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Olivia Coleman in Tyrannosaur (2011)

Paddy Considine’s directorial debut Tyrannosaur, a social realist drama focusing on the developing relationship between a violent, unemployed alcoholic and a victim of domestic abuse, deals with a female’s harrowing experience of physical and emotional torment. In this article, I examine Olivia Coleman’s exceptional performance as a charity shop manager struggling to hide the torrent of abuse her husband inflicts upon her; providing one of the most realistic representations of domestic abuse I have come across so far.

TW: Contains upsetting details of emotional and physical abuse.

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Smoke (2015) / Unaware (2016)

Research regarding LGBT relationships for my dissertation has been difficult, with filmic representation of domestic abuse considerably lacking. Yet, statistics and research provided reveals physical and emotional abuse between partners is no less prevalent than in heterosexual relationships. Continue reading “Smoke (2015) / Unaware (2016)”

Hulu’s The Handmaid’s Tale (2017): The Trailer

Hulu has finally dropped the first teaser trailer for its upcoming series, The Handmaid’s Tale, and it is intense.

If you haven’t encountered it yet, the story is based on Margaret Atwood’s piece of speculative fiction of the same name, set in a future in which pollution and society’s developments has left the bulk of the population unable to produce children. The story unfolds within a fanatical dictatorship, in which the remaining fertile women are segregated and used as breeders for the upper class.

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Before The Flood (2016)

Last night, I attended a screening of Leonardo DiCaprio’s acclaimed documentary with National Geographic.

After spending a lot of this winter’s nights in watching Netflix’s latest dystopian releases portraying new worlds of toxic political environments (3%, Pedro Aguilera) and the potential (dangers and benefits) of technology (Black Mirror, Charlie Brooker), as well as scenes of rolling, infertile estates, home to the “undead” (Glitch, Emma Freeman), I was shaken by the realisation that this factual documentary didn’t seem all that different. Immediately, it was obvious to me that our changing planet is already, quickly reaching a setting apt for a dystopia.

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Hollywood’s Rape Culture – Maria Schneider and Last Tango in Paris (1972)

I wanted to write an article on the ‘recent revelation’ of Bernardo Bertolucci and Marlon Brando’s treatment of Maria Schneider on the set of Last Tango in Paris (1972). Despite Schneider discussing her experience in 2007, why is it only now being acknowledged by the media as a case of sexual abuse? It’s upsetting proof of how 21st century Hollywood is plagued by rape culture, permeating all levels of the industry.

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Piku (2015)

Whilst studying Indian Melodrama this term, I’ve been watching a selection of Hindi films as research for my forthcoming essay and came across Shoojit Sincar’s gem of a movie on Netflix. Providing audiences with a refreshing perspective on female characters in the form of eponymous lead Piku, it’s both a genuinely funny comedy and a powerful example of feminist cinema.

Contains a few spoilers!

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The Girl on the Train (2016)

Tate Taylor’s filmic adaptation of Paula Hawkin’s psychological thriller The Girl on the Train fails to translate the importance of the novel’s domestic violence narrative, missing a vital opportunity to confront issues of abuse on the big screen.

Contains spoilers.

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T2 Trainspotting (2017): The Trailer. Choose Life. Choose Facebook?

So here it is.

The moment I have been waiting for since Ewan Mcgregor’s youthful face walked away from the action of Danny Boyle’s 1996 Trainspotting, looking directly at the camera and promising (or warning) that he was going to “choose life”.

TRAIN_renton_3.jpg

It’s the trailer to the sequel, with its suitably fitting textspeak, HS2 invoking, upgraded name, T2: Trainspotting (2017).

Continue reading “T2 Trainspotting (2017): The Trailer. Choose Life. Choose Facebook?”

Transparent, Season 3 (2016)

Although not a film as such, Jill Soloway’s Transparent (Amazon Prime) is an example of the kind of TV that would not look out of place on the big screen.

The show, lauded for tackling issues of identity and the institutions and constructions within which the notion is created, launched its third series this week as Soloway continues to push and contort boundaries as we know them, exploring gender fluidity, religion and existentialism through beautifully shot, human moments.

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