As we grapple with the magnitude of a potential Roe v. Wade repeal, Women Make Movies is making a selection of films available that shed light on the history of reproductive rights in the U.S. and set forth what’s at stake as abortion access is rolled back.
This year’s Met Gala invited A-list celebrities in the midst of an ongoing pandemic, racial divides, rising inflation costs, and the widening gap between the top 1 percent and everyone else.
During this event a leaked draft of the majority opinion from the Supreme Court immediately sent shockwaves, as the public learned that our highest court intends to overturn Roe v. Wade, which guarantees the right to abortion. Suddenly, the extreme wealth on display at the Met Gala seemed to represent all the “gilded” hubris of an historical era that seemed more “golden” than it really was—as we are now thrust back to a dystopian and despairing future we must confront and resist at all costs.
Why can’t more families talk openly about the benefits of having hired help, especially when there’s a newborn in the household? Aren’t the days of the harried, overworked mom over?
When filmmaker Jennie Livingston stumbled upon drag ball culture in the late 1980s, they had no idea how much the resulting film would resonate. Released in 1990, Livingston’s first documentary Paris Is Burning showcases drag balls during the late 1980s in Harlem, New York City, and features interviews with numerous queer and trans Black and Latinx performers who comprised the various “houses” in competition at the balls. Decades later, the film continues to resonate.
In the case of New York City restaurateur Sarma Melngailis, the tactics allegedly used by her “Bad Vegan” husband are no joke—and more states across the country are recognizing “coercive control” under domestic violence law.
When Marvelous and the Black Hole premiered at the 2021 Sundance Film Festival, I was instantly charmed by its clever, unique story and excellent performances—from both relative newcomer Miya Cech and the always unforgettable Rhea Perlman. The film is coming to theaters on April 22—the perfect opportunity to revisit the film and speak with writer and director Kate Tsang about her powerful debut feature.
By rescripting gendered expectations, Disney’s Encanto and Pixar’s Turning Redoffer new freedom to women—from preteens and teenage girls, to mothers, grandmothers and extended family.
From calling out pay disparity to defiantly saying ‘gay,’ enjoy these feminist wins from the 94th Academy Awards. (After all, we can’t let two grown men steal *all* of the headlines.)
Weekend Reading for Women’s Representation is a compilation of stories about women’s representation.
This week: Judge Ketanji Brown Jackson was a “model of composure” in the face of “egregious behavior” from some Republican senators; the “exhaustion of being the first Black women”; the impact of switching from gender ‘discrimination’ to gender ‘privilege’; women’s representation in post-Soviet states; how the Oscar winner for Best Picture will be decided using ranked-choice voting; rest in power Madeleine Albright, who knew how to “move beyond her talking points and to engage her counterparts in frank oval-table bargaining”; and more.
In the mid-1930s, Anna May Wong was Hollywood’s preeminent Asian American starlet frustrated by a racist film industry. She connected with Bernardine Szold Fritz, a Jewish American writer and American salon hostess in Shanghai.
Today, 100 years after Anna May starred in her first leading role, The Toll of the Sea, stereotypes and casting white actors for Asian roles are still all too prevalent. Outside Hollywood, the U.S. is just beginning to recognize her groundbreaking achievements—Anna May Wong will be one of five American women to be featured on a U.S. quarter this year. It’s a start.