The Indigenous Film Archive (IFA) is very pleased to announce the eighth edition of Nepal International Indigenous Film Festival (NIIFF),... View Article
I think filmmakers have to really think about who they’re making their movies for and start thinking about ways to reach their audience almost before they start making their movie. They have to start really thinking about what is the relationship between the budget of their film and the accessibility/commerciality of their subject matter.
Making the ghost in Johnny Ghost a memory from Millicent’s past instead of an apparition from the spirit world gives McRae the ability to speak about the human experience in profound and innovative ways.
A remake can be a welcome addition and Peirce’s film is just that. The cinematography, mise-en-scène, art direction, and character development are modernized, making the film accessible to today’s youth, particularly the reality of cyberbullying.
I am a daughter in a mother/daughter relationship, I have been in the girls’ locker room when the girls are acting mean and they have a particular way of doing that. I also, at the same time as you, look at how I present my gender and live. I am a tomboy.
Kathleen was really the strongest voice in the beginning of Third Wave feminism in [Riot Grrrl]. And really daring to be outspoken enough to say, “All women to the front.” That hadn’t been done before.
All I can say is that it’s amazing to be able to take a unique, untold story and make it something that the audience can connect with. If you have story worth telling, you should tell it. If you have passion for something, then it’s worth all the hard work. But before starting a project, you have to consider if you are ready to put everything into it.
The compelling and emotional teaser is eloquently cut and scripted. “Come from somewhere nice?” asks a London cabbie, while Ava is silent, wracked with angst. This film is not about tourism.
For much of the film’s short duration, we see Jasper zipping through the city streets on her bike, eyes staring directly forward with a sharp gaze that is intermittingly interrupted by the harsh voice of her dispatcher. Most of the time, we see Jasper’s body hunching forward, pushing herself ahead as she moves through the cars and pedestrians in her way.
Why so many become enraptured about lesbian sex on screen is already asked and answered: it sells. It is a well-known male fantasy, but as far as a female fantasy, this depends on how the scenes are shot. Maroh has already addressed the problems. The nearly 10-minute sex scene is considered “long” by both standards, and the primary selling point of the film.
As a storyteller, Stacie Passon wastes no time and rather than explaining everything in dialogue, her picture language is both economical and meaningful. The interior sets of the family home have a hygienically sealed cleanliness and smoothness.
Abby’s either on her way out or on her way back in or she will continue hooking and all of the choices will be fine, but I think the central question of the film is, “ I belong to only you but you don't want me,” and that is where the film ends for me—that is the resolution and acknowledgment of the question in 93 minutes.