Results for : Jane Campion
As told through clips from 183 female directors, this epic history of the cinema focuses on women’s integral role in the development of film art. Using almost a thousand film extracts from thirteen decades and five continents, Mark Cousins asks how films are made, shot and edited; how stories are shaped and how movies depict life, love, politics, humour and death, all through the compelling lens of some of the world’s greatest filmmakers – all of them women.
The story of international cinema told through the history of cinematic innovation. Covering six continents and 12 decades, showing how film-makers are influenced both by the historical events of their times, and by each other.
A documentary about the making of Jane Campion's 'The Portrait of a Lady'.
The story of the gold-plated statuette that became the film industry's most coveted prize, AND THE OSCAR GOES TO... traces the history of the Academy itself, which began in 1927 when Louis B. Mayer, then head of MGM, led other prominent members of the industry in forming this professional honorary organization. Two years later the Academy began bestowing awards, which were nicknamed "Oscar," and quickly came to represent the pinnacle of cinematic achievement.
Bad Behaviour [HD] (2023)
2023–Lucy, a former child actor, seeks enlightenment at a retreat led by spiritual leader Elon while she navigates her close yet turbulent relationship with her stunt-performer daughter, Dylan.
Over the years, Nicole Kidman, Oscar and two-time Emmy Award winner, became both a pop culture icon & a complex dramatic actress. Her career is a unique body of work that mirrors her personal life, which is more political than it might seem.
The film consists largely of a series of interviews with female filmmakers from several different countries and filmmaking eras. Some, such as Agnès Varda and Catherine Breillat (both from France), have been making films for decades in a conscious effort to provide an alternative to the male filmmaking model; others, such as Moufida Tlatli (Tunisia) and Carine Adler (England), are relative newcomers to directing, and their approaches seem more personal and less political. The film as a whole manages to cover some important topics in the feminist debate about film -- how does one construct a female gaze, how can one film nude bodies without objectifying the actors (of either sex), what constitutes a strong female role -- while also making it clear that “women’s film” comprises as many different approaches to filmmaking as there are female filmmakers.