Incluvie – Better diversity in movies.
Identity in film with Incluvie stamps, scores, reviews.

Incluvie – Better diversity in movies.
Explore identity in film with Incluvie stamps, scores, reviews, and insights.

trailer banner
Hail the Woman poster

Hail the Woman (1921)

Oliver Beresford is a stern, Puritanical, and uncompromisingly rigid father. When shameful stories about his daughter Judith surface, rather than determine whether the stories are true, he bans her from his house. Her brother David, a pusillanimous reprobate, has secretly married and fathered, then abandoned, a child. Judith takes care of the child and finds a way to restore her family through the love for the babe.
- / 5
PopScore
Representation

Pictures and Videos


Incluvie Gala

Movie Information


Oliver Beresford is a stern, Puritanical, and uncompromisingly rigid father. When shameful stories about his daughter Judith surface, rather than determine whether the stories are true, he bans her from his house. Her brother David, a pusillanimous reprobate, has secretly married and fathered, then abandoned, a child. Judith takes care of the child and finds a way to restore her family through the love for the babe.

Rating:NR
Genre:Drama
Directed By:John Griffith Wray
Written By:C. Gardner Sullivan
In Theaters:11/28/1921
Box Office:

Runtime:80 minutes
Studio:Thomas H. Ince Corporation

Articles You May Like


'Jack and Diane' Review: Wasted Potential

The plot could’ve really been interesting if the elements of lycanthropy was integrated with perhaps the struggle of identity of being LGBTQ+. It's an experience for so many that as they’re starting to realizing their true selves, they feel like a monster, especially if they come from unsupportive homes or communities. Instead, the horror and transformation elements seem thrown in without contemplation of how this could deepen the narrative.

Andrea Amoroso

"The Father" is a Depressing But Insightful Look at Dementia

With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.

Matt Geiger