the actress and her work over the last decade.
"Marriage Story" is actually a tale about a divorce - that of two successful theatre artists, Charlie (Adam Driver) and Nicole (Scarlett Johansson). Initially, the film appears to be entirely Charlie’s story but without Nicole, there would be no movie. In the beginning, he is unable to see his wife for who she really is but he grows to see her so clearly that he can fully appreciate the extent of what he’s lost. That theme - of appreciating women as fully formed human beings, equal to their male partners and counterparts - is what makes "Marriage Story" a feminist love story.
But the question is, how come "Long Kiss Goodnight" is usually skipped in the movie list for the holidays?
Sexual assault is a crime that has been perpetrated upon far too many women; some who’ve unfortunately gone through this may find this film to be one too difficult to sit through. An experience like this is not one which needs re-living--especially when it hits this close to home (which happens to be the case of the director/screenwriter/producer, Cédric Jouaire according to my press notes). A best-selling writer is seduced, then kidnapped by a stalker who accuses him of rape. She claims that the rape occurred 20 years ago and that he has used her personal tragedy and exploited it by making it the plot of his latest novel. The author insists that this is merely a coincidence and that his work is merely one of fiction, yet the vengeful woman persistently forces him to confess.
A young woman arrives in an idyllic poolside estate overlooking the desert with her wealthy, older boyfriend. She is scantily clad and coquettish--working a lollipop in quite the lasciviously suggestive way. What seems like a hedonist fantasy at first (an older, wealthy, married man all alone in a beautiful house with a young sexy woman and a weekend filled with their vices of choice: drugs, alcohol, sex) gets upended when Richard’s (Kevin Janssens) sketchy pals, Stan (Vincent Colombe) and Dimitri (Guillaume Bouchède) arrive unannounced. This sticky situation is further aggravated when, during a night of partying, Jen (Matilda Lutz) proceeds to drunkenly flirt with them all.
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.