Halfway through French director Céline Sciamma’s inspiring period drama “Portrait of a Lady on Fire,” it occurred to me: There had not been a single man on screen for over an hour.
Twenty-two years later, “High Art” (1998)—director Lisa Cholodenko’s first feature film—resonates simultaneously as a timeless meditation on love, loss and art and as a trenchant drama with distinctive roots in 1990s aesthetics, culture and social issues.
Although women have certainly made strides toward equality since suffrage, obstacles still face voters of all genders at the polls.
We all owe the suffragists who secured the vote. Use it!
In “The Bostonians,” the North—represented by Olive Chancellor, a wealthy woman’s rights advocate—and the South—represented by the anti-feminist womanizer and very sensual Basil Ransome—fight for control over Verena Tarrant, a young woman with a talent for public speaking who is the daughter of greedy spiritualists and the granddaughter of abolitionists.
Work, business, labor and suffrage are not feminine in “Making an American Citizen,” a 1912 film by Alice Guy Blaché.
The fight to secure voting rights for American women has a long and complicated history. Hollywood’s depictions of suffrage struggles and their aftermath have a history of their own.
“The Assistant” stands apart from films such as “Bombshell” because nothing is resolved. Because “The Assistant” is about harassment and exploitation against ordinary women.
This Steubenville documentary will leave you “seeing red”—and hopefully propel more people in every community to join the movement against violence.
As a feminist, I found the film about Fox to be satisfying, but also hard to watch—and not for the reasons you might expect.