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that @oliviawilde is also an Executive Producer? She recently worked on a documentary called "Fear Us Women" about Hanna Bohman, a Canadian civilian who has spent the last three years in Syria as a volunteer soldier battling ISIS. As a member of the YPJ, an all-female Kurdish army, Hanna gives an inside look at the brave women fighting for liberation in the world’s most dangerous country. ********************************************************* **DGA MEMBERS** Please Watch and Consider Voting for Olivia Wilde for: Outstanding Directorial Achievement in Feature Film and Outstanding Directorial Achievement in First-Time Feature Film
Thank you @futureoffilmisfemale for supporting women directors (& short horrors taboot) Always a great place to check out new films. + they sell cool t-shirts whose proceeds go toward their grant recipients.
Thinking of this organization now on the heels of a fantastic meet up with MIF (moms in film). Why seek out these communities? Because it’s community, support, relating, connecting and they get stuff done! Miranda Plant led our meeting, asked everyone to state an “ask” and an “offer.” We all did and already today, this group has put things into action.
Future of Film is Female
"Our mission to further gender equality behind the camera continues in 2020 with more grants to give for production, increase in exhibition and screening series, and creating connective experiences for women in film.” #veralshortfilm#femalewriters#femaledirectors#shortfilms#horrorshort
I am so excited to share the trailer for this amazing new film 🎞“The Assistant” - It will screen at Sundance in January! It was such an honor to be a part of it! Starring Emmy Award winner Julia Garner (Ozark) @theassistantfilm takes a searing look at a day in the life of an assistant to a powerful executive. #theassistant is only in theaters this winter. ❄️
The Whole Truth: Behind the Scenes- The Making of The Whole Truth, out now on YouTube. Using #bts footage shot by our amazing AD @chantalelaynerichardson on set and original music from The Whole Truth score by @karyasezener, our behind the scenes video showcases the hard work, hustle and passion behind the scenes of @wholetruthfilm. Link in bio now.
Alright, so who would you rather have a song-along with: this delightful old man with a keyboard or this delightful director with a microphone? It’s okay, you can decide after you see Friday’s video. WHY NOT BOTH THOUGH?!
“The other kids, they think I'm weird. I don't wanna be. I wanna be normal.” (link in bio for the full set and story)
In theaters two weeks from today, Little Women is a faithful and poignant adaptation of the beloved novel. Writer-director Greta Gerwig “grounds her story in authenticity and beauty as she effortlessly flashes the story back and forth between the warm comfort of youth and the painful passage of time.” Full review at the link in our bio. #LittleWomen
Imagíne you are 19 years old doing military service when there is suddenly a military coup. Michel Nash was 19 when the military junta took over in Chile 1973. He saw the atrocities and didn’t want to be part of it, so he resign on 12 of sept. He was incarcerated and disappeared. Until today his body has not been found and no one has been prosecuted. Today again in Chile the same mechanism te being used by the state, people have been mutilated, blinded, violated and even murdered. Watch full film and group exhibition at Södertälje Konsthall until 2/2 2020 💖 #nuncamas#chiledesperto#documentary#michelnash#femaleartist#femaledirectors@afdd_chile
E justamente num ano fantástico para as mulheres no cinema, o Globo de Ouro novamente não indica nenhuma diretora. Após sofrer as merecidas críticas, o presidente da Associação da Imprensa Estrangeira disse que eles não votam por gênero e sim for filme e realização. O que todos sabemos o tamanho da lorota. Se fosse por qualidade como ele afirmou, Celine Sciamma, de O Retrato de Uma Jovem em Chamas, por exemplo, teria indicação garantida, como Lulu Wang, por The Farewell, ou até a Greta Gerwig por Little Women. O Globo de Ouro, mais que qualquer premiação, vota por business, quem tiver mais dinheiro pra campanha tem mais chances. Mas aí vamos ao x da questão. Os grandes filmes dirigidos por mulheres esse ano são de distribuidoras pequenas. Fora de Série, Clemency, As Golpistas, The Mustang, entre outros. Raramente estamos vendo investimentos de grandes distribuidoras em filmes dirigidos por mulheres. Esse ano apenas a Sony que está investindo alto em Little Women e Um Dia Lindo na Vizinhança. A Focus fez o que pôde com Harriet. A Universal preferiu focar em 1917, filme tradicional de guerra dirigido por um homem branco e ignorar Queen & Slim, da Melina Matsoukas, que teria com certeza apelo ao público e para as premiações. Até Cats sem estar finalizado teve mais campanha que Queen & Slim. A Warner teve um grande catálogo esse ano, e NENHUM filme dirigido por uma mulher. Esse é o problema. Assim como a Disney/Fox, como a Paramount. Amazon fez uma grande divulgação para Honey Boy, da Alma Har'el, mas uma campanha atrapalhada para as premiações. Netflix tá fazendo um excelente trabalho com Atlantique, da Mati Diop. Mas ainda é pouco e tem que aumentar, e não dá para essas grandes distribuidoras de Hollywood continuarem ignorando as diretoras. As críticas e a pressão em cima do Globo de Ouro ou do Oscar, antes tem que ser direcionadas para Warner, Disney, Fox, Paramount, Universal. São dessas empresas que precisamos começar. Não dá para as mulheres terem reconhecimento apenas no cinema independente ou em blockbusters específicos sobre super heroínas. É preciso bem mais. #GlobodeOuro#GoldenGlobe#FemaleDirectors#Women#Cinema#Mulheres#Directors#Hollywood
In late 2016, in anticipation of the debut of “Rogue One: A Star Wars Story,” Lucasfilm chief Kathleen Kennedy spoke with Variety about the company’s efforts to diversify its director ranks in the same way the franchise had cast women as the leads on screen. “We want to make sure that when we bring a female director in to do ‘Star Wars,’ they’re set up for success,” Kennedy said. “They’re gigantic films, and you can’t come into them with essentially no experience.” Kennedy wasn’t exactly wrong: At the time, there was a tiny handful of women — Patty Jenkins, Ava DuVernay, Kathryn Bigelow, Lana and Lilly Wachowski, Mimi Leder — who had been hired to direct massive tentpole movies with blockbuster budgets. But her reasoning made little sense given the litany of male directors who’ve been handed the keys to the Hollywood kingdom after making a few — or just one, or zero — much smaller, usually independent movies. (A small sample: Christopher Nolan with “Batman Begins,” Joss Whedon with “The Avengers,” the Russo brothers with “Captain America: The Winter Soldier,” Colin Trevorrow with “Jurassic World,” Gareth Edwards with “Godzilla,” Andy Muschietti with “It,” Tim Miller with “Deadpool,” Jordan Vogt-Roberts with “Kong: Skull Island,” Taika Waititi with “Thor: Ragnarok” — you get the idea.) If anything, Kennedy gave voice to the punishing catch-22 that has kept women from the helm of Hollywood’s largest, most lucrative properties for, well, the entire history of the art form.
In 2020, that is going to change in an unprecedented way.
Five of the biggest titles set for release next year — including all four major superhero movies — will be directed by women: “Birds of Prey” by Cathy Yan, on Feb. 7; “Mulan” by Niki Caro, on March 27; “Black Widow” by Cate Shortland, on May 1; “Wonder Woman 1984” by Patty Jenkins, on June 5; and “Eternals” by Chloé Zhao, on Nov. 6.