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LE CHOIX DE SOFIA ★★★★ By Adrian Perez, Lonely Wolf London International Film Festival, Spring 2021 "Le Choix De Sofia--which translates Sophie's Choice--finds its more "progressive" heroine confronted with a less horrific choice to her 1982 predecessor (in Meryl Streep), but a slow-burning and soul-destroying one nevertheless; one that much like Naomi Klein's famous quote disclaims upon the film's commencement, requires a total suspension of one's moral belief infrastructure at the expense of one's survival in a highly capitalist Matrix. Alain Deslongchamps triumphs in his architectural sculpting of a world that engulfs Sofia into unsustainable materialism, clinical corporate panorama and ultimately a self-confined solitary existence devoid of socio-emotional connection. Véronique Gallant sophisticatedly peels off Sofia's facade of a self-reliant and efficient business matriarch and workaholic, whose secret inferiority complex at the hands of her inexperienced male colleagues, ultimately lead her down a downward spiral that sees her cancel on her girlfriends and work into the night on an already-immaculate report. Le Choix De Sofia's finds unquestionable high-class achievements in both its intricate character- and world-building; it's in the film's overall tempo-rhythmic and editorial assemblage that Deslongchamps's tale of corporate dystopia implores the same level of minutiae and omnipresence to take this short spectacle all the way into stratosphere. Deslongchamps's directorial vision for the film is one of a parallel-canvas where Sofia's soul being is slowly deteriorated and climactically collapses, just like the Arctic's melting ice caps; it's through tv background noise, channel surfing and a surrealistic dream-sequence that Deslongchamps brings us to his metaphoric terrain, but the results have a tendency to feel over-pressed in the third act and undercooked for the entire audiovisual entendre. Deslongchamps's original intent is for a lighthearted and understated dramedy, which is an ascertained choice, but a sprinkle of Sofia's interiority for a more nail-bitting spectatorial experience (in the style of Darren Aronofsky's Black Swan (2010) and Emma Seligman's Shiva Baby (2020)) would have up the film's stakes and climate change socio-economic impact. Deslongchamps's directorial ambition and tenacity here place him on the map and en-route on an exciting and prosperous career trajectory. Le Choix De Sofia exhibits a magnetic lead in Véronique Gallant wrapped in a most gorgeous cinematographic canvas presentation."
Lucky Mann is a builder equally handy at repairs and seduction. The latest housewife to succumb to his charms is Marianne, unhappily married to corporate exec Jeffrey. When Jeffrey becomes enraptured by Lucky’s wife Phyllis, the four get caught in a love quadrangle that reignites their marriages.
Amy is a single 29 year old Jewish woman. She wrote a successful self-help book about how women can't truly be in love and experience "mental orgasm." Her parents and acquaintances always try to give her advice. Eventually, she breaks her celibacy and starts dating a radio shock jock, who is known for hitting on his bimbo guests. Of all men, will she find in him the true love she never believed in
In this videoart, the creator uses mixed media animation as they read a Clarice Lispector short story. Drawing a comparison with her own life experiences, she questions what it means to be a lesbian. Excluded from every aspect of the patriarchal life, she creates her own identity through her loved ones, relying on the precursors of the lesbofeminist movement.
Beth, a young transgender woman, is taken to times and places afar. Run-ins with a powerful spirit and a growing bond with another lost girl will take our heroine on a journey to finding her place in this big strange world of ours.
Delphyne (meaning ‘womb’) discusses the stigma around menstruation. Addressing shame and acceptance, taboos around menstrual blood are told through a fabric-themed metaphor, and the conflict between a mother-daughter relationship; to find a shared unity and language to beat the conflict which projects itself in the shame metaphor that they’ve unwound and removed from their life. The historical connotations of staining, feminine purity and the divide between private and public space as well as ownership of the body come into play. The coming of age theme is reflected in reference to her struggle with the self (alter-ego), struggle with the ‘other’ (male influence) and struggle with the home (her Mother).
The lives of two lovelorn spouses from separate marriages, a registered sex offender, and a disgraced ex-police officer intersect as they struggle to resist their vulnerabilities and temptations.
Anna and Edith are colleagues at an insurance company. Their male chef uses the women's business success to his own advances. Anna's husband would prefer her to be at home. Anna and Edith become a couple, but it doesn't end with a romantic rendez-vous. Together, and with the help of their female colleagues, they want to improve their work conditions.
Yvonne loses her mind and confuses her teenage granddaughter, Manon, with her deceased daughter. Manon plays the role of the mother she never knew, reviving her grandmother's years of feminist activism. In this troubled game, Manon will learn to become a woman.
This film tells the story of a young Montrealer who edits an underground newspaper with help from his female friend and a draft dodger from the United States. Two rival philosophies of dissenting youth become evident in the choices they make: militant protest vs. communal retreat. Including some seminal archival footage of a speech by legendary anti-war activist Abbie Hoffman and bloody rioting during the 1968 Democratic Convention in Chicago.
Directed by Solveig Hoogesteijn, Macu, the Policeman's Woman (1987) is a Venezuelan crime drama based on a true story. The film follows Macu, a young woman living in a Venezuelan shantytown, who becomes romantically involved with a local policeman named Ismael. As their relationship develops, Ismael's jealousy intensifies, leading to tragic consequences. The narrative delves into themes of power, control, and the dynamics of abusive relationships within marginalized communities. The film is notable for its exploration of gender roles and societal issues in Latin America.
In 1911, a willful and determined man from peasant stock named Charles Saganne enlists in the military and is assigned to the Sahara Desert under the aristocratic Colonel Dubreuilh.