by Carmina Masoliver
When I first saw Soltera Codiciada advertised on Netflix, its title was translated into English from Spanish as ‘How to Get Over a Break-Up’. The title drew me in for personal reasons, having had my long-term relationship end last year. The plot revolves around a heartbroken ad copywriter who begins blogging about her life as a single woman, whose writing pastime turns into a huge success. The English title bears little resemblance to the Spanish title, for which it was difficult to find a direct translation. A Peruvian comedy from Bruno Ascenzo and Joanna Lombardi, the original title shares the same name with the protagonist’s blog and when I asked around, the most likely meaning was as a positive description of a single woman. Infused with the spirit of Beyoncé’s Single Ladies, it is a film that allows us to laugh at the tragedy of lost love.
by Alex Valente
A quick preface to the following, which also serves as a way to convince myself that I am … allowed to write about this, rather than the Bologna protests, or the political mess in Rome, or the current turmoil on the Italian left-of-centre party PD, or the upcoming women’s general strike. Those are things at the front of my mind – but I will take this week to find a little glimmer of beauty in a sea of constantly rising anger, instead.
Enter then, one of the two films I saw this year that made me think about language, and how we use it, and how it is used in the media. The other is Arrival, and so much has been written about it already, I decided to focus on Makoto Shinkai’s gorgeous animated film 君の名は (‘Kimi no na wa’), released in English as Your Name.Continue Reading
by Sam Naylor
Disclaimer: Filled to the brim with spoilers and undergraduate level gender studies analysis *gasp*
Just for a moment whilst sitting with phone wrapped in hand, imagine that I am a renowned film critic — tall order I know. Now picture the scene of zero-star ratings being awarded to films. I am that film critic that awards a zero rating to the backwards 50s tripe that is Batman vs Superman. As you can tell I am totally not bitter about wasting my money and time, with 153 minutes of my life being dragged out before my eyes, as I endured a steroid-induced-figurine-smacking-debacle.
Initial rant over: what I’d first like to address is the films portrayal of its female characters. Now with a film title like Batman vs Superman I was aware that the main arc of the story would revolve around these two colossuses, but I’d hoped that in 2016 we’d moved far enough away from female roles as fillers and crutches for their male onscreen co-stars.Continue Reading
TW: rape, sexual assault, sex-shaming
by Asia Patel
On the 15th April 2015, the Union of UEA students held a free film screening of The Hunting Ground, a documentary about sexual assault on american college campuses. It was made by the same Academy Award-nominated team that created The Invisible War, a film about sexual assault in the United States Military. The documentary was followed by a skype call with the director, Kirby Dick, and a discussion with a panel consisting of Holly Staynor (Welfare, Community and Diversity Officer), Beth Smith (Women’s Officer), Anjali Menezes (Sexual Assault Awareness Committee), and me from the UEA Feminist Society Committee.
The documentary itself focused on the stories of survivors of sexual assault, particularly of Andrea Pino and Annie E. Clark, two former students at the University of North Carolina who were raped on campus. In the US, reports such as those of sexual assault can be dealt with solely by the college itself, with people in place to decide relevant actions to be taken upon attackers, and to support survivors. However, when these two survivors reported their rapes, they were not supported by their university.