|Nicole Rojas-Oltmanns| Geena Davis, who plays Thelma, remarked, “After Thelma and Louise (1991, directed by Ridley Scott), people said things would improve for women in film. They didn’t.”¹ So, in 2004 she created The Geena Davis Institute to better understand disparities… Continue reading
|Penny Folger| It’s difficult to measure the kind of influence a film like Gun Crazy has had. Like so many great films, it flopped upon its initial release in 1950. It was the only movie ever made by its B-movie producers, the King Brothers, that actually lost money. The industry thought of… Continue reading
|Olivia Fredrickson| The cinema of Maya Deren without a doubt captures not only the intrinsic reflections of her consistently shifting identity as a woman and artist, but also the labyrinthic inner workings of the self and psyche. Both of these crucial elements of her cinema and identity… Continue reading
|Nate Logsdon| “This is a true story. It was photographed where it happened.” In two sentences, the onscreen statement before the opening credits of Ida Lupino’s Never Fear—the first picture produced by her production company The Filmakers—distills the ethos of independent cinema… Continue reading
|Patrick Clifford| THIS IS THE TRUE STORY OF A MAN AND A GUN AND A CAR. THE GUN BELONGED TO THE MAN. THE CAR MIGHT HAVE BEEN YOURS OR THAT YOUNG COUPLE’S ACROSS THE AISLE. WHAT YOU WILL SEE IN THE NEXT SEVENTY MINUTES COULD HAVE… Continue reading
|Sophie Durbin| “Gloria Steinem… as legend would have it, took [Leonardo DiCaprio] to a baseball game and
said, ‘Please don’t do this movie. You’re the biggest movie star in the world right now, and teenage girls are living for you, and I really don’t want them all to run… Continue reading
|Matthew Christensen| As a kid, we used to play a game called “Statue Maker.” The statue maker would swing two or three kids about; they had to hold the pose they landed in and come up with some character to portray. Other children would play customers, guided about by the statue… Continue reading
