In the sweltering heat of a midday desert sun, a delegation of ERA supporters gathered in front of Sen. Kyrsten Sinema’s local office to deliver thousands of letters, postcards and petitions from Arizona and across the country imploring the senator to align with her fellow progressives and help end or reform the filibuster—a necessary step so the Senate can move forward on a vote to remove the time limit on passing the ERA.
“Gunpowder Milkshake” is a cautionary tale about what happens when you’re determined to make a women-led shoot-‘em-up, but have given very little thought to what you’re actually going to do with those women in terms of story structure, characterization or dialogue.
‘Black Widow’ may be an enjoyable romp on the surface, but as a triumphant send-off for Natasha Romanoff, it feels hollow: too little, too late.
Released exactly a year ago on Saturday, ‘The Old Guard’ was overwhelmingly well-received by critics and was my favorite film of 2020, easily making it onto my end-of-year best feminist films list. And yet, the film is deserving of even more fanfare and continued accolades (especially with a sequel in the works). Consider this my ‘The Old Guard’ one-year anniversary present, masquerading as a review.
Inclusion Rider is a contract provision designed to help hold studios accountable for inclusive hiring practices.
“We have always had systemic change as the goal. The question being what tools could we put out there to help make the industry be more equitable, be more inclusive, be more accessible.”
When Lilly Ledbetter, a longtime manager at Goodyear, discovered her salary was significantly lower than her male colleagues, she took the company to court. While her case was overturned at the Supreme Court, her hard work finally paying off when President Barack Obama signed the Lilly Ledbetter Fair Pay Act of 2009 into law as his first official act.
Now, Lilly’s life and her case are going to be the subject of “Lilly,” a feature film, directed by Rachel Feldman and starring Patricia Clarkson. Ms interviewed Ledbetter and Feldman about their exciting project.
“CODA” marks an important step in the right direction for diversity and inclusion in film: a crowd-pleaser that faithfully and respectfully represents a marginalized community often lacking in representation.
“Marvelous and the Black Hole” manages to be both playful and meditative by turns, navigating Sammy’s deep and real grief while recognizing that sometimes the ways teenagers express themselves is simultaneously unproductive and wholly outside their control.
As with the book her film adapts, Rebecca Hall’s “Passing” chronicles a series of encounters between childhood friends Irene (Tessa Thompson) and Clare (Ruth Negga) who reunite after a chance encounter. Both women are light-skinned Black women. Clare has elected to pass as white, having married a white man who openly states how much he “hates Negros.” Irene can pass, but only does so occasionally, “for convenience,” she explains.
The documentary “My Name is Pauli Murray” does admirable work not only recounting the facts of Murray’s life, but also of reminding viewers how many of Murray’s resistances to the discriminatory status quo occurred years or even decades before the landmark civil rights cases we know from history books.
“Land,” “Mayday” and “The World to Come”:
On the surface, a film about leaving civilization, a feminist dystopia, and a lesbian period drama couldn’t be more different. But, familiar characters emerge from each: strong women who persevere in environments indifferent or even hostile to their desires and needs.