Billie Jean King’s tennis match against Bobby Riggs in 1973 proved to be a more important and significant moment in the history of gender equality than anyone could have possibly predicted.
In celebration of the release of Battle of the Sexes, we’ve picked out five great films about the ongoing, and far from over, battle for women’s rights.
Continue reading 5 inspiring films about the fight for equality
Want to give your Hollywood remake a new spin? How about swapping the men for women…?
Continue reading 6 classic films with gender-swapping remakes on the way
From the very first to the final frame, Jessica Chastain sells Miss Sloane – John Madden’s thriller about a lobbyist who takes on the masterminds of Capitol Hill to manipulate the pushing through of strengthened gun restrictions in America. Hers is, with delicious irony, an all guns blazing performance of addictive watchability, which proves essential in holding together the film’s increasingly contrived plot. So good is Chastain here that she very nearly manages to lobby you into an assumption that the film is a political masterpiece. It’s not that, but it is good fun.
Continue reading Miss Sloane | Review
Raw has in it the most terrifying scene you will see in 2017. A disturbing vignette in which shots disorientate, the soundtrack sickens and all captured in the camera’s frame represent a threat. Three words can describe the sequence and each one will indeed send a chill to the very root of your spine; be warned, they may even put you off from daring to enter your local screening at all: student house party. The nightmare is real and were these deafening drunken exploits not horrifying enough, the plot cascading around them concerns cannibalism. This is certainly an experience offering much to get your teeth into. Ahem.
Continue reading Raw | Review
There’s a pivotal scene in Douglas Sirk’s All That Heaven Allows in which the reflected image of Jane Wyman’s Cary is framed within a television screen, bought for her by her family. Its a symbolically charged moment, the film revolving around the socially ‘scandalous’ relationship of an affluent widow and her younger gardener, dictating that a woman of Cary’s age and marital status must be prisoner to a life ruled by consumerism and the home. Sixty-seven years later, Anna Biller appropriates the image in The Love Witch, maintaining Sirk’s glorious technicolor, in her use of a mirror as the captive frame not of the woman, who moves freely in and out, but of the man, who is slavishly trapped in his bed. Whilst perfectly capturing the aesthetics of mid-twentieth century Hollywood, Biller’s film is a subversive, and deliciously addictive, feminist hit.
Continue reading The Love Witch | Review