- A filmmaker’s take on movies, TV, and industry trends, from a feminist perspective.
“See the Rolling Stones and die“ Gimme Shelter, the Maysles brothers’ documentary on the Rolling Stones, has been named “the most harrowing rock ‘n’ roll movie ever made.” Critics, especially around the film’s release, considered both the Maysles and the Rolling … Continue reading
Agnès Varda’s career as a feminist filmmaker moves from the French New Wave and Left Bank movements to political modernism, portraying with sincerity the lives of women. From her first film, La Pointe Courte (1956), she combines realism with subjective … Continue reading
Rainer Werner Fassbinder’s Ali: Fear Eats the Soul  achieves an empirical objectivity that breaks the system of visual pleasure described by Laura Mulvey using its forms to show, not efface, society’s objectification of the “other.” He focuses on characters … Continue reading
Chris Columbus’ 2002 film Rent translates the 1996 rock opera into cinematic language. The optimism and hope, combined with harsh social commentary, seething rock ballads and stirring human stories that is Jonathan Larson’s Rent is a challenge to modify for the screen. Using the … Continue reading
Spike Lee has difficulty creating a female character that can be both sexual and a strong woman (though there are some exceptions). Almost every woman in Spike’s films fits into the virgin/whore complex (particularly in the films he wrote). Genius … Continue reading
The exploitation of women extends even further in some films, to the point of rape. Rape in Spike’s films serves to assert male power over women: putting the unruly woman back in her place. In School Daze, Julian exhibits his complete … Continue reading