This follow-up to Jean Kilbourne's award-winning 1979 documentary, KILLING US SOFTLY, further probes the harmful effects of stereotypical and sexist images in advertising. Kilbourne conducts a lecture within the film, displaying still images of women, men, children, and violent crime via a slide projector. By emphasizing the dehumanization of women by television's body-image obsession, she teaches viewers how America is taught to categorize women primarily as sex objects.
“I’m always interested in exploring female fantasy, and the sexy witch is a loaded archetype that is simultaneously about men’s fears and fantasies about women, and women’s feelings of empowerment and agency. So whereas we are used to seeing the sexy witch or the femme fatale from the outside, I wanted to explore her from the inside.” - Anna Biller, on why she made The Love Witch
A tale of legendary hunters and monsters that reminds us once more not to judge a book by its cover. Enjoy this heartwarming sea shanty with a well-done plot twist.
The characters aren’t likable, the story is predictable and the humor is either disgusting, obnoxious, or uncomfortable. The Wrong Missy is a mess of a film and it’s not really worth your time.
Why is 'The Green Knight' so white? People of color are so removed from the origins of 13th century art. We’re looking toward the future, and part of that should be updating aspects of our stories to mirror those evolutions.
It’s 5:30am. The baby’s crying, but you need to finish prepping for your big pitch at work that morning. What do you do? You do the near impossible: both. That's what "Workin' Moms" is all about.
Self expression among teenagers is explored in the live adaptation of Jerry Spinelli's novel of the same name.
