I saw more great women-made cinema in 2019 than in any previous year. How disheartening, then, to note the extent to which the work of male directors continues to dominate film culture. In order to meaningfully and significantly shift the terrain of women’s cinema in the direction of equity, it is crucial to talk about the politics of evaluation. Why are certain films valued highly—appearing on lists, nominated during awards season, talked about on social media, written about at length—and other films less so?
Jason Fox reflects on documentary, inspired by Eileen Myles’ analogy between poems and parties.
Erika Balsom on the shifting landscape of women’s film criticism and the battles that remain ahead.
Chris Cagle on Kanopy and the uneven nature of the streaming landscape today.
Meheli Sen, Nilanjana Bhattacharjya, Monika Mehta, and Anupama Kapse on the Netflix Bollywood anthology film Lust Stories.
Maggie Hennefeld on Sacha Baron Cohen’s mockumentary series, and political satire in the age of post-truth politics.
Girish Shambu asks: “What will it take to break the stranglehold of male domination in filmmaking?”
Racquel Gates and Kristen J. Warner are colleagues and soul twins who enjoy applying their expertise in race and media to popular culture debates. One such conversation arose —inevitably—around the release of Marvel’s Black Panther directed by Ryan Coogler.
Filmmaker and critic Caroline Golum weighs in on and takes issue with the recent New York Post op-ed on the moviegoing habits of Millennials.
Following the eruption of racial violence at a white supremacist rally in Charlottesville, Virginia, the 1943 US War Department film, Don’t Be a Sucker, went viral, suggesting that news outlets and social media users found its message to be newly relevant. Don’t Be a Sucker, which warns Americans of the perils of falling for divisive fascist rhetoric, was one of countless films, radio broadcasts, and television specials produced by governmental and civic organizations during the mid-twentieth century.