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1-20 of 32 items from 2017   « Prev | Next »


Focus Features 15th Anniversary: Enter to Win New Posters For ‘Moonrise Kingdom,’ ‘Lost in Translation’ and More

13 June 2017 9:00 AM, PDT | Indiewire | See recent Indiewire news »

Focus Features is celebrating its 15th anniversary this year with the Focus 15 initiative, which will bring some of their most beloved titles back to the big screen this summer in theaters all around the world. The celebration kicked off at Cannes last month, where the company premiered “The Beguiled” in competition (Sofia Coppola went on to win Best Director), and it continues this month at the Los Angeles Film Festival with screenings of “Lost in the Translation,” “Moonrise Kingdom” and “The Kids Are All Right.”

Read More: Focus Features Celebrates ‘Brokeback Mountain,’ ‘Lost in Translation’ and More in Retrospective Supercut — Watch

The entire Focus 15 screening schedule can be found by clicking here, and you can sign up with your email to get live updates and more details about the 15th anniversary celebration. Over the past 15 years, Focus Features movies have garnered 105 Academy Award nominations and won 21 Oscars, which means you »

- Zack Sharf

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Focus Features to Launch 15th Anniversary Screenings in New York, Los Angeles

1 June 2017 10:00 AM, PDT | Variety - Film News | See recent Variety - Film News news »

Focus Features will celebrate its 15th anniversary with open-air screenings in July at Rooftop Cinema Club locations in Los Angeles and New York as part of its Focus 15 initiative.

The Los Angeles locations are the Montalbán Theater in Hollywood and Level in downtown.  New York locations are Yotel New York in Manhattan, and OfficeOps in Brooklyn. The Focus 15 initiative also includes a London retrospective in July.

Montalbán screenings include “Brick,” “Brokeback Mountain,” “The Theory of Everything,” “Hanna,” “Eastern Promises,” “Pride & Prejudice”  and “Tinker, Tailor, Soldier, Spy.” Level screenings include “Sin Nombre,” “The Constant Gardener,” “The Pianist,” “Beginners,” “Far from Heaven,” “In Bruges,” “Atonement” and “Dallas Buyers Club.”

Scheduled to screen at Rooftop Cinema Club at Yotel in New York are “Brokeback Mountain,” “Burn After Reading,” “Atonement,” “Moonrise Kingdom,” “The Theory of Everything,” “The Constant Gardener,” “The Pianist,” and “Pride & Prejudice.”

Titles playing at OfficeOps in New York are “Milk,” “The Place Beyond the Pines, »

- Dave McNary

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Maggie Gyllenhaal to Star in Drama ‘The Kindergarten Teacher’

30 May 2017 10:09 AM, PDT | Variety - Film News | See recent Variety - Film News news »

Maggie Gyllenhaal has come on board to star in and produce the independent drama “The Kindergarten Teacher,[/link]” with filming starting on July 10 in New York.

Maven Pictures is producing the film, based on Nadav Lapid’s Israeli film of the same name. Producers on the film are Maven Pictures co-founders Trudie Styler and Celine Rattray, Gyllenhaal, and Talia Kleinhendler.

Sara Colangelo is directing from her own adapted screenplay. Jenny Halper brought the project to Maven.

The story centers on a kindergarten teacher who grows more and more numb each day she remains stuck in her mundane Staten Island life. When she discovers what may be a prodigious five-year old poet in her class, she becomes obsessed with the child and his talent — risking her career, family, and freedom.

Gyllenhaal received an Academy Award nomination for Best Supporting Actress in “Crazy Heart. »

- Dave McNary

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How Trudie Styler’s Experience Being Bullied Inspired Her Directorial Debut ‘Freak Show’

25 May 2017 9:31 AM, PDT | Variety - Film News | See recent Variety - Film News news »

Trudie Styler, best known as Sting’s better half, doesn’t like an audience. As she sits down at the rooftop restaurant of a Cannes hotel to discuss “Freak Show,” her feature film directorial debut, she gently asks if her publicist can grab a coffee, saying she gets nervous talking in front of several people.

“I’ll make sure we don’t talk about tantric sex,” she jokes, a nod to the much-picked over aspects of her love life with Sting.

At 63, Styler is elegant and regal, every inch a rock star’s wife, but she connected with the story of “Freak Show” because of her own sense of being an outsider. The film follows Billy, a gay teenager, who struggles to fit in after being transplanted to a high school in the deep South. Despite facing harassment, he decides to run for homecoming queen. It’s based on a book by James St. James, »

- Brent Lang

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Cannes Review. Wonderstruck: The Kids Are All Right

18 May 2017 1:05 PM, PDT | AwardsDaily.com | See recent AwardsDaily news »

There are probably only a handful of contemporary American directors worthy of being called great, and in this reviewer’s humble opinion, Todd Haynes is one of them – not just »

- Zhuo-Ning Su

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Win Passes To The Advance Screening Of Everything, Everything In St. Louis

11 May 2017 11:13 AM, PDT | WeAreMovieGeeks.com | See recent WeAreMovieGeeks.com news »

From Warner Bros. Pictures and Metro-Goldwyn-Mayer Pictures comes the romantic drama Everything, Everything, directed by Stella Meghie and based on the bestselling book of the same name by Nicola Yoon.

What if you couldn’t touch anything in the outside world? Never breathe in the fresh air, feel the sun warm your face…or kiss the boy next door? Everything, Everything tells the unlikely love story of Maddy, a smart, curious and imaginative 18-year-old who due to an illness cannot leave the protection of the hermetically sealed environment within her house, and Olly, the boy next door who won’t let that stop them.

Maddy is desperate to experience the much more stimulating outside world, and the promise of her first romance. Gazing through windows and talking only through texts, she and Olly form a deep bond that leads them to risk everything to be together…even if it means losing everything. »

- Movie Geeks

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Jeff Bridges and Diane Lane join Reed Morano-directed music drama

10 May 2017 8:10 PM, PDT | Flickeringmyth | See recent Flickeringmyth news »

According to Deadline, Jeff Bridges and Diane Lane have signed on to star in an untitled drama for director Reed Morano (The Handmaid’s Tale, Meadowland), which was previously known as First Chair and has been scripted by Stuart Blumberg (The Kids Are All Right).

The film will follow “a regimented, self-obsessed virtuoso violinist (Bridges) who is diagnosed with a life-threatening illness and forced to move back in with his estranged wife (Lane) as he begins treatment. As they attempt to learn how to live with each other again, he experiences a profound change in his behavior that compels him to learn to connect with the music and the people that surround him in astonishing and unexpected ways.”

“The film has a lot going for it: a wonderful script by Stuart Blumberg, to be directed by Reed Morano who directed Meadowland, which I thought was a terrific film, and the »

- Gary Collinson

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Diane Lane to Star in Reed Morano’s Next Film

9 May 2017 12:01 PM, PDT | Women and Hollywood | See recent Women and Hollywood news »

Diane Lane in “Paris Can Wait

Hot off rave reviews for directing the first three episodes of Hulu’s “The Handmaid’s Tale,” Reed Morano has announced her next project. A press release revealed that the Indie Spirit Award nominee will helm an untitled drama starring Diane Lane and Jeff Bridges. The project is being developed by Bankside Films.

Scheduled to shoot in Boston this October, the film centers on a narcissistic virtuoso violinist (Bridges) who is forced to move back in with his estranged wife (Lane) after he’s diagnosed with a life-threatening illness. “As they attempt to learn how to live with each other again, he experiences a profound change in his behavior which compels him to learn to connect with the music and the people that surround him in astonishing and unexpected ways,” the press release summarizes. The project, penned by Stuart Blumberg (“The Kids Are All Right”), will be presented to buyers at Cannes later this month.

Emjag ProductionsAlexandra Milchan (“The Wolf of Wall Street”) is among the film’s producers.

“The project has brought together some of Hollywood’s most exciting talent to tell an intensely moving story in a unique, refreshing, and dynamic way,” said Bankside FilmsStephen Kelliher. “We could not be more excited to be working with such a prestigious team and to be working with our co-producers Emjag Productions to bring this very special story to the world.”

Lane added, “This is a wonderful story. I’m thrilled to have Reed behind the camera as our director and appreciate her keen eye and talent thanks to her previous work as a cinematographer.”

Morano is an acclaimed cinematographer whose credits include “Beyoncé: Lemonade” and “Frozen River.” She was nominated for an Independent Spirit Award for her cinematography in “Meadowland,” her 2015 directorial debut starring Olivia Wilde. Morano is currently filming “I Think We’re Alone Now,” a post-apocalyptic movie toplined by Elle Fanning. She’s also signed on to direct the Ellen Page-starrer “Lioness,” a drama about a Lance Corporal Leslie Martz, the Marine who led the first Female Engagement Team in Afghanistan.

You can catch Lane in Eleanor Coppola’s “Paris Can Wait” later this week. The romantic comedy hits theaters May 12.

Diane Lane to Star in Reed Morano’s Next Film was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story. »

- Laura Berger

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Jeff Bridges & Diane Lane To Star In New Reed Morano Movie For Emjag & Bankside Films – Cannes

8 May 2017 10:34 AM, PDT | Deadline | See recent Deadline news »

Exclusive: Jeff Bridges and Diane Lane are set to star in an untitled project from The Handmaid's Tale and Meadowland director Reed Morano, written by The Kids Are All Right scribe Stuart Blumberg. The project (formerly known as First Chair) marks the first film developed by London-based international sales and film finance company Bankside Films, which is beginning to ramp up its activity in the production arena. The story follows a regimented, self-obsessed virtuoso… »

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Everything, Everything Trailer Has Two Teens Locked in a Unique Romance

3 May 2017 3:37 PM, PDT | MovieWeb | See recent MovieWeb news »

Warner Bros. has released the first trailer and poster for their upcoming drama Everything, Everything, which hits theaters May 19. This unique romance, directed by Stella Meghie and based on the bestselling book of the same name by Nicola Yoon, hails from Warner Bros. Pictures and Metro-Goldwyn-Mayer Pictures. The young adult adaptation could end up being one of the sleeper hits in a crowded summer movie season.

What if you couldn't touch anything in the outside world? Never breathe in the fresh air, feel the sun warm your face, or kiss the boy next door? The Warner Bros. drama Everything, Everything tells the unlikely love story of Maddy, a smart, curious and imaginative 18-year-old who due to an illness cannot leave the protection of the hermetically sealed environment within her house, and Olly, the boy next door who won't let that stop them.

Maddy is desperate to experience the much more stimulating outside world, »

- MovieWeb

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‘Danny and the Dinosaur’ Movie in Development at Branded Pictures (Exclusive)

20 April 2017 8:22 AM, PDT | Variety - Film News | See recent Variety - Film News news »

Veteran producer J. Todd Harris and Marc Marcum are launching a live-action/animated movie version of the 1958 children’s book “Danny and the Dinosaur” through their Branded Pictures Entertainment.

The light-hearted Syd Hoff story starts with a boy named Danny befriending a good-natured dinosaur at a museum with Danny riding out of the museum on the dinosaur’s neck. The two then spend the day together playing, going to the zoo, having ice cream and letting other children use the dinosaur as a slide.

The company has optioned all non-publishing rights to “Danny and the Dinosaur,” which has sold more than 10 million copies. The script has been adapted by David Bowers and writing team Brian Sawyer and Gregg Rossen.

“The writers have transformed this wonderful book series into a vehicle for a top comedy talent,” said Harris, who has the title of president. “We see the feature version of ‘Danny »

- Dave McNary

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'Penthouse' Founder Bob Guccione Will Be Subject of New TV Series

4 April 2017 6:09 AM, PDT | Rollingstone.com | See recent Rolling Stone news »

Bob Guccione, who rose to fame when he founded Penthouse in 1965 and later declared bankruptcy in 2003, will be the focus of a new television series, Variety reports. 

The program will attempt to push past Guccione's surface-level reputation as an extravagant-mansion-owner in charge of an erotic magazine. "Bob Guccione was more of an intellectual," maintains Rick Schwartz, co-founder of Jerrick Media, which will executive produce the series in partnership with Maven Pictures. "He was a complicated guy."

The story will pick up with Guccione in the years before he founded Penthouse, »

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Penthouse Founder Bob Guccione’s Life Being Turned Into TV Series (Exclusive)

4 April 2017 5:00 AM, PDT | Variety - TV News | See recent Variety - TV News news »

Penthouse founder Bob Guccione’s rise to the top of the media landscape and fall into financial ruin will be the subject of a new television series, Variety has learned.

Jerrick Media and Maven Pictures are teaming up on the project and are currently interviewing writers. The filmmakers say they are interested in providing a deeper understanding of Guccione, who they maintain was much more than just a pornographer.

Bob Guccione was more of an intellectual,” said Rick Schwartz, co-founder of Jerrick. “He was a complicated guy.”

Schwartz says that Guccione’s Upper East Side mansion wasn’t a Big Apple equivalent of the Playboy mansion. Instead of hedonistic parties, Guccione would host salons with the likes of astronomer and author Carl Sagan or attorney Alan Dershowitz. In addition to producing Penthouse, Guccione invested in cold fusion, backed a science and science-fiction magazine entitled Omni, and released “Caligula,” a notorious epic that blended erotica, history »

- Brent Lang

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Giveaway: Win Mike Mills’ ’20th Century Women’ on Blu-ray

30 March 2017 9:41 AM, PDT | The Film Stage | See recent The Film Stage news »

One of our favorite films of last year, Mike Mills‘ emotional, warm-hearted drama 20th Century Women, arrives on Blu-ray this week. We’ve teamed with Lionsgate to give away five copies to our readers. See how to enter below and all entries must be received by 11:59 Pm Est on Sunday, April 2nd.

To enter, do the first three steps and then each additional one counts as another entry into the contest.

1. Like The Film Stage on Facebook

2. Follow The Film Stage on Twitter

Follow @TheFilmStage

3. Follow The Film Stage on Instagram

4. Comment in the box on Facebook with your favorite use of a song in a film this decade so far.

5. Retweet the following tweet:

We're giving away #20thCenturyWomen on Blu-ray. Follow us + Rt this to enter. See more ways to enter: https://t.co/VW0i1QsCQc pic.twitter.com/eU9zEsXoFj

— The Film Stage »

- The Film Stage

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Wamg Giveaway – Win the 20th Century Women Blu-ray

28 March 2017 1:33 PM, PDT | WeAreMovieGeeks.com | See recent WeAreMovieGeeks.com news »

Golden Globe winner Annette Bening (The Kids Are All Right, Being Julia) stars in the transformative and insightful film, 20th Century Women, arriving on Blu-ray (plus Digital HD) and DVD March 28 from Lionsgate. Oscar-nominated for Best Original Screenplay and nominated for two Golden Globes (Best Motion Picture – Musical or Comedy and Best Actress – Musical or Comedy for Bening), 20th Century Women is a cinematic love letter to the people who raise us and the times that shape us. The true-to-life story inspired by acclaimed writer/director Mike Mills’s (Beginners) mother also stars Elle Fanning (Maleficent), Greta Gerwig (Frances Ha), Lucas Jade Zumann (Sinister 2), and Billy Crudup (Almost Famous). Theatrically released by A24 and Rotten Tomatoes Certified Fresh, the “impressive and moving” (The Playlist) celebration of family, womanhood, love, and freedom is a must-see film for all generations.

Now, you can own the 20th Century Women Blu-ray. Wamg has four copies to give away. »

- Tom Stockman

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What Happened to the Women Directors in Hollywood? Part 5: 2000–2017

24 March 2017 2:02 PM, PDT | Women and Hollywood | See recent Women and Hollywood news »

Mira Nair and Ava DuVernay: Wikimedia Commons/IndiaFM/Bollywoodhungama/usbotschaftberlin

by Carrie Rickey

This five-part Truthdig series by Carrie Rickey is published in partnership with Women and Hollywood. The series considers the historic accomplishments of women behind the camera, how they got marginalized, and how they are fighting for equal employment. Specifically, this series asks, why do females make up between 33 and 50 percent of film-school graduates but account for only seven percent of working directors? What happened to the women directors in Hollywood?

Female filmmakers greeted the 21st century with optimism. By most measures, movies by women were garnering increased respect in the industry and at the multiplex. Their makers cracked glass ceilings, created new genres, and established new box-office records.

With “Nowhere in Africa” (2001), Caroline Link became the second woman to direct the Oscar-winner for the year’s best foreign film. With “Lost in Translation” (2003), Sofia Coppola was the third woman to receive a best director nomination from the Academy of Motion Picture Arts and Sciences. And with “The Hurt Locker” (2009), Kathryn Bigelow was the fourth woman nominated in the directing category — and the first to win. The following year, Danish filmmaker Susanna Bier directed the winner in the best foreign film category, “In a Better World.”

Gina Prince-Bythewood’s “Love & Basketball” (2000), Karyn Kusama’s “Girlfight” (2000) and Gurinder Chadha’s “Bend It Like Beckham” (2003) created what might be called the “Title IX” movie, celebrating female athletes on the court, in the ring, and on the field. These are sports movies that celebrate the female body — not for its sex appeal, but for its power. These films inspired younger women (and their mothers were thrilled to take them to movies that didn’t objectify women).

Comedies by women continued to make serious box office, proving the Hollywood wisdom that “funny is money.” Nancy Meyers’ “What Women Want” (2000), starring Mel Gibson as a player briefly given the power to hear what women think about him, made $374 million. Sharon Maguire’s “Bridget Jones’s Diary” (2001), in which the title character says what she thinks about womanizers and prigs, brought in $282 million. Movies like these permitted men and women to laugh at men’s foibles.

From Patricia Cardoso’s “Real Women Have Curves” (2002), which introduced America Ferrera as a college-bound Latina, to Julie Taymor’s biopic “Frida” (2003), with Salma Hayek as Mexican artist Frida Kahlo, to Patty Jenkins’ “Monster” (2003), with Charlize Theron as serial killer Aileen Wuornos, audiences saw realistic women — as opposed to human swizzle sticks with breasts — in movies by women.

Many critics hailed Niki Caro’s “Whale Rider” (2003), about a Maori preteen who challenges her tribal patriarchy and becomes the new chief, as a harbinger of the triumph of female filmmakers over the status quo. Others pointed to the fact that for the first time since records had been kept, in 2000 women made 11 percent of the top 250 box office films. For women who make movies, the new century felt like a new day.

The Good, the Bad, and the Ugly

Sadly, that encouraging percentage turned out to be a fluke. After 2000, the number dwindled. It remains stuck in the 6 to 9 percent range, says Martha Lauzen, professor of communications and head of the Center for the Study of Women in Television and Film at San Diego State University. Since 1998 Lauzen has tracked women working in the industry in her annual “Celluloid Ceiling” report.

“When I started this, I thought it was merely an issue of people not knowing how low the numbers were,” Lauzen said ruefully. “I didn’t know how slow social change is.”

Lauzen’s reporting represents one of three vital resources for understanding the triumphs female filmmakers have made and how far they need to go to achieve parity with men. The others are Stacy Smith’s Media Diversity and Social Change Institute at USC’s Annenberg School and The Bunche Center at UCLA.

Collectively and individually, these creators of annual good news/bad news reports have kept the issue of representation in the public eye.

The Good: For Kathryn Bigelow (“The Hurt Locker,” “Zero Dark Thirty”), the late Nora Ephron (“Julie & Julia”), and Nancy Meyers (“It’s Complicated,” “The Intern”), the 21st century has been a fruitful time. So, too, for younger female moviemakers. Consider Lisa Cholodenko (“Laurel Canyon,” “The Kids Are All Right”), Ava DuVernay (“Selma,” “13th”), and Mira Nair (“Monsoon Wedding,” “The Namesake”).

Consider also that Catherine Hardwicke established a franchise with “Twilight” (which made $393 million), Sam Taylor-Johnson created another with “50 Shades of Grey” ($571 million), and that Anne Fletcher’s “The Proposal” made $317 million and Phyllida Lloyd’s “Mamma Mia!” earned $609 million.

Additionally, filmmakers like Dee Rees (“Pariah”), Debra Granik (“Winter’s Bone”), and Lone Scherfig (“An Education”) broke into the market with unique visions and eyes for new talent, including Adepero Oduye, Jennifer Lawrence, and Carey Mulligan. Significantly, Vicky Jenson (“Shrek”), Jennifer Lee (“Frozen”), Jennifer Yuh Nelson (“Kung Fu Panda 2”), and Brenda Chapman (“Brave”) staked a place for women in animation.

The Bad: For every woman appearing onscreen in movies in 2015 there were 2.3 men, according to Stacy Smith’s Media Diversity & Social Change Initiative.

The Ugly: When Walt Hickey, culture reporter for the website fivethirtyeight.com, goes to the movies and sees the screen population is 69 percent male, it just looks wrong to him. “It’s like something apocalyptic has happened, like a parallel universe — a man’s world,” he says.

Both Lauzen’s and Smith’s data show that when a woman is behind the camera and/or screenplay, 39 percent of protagonists are female. In movies by male directors, only four percent of the lead characters are female.

A century ago, male dominance behind the camera and on the screen was not the norm. For women behind the camera, it’s been the norm since 1920. And for women onscreen, it’s been the norm since 1950. Because of this, moviegoers have a distorted picture of America as predominantly male and predominantly Caucasian, when it is neither. (For finer-grain data on minority representation, see this annual report from UCLA’s Bunche Center.)

The Force Reawakens

The Hollywood Dream Factory tailors the majority of its product to the measurements of the men in the audience. This troubles those who want their daughters to partake of the same professional opportunities, cultural representation, and dream lives as their sons. While “Nine to Five,” “Norma Rae,” and “Erin Brockovich” show that studios love stories of women who triumph over the odds, there is less obvious love for female filmmakers trying to beat the odds stacked against them in their professional lives.

Since the Original Six filed suit against two studios in 1983 (see Part 3), female filmmakers have met, strategized, and troubleshot. So much so that in one of her final essays before her death in 2012, Nora Ephron made a list of “Things I Won’t Miss.” Near the top: “Panels on Women in Film.” Many women in film felt as though they were running in place.

“Instead of holding a million panels about it,” Christine Vachon, producer of “Boys Don’t Cry” and “Carol,” exclaimed at the 2016 Sundance Festival, “let’s do something about it!”

Someone had. She is Maria Giese, director of the feature films “When Saturday Comes” and “Hunger.” In February 2013 she brought a complaint to the Equal Employment Opportunity Commission (Eeoc) in Los Angeles. Her contention was that the cohort of working filmmakers in the Directors Guild of America (DGA), of which she is a member, was overwhelmingly male.

(While the number of women in the guild directing episodic television amounts to 17 percent, the DGA 2015 census of female filmmakers registered 6.4 percent. That’s lower than the nine percent of female coal miners, and fractional next to the 32 percent of practicing physicians and 36 percent of practicing lawyers who are women).

The Eeoc, which collects data on employer/employee relations for each calendar year, was reluctant to take on a class-action suit.

In April 2013, Giese contacted the Aclu of Southern California and showed the evidence to Melissa Goodman, director of its Lgbtq, Gender & Reproductive Justice Project. For the next two years Goodman and her colleague Ariela Migdal took testimony from more than 50 female directors. In May 2015 they sent the Eeoc an extraordinary letter that counted the ways in which “female filmmakers are effectively excluded from directing big-budget films and seriously underrepresented in television.” A compelling argument in their letter: “The entertainment industry employs many people and makes products that profoundly shape our culture and the perception of women and girls.” Later in 2015, the Eeoc commenced its own investigation.

In January 2017, based on a high-level internal DGA leak received by Giese, Deadline Hollywood reported that after a federal investigation spanning a year that included testimony from over 100 women directors, the Eeoc recently served charges of sex discrimination and unfair hiring practice against all six major studios. While the federal agency does not comment on active cases, Gillian Thomas and Melissa Goodman of the Aclu wrote in an editorial that they had no reason to doubt the veracity of the leak.

A key factor contributing to Giese’s success in getting this issue to the Aclu and Eeoc was her ability to expose the structural obstacles female filmmakers face, from a guild that puts female and minority filmmakers in the same category, to the studios that question the fitness of women to direct.

Myths and Continued Underrepresentation

Over the 25 years I’ve reported on female filmmakers, I’ve interviewed two generations of movie executives. Most, but not all, were male. Most took seriously my questions about the apparent exclusion of women behind the camera, both on the screen and their forthcoming line-up.

Without exception, all of them retold one or more of the “Three Hollywood Myths.”

Myth #1) “Women don’t want to direct action movies and those are the films which are making money.”

Untrue. See: Martha Coolidge’s “Real Genius” (1985), Kathryn Bigelow’s “Point Break” (1991), Mimi Leder’s “The Peacemaker” (1997) and “Deep Impact” (1998), Lexi Alexander’s “Punisher: War Zone” (2008), and Bigelow’s “The Hurt Locker” (2009) and “Zero Dark Thirty” (2012).

What is true is that Patty Jenkins was hired to direct “Thor: The Dark World” (2013) and left due to creative differences. She is now working on the forthcoming “Wonder Woman.”

What is true is that Mira Nair was offered a “Harry Potter” film and chose instead to make the family drama “The Namesake” because the material was more important to her, and that Ava DuVernay was offered “Black Panther,” the film version of the Marvel Comics series, and declined for similar reasons.

Myth #2) “Movies by women don’t make money.”

Untrue again. Some movies by women don’t make back their investment, just as some movies by men do not. What is true is that many movies by women make major bank. Catherine Hardwicke’s little $37 million film “Twilight” grossed $393 million and launched a billion-dollar franchise.

Hardwicke told me by phone that she hears all the time from studios that films by women are poor investments. “And every time you say, ‘Well, this one made money, that one made money,’ they say, ‘This one made money because it was based on a best-selling book,’ or ‘That one made money because of its hot actress.’”

Here are six more films by women and their box-office grosses. They made money because they powerfully connected with audiences.

Bend it Like Beckham” (Gurinder Chadha). Cost: $6 million/Gross: $77 million“Frida” (Julie Taymor). Cost: $12 million/Gross: $56 million“Frozen” (Jennifer Lee). Cost: $150 million/Gross: $1.2 billion“The Proposal” (Anne Fletcher). Cost: $40 million/Gross: $317 million“Selma” (Ava DuVernay). Cost: $20 million/Gross $67 million“Lost in Translation” (Sofia Coppola). Cost: $4 million/Gross $120 million

Myth #3) “A woman behind the camera means women on the screen and no men in the audience.”

Untrue, if taken literally. Sometimes movies by women have a lower percentage of men in the audience, just as sometimes movies by men have a lower percentage of women in the audience. Take, for example, the 2015 films, “Bridge of Spies” by Steven Spielberg and “The Intern” by Nancy Meyers.

According to Paul Dergarabedian of comScore, the research company’s “PostTrak” data shows the audience gender breakdown at “Bridge of Spies,” a ’60s-era political thriller starring Tom Hanks, was 54 percent male and 46 percent female. For “The Intern,” a contemporary workplace comedy co-starring Anne Hathaway and Robert De Niro, it was 41 percent male and 59 percent female. Spielberg’s film grossed $165 million; Meyers’ $194 million. His budget was $40 million; hers was $35 million.

Ava DuVernay’s “Selma,” the story of the 1965 march for voting rights led by Martin Luther King and starring David Oyelowo, had an audience gender breakdown of 47 percent male and 53 percent female. The assumption that movies come gendered with a blue or pink ribbon is a canard that still lingers in Hollywood, perhaps a vestige of the target marketing that began in the 1980s.

Speaking from the set of “Queen Sugar” in 2016, DuVernay observed, “We’re in a place right now where every other film is about a comic book superhero. We’re top-heavy with testosterone.”

How did Hollywood, a century ago a place where female directors thrived and prospered, come to this?

Stacy Title, director of “The Last Supper” and “The Bye Bye Man,” points the finger at “unconscious bias.”

Mira Nair, who was born in India, suspects chauvinism. “I’ve always remarked at the irony that the percentage of female directors is higher in India than in the United States,” she explained in a phone conversation. “India is supposed to be the traditional chauvinist culture,” she observes. Nair wonders if the historic examples of female prime ministers in South Asia — Indira Gandhi in India, Benazir Bhutto in Pakistan — may have broken the glass ceiling for all professional women there. “Their examples don’t exist in the U.S.”

DuVernay looks forward to the outcome — and hoped-for positive resolution — of the Eeoc investigation. “It’s a systematic problem and it requires radical change,” she said. “If it’s not happening organically, systems should be put in place.” Like many female filmmakers, DuVernay hopes the Eeoc can reconfigure what Giese calls the “vertical playing field for women” into a level one.

“One thing I’m heartened by,” said Nair, who’s been making features for nearly 30 years, “is that the variety and confidence of female filmmakers today is inspiring.”

Do others think it’s changed for the better for women since the 1980s?

“For me, there’s no comparison between the ’80s and now,” reflected Nancy Meyers, whose six films as a director or writer/director have grossed more than a billion dollars. By email she wrote:

Men were still getting used to us being on set in the ’80s. (Men used to have photos of pinups on the set in the ’80s! I’m not kidding.)The only women around back then worked in costumes and hair and makeup. Today women are in every department and often department heads. There are still very few women in the camera department and that’s a shame. That seems to still be a real boy’s club. Today, most crew members are far more comfortable working for and with women.

Yet one thing has not changed: “Now, getting the job to be the director — that’s still an uphill battle,” Meyers said.

In addition to writing film reviews and essays for Truthdig, Carrie Rickey has been a film critic at The Philadelphia Inquirer and Village Voice, and an art critic at Artforum and Art in America. Rickey has taught at various institutions, including School of the Art Institute of Chicago and the University of Pennsylvania, and has appeared frequently on NPR’s “Talk of the Nation,” MSNBC, and CNN.

What Happened to the Women Directors in Hollywood? Part 5: 2000–2017 was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story. »

- Women and Hollywood

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20th Century Women – Starring Annette Bening and Greta Gerwig on Blu-ray and DVD March 28th

15 March 2017 8:54 AM, PDT | WeAreMovieGeeks.com | See recent WeAreMovieGeeks.com news »

Golden Globe winner Annette Bening (The Kids Are All Right, Being Julia) stars in the transformative and insightful film, 20th Century Women, arriving on Blu-ray (plus Digital HD) and DVD March 28 from Lionsgate. Oscar-nominated for Best Original Screenplay and nominated for two Golden Globes (Best Motion Picture – Musical or Comedy and Best Actress – Musical or Comedy for Bening), 20th Century Women is a cinematic love letter to the people who raise us and the times that shape us. The true-to-life story inspired by acclaimed writer/director Mike Mills’s (Beginners) mother also stars Elle Fanning (Maleficent), Greta Gerwig (Frances Ha), Lucas Jade Zumann (Sinister 2), and Billy Crudup (Almost Famous). Theatrically released by A24 and Rotten Tomatoes Certified Fresh, the “impressive and moving” (The Playlist) celebration of family, womanhood, love, and freedom is a must-see film for all generations.

Set in 1979 Santa Barbara, 20th Century Women follows Dorothea (Bening), a »

- Tom Stockman

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Annette Bening Joins Oscar Isaac, Olivia Wilde in Dan Fogelman’s ‘Life, Itself’

13 March 2017 3:51 PM, PDT | Variety - Film News | See recent Variety - Film News news »

Annette Bening has joined Oscar Isaac and Olivia Wilde in the romantic drama “Life, Itself.”

This Is Us” creator and “Crazy, Stupid, Love” writer Dan Fogelman is directing from his own script.

Related

Annette Bening Cast in FX’s ‘Katrina: American Crime Story

FilmNation Entertainment and Temple Hill are producing the multi-generational love story, weaving together a number of characters whose lives intersect over the course of decades — from the streets of New York to the Spanish countryside. Antonio Banderas, Olivia Cooke, Laia Costa, Mandy Patinkin, Sergio Peris-Mencheta, and Alex Monner also star. Principal photography is beginning in New York City and will continue in Spain in May.

FilmNation will fully finance, produce, and handle international sales for the film. Temple Hill’s Marty Bowen and Wyck Godfrey will produce with FilmNation, along with Fogelman. Wme Global will handle the U.S. sale on behalf of FilmNation.

Related

This Is Us »

- Dave McNary

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Your Daily Reminder: ‘Moonlight’ Is The First Lgbtq Movie To Win Best Picture

1 March 2017 6:18 AM, PST | The Playlist | See recent The Playlist news »

Something that has actually been lost in the entire Best Picture envelope mix-up over the past two days is a pretty monumental fact about this year’s winner, “Moonlight.” Barry Jenkins’ acclaimed drama is the first gay movie to ever win Best Picture. That’s, um, sort of a big deal.

Yes, “Moonlight” is many things but it’s profoundly a gay movie. Just like “Carol,” “Milk,” “The Kids Are All Right” and “Brokeback Mountain” are.

Continue reading Your Daily Reminder: ‘Moonlight’ Is The First Lgbtq Movie To Win Best Picture at The Playlist. »

- Gregory Ellwood

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Who Is Jordan Horowitz? Get to Know the Man Who Graciously Handled That Oscars Flub

27 February 2017 5:00 PM, PST | Popsugar.com | See recent Popsugar news »

This year's best picture win - and loss - at the Oscars will forever go down in infamy. While presenting the winner, Warren Beatty and Faye Dunaway pulled a Steve Harvey when they incorrectly named La La Land as the big winner of the night (Moonlight actually took home the honor). Even though it was painfully awkward to watch as the whole cast and crew was already on stage saying their thank yous, the film's producer handled the whole thing graciously as he stopped in the middle of his speech to announce the rightful winner. So, who exactly was the unspoken hero of the night? His name is Jordan Horowitz (not to be confused with the film's writer Justin Hurwitz), and just like the rest of the production team, his success is starting at a young age. At only 36 years old, the NYC native, who is married to writer Julia Hart, »

- Kelsie Gibson

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