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Krane’s Confectionary Shows How Women Police Each Other

TCM will feature films from 12 decades—and representing 44 countries—totaling 100 classic and current titles all created by women. Read more about this here!  Many of us who have made feminism a big part of our lives are aware that women can often police other women just as much as we are all oppressed by men. […]

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Zero Motivation Isn’t Quite Sure What It’s Trying To Say About Israel

TCM will feature films from 12 decades—and representing 44 countries—totaling 100 classic and current titles all created by women. Read more about this here!  The war comedy is an odd genre, considering the subject material it attempts to make humorous. When I’ve see war comedies based on the American military, I’ve often liked or disliked the […]

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A window to another culture: Davaa’s The Cave of the Yellow Dog weaves Mongolian culture into story

With a sparse plot, Davaa’s allows the audience to hone in on the details of a nomadic family’s everyday life in the Mongolian steppes. Through their story, we also learn about Mongolian culture, folklore, religion, as well as the way in which the modern world encroaches upon these elements of nomadic life. Furthermore, through a film such as this, we can learn implicitly; Davaa does not merely tell us about the Mongolian lifestyle, but invites us into the family’s actions while weaving their culture into their speech and thinking. 

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Loving Couples (1964) challenges motherhood and patriarchy

TCM will feature films from 12 decades—and representing 44 countries—totaling 100 classic and current titles all created by women. Read more about this here!  Loving Couples begins with a bird’s eye view–black and white tiles, over which patients at a maternity clinic pass on their way to appointments with their doctors. Likewise, we see the women […]

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Sofia Coppola’s films highlight different types of isolation

When looking at Sofia Coppola’s filmography during quarantine, it’s evident how the theme of isolation and its effects on young women is prevalent in several of her movies.

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Esmer’s 10 to 11 evokes simultaneous feelings of anxiety and calm

Amidst newspaper stacks and overfilled bookshelves, “Mithat” (Mithat Esmer) sits alone in his easychair. He wears a face of wearied determination as if he’s just served an ultimatum, which he has. According to the authorities, he has only a few weeks to clear out of this apartment so that the building can be demolished and rebuilt. As the weight of this news settles in, I hear only the mismatched ticking of dozens of clocks. The sense of urgency they carry insists on being felt, and I oblige.

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