In the opening shot of Sofia Coppola’s “Lost in Translation” (2003), Scarlett Johansson is lying on a bed, back to the camera, shown in partial view, wearing underpants. In Ridley Scott’s “Blade Runner 2049” (2017) a banged-up Ryan Gosling stares up at a bone-thin, enormous nude projection of a woman. More recently, Jay Roach’s “Bombshell” (2019) featured Margot Robbie lifting her dress for John Lithgow as the camera takes in her legs.
All typical images from Hollywood films, all doing their job: telling story, building character and providing context. These are images that have been used in cinema almost since its beginnings more than 100 years ago. But what if many shots framed and filmed by directors and cinematographers — men, women, nonbinary — actually do something else, too — like undercut every other progressive stride women make on the camera, and in real life?
That thesis is being put forward by independent filmmaker Nina Menkes,...
All typical images from Hollywood films, all doing their job: telling story, building character and providing context. These are images that have been used in cinema almost since its beginnings more than 100 years ago. But what if many shots framed and filmed by directors and cinematographers — men, women, nonbinary — actually do something else, too — like undercut every other progressive stride women make on the camera, and in real life?
That thesis is being put forward by independent filmmaker Nina Menkes,...
- 1/23/2020
- by Randee Dawn
- Variety Film + TV
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