Éoliennes: du rêve aux réalités 

Coverage from the Austin Film Festival, highlighting some panels and films that emphasized the importance of diverse and inclusive storytelling.

In order to learn why an arguably outdated fanfic trope was resurfacing in the contact zone of popular culture, I dove into a vibrant trough of character development.

Remakes. Reboots. Reinventions. Redundancy. It's the common practice in Hollywood of late, sometimes offering us victorious reimagining of what can be considered cinematic classics while also, more often, falling flat on their UN-imaginative faces in utter defeat and lackluster results. Admittedly, with this in mind, I went into the newest incarnation of "The War of the Roses" with typical trepidation and cautious optimism.

It’s passionately protective of the women mentioned in the story or appearing on screen. Just like the article and the #MeToo movement, the film could help a trapped person find the courage to fight back.

It is a truth universally acknowledged that a single woman will be happiest if she marries a man with a good fortune, similar upbringing, matching attractiveness levels, and compatible politics.

Like all modern societal phenomenons, it started with a meme. This one highlighted that when there’s a mom in a Pixar film, she is almost without fail given striking curves that highlight the bottom half of her body following a minuscule waist. From Elastigirl to the skeletal Mama Imelda, the animation giant’s artists seem to have a fixation on making exaggeratedly curvy maternal characters.