Sebastian 2024 - Movies (Oct 2nd)
Hounds of War 2024 - Movies (Oct 2nd)
A Quiet Place Day One 2024 - Movies (Oct 2nd)
Cabrini 2024 - Movies (Oct 2nd)
The Day the Earth Blew Up A Looney Tunes Movie 2024 - Movies (Feb 19th)
The Forgotten Coast 2024 - Movies (Feb 19th)
Controlling My Husband 2024 - Movies (Feb 19th)
Rosebud Baker The Mother Lode 2025 - Movies (Feb 18th)
We Beat the Dream Team 2025 - Movies (Feb 18th)
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Tyler Perrys Sistas - (Feb 20th)
Conspirators - (Feb 20th)
The Chase - (Feb 20th)
Vince - (Feb 20th)
Gogglebox Australia - (Feb 20th)
The Chase Australia - (Feb 20th)
Australia on Fire- Climate Emergency - (Feb 20th)
The Family Business- New Orleans - (Feb 20th)
Ozark Law - (Feb 20th)
Dateline- Secrets Uncovered - (Feb 20th)
The Chief - (Feb 20th)
Storyville - (Feb 20th)
Bangers and Cash - (Feb 20th)
Tribunal Justice - (Feb 20th)
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)
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.
A group of idealistic, but frustrated, liberals succumb to the temptation of murdering rightwing pundits for their political beliefs.
Centered on the testimonies of students who were victims of harassment or sexist and sexual violence. The objective is to make people aware of the reality and mechanisms of this violence, as well as their seriousness, so that the university community as a whole is mobilizing against harassment and gender-based and sexual violence.
After the death of her abusive father, lonely librarian Martha finds herself caught up in a strange, sadomasochistic relationship with a monstrous husband whom she begins to suspect may be trying to murder her.
October 2003, Alma and Lila Levy are excluded from the Lycée Henri Wallon in Aubervilliers solely because they were wearing a headscarf. What follows is a deafening political and media debate, justifying in most cases the exclusion of girls wearing head-scarves to school. February 2004, a law was eventually passed by the National Assembly. "A thinly veiled racism" is about this controversy since the affair of Creil in 1989 (where two schoolgirls were excluded for the same reasons) and attempts to "reveal" that maybe what hides behind is the desire to exclude these girls. This film gives them a voice as well as others - teachers, community activists, feminists, researchers - gathered around the group "A School for You-All" fighting for the repeal of this law they consider sexist and racist ... This movie was censured in Septembre 2004 in France.
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.
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.
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.
On what seems to be just another ordinary day, a man is exposed to sexism and sexual violence in a society ruled by women.
A satirical take on the mundane absurdities of life in modern-day Iran, these nine vignettes illuminate the lighter side of enduring under authoritarian rule. Whether choosing a name for a newborn, graduating from grade school, getting a driver’s license, applying for a job, or seeking approval for a film script, if you live in Iran, you best come fluent in Orwellian discourse. Progressing along a rough timeline from birth to death, each story is shot in a static camera angle as a single petitioner negotiates with an authority figure hovering just outside of frame, who is practiced in the language of doublespeak.
In a dystopian, polluted right-wing religious tyranny, a young woman is put in sexual slavery on account of her now rare fertility.