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FYC ’17: Peier Tracy Shen

FF2 Intern Peier Tracy Shen asks you to consider these six films by women writers &/or directors (from the full list of films released in NYC theatres in 2016). Note that this list was created in November & will be updated after December 31, 2016. My Favorite Feature Films of 2016 (2) American Honey (Director Andrea Arnold) Certain Women […]

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FYC ’17: Lesley Coffin

FF2 Senior Contributor Lesley Coffin asks you to consider these six films by women writers &/or directors (from the full list of films released in NYC theatres in 2016). Note that this list was created in November & will be updated after December 31, 2016. My Favorite Feature Films of 2016 (2) The Dressmaker (Director Jocelyn Moorhouse) Queen of Katwe (Director […]

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FYC ’17: Lisa Iannucci

FF2 Senior Contributor Lisa Iannucci asks you to consider these four films by women writers &/or directors (from the full list of films released in NYC theatres in 2016). Note that this list was created in November & will be updated after December 31, 2016. My Favorite Feature Films of 2016 (2) Hello, My Name is Doris (Screenwriter Laura Terruso) […]

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FYC ’17: Nora Lee Mandel

FF2 Senior Contributor Nora Lee Mandel asks you to consider these six films by women writers &/or directors (from the full list of films released in NYC theatres in 2016). Note that this list was created in November & will be updated after December 31, 2016. My Favorite Feature Films of 2016 The Dressmaker (Director Jocelyn Moorhouse) Equity (Director Meera Menon) My […]

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FYC ’17: Stephanie Taylor

FF2 Senior Contributor Stephanie Taylor asks you to consider these six films by women writers &/or directors (from the full list of films released in NYC theaters in 2016). Note that this list was created in November & will be updated after December 31, 2016. My Favorite Feature Films of 2016 Queen of Katwe (Director Mira Nair) […]

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AMERICAN PASTORAL

Ewan McGregor’s new adaptation of Philip Roth’s Pulitzer Prize-winning novel American Pastoral is a noble failure. The screenplay has a complicated structure which keeps Nathan Zuckerman (Roth’s alter ego) two steps removed from his subject Seymour Levov (aka “Swede”). Thus reduced in the screenplay to a framing device, the Nathan Zuckerman character is unable to provide adequate context for a […]

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