Waves is rare in its willingness to present a blurred marriage of volatility and sympathy without preaching or suggesting anything to the viewer. The movie itself crashes down on the audience like a wave, putting viewers in a state of constant unrest.

A new report from GLAAD (the Gay and Lesbian Alliance Against Defamation) shows that there has been an incredible improvement in the representation of the LGBTQ community across TV platforms this year.

In early September, the news broke that Adele Lim, a screenwriter for the 2018 movie Crazy Rich Asians, was no longer involved with writing the next two sequels in the franchise. Why? Lim reportedly learned that while her white, male co-writer was offered between $800,000 to $1 million for this work, she was offered significantly less — around $110,000.

Roll Red Roll, a new documentary directed by activist Nancy Schwartzman, explores the enduring cultural implications of the Steubenville High School rape case by focusing on the role social media played in it.

Her adaptation of the film — the eighth — will not only highlight the feminist understones already present in the novel, but also examine the text with a modern eye, drawing on society’s increased sensitivity to gender fluidity.

This film takes place in 2006, at the height of over-surveillance of Arab and Muslim communities in a post 9/11 United States and gives viewers a much-needed view into the inner life of a Muslim American teen girl.

Referred to as the “mother” or “grandmother” of French New Wave cinema, Varda was a pioneering director who influenced a new generation of filmmakers by making movies with feminist themes.

Us not only imparts an eerie warning about the repercussions of idly living a life of privilege as people suffer beneath you, but takes the warning a step further by showing what can happen when the “outsiders” the privileged are so afraid of letting in, the people who have been pushed below and ignored, finally force their way in — and do so with a vengeance.

Can a superhero movie like Captain Marvel teach us anything about the “misinformation age” in which we currently live?

Ultimately, the impact of representation in movies benefits so many more women than just those in the film industry. When more women are represented, little girls who watch that representation can imagine themselves taking on those roles one day.

Nominations are a legitimate indication of who is worthy of not only cultural acknowledgment but a financial investment. This is why it’s crucial to pay attention not only to who is being recognized at the Academy Awards but also to who isn’t.

Thanks to the progress the #MeToo and Times Up movements have made in shining a light on the injustices women in the film industry face, I naively assumed that women would be better represented among this year’s award nominees. I assumed wrong.

South Africa’s entertainment industry has historically told monolithic narratives of black lives. While these narratives do reflect the reality of many black South Africans, they are not the only experiences of black South Africans and, moreover, not the only experiences black South Africans should be told are available to them.

The Favourite leans into the intentionality of the female characters’ sexuality and of their savagery, giving each character her own agency over both of these forces and, in doing so, casting their actions as morally ambiguous.ar

Bucking the trend of male heroism, many slasher films have opted for “the Final Girl”: protagonists who are victims of murderous circumstances — who weren’t looking to fight for their lives but rather had the fight thrust upon them — but who survive nonetheless.