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Title: Free the Nipple (2014)
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| Lina Esco | ... |
With
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| Lola Kirke | ... |
Liv
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| Casey LaBow | ... |
Cali
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| Monique Coleman | ... |
Roz
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| Griffin Newman | ... |
Orson
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| Zach Grenier | ... |
Jim Black
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| Jen Ponton | ... |
Charlie
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Sarabeth Stroller | ... |
Pippi
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| Janeane Garofalo | ... |
Anouk
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| John Keating | ... |
Kilo
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| Michael Panes | ... |
Lawyer
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Leah Kilpatrick | ... |
Elle
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| Daniel Gerroll | ... |
Boss
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Anastasia Ivanova | ... |
Giant #1
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Rebecca Fourteau | ... |
Giant #2
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In New York City, a small group of passionate women launch a revolution movement to "Free the Nipple" and decriminalize the female body. Based on a true story, this mass movement of topless women, armed with First Amendment lawyers, graffiti installations and national publicity stunts, invade New York City to protest the backwards censorship laws in the USA. The film centers on a liberal journalist, named With, who sees potential in a story and hooks herself up with the group of women, led by the idealistic and eccentric Liv, and works with the close-knit of to follow the group in their quest. Written by Anonymous
For a movie about female breasts, "Free the Nipple" has two major flaws: The first problem is that there is simply not enough screen time devoted to the Titular subject. I'd estimate that bare breasts are shown in less than half the screen time of this movie--a poor showing indeed. I've seen dozens of movies in which bare breasts are featured in 90 to 95 percent of the total running time. That's really the range you want to be shooting for to give female breasts the exposure they deserve. The second and more significant problem lies in the quality of female breasts cast in the film. There were a handful of worthy performances, but the majority of them were simply not up snuff. *Lina Esco's breasts turn in an excellent performance: round and perky, with just enough heft to bounce, but not enough to sag. *The second lead, Lola Kirke's breasts may have been technically larger as measured by cup size, but when viewed against her overlarge torso, they failed to produce the hour-glass shape necessary to please male viewers, who, in all fairness, likely make up at least half of the film's audience. *Pound-per-pound, Casey LaBow's breasts (full and symmetrical) give what is arguably the strongest performance in the film, but they are sadly underutilized. I can only recall three or four scenes in which they were featured, for a total screen time well under five minutes. Despite pretenses of progressive politics, this independent film hides and marginalizes African American breasts in the shameful tradition of mainstream Hollywood. Monique Coleman plays a substantial supporting role, but her breasts remain inexplicably hidden throughout the film, and undoubtedly would have added some much needed flavor to the mix. Two of the films' strongest portrayals come from an outstanding pair of African American breasts in the film's final montage sequence, but once again, their screen time is utterly brief and deserving of much broader coverage. This final scene does feature at least 20 different pairs of breasts in rapid succession, but the majority of these performances fall flat. Many are of the "pancake" or "banana" variety, and some even suffer from the unforgivable "lazy eye" syndrome. Perhaps most disturbing is the discriminatory casting the filmmakers seem to have practiced against breasts that have been augmented by surgical implants, which by all accounts make for the most satisfying and cinematic mammaries possible.