We’ve grown accustomed to the premise underpinning the HBOMax series ‘Allen v. Farrow,’ directed by Amy Ziering and Kirby Dick. Yet another heralded male celebrity, this time Woody Allen, is exposed by accusations of sexual assault. Yet, what’s most disturbing about the details uncovered by the investigative work in ‘Allen v. Farrow’ is just how much hid in plain sight—for nearly 30 years.
“Abortion Helpline, This is Lisa” paints a harrowing picture of life under the Hyde Amendment; after dipping into rent and food money, asking everyone in their life for money, and calling strangers at a fund, a person may still not end up with enough to exercise their legal right to an abortion.
“I Care a Lot” takes the Girlboss to her logical conclusion, replete with mayhem, murder and little moral ambiguity.
What happens when the Girlboss is in the wrong? Who do we root for then?
“Madan Sara” centers Haitian women’s voices, perspectives and even policy recommendations to imagine a future in which Haitian businesswomen no longer operate on the margins.
“To talk about Madan Sara is to talk about Haitian women”—but it is also to talk about pressing issues like structural violence, government failures and resistance to neoliberalism that resonate throughout the Global South.
“Promising Young Woman” is an allegory that reflects back to us a deeply disturbing culture that talks up female empowerment while complicit men—and women—exploit, demean, and silence women.
“Losing Alice”‘s implicit message is that younger women are intrinsically freer, more uninhibited, than older ones. But today, as a middle-aged wife and mother, I feel much freer in every way that matters.
Among other things, I no longer feel I have to perform for a male gaze: Only now do I understand how exhausting such performance was.
“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.