Forgive Me Father 2024 - Movies (Dec 2nd)
Juror #2 2024 - Movies (Dec 2nd)
The Final Days of Adolf Hitler 2024 - Movies (Dec 1st)
Once Upon a Time in Amityville 2024 - Movies (Dec 1st)
The Desiring 2024 - Movies (Dec 1st)
TMZ Presents The Downfall of Diddy Inside the Freak-Offs 2024 - Movies (Dec 1st)
Surprise 3 2024 - Movies (Dec 1st)
My Nanny Stole My Life - Movies (Dec 1st)
Princess Halle and the Jester 2024 - Movies (Dec 1st)
Route 60 The Biblical Highway 2023 - Movies (Dec 1st)
Believe in Christmas 2024 - Movies (Dec 1st)
Holiday Touchdown A Chiefs Love Story 2024 - Movies (Dec 1st)
Aiden 2024 - Movies (Nov 30th)
A Good Enough Day 2024 - Movies (Nov 30th)
Bringing Christmas Home 2023 - Movies (Nov 30th)
Never Let Go 2024 - Movies (Nov 30th)
Music Box Yacht Rock A DOCKumentary 2024 - Movies (Nov 30th)
Joker Folie à Deux 2024 - Movies (Nov 30th)
The Rev 2023 - Movies (Nov 30th)
Malum 2023 - Movies (Nov 30th)
Home Kills 2023 - Movies (Nov 30th)
Love Island Australia - (Dec 2nd)
Yellowstone Wardens - (Dec 2nd)
Gangland Chronicles - (Oct 1st)
Ruby Wax- Cast Away - (Oct 1st)
Deadliest Catch - (Oct 2nd)
Murder in a Small Town - (Oct 2nd)
Slow Horses - (Oct 2nd)
Bad Monkey - (Oct 2nd)
Midnight Family - (Oct 2nd)
Wheres Wanda - (Oct 2nd)
Tell Me Lies - (Oct 2nd)
Seoul Busters - (Oct 2nd)
American Sports Story - (Oct 2nd)
Fat Joe Talks - (Dec 2nd)
Panorama - (Dec 2nd)
The Last American Vagabond - (Dec 2nd)
Moving Houses NZ - (Dec 2nd)
The Real Housewives of Potomac - (Dec 2nd)
Married to Medicine - (Dec 2nd)
60 Minutes - (Dec 2nd)
It looks like there was quite a bit of Disney family backing for this occasionally quite insightful look at the roles of women in cinema over the decades, but unfortunately Nina Menkes chose to use a lecture as the template for her message and the ensuing delivery is probably more notable for it's sweeping generalisations than it is for any potent points it wishes to make. Her message about the historical objectification of women at the hands of largely (heterosexual) men drags in far too many films and genres without really detailing just who was directing what - on screen or from the office. Nor, indeed, does it begin to address that many of these men would have been facing a considerable degree of sexual repression of their own - and a legal one, at that, as they made their films. The simplicity of many of the statements aren't backed up by any of the actors or directors providing comment - contemporary or archive - on why they chose to make films that may or may not have compromised their actor's sexual and/or artistic integrity. The likes of Katharine Hepburn, Bette Davis, Greta Garbo and Marlene Dietrich were, to an extent, made by their male directors and producers but would anyone argue that they compromised their identity to become stars? If so, then was this because of a male dominated studio system or maybe because that's what the wider American - this documentary doesn't attempt with any weight to look at the far more interesting European cinema environment - public actually wanted. To what extent are any of her assertions, and those of her assembled collection of academics and C-listers, taking into account the market for which these works are intended. Again, there's no redress for the cinema going punters. Great detail is gone into about the sexualisation of the female body, of violence - physical, psychological or implied; but again we have no input from the directors or the writers who created these images and characters to explain any rationale. Nor do we really hear about the motivations from the participators who needed the work, wanted the fame, wanted the money, or who didn't see any of it as prurient or exploitative at all. It's the very one-sided earnestness that disappoints. Balance wouldn't necessarily have diluted the thrust, but it might have illustrated far better the intricacies both commercial and personal of an industry as riddled with flaws and inconsistencies as the society it serves.
Gay women living in the Deep South of the United States share stories of the bigotry, sexism, intimidation, and racism that confronts them in a part of the country known for its culture of Christian conservatism.
Wealthy rancher Bick Benedict and dirt-poor cowboy Jett Rink both woo Leslie Lynnton, a beautiful young woman from Maryland who is new to Texas. She marries Benedict, but she is shocked by the racial bigotry of the White Texans against the local people of Mexican descent. Rink discovers oil on a small plot of land, and while he uses his vast, new wealth to buy all the land surrounding the Benedict ranch, the Benedict's disagreement over prejudice fuels conflict that runs across generations.
When cocky military lawyer Lt. Daniel Kaffee and his co-counsel, Lt. Cmdr. JoAnne Galloway, are assigned to a murder case, they uncover a hazing ritual that could implicate high-ranking officials such as shady Col. Nathan Jessep.
In response to political pressure from Senator Lillian DeHaven, the U.S. Navy begins a program that would allow for the eventual integration of women into its combat services. The program begins with a single trial candidate, Lieutenant Jordan O'Neil, who is chosen specifically for her femininity. O'Neil enters the grueling Navy SEAL training program under the command of Master Chief John James Urgayle, who unfairly pushes O'Neil until her determination wins his respect.
A group of men are told that they have won an "erotic vacation" at a fantasy island. In reality, they are being lured to the island by women they have wronged, and once there they are captured and set loose on the island to be hunted down.
After a young boy dies of meningitis, Napoko Diarrha (Yaméogo) is accused of eating his soul because of a local sexist tradition. While this happens, her husband feels disgraced that Diarrha resists the idea of marrying off their daughter, so he exactes his revenge by spreading a dangerous rumor that would probably get her killed. Because of this, Diarrha's fate falls into the village elder's hands. When she finds out she will go trial, she decides to flee to the nearest town, Ouagadougou, before that can take place. After successfully leaving her village, Diarrha's age causes her health to decline, while her daughter grows up. Some time later, her daughter decides to travel to Ouagadougou, in search of her missing mother. Once they are reconnected, they attempt to escape from their male-dominated society.
Co-directed by Blackwood and Julien, the first full-length feature film by Sankofa Film and Video offers a radical and necessary interrogation into what constitutes 'post-colonial' identity at a time of political and social restlessness in Britain. Set within an isolated desert landscape contrasted with recognizable scenes of the intensity of family life, this vanguard work demonstrates the richness and variety of the black experience; it is a poetic and hard-hitting commentary on the complexities of race, gender and sexuality.
In a dystopian, polluted right-wing religious tyranny, a young woman is put in sexual slavery on account of her now rare fertility.
HECKLER is a comedic feature documentary exploring the increasingly critical world we live in. After starring in a film that was critically bashed, Jamie Kennedy takes on hecklers and critics and ask some interesting questions of people such as George Lucas, Bill Maher, Mike Ditka, Rob Zombie, Howie Mandel and many more. This fast moving, hilarious documentary pulls no punches as you see an uncensored look at just how nasty and mean the fight is between those in the spotlight and those in the dark.
After Chilean writer María Carolina Geel murders her lover, the case captivates shy legal secretary Mercedes, sparking a connection between the two women.